2021 Spill Over, One-And-Dones by 
Mercury 
This is where albums I have heard once and never returned to go and this is most notably where the lower rated albums go when they fall out of my top 200 of 2021.
- Chart updated: 11/22/2021 16:45
- (Created: 09/21/2021 01:03).
- Chart size: 40 albums.
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(My first exposure to Allie Crow Buckley, this album is a dark, moody, slow-moving, singer/songwriter album with some cool song IDEAS and also, admittedly, a few honest-to-goodness good songs throughout. BUT it also features a lot of songs that start with a good sound or premise then don't develop further. A pleasingly textured and beautiful album this mostly is, but the lack of fleshed-out songs or almost anything memorable after track 5 makes it just okay to good.)
The way this album gets started is pretty special and cool. The way the deep rattling bass notes hit on opener "Nothing Sacred" and the way this bass thump works with the laid back drumming and that tinkling piano and keyboard and of course the way Allie rides over this beast of a track with her vocals, it all works so damn well and it is both a standout and a brilliant intro to this album and (for me) this artist.
From there, the album moves on and keeps the dreary, distinct and dramatic sounds coming. The gothic organ textures of the title track are really cool. The noisy, almost post-rock, wide-open-space sound of the instrumental "Serpentress" is pretty dope and unexpected and it also really fits in the vibe and flow of the album. She also comes back to this sound on the other short instrumental here "Interlude". "Hanging Tough" features a really cool synth sound and the vocals are great and that dance beat works so well! Its certainly a standout on this album. "Hasta La Vista" works really well, with a brilliant chorus that gets stuck in my head whenever I hear it.
The whole album has a mysterious and somewhat dark and creeping attitude. The tempos are mostly slow and give room for slow, slithering melodic choices from keyboards and bass and guitar and make space for Allie's pretty, yet somehow held-back vocals. The lyricism is pretty good from what I was able to hear and catch. And the songwriting is okay, although more than I'd like I felt like songs had a great first idea and general outline but don't develop after that or those initial inspired choices. I suppose I felt like some of these admittedly cool-as-fuck sounding songs weren't fleshed out to be memorable or great. "Gold Medallion" is an example of this - where the sound and mood is so thick, yet the song doesn't go anywhere or worm its way into me like it had the potential to do. The album is a bit front-loaded, and the songs tend to underwhelm a good bit on the back half and mostly suffer from that un-fleshed-out critique I mentioned.
Overall, I think this a pretty good, dark, mysterious, singer/songwriter album. It doesn't leave much of a trace after its passed. The style and mood is cool and she is a good songwriter and vocalist, but the whole experience just doesn't quite keep me engaged.
The way this album gets started is pretty special and cool. The way the deep rattling bass notes hit on opener "Nothing Sacred" and the way this bass thump works with the laid back drumming and that tinkling piano and keyboard and of course the way Allie rides over this beast of a track with her vocals, it all works so damn well and it is both a standout and a brilliant intro to this album and (for me) this artist.
From there, the album moves on and keeps the dreary, distinct and dramatic sounds coming. The gothic organ textures of the title track are really cool. The noisy, almost post-rock, wide-open-space sound of the instrumental "Serpentress" is pretty dope and unexpected and it also really fits in the vibe and flow of the album. She also comes back to this sound on the other short instrumental here "Interlude". "Hanging Tough" features a really cool synth sound and the vocals are great and that dance beat works so well! Its certainly a standout on this album. "Hasta La Vista" works really well, with a brilliant chorus that gets stuck in my head whenever I hear it.
The whole album has a mysterious and somewhat dark and creeping attitude. The tempos are mostly slow and give room for slow, slithering melodic choices from keyboards and bass and guitar and make space for Allie's pretty, yet somehow held-back vocals. The lyricism is pretty good from what I was able to hear and catch. And the songwriting is okay, although more than I'd like I felt like songs had a great first idea and general outline but don't develop after that or those initial inspired choices. I suppose I felt like some of these admittedly cool-as-fuck sounding songs weren't fleshed out to be memorable or great. "Gold Medallion" is an example of this - where the sound and mood is so thick, yet the song doesn't go anywhere or worm its way into me like it had the potential to do. The album is a bit front-loaded, and the songs tend to underwhelm a good bit on the back half and mostly suffer from that un-fleshed-out critique I mentioned.
Overall, I think this a pretty good, dark, mysterious, singer/songwriter album. It doesn't leave much of a trace after its passed. The style and mood is cool and she is a good songwriter and vocalist, but the whole experience just doesn't quite keep me engaged.
1
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[First added to this chart: 10/18/2021]
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[First added to this chart: 10/18/2021]
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This is another 1 and done. Was a good solid indie folk rock singer/songwriter album with good songwriting lyrically and musically. Definitely a candidate for a revisit.
[First added to this chart: 10/17/2021]
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(A Fine indie rock/folk/singer-songwriter album. No trait stands out as particularly noteworthy, but still, it is a fine and at times pretty and heartfelt album.)
First things first, I thought this was a good and serviceable indie rock singer/songwriter album. A few moments on the album were borderline brilliant (loved the solo in "On My Mind" and I like some of the production choices and that kinda warbling watery somewhat surreal vibe that comes through a few times.) and I think Kylie is a very promising artist. However, I think ignoring the fact that this is a17 year old making this album - which makes everything more impressive, if not better - I think this is just a pretty good and also uneven, at times half-baked, somewhat maudlin record. The first person I thought of when she started singing in track 1 was Julien Baker. Specifically that song could have come right off of Sprained Ankle, someone could have said it was a left off track from the recording of Sprained Ankle and I'd 100% believe it. Although the music goes to other places than the stark and brutal sounds of the Julien Baker debut, the vocal style and the way her voice cracks and sometimes rises in intense near-shouts and also the way the vocals stay in a deeply sad space - all reminded me very much of Baker the whole way through. This isn't bad, however, because I love me some Julien Baker. It is simply noteworthy, I suppose.
Musically, there are some cool songs, or, rather, good bits of songs or song ideas. Many times the tracks felt a little disjointed or incomplete. The songwriting isn't mind-blowing but it's alright and the words generally do provide a nice and intimate inside look at the mind of this young musician. There are a couple parts of the album that feature the sound of an answering machine or almost a quasi-found sound type recording thrown onto a track and, outside of maybe that last little snippet that is paired with the pretty piano to close the album, I think these bits are silly and don't work and are, again, half-baked and don't add much.
Geez, it sounds like I dislike this album. I don't. I liked it, but nothing blew me away. I'm excited for this artist and I think she is a badass for making this while still not a legal adult and I will be listening to her future albums to see where she goes from here. But overall, I have already heard dozens of indie singer/songwriter albums this year alone and in order for me personally to be captivated you need to give me some really great word play or an atmosphere that is undeniable and unique or some wrinkle that makes me truly fall into the world of the album or the artist. This album doesn't do that. It for sure will do that for many others and perhaps this album hits hard for many others. But, anyway, yeah, those were my thoughts [First added to this chart: 10/14/2021]
First things first, I thought this was a good and serviceable indie rock singer/songwriter album. A few moments on the album were borderline brilliant (loved the solo in "On My Mind" and I like some of the production choices and that kinda warbling watery somewhat surreal vibe that comes through a few times.) and I think Kylie is a very promising artist. However, I think ignoring the fact that this is a17 year old making this album - which makes everything more impressive, if not better - I think this is just a pretty good and also uneven, at times half-baked, somewhat maudlin record. The first person I thought of when she started singing in track 1 was Julien Baker. Specifically that song could have come right off of Sprained Ankle, someone could have said it was a left off track from the recording of Sprained Ankle and I'd 100% believe it. Although the music goes to other places than the stark and brutal sounds of the Julien Baker debut, the vocal style and the way her voice cracks and sometimes rises in intense near-shouts and also the way the vocals stay in a deeply sad space - all reminded me very much of Baker the whole way through. This isn't bad, however, because I love me some Julien Baker. It is simply noteworthy, I suppose.
Musically, there are some cool songs, or, rather, good bits of songs or song ideas. Many times the tracks felt a little disjointed or incomplete. The songwriting isn't mind-blowing but it's alright and the words generally do provide a nice and intimate inside look at the mind of this young musician. There are a couple parts of the album that feature the sound of an answering machine or almost a quasi-found sound type recording thrown onto a track and, outside of maybe that last little snippet that is paired with the pretty piano to close the album, I think these bits are silly and don't work and are, again, half-baked and don't add much.
Geez, it sounds like I dislike this album. I don't. I liked it, but nothing blew me away. I'm excited for this artist and I think she is a badass for making this while still not a legal adult and I will be listening to her future albums to see where she goes from here. But overall, I have already heard dozens of indie singer/songwriter albums this year alone and in order for me personally to be captivated you need to give me some really great word play or an atmosphere that is undeniable and unique or some wrinkle that makes me truly fall into the world of the album or the artist. This album doesn't do that. It for sure will do that for many others and perhaps this album hits hard for many others. But, anyway, yeah, those were my thoughts [First added to this chart: 10/14/2021]
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(A pleasant mix of bedroom pop and indie rock from a promising 20 year musician. While this album didn't blow me away, there is some cool songs and a general creative atmosphere I like.)
The story of Nana Yamato is super cool. Here is a very young woman in Tokyo who stumbles upon some US/UK indie rock and loves it and then gets to work making her own music from her bedroom. Its just cool. And I wish I was half as talented as her when I was a teen.
This being her debut, I understand not having a fully fleshed out or wholly unique style. The songs here are consistently quite breezy and intrigueing indie rock/pop with some really interesting production touches and a definite coolness factor that takes it from being boring to interesting.
Idk, I just feel like in particular the rhythms are pretty stiff and not great here. That is really the only clear-cut and persistent critique I have for this nice collection of tracks. The melodies and the vocals are pretty great, and the flow of this album is very nice. I think there is a lot of potential here and I hope to hear from her again soon.
Also, completely silly point in this artist and album's favor, the name. Love the movie and so slightly (very slightly) this increases my respect for the album. [First added to this chart: 10/14/2021]
The story of Nana Yamato is super cool. Here is a very young woman in Tokyo who stumbles upon some US/UK indie rock and loves it and then gets to work making her own music from her bedroom. Its just cool. And I wish I was half as talented as her when I was a teen.
This being her debut, I understand not having a fully fleshed out or wholly unique style. The songs here are consistently quite breezy and intrigueing indie rock/pop with some really interesting production touches and a definite coolness factor that takes it from being boring to interesting.
Idk, I just feel like in particular the rhythms are pretty stiff and not great here. That is really the only clear-cut and persistent critique I have for this nice collection of tracks. The melodies and the vocals are pretty great, and the flow of this album is very nice. I think there is a lot of potential here and I hope to hear from her again soon.
Also, completely silly point in this artist and album's favor, the name. Love the movie and so slightly (very slightly) this increases my respect for the album. [First added to this chart: 10/14/2021]
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(Solid soul album with silky smooth production, the occasional inspired moment, and the laid back falsetto vocals of the titular character)
Well, this was actually quite nice. Nothing revolutionary or even remotely so. But that's not fair as that is clearly not what Frazer or producer Dan Auerbach were going for here. What they were aiming for was a crisp, solky smooth throwback album full of Motown influences dotting every single track. The bass work here sounds consistently fresh. The horns where they are featured sound nice, the vocals while not really astounding are really sexy and assured. There isn't a dud here. But there also aren't any standouts to my ears.
Basically if you love old Motown records and early 70s soul albums by Al Green and others and you wanted to hear them kinda mashed together and presented with modern production clarity, and if you want to just sit back and enjoy some smooth and well-made music, this album is for you. Probably won't be something I return to often or think about a lot but I am still glad I heard it I suppose. [First added to this chart: 10/14/2021]
Well, this was actually quite nice. Nothing revolutionary or even remotely so. But that's not fair as that is clearly not what Frazer or producer Dan Auerbach were going for here. What they were aiming for was a crisp, solky smooth throwback album full of Motown influences dotting every single track. The bass work here sounds consistently fresh. The horns where they are featured sound nice, the vocals while not really astounding are really sexy and assured. There isn't a dud here. But there also aren't any standouts to my ears.
Basically if you love old Motown records and early 70s soul albums by Al Green and others and you wanted to hear them kinda mashed together and presented with modern production clarity, and if you want to just sit back and enjoy some smooth and well-made music, this album is for you. Probably won't be something I return to often or think about a lot but I am still glad I heard it I suppose. [First added to this chart: 10/14/2021]
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(There used to be a long note here about my ratings. Then I deleted the ratings in these comments. Basically this starts strong, but really kinda dragged me down as a person the longer I listened until by the end I fucking hated these guys.)
This album started off soooo freakin great! The first song sounds like Tom Waits with Phil Lynott on vocals! The drumming is so powerful. The jazz sound is so sick, - yeah "Unpossible" is so cool.
And tracks 2 and 3 are similarly cool. The swaggering Lynott style vocal mannerisms take over even more. There is a moment at the end of track 3 or 4 where I was completely on board with this sound, this vocalist, the drumming (the drumming is cool throughout the whole album) the whole vibe and style of the album. Then I don't know, the songs became gratingly humorous and "oh-so-cool" and affectedly distant. The vocal coolness started really coming across more and more false, the whole momentum of the LP came on hard and by the 2/3rds point of the record I had lost interest. Maybe Its a bit of burn out from listening to so much music. Maybe its that I have only gotten 9 hours sleep the last 2 nights for some ridiculously stupid reason, The reason could be a lot of things. The point is the first 12-13 minutes of this album I was sooooo fucking digging it, like 9/10 level good. Then the last half or so was a 4.5-5.5 level. I'll split the babayyy and say its a 70, and come back to this at a later date.
The first few tracks are seriously killer and I can't get over how dope "Unpossible" really is. As a Tom Waits fan I was just smitten. [First added to this chart: 10/14/2021]
This album started off soooo freakin great! The first song sounds like Tom Waits with Phil Lynott on vocals! The drumming is so powerful. The jazz sound is so sick, - yeah "Unpossible" is so cool.
And tracks 2 and 3 are similarly cool. The swaggering Lynott style vocal mannerisms take over even more. There is a moment at the end of track 3 or 4 where I was completely on board with this sound, this vocalist, the drumming (the drumming is cool throughout the whole album) the whole vibe and style of the album. Then I don't know, the songs became gratingly humorous and "oh-so-cool" and affectedly distant. The vocal coolness started really coming across more and more false, the whole momentum of the LP came on hard and by the 2/3rds point of the record I had lost interest. Maybe Its a bit of burn out from listening to so much music. Maybe its that I have only gotten 9 hours sleep the last 2 nights for some ridiculously stupid reason, The reason could be a lot of things. The point is the first 12-13 minutes of this album I was sooooo fucking digging it, like 9/10 level good. Then the last half or so was a 4.5-5.5 level. I'll split the babayyy and say its a 70, and come back to this at a later date.
The first few tracks are seriously killer and I can't get over how dope "Unpossible" really is. As a Tom Waits fan I was just smitten. [First added to this chart: 10/14/2021]
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(A cool, sweaty, sexy rock album that I enjoyed a bit. Yet nothing of note to say other than that, for better or for worse. The bones of something sick is here.)
This band has a cool sound. Almost to a fault, they play everything down, there are almost no glaringly obvious strong or weak points. The lead singer has a swag and an attitude which I love. This brand of somewhat shambolic post-punky alt rock is a nice thing.
However, after listens to this album I can't quite recommend it because I don't hear much that, as of yet, sticks out as a negative or positive of great note. The bones of a badass rock album are here, but that is it. Maybe their sophomore album will take this sound and expand on it and absolutely slay. We shall see. [First added to this chart: 10/13/2021]
This band has a cool sound. Almost to a fault, they play everything down, there are almost no glaringly obvious strong or weak points. The lead singer has a swag and an attitude which I love. This brand of somewhat shambolic post-punky alt rock is a nice thing.
However, after listens to this album I can't quite recommend it because I don't hear much that, as of yet, sticks out as a negative or positive of great note. The bones of a badass rock album are here, but that is it. Maybe their sophomore album will take this sound and expand on it and absolutely slay. We shall see. [First added to this chart: 10/13/2021]
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(A VERY nocturnal alt R&B album with lots of somewhat trip hop beats and tracks and a certain austere, fragile sound. It is cool in theory, but I'm not a fan of the style or sound enough to buy in. Probably just me and my taste, though. And I respect its sound and execution.)
Okay, I made my opening, paranthetical statement too long and almost all my points are covered there. Not a lot to add. This album is kind of cool, sounds like 3am in your living room, coming down from whatever revelry you were just engaged in, contemplating the fragile loneliness that eats at you whenever you're alone. Some of the tracks are actually really quite cool, and are subtly soulful and have a deep groove that sound amazing. Especially like "Already Falling".
I am not a fan of this style of vocals, this whispery, wheezy, indoor-voice sound. It is just a personal preference, and sometimes that style works with the trip hoppy beats, but mostly I find myself unimpressed and bored with it.
The back half of this album features some really solid tracks that express that sad, sorrowful, self-pitying mood quite well. Most notably on "Is it Because". Great song.
Overall, this isn't really my thing, my style, whatever. But it is generally quite well made and I am glad I heard it. [First added to this chart: 10/13/2021]
Okay, I made my opening, paranthetical statement too long and almost all my points are covered there. Not a lot to add. This album is kind of cool, sounds like 3am in your living room, coming down from whatever revelry you were just engaged in, contemplating the fragile loneliness that eats at you whenever you're alone. Some of the tracks are actually really quite cool, and are subtly soulful and have a deep groove that sound amazing. Especially like "Already Falling".
I am not a fan of this style of vocals, this whispery, wheezy, indoor-voice sound. It is just a personal preference, and sometimes that style works with the trip hoppy beats, but mostly I find myself unimpressed and bored with it.
The back half of this album features some really solid tracks that express that sad, sorrowful, self-pitying mood quite well. Most notably on "Is it Because". Great song.
Overall, this isn't really my thing, my style, whatever. But it is generally quite well made and I am glad I heard it. [First added to this chart: 10/13/2021]
Total albums: 40. Page 1 of 4
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2021 Spill Over, One-And-Dones composition
| Artist | Albums | % | |
|---|---|---|---|
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| Matthew Sweet | 1 | 3% | |
| Ada Lea | 1 | 3% | |
| Naked Flames | 1 | 3% | |
| Emeka Ogboh | 1 | 3% | |
| Underscores | 1 | 3% | |
| Kylie V | 1 | 3% | |
| Amigo The Devil | 1 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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22 | 55% | |
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5 | 13% | |
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5 | 13% | |
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2 | 5% | |
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1 | 3% | |
 |
1 | 3% | |
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1 | 3% | |
| Show all | |||
2021 Spill Over, One-And-Dones chart changes
| Biggest fallers |
|---|
| Down 1 from 1st to 2nd A Song Is Way Above The Lawn by Karen Peris |
| Down 1 from 2nd to 3rd Leftovers by Le Ren |
| Down 1 from 3rd to 4th One Hand On The Steering Wheel The Other Sewing A Garden by Ada Lea |
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| Best Ever Artists | |
|---|---|
| 1. The Beatles | |
| 2. Radiohead | |
| 3. Pink Floyd | |
| 4. David Bowie | |
| 5. Bob Dylan | |
| 6. Led Zeppelin | |
| 7. The Rolling Stones | |
| 8. Arcade Fire | |
| 9. The Velvet Underground | |
| 10. Kendrick Lamar | |
| 11. Nirvana | |
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