Listed below are the best albums of 2021 as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 3 hours ago).
"Hearing Say What You Will got me more excited for this album than I'd ever have anticipated. Its one of the best tracks of the year and probably the best thing he's recorded, so to get to the album and have it be exactly the same as each of his other albums was absurdly disappointing. A good albu...""Hearing Say What You Will got me more excited for this album than I'd ever have anticipated. Its one of the best tracks of the year and probably the best thing he's recorded, so to get to the album and have it be exactly the same as each of his other albums was absurdly disappointing. A good album for sure, impeccably produced, but still feels like he's on autopilot in ways."[+]Reply
"(Clairo gets in a spacious, calming, introspective groove with this album and sticks the landing. A beautiful, laid-back, Singer/Songwriter album with some cool folk/pop rock, Baroque/Chamber pop elements. The tracklist never veers far from that feeling of contemplative melancholy mixed with opti...""(Clairo gets in a spacious, calming, introspective groove with this album and sticks the landing. A beautiful, laid-back, Singer/Songwriter album with some cool folk/pop rock, Baroque/Chamber pop elements. The tracklist never veers far from that feeling of contemplative melancholy mixed with optimistic dreeamy youth.)
There is an impressive commitment to mood on this album. With few exceptions this Clairo project stays in a very introspective, hushed, and contemplative Chamber/Baroque folk pocket. This consistent sound, with few angles or almost anything metaphorically jutting out, may turn some people off. Not me, however. I quite like the mood and space this album puts me in. Sounds like a young woman making beautiful folk, filled with many vintage sounds and snippets of self-analyzing and discovery and conversational meandering.
The production is pretty ace almost all the way through. A few times I was a bit put off by the overly-lush and overly-used multi-tracked vocal oohs and ahhs, and I can't remember which track now, but at one point the drums sounded very flat and "off" I suppose. But generally the production is crisp and detailed and gorgeous. Jack Antonoff has a Type and a sound. I was actually unaware of who the producer was the first couple times listening, and I had a thought that this is yet another beautifully executed throwback to those beautiful early 70s folk singer/songwriter records. The other albums from 2021 that I was thinking made up this micro-trend were St. Vincent's 2021 album "Daddy's Home" and Lana Del Rey's 2021 album "Chemtrails Over The Country Club". When I saw a comment on RYM trashing Antonoff's production, I went to verify if this was true. Voila! It is! It's not true that the production sucks, lol, but it is true that the guy behind the last 2 LDR albums, the last St. Vincent album, the last folkie Taylor Swift album - or one of them - "Folklore" and the person behind the very different sounding from those 5 albums "Melodrama: by Lorde is the one who produced this one. Weird. Anyway, the combined work of Antonoff and Clairo make this a tidy, tender and balanced album.
This is just a really even, warm hug of a record. The soft, folkie rock upticks are beautiful, the lush chamber/baroque is solid, the lyrics are solid and the whole record is really well done. The maturity of Clairo before our eyes is almost astounding. At just 22 she has made a very beautiful album and I think she has many more excellent records in her in the years to come. "[+]Reply
"Seventeen Going Under represents a wind of change for male pop stars with guitars. The dregs of the 2010s capitalisation on them are on the way out, and none could even come within eyeshot of Fender’s genuine, essential writing. Heck, few things in music can right now: the pride with which he wea...""Seventeen Going Under represents a wind of change for male pop stars with guitars. The dregs of the 2010s capitalisation on them are on the way out, and none could even come within eyeshot of Fender’s genuine, essential writing. Heck, few things in music can right now: the pride with which he wears his hometown of North Shields on his sleeve, and the love he puts into his depiction of Newcastle, is magnificent.
There’s a sting, however, that of the poverty, hegemonic masculinity and social issues impossible to escape from. In a country where we can’t even agree on what we disagree on, his anger feels relevant and essential, while his riffs are supremely catchy and wholesome. Like all the best protest music, there is hope laced throughout, and Fender’s indie-ready heartland rock was born to inspire it.
Fender has struck a remarkable balance on Seventeen; he doesn’t present himself as a preacher or a politician, he doesn’t allow for his experiences to be romanticised by his radio-friendly riffs, and he appeals to a need to acknowledge the times we’re living through in a way that doesn’t drag into “oh dear”-ism. The sharp-jawed man who stares back at you from the album’s artwork is fully aware that he could cash it in to become the next safe industry heartthrob, or just another white guy with a guitar and a Twitter individuality complex. And the beautiful thing is that he doesn’t. "[+]Reply
"(This is an awe-inspiring return by this duo after 16 years of no LPs released. Perhaps the darkest and most hopeless album I've heard this year - I suppose it helps that I can't understand the words in the new Knoll and Ad Nauseam and other death/grind albums - and also one of the better and mor...""(This is an awe-inspiring return by this duo after 16 years of no LPs released. Perhaps the darkest and most hopeless album I've heard this year - I suppose it helps that I can't understand the words in the new Knoll and Ad Nauseam and other death/grind albums - and also one of the better and more lovingly produced and detailed pop albums of the year as well.)
This is one of the darkest and most hopeless and nihilistic albums I've heard in a long time, maybe ever. I wasn't expecting this level of brutal verbal destruction. It is amazing if you are in the mood for an album that strips away all the false covers and veneers of life to reveal the disgusting underbelly. When I first heard the album I wasn't in the mood for such a gloomy listen. Still respected the hell out of the spoken word poetry and the detailed electronic arrangements and tracks. But yeah it put me off how unrelenting the mood was. Today I listened a couple more times and I was way more invested. Maybe that has to do with my somewhat more dark mood, maybe its just a nice change of pace from the more level-headed, stoic messages of recent albums I've heard. Anyway, the point is, this album is a dark and harsh listen thematically and lush and beautiful musically.
All throughout the album behind the captivating performances of Aidan Moffat and Malcolm Middleton, there are gorgeous, detailed and lush touches musically, melodies and excellent guitar lines and heartfelt indietronica tracks, and these swelling chamber pop moments and all kinds of beautiful musical moments. These well executed sounds and tracks make the vocals and the lyrics all the more ear-catching and intense. There is a very nice way they play off each other.
There isn't a bad track, I almost hate saying that cuz it sounds so basic. But yeah, fuck it, there aren't any tracks that I wanted to skip or felt was half baked. The consistency of the album is impressive. The way the album kicks off is awesome, with "The Turning of our Bones" being one of the most inspired and impressive opening tracks I've heard in awhile. That opening blast of desperate, poetic, hopelessness, is followed up by equally engaging "Another Clockwork Day", "Compersion Pt 1" and "Bluebird". The middle of the album keeps it strong, goes down little byways of musical expression. Then the last 3 tracks are all just as excellent and brutal with the 1-2-3 punch of ""I Was Once A Weak Man", "Sleeper", and the closer "Just Enough".
This is a hard album to rank. I think this is one of the better produced and executed albums this year. But it makes me feel, at times, a bit empty and hopeless. Quality-wise its tops, I probably will rank it a little lower than the quality would suggest, but not too much. And I suspect this will be one of those albums that I look at and I see its placement throughout the year and I move up incrementally. Not sure. All I know is it is indeed an excellent album and an amazing way to come back after 15 years away."[+]Reply
"Saw this at the top of a music journalist's 2021. Not my usual cup of tea, but it's good for scratching an old school rock, hard rock, itch with a little 90s alternative/grunge seasoning."Reply
"70-80/100 (Really solid dance punk album. Has some killer tracks to dance to and some that may make you feel very sad - whilst still dancing - and sadly some songs/interlude tracks that seem a bit pointless.) This was actually a very, very sad listen. I feel like this is an incredibly desperate, ...""70-80/100 (Really solid dance punk album. Has some killer tracks to dance to and some that may make you feel very sad - whilst still dancing - and sadly some songs/interlude tracks that seem a bit pointless.)
This was actually a very, very sad listen. I feel like this is an incredibly desperate, depressed, lost collection of songs. The words and songs seem to express the low down, hopeless feelings of people who have completely given up and accepted that they've lost any hope of redemption in their lives.
Well, I guess there are some silver linings in the form of love and an undying attempt to turn shit around. But I don't feel like these glimmers of hope seem to be going anywhere. They feel like daydreams, brief flights of fancy to take your mind off the gritty reality of life.
Basically, while listening to this there was a moment I went from kinda quasi-dancing and enjoying myself greatly to stopping still and feeling a sick sadness in my gut as I took in the misery in the vocalist and in the music. It's probably just a personal reaction, but it was very real for me.
Now as for the music its mostly really cool dance punk, high energy, funky, and cool. I love the creepy yet strangely affecting John Prine cover ("In Spite of Ourselves) especially love the squealing and crazy last half. I also love the extended instrumental jam of "6 Shooter", the song "Creatures" is the best fill-in for LCD Soundsystem that I've heard in a long while, the stupid fun of the opener "Ain't Nice" is strangely charming and pathetic all at once, and christ if "Boys & Girls" isn't the a towering track I don't know what is.
In this album there are quite a high amount of really great songs. But I am not a fan of some of the little throw-away songs. Some of these feel like interludes, but don't feel like they are necessary at all. I get nothing or close to nothing out of "Best In Show/Secret Canine Agent", This Old Dog" or "Cold Play". Maybe on further listens I'll get a better idea of the concept or flow they are stitching together with these tracks.
All in all I actually quite liked a majority of this album. This was my introduction to the band and I didn't know what to expect. This was a satisfactory enough listen that I may go and listen to more of their stuff. And any album with real stand out tracks like "Creatures", "In Spite Of Ourselves" "6 Shooter", "I Feel Alive" and "Girls & Boys" is a good album. This happens to be an album a bit weighed down by fluff. Still it packs an unexpected emotional punch."[+]Reply
"(Excellent pop album. Varied with excellent hooks and melodies and the vocals are lowkey emotional. I don't have much of value to say about this. It is just a quality album start to finish.) So I heard this once and thought it was ... pretty good. I was left, however, with a sense that I had noth...""(Excellent pop album. Varied with excellent hooks and melodies and the vocals are lowkey emotional. I don't have much of value to say about this. It is just a quality album start to finish.)
So I heard this once and thought it was ... pretty good. I was left, however, with a sense that I had nothing to say or comment on. So I listened again to see what I get out of it on second listen - and because it was good so of course wanted to hear again. And on second listen I liked it more. The moments that before sounded pretty plastic and uninteresting raised up to at least interesting. And the songs I liked before I liked more. however, I still had next to nothing to cooment on. The production is bright and lively and detailed. The more upbeat dancy tracks hit with a joyous energy. The more introspective and sadder or more reserved pop tracks had a special something that made me relate and vibe with them despite not understanding what exactly was being spoken of. Yet outside of these vague pluses I had nothing else.
On third listen there was no change. I at that point decided that not every album will I have something to say or some particular strong opinion to express. From what I've read on the ionternet about this album the many MANY features include some luminaries. However, I don't recognize any of the names, so I don't know where C. Tangana ends and someone else begins. That is fine, because I think the entire album flows nicely and there aren't any jarring or disjointed tracks that are clearly made with a completely different vision in mind.
In closing, this is a cool pop album and I likes it."[+]Reply
"This was significantly better than I expected. It's pop rap so I expect it to be thoroughly panned by this community which is fine. That's ok. Lil Nas X will keep doing his thing. It's fun, it's honest, it's relatable. There's some childish gambino vibes, there's some chance the rapper vibes, the...""This was significantly better than I expected. It's pop rap so I expect it to be thoroughly panned by this community which is fine. That's ok. Lil Nas X will keep doing his thing.
It's fun, it's honest, it's relatable. There's some childish gambino vibes, there's some chance the rapper vibes, there's some already dated trap sounding beats. There's some guilty pleasure lyrics that I legitimately laughed at.
It's probably not going to win over a lot of Lil Nas X skeptics, but it won me over."[+]Reply
"Quite the mixed bag on this album and not all of it good. The singles “Walking at a Downtown Pace”, “Black Widow Spider” and “Homo Sapien” as well as closer “Pulcinella” stand out as excellent album highlights, whilst the remaining 7 tracks are a little underwhelming even though I give the band c...""Quite the mixed bag on this album and not all of it good. The singles “Walking at a Downtown Pace”, “Black Widow Spider” and “Homo Sapien” as well as closer “Pulcinella” stand out as excellent album highlights, whilst the remaining 7 tracks are a little underwhelming even though I give the band credit for trying something different musically. But the trouble is tracks such as “Trullo” and “Plant Life “ sound more like experimental B-Sides than fully fleshed out album pieces "[+]Reply