101-200 Albums of 2021 by 
Mercury 
Some of these albums are very good and it was hard taking them off top 100 of year. I really love this year in music so far. Also, a good few of these will be revisited and commented upon later down the line and, who knows, may rise high in and into the top 100.
I will now start another chart which is 2021 spill overs or 1-and-Dones (what this chart was for months). I had to make a spreadsheet like a dork because I know that soon this will get freaking way way to confusing to keep in order across 3 charts. Hope someday we have longer chart sizes.
- Chart updated: 02/03/2022 04:45
- (Created: 04/01/2021 21:24).
- Chart size: 98 albums.
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(A formidable, beautiful alt-country/chamber folk-type album that, while quite pretty can leave me feeling like its a bit empty of real grit and meaning.)
My relationship with this album has developed and shifted several times over the last couple months. When I first heard it, I admit I was kind of in love. On second and third and now fourth listen, there is a diminishing return. Each time I hear it I am always impressed by the scale and beauty of the album. There is clearly a person who has a good familiarity and understanding of country and folk making this. The strings, while sometimes overbearing and sappy, generally create a larger-than-life romantic atmosphere especially when paired with the somewhat gritty tales of woe and loss and the twangy vocal and guitar parts. The production is pretty solid, pristine and generally un-ear-catching. And really the indicidual parts seem to be pretty well placed and well done. But... there is something missing that would make this a true gem. I like it but that ain't much of a benchmark considering my general love of this genre and aesthetic.
There is a cleanness and detached lack of passion here that can be a bit irksome. The vocals sound like someone playing the part of a sad, wandering country troubadour but it also does feel like an act or veneer. The calculated placement of strings to induce swoons and feeling sound, well, just like that - calculated plays for that lonesome lostness that is so incredible when truly pulled off.
The little snippets of old TV shows wear out their welcome almost instantly and when ythey come in, it does 2 things: 1. makes me roll my eyes and 2. kind of breaks immersion and makes the whole flow of the record experience some turbulence. Not a fan of that schtick and choice. Also I feel this album isn't varied enough or doesn't have enough of an arc or a cohesive stitching to justify an hour run time.
Okay, so, yeah I don't love this album. I do like it. I may sound like I really dislike it, but I assure you that is not the case. It should also be noted that today I am in a bit of a sour and cantankerous mood and this album's pitch for my heart strings is being faced with cold, unsympathetic, grouchy old me and so yeah, tough crowd. But the truth is somewhere between my initial lovey-dovey response and today's grouchy curmudgeon response.
Even now I can say some of the songs here are quite great and if the tracks "Not Dead Yet" with its old rock and roll swagger and its hand claps, "Mine Forever" which plays as a near-perfect introduction to the swooning, string-laden lost troubadour vibe this album is trying to pull off, "I Lied" with its truly moving and mournful duet and soulful sadness and regret and self-loathing/disappointment, "Long Lost" with its melodramatic production and that early 60s girl group rhythm and that weak piano adding that sweet touch, made up half of this album instead of 1/4th this album i'd say this was a triumph. But the album is weighed down by filler skits and TV bits and songs that are generally not memorable for me.
Overall, I like this style and some of the songs hereare stellar. And I like the record but don't, like, REALLY like it and certainly don't love it. It's a solid and pretty little Americana/Country/Indie Folk album with lots of Chamber folk and some alt-country thrown in for some variety. If you are into that, check it out. [First added to this chart: 09/19/2021]
My relationship with this album has developed and shifted several times over the last couple months. When I first heard it, I admit I was kind of in love. On second and third and now fourth listen, there is a diminishing return. Each time I hear it I am always impressed by the scale and beauty of the album. There is clearly a person who has a good familiarity and understanding of country and folk making this. The strings, while sometimes overbearing and sappy, generally create a larger-than-life romantic atmosphere especially when paired with the somewhat gritty tales of woe and loss and the twangy vocal and guitar parts. The production is pretty solid, pristine and generally un-ear-catching. And really the indicidual parts seem to be pretty well placed and well done. But... there is something missing that would make this a true gem. I like it but that ain't much of a benchmark considering my general love of this genre and aesthetic.
There is a cleanness and detached lack of passion here that can be a bit irksome. The vocals sound like someone playing the part of a sad, wandering country troubadour but it also does feel like an act or veneer. The calculated placement of strings to induce swoons and feeling sound, well, just like that - calculated plays for that lonesome lostness that is so incredible when truly pulled off.
The little snippets of old TV shows wear out their welcome almost instantly and when ythey come in, it does 2 things: 1. makes me roll my eyes and 2. kind of breaks immersion and makes the whole flow of the record experience some turbulence. Not a fan of that schtick and choice. Also I feel this album isn't varied enough or doesn't have enough of an arc or a cohesive stitching to justify an hour run time.
Okay, so, yeah I don't love this album. I do like it. I may sound like I really dislike it, but I assure you that is not the case. It should also be noted that today I am in a bit of a sour and cantankerous mood and this album's pitch for my heart strings is being faced with cold, unsympathetic, grouchy old me and so yeah, tough crowd. But the truth is somewhere between my initial lovey-dovey response and today's grouchy curmudgeon response.
Even now I can say some of the songs here are quite great and if the tracks "Not Dead Yet" with its old rock and roll swagger and its hand claps, "Mine Forever" which plays as a near-perfect introduction to the swooning, string-laden lost troubadour vibe this album is trying to pull off, "I Lied" with its truly moving and mournful duet and soulful sadness and regret and self-loathing/disappointment, "Long Lost" with its melodramatic production and that early 60s girl group rhythm and that weak piano adding that sweet touch, made up half of this album instead of 1/4th this album i'd say this was a triumph. But the album is weighed down by filler skits and TV bits and songs that are generally not memorable for me.
Overall, I like this style and some of the songs hereare stellar. And I like the record but don't, like, REALLY like it and certainly don't love it. It's a solid and pretty little Americana/Country/Indie Folk album with lots of Chamber folk and some alt-country thrown in for some variety. If you are into that, check it out. [First added to this chart: 09/19/2021]
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(Noisy, abrasive, claustrophobic, oppressively atmospheric album that is just so so good and almost great if not for those fucking "vocals".)
I know jack shiz about Noise or harsh noise or this wing of experimental music. I know just as little about the storied history of The Body - this is the first The Body album I've heard. I listened to this knowing it would be quite thematically and emotionally heavy, and quite noisey and un-mainstream. And that is, sure enough, what I experienced.
Did I like it? Actually, yes I mostly did. I have never heard an album like this. And the pummeling, noisy, claustrophobic array of tracks and the general unease the music engendered was quite brilliant.
However, after listening to this quite ugly yet beautiful rumination on what sounds like the end of times and the smoking husk of civilization, did I then want to go listen to folk and soul music for a few days after? Absolutely. Only now as I write this little comment am I confronting this album again 6 days after initially listening and enjoying. I feel like I've expanded my musical horizons a wee bit, been served a really good to great album (if one I won't be returning to much I think - but who knows.), and I don't regret hearing this thing at all. The last album that kinda challenged me with such unfamiliar and harsh sounds is, well truthfully there have been many, but the one that comes to mind the most despite being quite different, is PIL's "Flowers of Romance". I remember feeling the same way about that weird ass album back when I was 15 as I do about this new The Body album. I thought even then "Hmm... I thought I'd like that, I don't, but I actually do. I probably won't return to it ever." I then proceeded to listen to that CD many many times in the winter of 2004 and I still have fond feelings for it to this day. Maybe "I've Seen All I Need to See" will age similarly in my heart.
Gotta say that I just remembered the one thing that is just to my ears atrocious is the vocals. Why the same shitty squealing vocals on almost every track repetitively? The first song it somewhat works...barely. But then what was the thought process behind the same shit over and over on almost very song? Okay that is my one gripe - a big gripe, it is. Otherwise the atmosphere and noise and music here is really quite cool.
Not sure how to rate or rank an album experience such as this. I do, however, recommend this as it is really good. Main annoyance is the fucking shitty vocals squeals. [First added to this chart: 04/19/2021]
I know jack shiz about Noise or harsh noise or this wing of experimental music. I know just as little about the storied history of The Body - this is the first The Body album I've heard. I listened to this knowing it would be quite thematically and emotionally heavy, and quite noisey and un-mainstream. And that is, sure enough, what I experienced.
Did I like it? Actually, yes I mostly did. I have never heard an album like this. And the pummeling, noisy, claustrophobic array of tracks and the general unease the music engendered was quite brilliant.
However, after listening to this quite ugly yet beautiful rumination on what sounds like the end of times and the smoking husk of civilization, did I then want to go listen to folk and soul music for a few days after? Absolutely. Only now as I write this little comment am I confronting this album again 6 days after initially listening and enjoying. I feel like I've expanded my musical horizons a wee bit, been served a really good to great album (if one I won't be returning to much I think - but who knows.), and I don't regret hearing this thing at all. The last album that kinda challenged me with such unfamiliar and harsh sounds is, well truthfully there have been many, but the one that comes to mind the most despite being quite different, is PIL's "Flowers of Romance". I remember feeling the same way about that weird ass album back when I was 15 as I do about this new The Body album. I thought even then "Hmm... I thought I'd like that, I don't, but I actually do. I probably won't return to it ever." I then proceeded to listen to that CD many many times in the winter of 2004 and I still have fond feelings for it to this day. Maybe "I've Seen All I Need to See" will age similarly in my heart.
Gotta say that I just remembered the one thing that is just to my ears atrocious is the vocals. Why the same shitty squealing vocals on almost every track repetitively? The first song it somewhat works...barely. But then what was the thought process behind the same shit over and over on almost very song? Okay that is my one gripe - a big gripe, it is. Otherwise the atmosphere and noise and music here is really quite cool.
Not sure how to rate or rank an album experience such as this. I do, however, recommend this as it is really good. Main annoyance is the fucking shitty vocals squeals. [First added to this chart: 04/19/2021]
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(Warm, fleshed out production and solid songs that feature touching and soulful vocal performances from June mixed with a grounded Americana/country soul feel. It’s a goodie.)
This is a solid album. Not a masterpiece to my ears, but some fine songs, great performances, and a more fleshed out sound than her earlier and more stripped down country soul albums, make this one of my fave country soul or soulful Americana albums released in awhile (that I’ve heard).
The songs that were made available pre-release happen to be the best songs. Which is a little disappointing because based off those early glimpses I thought this would be an AOTY contender. However, while the songs outside of “Stay”, “Call Me A Fool”, and “You and I” aren’t quite as good uniformly, there are some other bangers here. Namely, “Stardust Shattering” and “Fallin’” both are right, soulful and touching songs.
Outside of a somewhat strange and, to my ears, sort electro sounding track toward the end, these songs are consistently heartfelt and beautiful. And while June’s voice isn’t amazing in the most common senses of that word, there is a warm, raspy, beauty to it.
Overall, I think this is her best album yet. And while it wasn’t a show stopping instant classic that I kinda sorta lowkey was hoping for, it is a fabulous country soul/Americana album with a couple truly GREAT tracks and a bunch of good ones. [First added to this chart: 09/19/2021]
This is a solid album. Not a masterpiece to my ears, but some fine songs, great performances, and a more fleshed out sound than her earlier and more stripped down country soul albums, make this one of my fave country soul or soulful Americana albums released in awhile (that I’ve heard).
The songs that were made available pre-release happen to be the best songs. Which is a little disappointing because based off those early glimpses I thought this would be an AOTY contender. However, while the songs outside of “Stay”, “Call Me A Fool”, and “You and I” aren’t quite as good uniformly, there are some other bangers here. Namely, “Stardust Shattering” and “Fallin’” both are right, soulful and touching songs.
Outside of a somewhat strange and, to my ears, sort electro sounding track toward the end, these songs are consistently heartfelt and beautiful. And while June’s voice isn’t amazing in the most common senses of that word, there is a warm, raspy, beauty to it.
Overall, I think this is her best album yet. And while it wasn’t a show stopping instant classic that I kinda sorta lowkey was hoping for, it is a fabulous country soul/Americana album with a couple truly GREAT tracks and a bunch of good ones. [First added to this chart: 09/19/2021]
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I love these folks' sound. A cool mix of punk/hardcore, really intense prog rock/metal, and noisy abrassive rock. Not sure the playing is quite mindblowing or fully up to the level I'd like it - slightly sloppy and just not quite as "wow!" as I maybe want from proggy stuff - this can be a plus also becuase there is a approachability and a humanity in these musicians rawness. Not saying they are bad or sloppy through and through becuase they do indeed seem to be really accomplished musicians. Just not like King Crimson, Mastodon or even black midi levels of precision and brilliance. May just be how its recorded. Again, this factor can be a positive or negative depending on how I look at it and, really, depending on the track.
The songs and the actual structure of these songs and this album is solid but nothing that kept me fully locked in. Its a pretty cool debut effort and I look forward to this band's future releases. But theyu just haven't put the whole package together. When the band is really digging in and manages to mix the ferocity of post-hardcorewith the unadulterated artistic choices of both avant-prog or brutal almost punky prog as well as be sloppy or noisy as well, its musical bliss and a straight pure shot of what I like to hear. It just feels like those moments of AWE are rare. Mostly a raeally solid heavy prog punk album and if you love Red by King Crimson, nice, because these guys do too I think. [First added to this chart: 08/03/2021]
The songs and the actual structure of these songs and this album is solid but nothing that kept me fully locked in. Its a pretty cool debut effort and I look forward to this band's future releases. But theyu just haven't put the whole package together. When the band is really digging in and manages to mix the ferocity of post-hardcorewith the unadulterated artistic choices of both avant-prog or brutal almost punky prog as well as be sloppy or noisy as well, its musical bliss and a straight pure shot of what I like to hear. It just feels like those moments of AWE are rare. Mostly a raeally solid heavy prog punk album and if you love Red by King Crimson, nice, because these guys do too I think. [First added to this chart: 08/03/2021]
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(A nice, sweet album with some gorgeous production and lots of beautiful string parts and some songs which are some of the best I've heard from Weezer in a long time.)
I'm not a huge Weezer fan. Can't say I have gone more deep than many, many listens to both The Blue Album and Pinkerton, and a couple listens to the Green Album and a spattering of listens to the albums since the Green Album. Listened to the White Album once and I liked it a bit but kinda forgot it existed. And most of their "bad" albums I never even tried listening to. I'm just not all that invested in the band and don't dread or anticipate any of their albums. That said, as the excitement started building for this album I did get a little swept up in it and was somewhat eagerly awaiting the release of OK Human.
When I pushed play on the album a little past midnight on Friday the 29th of January 2021 I anticipated a good pop album with some hummable tunes and perhaps I was dreading some really lame Cuomo lyrics. That was the extent of my expectation. The album, however, was better than I had expected.
There are some possibly purposefully lame Cuomo lyrics here and there, but mostly the songwriting is on point and even poignant throughout this 30 minute album. The melodies and hooks are some truly catchy and impressive feats of songwriting. I mean, on second listen to "Bird With A Broken Wing" I was already invested enough to sing along to the excellent chorus (after I checked to make sure no one was around of course).
The new addition has already been noted many times and it sure is a nice and major change to the band, and that is the Baroque elements and all the thick and amazingly produced strings. I think every song featured these sweeping string parts and every song is enriched by them. This element takes an album that may otherwise sound like another okay-to-good Weezer album and makes it memorable and elegant. Of course if the arrangements were shit then the Baroque Pop addition wouldn't have helped, but thankfully the string parts are consistently really well arranged, at least they seemed to be to these musically-untrained ears of mine.
While I can't say this album swept me off my feet nor rekindled my love of Weezer music new and old, it did provide a charming, earnest and very pleasant 30 minutes to my life. One of the better pop rock albums I've heard in a little while. [First added to this chart: 05/26/2021]
I'm not a huge Weezer fan. Can't say I have gone more deep than many, many listens to both The Blue Album and Pinkerton, and a couple listens to the Green Album and a spattering of listens to the albums since the Green Album. Listened to the White Album once and I liked it a bit but kinda forgot it existed. And most of their "bad" albums I never even tried listening to. I'm just not all that invested in the band and don't dread or anticipate any of their albums. That said, as the excitement started building for this album I did get a little swept up in it and was somewhat eagerly awaiting the release of OK Human.
When I pushed play on the album a little past midnight on Friday the 29th of January 2021 I anticipated a good pop album with some hummable tunes and perhaps I was dreading some really lame Cuomo lyrics. That was the extent of my expectation. The album, however, was better than I had expected.
There are some possibly purposefully lame Cuomo lyrics here and there, but mostly the songwriting is on point and even poignant throughout this 30 minute album. The melodies and hooks are some truly catchy and impressive feats of songwriting. I mean, on second listen to "Bird With A Broken Wing" I was already invested enough to sing along to the excellent chorus (after I checked to make sure no one was around of course).
The new addition has already been noted many times and it sure is a nice and major change to the band, and that is the Baroque elements and all the thick and amazingly produced strings. I think every song featured these sweeping string parts and every song is enriched by them. This element takes an album that may otherwise sound like another okay-to-good Weezer album and makes it memorable and elegant. Of course if the arrangements were shit then the Baroque Pop addition wouldn't have helped, but thankfully the string parts are consistently really well arranged, at least they seemed to be to these musically-untrained ears of mine.
While I can't say this album swept me off my feet nor rekindled my love of Weezer music new and old, it did provide a charming, earnest and very pleasant 30 minutes to my life. One of the better pop rock albums I've heard in a little while. [First added to this chart: 05/26/2021]
Year of Release:
2021
Appears in:
Rank Score:
1,337
Rank in 2021:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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(Cool alt/indie rock album. Ellie on the vocals is the star, but the band is solid throughout.)
I say this a lot but it’s particularly true here: I don’t have much to say about this. It’s a very solid and at times gorgeous indie rock album. It bounces so often from one sound to another, I can’t pin down what Wolf Alice’s sound or distinctive quality is based off this mostly very good batch of songs.
The heavy rocking tracks few but they sound cool as hell. The more somber and introspective tracks also work really well. This comes down I think to the vocalist, Ellie Rowsell. She totally kicks ass on most of these tracks (not a fan of the corny kinda sorta rapping on “Smile” but the heavy track saves that song) and I just really love her style.
The album is a solid one start to finish. I can’t say I am blown away by it, but I enjoy the hell out of it. Very memorable melodies and some really dope tracks litter this one. Glad I listened that is for sure. [First added to this chart: 09/19/2021]
I say this a lot but it’s particularly true here: I don’t have much to say about this. It’s a very solid and at times gorgeous indie rock album. It bounces so often from one sound to another, I can’t pin down what Wolf Alice’s sound or distinctive quality is based off this mostly very good batch of songs.
The heavy rocking tracks few but they sound cool as hell. The more somber and introspective tracks also work really well. This comes down I think to the vocalist, Ellie Rowsell. She totally kicks ass on most of these tracks (not a fan of the corny kinda sorta rapping on “Smile” but the heavy track saves that song) and I just really love her style.
The album is a solid one start to finish. I can’t say I am blown away by it, but I enjoy the hell out of it. Very memorable melodies and some really dope tracks litter this one. Glad I listened that is for sure. [First added to this chart: 09/19/2021]
Year of Release:
2021
Appears in:
Rank Score:
953
Rank in 2021:
Rank in 2020s:
Overall Rank:
Average Rating:
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(As someone who is late to the Jane Weaver experience, this is a very intriguing introduction to her music. This album is a lil pop gem full of excellent ideas executed beautifully. It dips its toes in psych pop and art pop and synth pop and more dreamy bits etc and it almost all works very nicely.)
Jane Weaver has released 11 albums since 2002. Yet she is news to me. Not sure how she has so completely and utterly alluded my attention. Well, I am glad 2021 is the year I finally have heard OF her and listened to her music.
This, her 11th studio album (per a very cursory glance at her RYM) is a beautiful simpler platter of various sounds and pop ideas that Jane dips her toes into. It sounds and feels like she has become enough of a veteran that almost any idea she gets for a melody or a sound or effect she can pull off. The whole album has an easy flow that just rolls along and is never remotely awkward or unpleasant. The consistency and the tendency of the sometimes gorgeous sounds being so short-lived makes this album almost feel insubstantial. That may be my only critique if ya wanna call it that. After a couple listens I find myself fond of every second but head over heels for none of it (outside of the infectious closing track "Solarised" which I admittedly love).
I am intrigued by the talent on display here, the songwriting, arranging, vocals, and almost every detail here is so effortlessly infectious and beautiful and fun. Certainly one of the better Art Pop/Psych Pop album I've heard this year. [First added to this chart: 04/29/2021]
Jane Weaver has released 11 albums since 2002. Yet she is news to me. Not sure how she has so completely and utterly alluded my attention. Well, I am glad 2021 is the year I finally have heard OF her and listened to her music.
This, her 11th studio album (per a very cursory glance at her RYM) is a beautiful simpler platter of various sounds and pop ideas that Jane dips her toes into. It sounds and feels like she has become enough of a veteran that almost any idea she gets for a melody or a sound or effect she can pull off. The whole album has an easy flow that just rolls along and is never remotely awkward or unpleasant. The consistency and the tendency of the sometimes gorgeous sounds being so short-lived makes this album almost feel insubstantial. That may be my only critique if ya wanna call it that. After a couple listens I find myself fond of every second but head over heels for none of it (outside of the infectious closing track "Solarised" which I admittedly love).
I am intrigued by the talent on display here, the songwriting, arranging, vocals, and almost every detail here is so effortlessly infectious and beautiful and fun. Certainly one of the better Art Pop/Psych Pop album I've heard this year. [First added to this chart: 04/29/2021]
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(Solid acoustic folk confessional, emo, singer/songwriter stuff. "emo" as in heart on sleeve emotional, not, like, the genre. Think Julien Baker's debut album but not quite as intense and brilliant or good.)
Boy, this is some emo shit, right here. This is sort of like a slightly less intense and more reserved and mature version of the debut Julien Baker album. It's confessional, its all about emotions and losing control of them.
This album is at its best when it hits some sort of prayer state, when it feels like just a woman quietly working things out with herself, expressing what she wants and where things seemingly went wrong. It works best musically when the songs are stripped down and quiet and fraught with quiet rage or disappointment. When the compositions and instrumentation gets amped up with loud guitars and big drum sounds, I feel it loses that special quality that Madi Diaz pulls off in the quiet tracks.
Weirdly the tracks named after emotions are the best here lol. Okay, its not that perfect a break, but its funny to me that "Rage" and "Resentment" are 2 of the best tracks here and have the hushed power to make me almost well up due to how bang on the bullseye they are at expressing their respective emotional states. And "Nervous" is one of the louder songs here and the only one of which that I like a lot, has this very catchy almost Weezer-esque riff and a chorus that kicks ass. Also the title track is solid as is track 2 "Man In Me" is heartbreaking and pretty phenomenal.
Some tracks just don't hit me right and cross that thin line into overwrought melodrama, namely "Crying In Public" or "Think of Me" and "Forever".
Overall this is a very simple and easy to describe album. Its a single person (mostly) with an acoustic, singing her heart out about love and heartbreak and anger and stuff. Its a classic format. This happens to do a pretty good job getting me emotionally invested. If you like Julien Baker's early stuff and want to just have a good cry, I recommend this album. [First added to this chart: 09/18/2021]
Boy, this is some emo shit, right here. This is sort of like a slightly less intense and more reserved and mature version of the debut Julien Baker album. It's confessional, its all about emotions and losing control of them.
This album is at its best when it hits some sort of prayer state, when it feels like just a woman quietly working things out with herself, expressing what she wants and where things seemingly went wrong. It works best musically when the songs are stripped down and quiet and fraught with quiet rage or disappointment. When the compositions and instrumentation gets amped up with loud guitars and big drum sounds, I feel it loses that special quality that Madi Diaz pulls off in the quiet tracks.
Weirdly the tracks named after emotions are the best here lol. Okay, its not that perfect a break, but its funny to me that "Rage" and "Resentment" are 2 of the best tracks here and have the hushed power to make me almost well up due to how bang on the bullseye they are at expressing their respective emotional states. And "Nervous" is one of the louder songs here and the only one of which that I like a lot, has this very catchy almost Weezer-esque riff and a chorus that kicks ass. Also the title track is solid as is track 2 "Man In Me" is heartbreaking and pretty phenomenal.
Some tracks just don't hit me right and cross that thin line into overwrought melodrama, namely "Crying In Public" or "Think of Me" and "Forever".
Overall this is a very simple and easy to describe album. Its a single person (mostly) with an acoustic, singing her heart out about love and heartbreak and anger and stuff. Its a classic format. This happens to do a pretty good job getting me emotionally invested. If you like Julien Baker's early stuff and want to just have a good cry, I recommend this album. [First added to this chart: 09/18/2021]
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Weirdly this is the first Chvrches album I have ever heard in full. Back in 2013 and other years I have heard a lot of good things about them. But, never pushed play on them until now.
This is a synthpop album. Its very dramatic. It sounds nice. The vocals are cool. I had no idea the lead singer was a lady, considering my bias for female vocals in indie pop or synthpop music, I think I would have checked them out years ago had I just paid more attention.
"How Not To Drown" featuring Robert Smith is a solid song. There are other good ones here.
I like this but don't like it enough to listen on repeat and write anything sensible here. [First added to this chart: 09/18/2021]
This is a synthpop album. Its very dramatic. It sounds nice. The vocals are cool. I had no idea the lead singer was a lady, considering my bias for female vocals in indie pop or synthpop music, I think I would have checked them out years ago had I just paid more attention.
"How Not To Drown" featuring Robert Smith is a solid song. There are other good ones here.
I like this but don't like it enough to listen on repeat and write anything sensible here. [First added to this chart: 09/18/2021]
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(This is a lovely american primitive guitar album. It puts me in a nice head space and the musicianship is consistently solid and rich.)
I am a fan of John Fahey, some Leo Kottke, and some Robbie Basho. I can't say I have a particularly deep understanding of the history of this style of American Primitivism, but what I've heard (the classics) I have consistently been impressed and even awed by.
Yasmin Williams is continuing that tradition musically. The guitar playing here is intricate and delicate and beautiful. With mostly her acoustic she succeeds in creating wise sweeping vistas and quite beautiful and inventive melodies.
There is a lot to digest musically here. Yasmin has a very unique playing style, and her consistently catchy melodies and her quite rhythmic playing as well as her willingness to break away from strict guitar-only arrangements make this album a full meal so to speak.
For almost the entire 45 minutes I was thoroughly enclosed inside this music and this album. It is beautiful, it has catchy moments, it has moments that feel like an introspective walk through a park during a snow storm, its got something for the whole array of music fans who may stumble upon it. Definitely a standout album. [First added to this chart: 09/19/2021]
I am a fan of John Fahey, some Leo Kottke, and some Robbie Basho. I can't say I have a particularly deep understanding of the history of this style of American Primitivism, but what I've heard (the classics) I have consistently been impressed and even awed by.
Yasmin Williams is continuing that tradition musically. The guitar playing here is intricate and delicate and beautiful. With mostly her acoustic she succeeds in creating wise sweeping vistas and quite beautiful and inventive melodies.
There is a lot to digest musically here. Yasmin has a very unique playing style, and her consistently catchy melodies and her quite rhythmic playing as well as her willingness to break away from strict guitar-only arrangements make this album a full meal so to speak.
For almost the entire 45 minutes I was thoroughly enclosed inside this music and this album. It is beautiful, it has catchy moments, it has moments that feel like an introspective walk through a park during a snow storm, its got something for the whole array of music fans who may stumble upon it. Definitely a standout album. [First added to this chart: 09/19/2021]
Total albums: 98. Page 4 of 10
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101-200 Albums of 2021 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Yautja | 1 | 1% | |
| William Doyle | 1 | 1% | |
| Sarah Mary Chadwick | 1 | 1% | |
| Tinashe | 1 | 1% | |
| Sweet Trip | 1 | 1% | |
| La Femme | 1 | 1% | |
| Pinegrove | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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51 | 52% | |
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17 | 17% | |
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7 | 7% | |
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2 | 2% | |
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2 | 2% | |
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2 | 2% | |
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2 | 2% | |
| Show all | |||
101-200 Albums of 2021 chart changes
| Biggest fallers |
|---|
| Down 1 from 1st to 2nd Calico Dreams by Sugar Wounds |
| Down 1 from 2nd to 3rd Youth Novel by Youth Novel |
| Down 1 from 3rd to 4th Solar Paroxysm by Mare Cognitum |
| New entries |
|---|
 Leap Secondby M. Caye Castagnetto |
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Mercury (2023)101-200 Albums of 2021 ratings
87/100 (from 2 votes)
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Showing all 2 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 95/100  | 09/21/2021 21:13 |  DommeDamian | | 90/100 |
| 90/100 | 06/16/2021 09:18 |  Purplepash | | 88/100 |
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101-200 Albums of 2021 favourites
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90/100
From Purplepash 06/16/2021 09:23
Purplepash 06/16/2021 09:23
Impressive!...in both quality (of the insightful and descriptive notes and comments) and quantity (I'm only up to 69 2021 albums for the year as of now and I think I listen to a lot...wrongly I guess, hah!)
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