2021 outliers by 
DommeDamian 
- Chart updated: 05/26/2025 11:15
- (Created: 05/24/2025 19:43).
- Chart size: 100 albums.
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65/100
This is growing on me. What I appreciate and respect Lil Nas X for on this album is his fearless ways and how I got to see the hypocrisy in american culture and media. When the music video for Call Me By Your Name came out, he was pushing the buttons of all conspiracy theorists' that is (pretty much) obsessed with "exposing" satanic symbolism and everything. And the fact that people reacted the way they did, both the conspiracy theorists and the cringey entitled "christians" really made me realize how dumb most of these people are; both misinterpreting the video about him owning up to his sexuality of being gay, and taking their own gospel/sources out of context to make themselves look smarter. But enough of that let's get into the album.
Montero starts off with Call Me By Your Name which, despite the catchy as hell flute on the backend, has really never hit my radar of great - maybe it'll grow like some of the others. Dead Right Now is a very by-the-numbers slick trap-song with singing on it, nothing original but sticks to its gun decently. The first real banger is Industry Baby that contains a charismatic trumpet, a heavy bass-instrumental, a profuse delivery from Montero and a definitively nice feature from Jack Harlow. That's What I Want is even better, that is my JAM. "Cause it DON'T FEEL RIGHT when its LATE AT NIGHT and is JUST ME IN MY DREEEAAMS", whooo that shiii bangs!!!!!!! Been listening to this song alone at least thrice a day for the past few weeks. I can almost say nothing bad about this track, this is undoubtedly the favorite hit single of 2021 of mine.
After a confusing skit The Art of Realization, Scoop is a let-down, majorly. Not only does Montero sound less excited about his song, not only does Doja Cat perform a underwhelmingly misfire and overwhelmingly awkward verse (as usual), but the instrumental is so half-baked- yeah moving on. Thankfully, One of Me is a bright song with a bright production. In the middle of that and the modern trappy Dolla Sign Time (with a fine-enough Megan Thee Stallion feature), there is the song Lost In The Citadel, which sounds like indie rock music with pop vocals on top of it; the results is mediocre but nothing more (and cleaarly not as well-executed as some others in the same lane down the line). The more folk-inspired head bumper Tales of Dominica is leagues better and more sophisticated. There's another ballad-y song right after, Sun Goes Down, which is very clearly Kid Cudi-inspired with the singing. Meanwhile Void is a very well-done indie rock song, with live-heavy drums and the adventurous shape of the production. We get an alternative-R&B flavored joint in Life After Salem, just after Don't Want It which is one of the better trap songs across the record. We close out with a surprisingly acoustic cut Am I Dreaming that features a surprisingly fitting Miley Cyrus, capturing a surprisingly wonderful harmony with Lil Nas X. The sound of that song is also a good way to end one of the few mainstream releases this year that actually has bangers on it.
Many people were worried on his behalf after Old Town Road on where he would go after that: would he be a one-hit-wonder? Would he start making music that sounds and feels different? Would he ever be able to top that success? Would his debut full-length even have memorable songs?
Well that last question gets a certain Yes.
Also no gay stuff but he is one sexy mf'er gnaa'zayiin. [First added to this chart: 05/26/2025]
This is growing on me. What I appreciate and respect Lil Nas X for on this album is his fearless ways and how I got to see the hypocrisy in american culture and media. When the music video for Call Me By Your Name came out, he was pushing the buttons of all conspiracy theorists' that is (pretty much) obsessed with "exposing" satanic symbolism and everything. And the fact that people reacted the way they did, both the conspiracy theorists and the cringey entitled "christians" really made me realize how dumb most of these people are; both misinterpreting the video about him owning up to his sexuality of being gay, and taking their own gospel/sources out of context to make themselves look smarter. But enough of that let's get into the album.
Montero starts off with Call Me By Your Name which, despite the catchy as hell flute on the backend, has really never hit my radar of great - maybe it'll grow like some of the others. Dead Right Now is a very by-the-numbers slick trap-song with singing on it, nothing original but sticks to its gun decently. The first real banger is Industry Baby that contains a charismatic trumpet, a heavy bass-instrumental, a profuse delivery from Montero and a definitively nice feature from Jack Harlow. That's What I Want is even better, that is my JAM. "Cause it DON'T FEEL RIGHT when its LATE AT NIGHT and is JUST ME IN MY DREEEAAMS", whooo that shiii bangs!!!!!!! Been listening to this song alone at least thrice a day for the past few weeks. I can almost say nothing bad about this track, this is undoubtedly the favorite hit single of 2021 of mine.
After a confusing skit The Art of Realization, Scoop is a let-down, majorly. Not only does Montero sound less excited about his song, not only does Doja Cat perform a underwhelmingly misfire and overwhelmingly awkward verse (as usual), but the instrumental is so half-baked- yeah moving on. Thankfully, One of Me is a bright song with a bright production. In the middle of that and the modern trappy Dolla Sign Time (with a fine-enough Megan Thee Stallion feature), there is the song Lost In The Citadel, which sounds like indie rock music with pop vocals on top of it; the results is mediocre but nothing more (and cleaarly not as well-executed as some others in the same lane down the line). The more folk-inspired head bumper Tales of Dominica is leagues better and more sophisticated. There's another ballad-y song right after, Sun Goes Down, which is very clearly Kid Cudi-inspired with the singing. Meanwhile Void is a very well-done indie rock song, with live-heavy drums and the adventurous shape of the production. We get an alternative-R&B flavored joint in Life After Salem, just after Don't Want It which is one of the better trap songs across the record. We close out with a surprisingly acoustic cut Am I Dreaming that features a surprisingly fitting Miley Cyrus, capturing a surprisingly wonderful harmony with Lil Nas X. The sound of that song is also a good way to end one of the few mainstream releases this year that actually has bangers on it.
Many people were worried on his behalf after Old Town Road on where he would go after that: would he be a one-hit-wonder? Would he start making music that sounds and feels different? Would he ever be able to top that success? Would his debut full-length even have memorable songs?
Well that last question gets a certain Yes.
Also no gay stuff but he is one sexy mf'er gnaa'zayiin. [First added to this chart: 05/26/2025]
5
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65/100
Originally, this was supposed to be forgettable stoner folk music that I just remember being a little pleasant while playing before moving on quickly. But no, Found In The Smoke stuck in my mind a bit so later I relistened and liked it a bit more. The best thing about it is how Joe Vann reeaally captures a hazy atmosphere with some of the best songs being some of the best laid-back (singer-songwriter) music in years. The lackluster thing about it is that 45-55% of the time, the crossover with folk and small tingles of not-nature-instrumentation can be so filling it overpowers the substance of the songs. But eh, the highlights are worth writing home about, those being Has To Go, Shuffle Around and Your Love (definitely the haziest, most spaced out song here); excellent detours of semi-dreamy aesthetics, almost equivalent to taking a inner-reflective walk alone but...optimistic instead of melancholic. [First added to this chart: 05/26/2025]
Originally, this was supposed to be forgettable stoner folk music that I just remember being a little pleasant while playing before moving on quickly. But no, Found In The Smoke stuck in my mind a bit so later I relistened and liked it a bit more. The best thing about it is how Joe Vann reeaally captures a hazy atmosphere with some of the best songs being some of the best laid-back (singer-songwriter) music in years. The lackluster thing about it is that 45-55% of the time, the crossover with folk and small tingles of not-nature-instrumentation can be so filling it overpowers the substance of the songs. But eh, the highlights are worth writing home about, those being Has To Go, Shuffle Around and Your Love (definitely the haziest, most spaced out song here); excellent detours of semi-dreamy aesthetics, almost equivalent to taking a inner-reflective walk alone but...optimistic instead of melancholic. [First added to this chart: 05/26/2025]
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65/100
The album cover's relation to the music are pretty much the same as Throbbing Gristle's 20 Jazz Funk Greats. Cause Mother Melancholia is very... angelic formed. And when I notice that the Sigur Ros-esque inspired soundscapes are made by an act coming from the same country (Iceland), it feels more authentic. This will grow on me. Since there are moments that feels spiritual and kind of otherworldly (key word: feel, cause they ain't spiritual but they're transforming into). Now it could've been deepened further but I don't care, the final result is a somewhat daring yet calming experience of chamber hymns and some ambient floating. Highlights for me are the beginner Sunrise Skulls, Sundown and especially the somewhat stunning xxx. [First added to this chart: 05/26/2025]
The album cover's relation to the music are pretty much the same as Throbbing Gristle's 20 Jazz Funk Greats. Cause Mother Melancholia is very... angelic formed. And when I notice that the Sigur Ros-esque inspired soundscapes are made by an act coming from the same country (Iceland), it feels more authentic. This will grow on me. Since there are moments that feels spiritual and kind of otherworldly (key word: feel, cause they ain't spiritual but they're transforming into). Now it could've been deepened further but I don't care, the final result is a somewhat daring yet calming experience of chamber hymns and some ambient floating. Highlights for me are the beginner Sunrise Skulls, Sundown and especially the somewhat stunning xxx. [First added to this chart: 05/26/2025]
Year of Release:
2021
Appears in:
Rank Score:
2
Rank in 2021:
Rank in 2020s:
Average Rating:
Comments:
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65/100
Finally a rapper who both has an appropriate vocal technique, an ear for headbanging beats, and a conception that fits an entire album authentically.
It has to be a grower, cause there is something to behold here. I can feel it. [First added to this chart: 05/26/2025]
Finally a rapper who both has an appropriate vocal technique, an ear for headbanging beats, and a conception that fits an entire album authentically.
It has to be a grower, cause there is something to behold here. I can feel it. [First added to this chart: 05/26/2025]
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65/100
This is a grower. At first it seems kind of substanceless, but it is actually really warm and nostalgic with its Kinks-esque summer pop and concept about an island and everything. Not every song is good, but there is enough solid material to come back to. [First added to this chart: 05/26/2025]
This is a grower. At first it seems kind of substanceless, but it is actually really warm and nostalgic with its Kinks-esque summer pop and concept about an island and everything. Not every song is good, but there is enough solid material to come back to. [First added to this chart: 05/26/2025]
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65/100
I do not listen to music from my own country, but Burnout is a standout. Both musically and lyrically. Calby is a songwriter in league of other 2021 cats, and surely has an inner passion that, in the highpoints of Burnout, finally comes out, and it contains elements of instrumental and lyrical warmth. But of course, it ain't always an intriguing listen - tracks like Coma and Nice Life is, because of their lack of honing and songwriting focus in comparison with the rest, mediocre result of songs. [First added to this chart: 05/26/2025]
I do not listen to music from my own country, but Burnout is a standout. Both musically and lyrically. Calby is a songwriter in league of other 2021 cats, and surely has an inner passion that, in the highpoints of Burnout, finally comes out, and it contains elements of instrumental and lyrical warmth. But of course, it ain't always an intriguing listen - tracks like Coma and Nice Life is, because of their lack of honing and songwriting focus in comparison with the rest, mediocre result of songs. [First added to this chart: 05/26/2025]
Year of Release:
2021
Appears in:
Rank in 2021:
None
Rank in 2020s:
None
Average Rating:
Comments:
Buy album
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65/100
Something about HMT feels so... inviting, sweet, human. Some tunes are the musical parallel to walking down the evening city, semi-empty, with a person close to your heart. Although ms. Rose has a bit of a monotonous style in this country record, when it's best, it hits hard. She could've avoided Are You Out There, and Good Time, those are definite fillers (the well thought out lyrics doesn't save 'em). But it's just a sweet collection of country songs in the vein of old country legends, spiced up with some elements of more modern Americana sounds and genres like alt-country. The songs themselves are consistently well written, Esther voice matches the stripped down musicianship embracingly. When she sings pretty wholesome, the music follows with it, when she sounds half-hearted, the music follows with it. But every song is well-written, and the great tunes overcrowds the weaker. This is such a direct little album. Coyote Creek is a strict combination of a country ballad and a sincere lullaby. And maybe my favorite song here, Songs Remain, is musically, vocally, atmospherically, country in high class. It ain't meant to blow the listener away, but simply be there like a friend.
When I think of modern female country music, the ideal example in my mind is Lucinda Williams, and understandably so. Yet, Esther Rose has a lyricism that can - when it is complete - match LW's, and Rose's vocals are more and welcoming. How Many Times is absolutely not a Car Wheels On A Gravel Road, but Esther has the potential to write one [cause unlike the artists above her on the list who sound like they gave their all, she has greater potential than most of them] one day when she has slightly better focus on instrumentation, more awareness of her vocal charm, and catchier choruses. [First added to this chart: 05/26/2025]
Something about HMT feels so... inviting, sweet, human. Some tunes are the musical parallel to walking down the evening city, semi-empty, with a person close to your heart. Although ms. Rose has a bit of a monotonous style in this country record, when it's best, it hits hard. She could've avoided Are You Out There, and Good Time, those are definite fillers (the well thought out lyrics doesn't save 'em). But it's just a sweet collection of country songs in the vein of old country legends, spiced up with some elements of more modern Americana sounds and genres like alt-country. The songs themselves are consistently well written, Esther voice matches the stripped down musicianship embracingly. When she sings pretty wholesome, the music follows with it, when she sounds half-hearted, the music follows with it. But every song is well-written, and the great tunes overcrowds the weaker. This is such a direct little album. Coyote Creek is a strict combination of a country ballad and a sincere lullaby. And maybe my favorite song here, Songs Remain, is musically, vocally, atmospherically, country in high class. It ain't meant to blow the listener away, but simply be there like a friend.
When I think of modern female country music, the ideal example in my mind is Lucinda Williams, and understandably so. Yet, Esther Rose has a lyricism that can - when it is complete - match LW's, and Rose's vocals are more and welcoming. How Many Times is absolutely not a Car Wheels On A Gravel Road, but Esther has the potential to write one [cause unlike the artists above her on the list who sound like they gave their all, she has greater potential than most of them] one day when she has slightly better focus on instrumentation, more awareness of her vocal charm, and catchier choruses. [First added to this chart: 05/26/2025]
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65/100
So, from what I can tell, Aly & AJ apparently made a record when they were still teenagers, and release a follow up in their thirties; they certainly ain't focused on breaking through and I love it.
A half-fun, half-try hard beach album in 2021. It's good. Again an album you should just feel around you instead of analyze too deeply. Except when it gets intolerable. Like on the pretty annoying Break Yourself (with a very misplaced background guitar), or Symptom of Your Touch that has an unimaginatively thin synth over it, or Hold Out which is a fine ballad but without much meat, or the sketchy structure of Stomach.
On the other side of tracklisting, you get some of the most loving pop music of the year. Pretty Places is a focused pop sphere, uneasy not to let wash over you. The overblown pop on Paradise actually sounds good for once. Just like Lost Cause is one of the fewer songs of the whole 80s synth pop trend that I enjoy. As Break Yourself had a guitar that damaged the already mediocre rhythm even further, the next song on the album, Slow Dancing, has a guitar that dances around the bracing universe. And the bombastic one of Listen!!! takes Indie Pop/Rock in 2021 to a higher level. So yeah, if I skip/ignore the sucky songs, this is a valid well-build album. [First added to this chart: 05/26/2025]
So, from what I can tell, Aly & AJ apparently made a record when they were still teenagers, and release a follow up in their thirties; they certainly ain't focused on breaking through and I love it.
A half-fun, half-try hard beach album in 2021. It's good. Again an album you should just feel around you instead of analyze too deeply. Except when it gets intolerable. Like on the pretty annoying Break Yourself (with a very misplaced background guitar), or Symptom of Your Touch that has an unimaginatively thin synth over it, or Hold Out which is a fine ballad but without much meat, or the sketchy structure of Stomach.
On the other side of tracklisting, you get some of the most loving pop music of the year. Pretty Places is a focused pop sphere, uneasy not to let wash over you. The overblown pop on Paradise actually sounds good for once. Just like Lost Cause is one of the fewer songs of the whole 80s synth pop trend that I enjoy. As Break Yourself had a guitar that damaged the already mediocre rhythm even further, the next song on the album, Slow Dancing, has a guitar that dances around the bracing universe. And the bombastic one of Listen!!! takes Indie Pop/Rock in 2021 to a higher level. So yeah, if I skip/ignore the sucky songs, this is a valid well-build album. [First added to this chart: 05/26/2025]
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65/100
Not the most memorable or clever or hardhitting folk record you will hear in 2021, but when it's on, your hand stays away from the skip-button like an order. [First added to this chart: 05/26/2025]
Not the most memorable or clever or hardhitting folk record you will hear in 2021, but when it's on, your hand stays away from the skip-button like an order. [First added to this chart: 05/26/2025]
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65/100
Now this feels like authtentic, both in the mathcore metal playing and the lyrical needs. Mirrors by Pupil Slicer is a metal album, very openly playing with time signatures (but not in a very forced way), and lyrically - what I can tell - is about unfair treatment of transgenderism. With the already uncommon subject matter, the music feels almost as wholesome. There are times where they are playing to their strengths like Martyrs (so far my favorite) the ethereal opening sound, the brutal dynamic playing around the end, the vocalist being sincere, it's a great song for sure (maybe a melody more would take it to an even higher class). Or on the possibly second favorite Save The Dream Kill Your Friends, with the drumming and guitar (especially) behaving even more violently. But, of course, we have a very few unignorably odd joints, where the high-level dynamic isn't as elegant (Wounds Upon My Skin) or the songs kind of limp through (Interlocutor). Those songs sounds like they were made by another weak band. The remaining tracks are a mixture of same-old metal approaches and good metal songs that have its moment (Panic Defence, for sure). But overall one of those new metalcore releases where the group actually hits intensity in a while. [First added to this chart: 05/26/2025]
Now this feels like authtentic, both in the mathcore metal playing and the lyrical needs. Mirrors by Pupil Slicer is a metal album, very openly playing with time signatures (but not in a very forced way), and lyrically - what I can tell - is about unfair treatment of transgenderism. With the already uncommon subject matter, the music feels almost as wholesome. There are times where they are playing to their strengths like Martyrs (so far my favorite) the ethereal opening sound, the brutal dynamic playing around the end, the vocalist being sincere, it's a great song for sure (maybe a melody more would take it to an even higher class). Or on the possibly second favorite Save The Dream Kill Your Friends, with the drumming and guitar (especially) behaving even more violently. But, of course, we have a very few unignorably odd joints, where the high-level dynamic isn't as elegant (Wounds Upon My Skin) or the songs kind of limp through (Interlocutor). Those songs sounds like they were made by another weak band. The remaining tracks are a mixture of same-old metal approaches and good metal songs that have its moment (Panic Defence, for sure). But overall one of those new metalcore releases where the group actually hits intensity in a while. [First added to this chart: 05/26/2025]
Total albums: 100. Page 1 of 10
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2021 outliers composition
| Artist | Albums | % | |
|---|---|---|---|
 |
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|
|
| Joe Vann | 1 | 1% | |
| Anna B Savage | 1 | 1% | |
| Black Country, New Road | 1 | 1% | |
| Dohlmen | 1 | 1% | |
| Coco O. | 1 | 1% | |
| St. Vincent | 1 | 1% | |
| Little Simz | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
47 | 47% | |
 |
20 | 20% | |
 |
7 | 7% | |
 |
6 | 6% | |
| |
4 | 4% | |
 |
2 | 2% | |
 |
2 | 2% | |
| Show all | |||
2021 outliers chart changes
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| Best Ever Artists | |
|---|---|
| 1. The Beatles | |
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| 3. Pink Floyd | |
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| 5. Bob Dylan | |
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