Top Albums of 2021

In a year defined by consistent uncertainty and adjustments, music quickly became one of 2021’s most reliable refuges. Not only were many of the albums released this year memorable, expressive, and rich in texture, but I regularly found myself discovering new artists that had so much talent to offer. It was difficult narrowing my list down to a final top ten, but after careful thought and consideration of these albums’ impacts, creativity, and importance, I am now able to present the list of my top albums of 2021.

There were many honorable mentions that nearly made the cut, but here are those that I would feel remiss not to mention: (20) Stand For Myself - Yola, (19) Donda - Kanye West, (18) TYRON - slowthai, (17) Friends That Break Your Heart - James Blake, (16) In These Silent Days - Brandi Carlile, (15) Cavalcade - Black Midi, (14) An Evening With Silk Sonic - Silk Sonic, (13) Nurture - Porter Robinson, (12) ROADRUNNER: NEW LIGHT, NEW MACHINE - BROCKHAMPTON, and (11) Sling - Clairo. These were all quality projects that are special to me in their own right, but just couldn’t quite make the cut. Without further ado…

10. Call Me If You Get Lost- Tyler, The Creator

Tyler, The Creator has cemented his place as not only one of the most inventive artists in hip-hop, but in music generally. Following up IGOR‘s expressive creativity was a monumental task that we are all lucky Tyler was up for. Call Me If You Get Lost is a mature and refined version of the playful, confident, and bold material Tyler was recognized for when he first released music. From the project’s flawless and strategic rollout and new Tyler “lore” to confessional lyrics and hard-hitting instrumentals, this album is special, and I can’t wait to see what Tyler creates next. SCORE: 8/10

9. For the first time - Black Country, New Road

For the first time is the debut album from lesser-known (at the time) London-based band Black Country, New Road. I can’t see that underground status lasting much longer, though, as this album quickly established this group as one to seriously look out for in the near future. The raw talent and multi-instrumental compositions found in many of this project’s lengthy tracks constantly cascade in new and exciting directions. The project’s angst, sense of urgency, and brash delivery were unrivaled this year, and I am already highly anticipating their upcoming sophomore album Ants From Up There coming in 2022. SCORE: 8/10

8. Happier Than Ever - Billie Eilish

After the release of her debut studio album When We All Fall Asleep, Where Do We Go? I wondered how Billie Eilish’s unique and original sound was going to evolve and mature. Luckily, those questions were quickly answered with the release of Happier Than Ever, which demonstrates the immense growth Billie has gone through in the past couple of years as an artist, but more importantly as a person. Sonically, aesthetically, and thematically, Happier Than Ever reflects the wisdom and growth of the wildly talented artist who created it. As long as Billie and her brother Finneas continue as their genuine selves when making music, not even the sky is a limit. Plus, it goes without saying, but the album’s title track is one of my favorites in Billie’s entire discography. SCORE: 8/10

7. LP! - JPEGMAFIA

JPEGMAFIA has already proven himself as one of the most talented musicians and producers in the industry with the releases of albums such as Veteran and All My Heroes Are Cornballs. Despite a rocky relationship with his record label, the passion that Peggy has for his art is abundantly clear on his most recent project LP!, and it’s truly inspiring to consider that he does all of his own recordings, mixing, and mastering. Rap and hip-hop are genres that can become stagnant at times, but releases like LP! remind artists and fans alike of their infinite possibilities. SCORE: Strong 8/10

6. The Turning Wheel - Spellling

One of the most theatrical and technically spotless records of the year, Spellling’s The Turning Wheel keeps me coming back for more. Upon its release, I was immediately immersed in the dazzling world that the project quickly builds. Spellling’s non-conventional vocal delivery may be jarring at first to some, but it complements the project’s ornate instrumentals splendidly. Tracks such as “Little Deer”, “Boys At School”, and “Revolution” are unlike anything I have ever heard, but in the best ways. I highly recommend going into this album with an open mind; Spellling knows what she’s doing here and then some. SCORE: Strong 8/10

5. By the Time I Get to Phoenix - Injury Reserve

Injury Reserve delivered one of the most emotionally potent albums of the year with By the Time I Get to Phoenix. This is the group’s first release since the untimely and tragic death of one of their members (Groggs,) and the grief and catharsis are profound on this project. The contextual significance of this project is uplifted and made more impactful by its inventiveness, ability to confidently experiment, and regular delivery of simple but stunning ideas throughout. “Knees” is simply one of my favorite songs of the year, as its refrain of “Knees hurt when I grow, and that’s a tough pill to swallow ‘cause I’m not getting taller-” truly stuck with me. This is a profoundly meaningful album, and I’m proud of Injury Reserve for honoring Groggs with its release. SCORE: Light 9/10

4. Daddy’s Home - St. Vincent

On Daddy’s Home, St. Vincent is able to instantly transport listeners to another era of music. On this record, she has channeled 1970’s era groove and made it look effortless. From the fantastically directed music videos that accompany the many great songs this album offers to atmospheric, Pink Floyd-esque offerings like “Live In The Dream”, St. Vincent’s commitment to her desired ambiance is admirable and catchy as hell. The slow moments on this project are few and far between, but contemplative and necessary. What’s not to love? SCORE = Light 9/10

3. SINNER GET READY - Lingua Ignota

Claiming this year’s bronze prize in the number three spot is an album that I surprisingly don’t often come back to. Lingua Ignota’s SINNER GET READY is a haunting and tormenting listen depicting the agonizing internal struggles of its creator Kristen Hayter. Made only more emotionally significant by recent revelations of the terrible events that inspired many of the project’s songs, SINNER GET READY epitomizes someone doing the hard work of moving on, letting go, and learning to forgive the unforgivable. The music itself isn’t disturbing in its own right; instead, what’s truly terrifying is the abyss someone must find themself in to create it as a form of self-expression. That willingness to share, as creatively and beautifully as this project does no less, is an act of kindness that Lingua Ignota deserves endless praise for. SCORE = 9/10

2. Sometimes I Might Be Introvert - Little Simz

When Little Simz released the lead single “Introvert” to her upcoming project Sometimes I Might Be Introvert, I knew that the hip-hop community was in for a treat. That opening track’s grandiosity and lavishness was no red herring, either, as this entire project is refined, textured, diverse, and grand in scale. Little Simz proved that she is a true wordsmith with the release of her critically-acclaimed Grey Area, but this project takes those skills to the next level. Her wordplay, revealing subject matter, and confidence are unmatched in the genre right now. Soul-inspired instrumentals rarely rely on samples, which is a feat in its own right, as this timeless sound seems made for Simz. This project’s poetic interludes perfectly transition its ever-evolving and genre-bending sounds, making it hard to believe that each unique song pairs so cohesively with the rest. “I Love You, I Hate You” is a standout among standouts here on a project that I couldn’t find flaws within even if I tried. SCORE = 10/10

1. Promises - Floating Points, Pharoah Sanders, London Symphony Orchestra

I try to refrain from making outlandish claims or using overused sentiments about albums, but I simply can’t stop myself from calling Promises a once-in-a-lifetime composition. It’s hard to imagine that a similar context will be recreated anytime soon, as this project was only made possible by world-class artists coming together with a vision and executing it masterfully. Floating Points’ idea to assemble a continuous piece made up of nine “movements” proved genius, as Promises doesn’t waste a second of its 46-minute runtime. Pharoah Sanders’ saxophone play, backed by the London Symphony Orchestra and Floating Points’ simple but addictive seven-note motif found throughout, is nothing short of breathtaking. That motif is simple but incredibly rich, as it is used to explore many new ideas throughout every Movement, culminating in a truly transcendent experience for its listeners. Movement 6, specifically, goes down as one of the most cathartic and rewarding pieces of music I’ve ever heard. No words can do an instrumental album like this justice, so instead, I strongly recommend that you give it a listen. This project will always have a special place in my heart, as it served as a soundtrack for some of the most formative and emotional moments of my life this year. For all of those reasons, Promises was an easy selection for my top album of 2021. SCORE = 10/10

It’s important to give others their flowers while they’re still around to smell them. I hope to do that by acknowledging and appreciating the artists whose creations help me try to define my own life. While 2021 has been quite tumultuous for the world, it was also the most formative and meaningful year I’ve had. I am grateful that this soundtrack of the top albums of 2021 will also take me back to a certain time and place, where I too have decided to stop and smell the roses by indulging my passion for art, creative vision, and self-expression.

Album Review: SINNER GET READY - Lingua Ignota

Kristin Hayter quickly took the world by storm when she began releasing music under her mysterious Lingua Ignota alias. The classically-trained multi-instrumentalist immediately carved out her own sub-genre of dystopian, apocalyptic drone music with religious conventions and frequent themes of pain and infidelity. I was introduced to Hayter’s work after the release of her sophomore album CALIGULA, which featured a tracklist riddled with pain, openness, and healing from previous abusive relationships. That work was spectacular in its own right, and it left me wondering which direction Hayter would take her work next. Her newest album SINNER GET READY brings the hymnal and religious undertones from her prior work to the forefront, commenting on organized religion’s potential to cause either great good or great harm in the world. Hayter is also able to universalize these criticisms and observations for a wider audience, but that isn’t to say that this album is accessible. Instead, Hayter fully embodies the Lingua Ignota moniker with a dreadful, cathartic, and haunting masterpiece on SINNER GET READY.

Hayter uses religious lyricism, instrumentation, and references to establish these themes early on in the tracklisting. Pairing the recognizable sound of beautiful organs with anguished and brash delivery on the track “I WHO BENDS THE TALL GRASS” leaves me so moved and uncomfortable, like many of the tracks here, that SINNER GET READY becomes an album I won’t listen to on a whim. This track comments on the tendency for religious devotees to feel entitled to supernatural intervention just from claiming adherence and belief in a higher power. This aggressive demanding of course falls on deaf ears, leaving the audience in awe of the brutality of this all-too-common phenomenon when many expect whatever they want from their divine being of choice.

Hayter’s intentionality and attention to detail are demonstrated on tracks such as “MANY HANDS”, which directly references her debut album. The repetition of the disturbing and visual imagery employed here, paired with an uneasy and droning instrumental backing, is truly terrifying. Not every track is this sonically draining, though, as others such as “PENNSYLVANIA FURNACE” and “PERPETUAL FLAME OF CENTRALIA” burden only their piercing lyrics with the weight and impact that the rest of the tracks make up for with their stomach-churning production. Instead, these tracks reflect on dark topics like the inevitability of suffering, judgment, and loneliness, with angelic pianos and wonderful vocal harmonies that allow Hayter to show off her classical training. “REPENT NOW CONFESS NOW” is a brilliantly written track that comments on the impermanence of the human body, which is clearly religious in nature, but allows Hayter to discuss the many emotions felt before a very important surgery she had recently.

Hayter may have a complicated relationship with organized religion, but that doesn’t stop her from pointing out its many shortcomings and hypocrisies. “THE SACRED LINAMENT OF JUDGEMENT” features the voice of an evangelist who has been discovered indulging in prostitution. The closing track “THE SOLITARY BRETHREN OF EPHRATA” features the now infamous news clip of a woman claiming immunity from COVID-19 because she was “covered in Jesus’s blood,” which is problematic in too many ways to discuss here. These criticisms are often masked in organized religion’s most compelling conventions, however, such as that same closing track’s beautiful hymnal delivery and composition. Hayter is capable of creating beautiful music when she pleases, just as easily as she can create haunting and lasting representations of the dreadful emotions she often discusses.

If Floating Points, Pharoah Sanders, and The London Symphony Orchestra’s Promises from earlier this year is the music equivalent of Heaven, SINNER GET READY is as apt of a depiction of Hell as possible, but in the best ways. Kristin Hayter’s “Lingua Ignota” persona has served her purpose with her nearly flawless three-album discography. SINNER GET READY is the tormented counterpart to the blissful Promises, which is the only album I’ve given a perfect score this year. I can’t wait to recommend people to not listen to this, but instead just to know how much I enjoyed and appreciated it. Hallelujah.

Favorite tracks: All

SCORE: 9/10

Album Review: Billie Eilish - Happier Than Ever

Few debut albums receive as much acclaim and praise as Billie Eilish’s When We All Fall Asleep, Where Do We Go? did, as she won 7 Grammy awards and frequented the top of the charts for months after its release. That project caught the industry by storm because of its eery aesthetic, stellar production, and incredibly well-written lyrics. As unique and interesting as it was, the project also reflected Eilish’s shockingly young age with multiple pop culture references and sometimes playful delivery. Eilish’s notoriety and recognition has expanded exponentially since her debut, leaving many wondering which direction she would take for her sophomore album. Lead singles with a clearly defined new approach, subdued instrumentation, and matured subject matter set the stage for a rollout that took me completely by surprise. Completely different than its predecessor but with just as stellar production and sound, Happier Than Ever could understandably be called a step up for an artist who has already proven that she has what it takes to rightfully call herself an international superstar.

“Getting Older” is a completely different direction as an opener than “Bad Guy”, allowing Eilish to catch her listeners up on her mental state since her last release with piercing lyrics and honesty. Lines like “Things I once enjoyed just keep me employed now / things I’m longing for someday I will be bored of” are direct and succinctly reflect the existential realizations Eilish continues to make as she has more music industry experience under her belt. “I Didn’t Change My Number” takes more of a confident and braggadocious tone, as Eilish continues to express her growing confidence as a person and an artist. Finneas’s production shines this track, allowing his sister’s delivery to flow seamlessly with a minimal but hard-hitting backing instrumental. The abrasive production toward the end of the track keeps me coming back for more. “Billie Bosa Nova” is a sensual, understated track that depicts the story of a mysterious meetup. Eilish’s storytelling ability shines through here, which is a refreshing change of pace for a writer who often leans more on imagery than narrative. We’ve heard “my future” already, and luckily it fits very well into the tracklisting sonically and thematically. This track also allows Eilish to show her vocal range and control very well.

“Oxytocin” is an immediate standout that could’ve easily functioned as a great lead single for the project. The closest thing this album has to a club banger, this track is eery, moody, and uptempo in all the best ways. Eilish moves on to explore a more creative approach with “GOLDWING”, which is a two-part track that opens with the hymnal, choral delivery and religious imagery that transitions into a more hard-hitting song by the end of its brief runtime. “Lost Cause” was another lead single, and its slippery bass line is still completely addictive. The energy that the lead singles lacked is made up for by the accompanying tracks on this album, and that more understated delivery makes more sense in the context of the project. “Halley’s Comet” is a very emotional piano ballad that, along with the following track, gives pause to an album that is already moving full steam ahead. I’m a sucker for slower, introspective tracks, so while this may be too much of a downer for some, it’s luckily right up my alley.

“Not My Responsibility” feels like an interlude in the tracklisting despite its nearly 4-minute runtime. On this track, Eilish uses spoken word to confront the amalgamated collective of judgmental figures that have critiqued her as an artist and a person since she was a teenager. She directly acknowledges the “controversy” behind what she wears and how she looks, which I commend as a bold, confident, and necessary statement that applies not just to her, but to all women who are unjustly judged for their appearance and expression. Finneas then works his magic by transitioning this track effortlessly into “OverHeated”, which is another highlight (of many) here.

I thought that “Everybody Dies” would culminate in a more poignant message by its end, and while I enjoyed this track, I think that it could’ve been given more thought and attention. Perhaps this is just because all of its surrounding tracks are just so refined and impressive. The next three tracks are all singles, and all fit well together, especially as the impactful “NDA” flows triumphantly into the upbeat “Therefore I Am”. Finneas really knows what he’s doing, doesn’t he?

This album’s title track is quickly becoming my favorite piece of music Billie Eilish has released thus far. The two-part track mirrors the structure of Phoebe Bridgers’ “I Know The End”, which was one of my favorite songs last year. Eilish contemplates a failed relationship and how she has coped with it ending in the album’s first half, backed by simple acoustics. The second half of this track is simply astounding, as electric guitars pair with Eilish’s passionate and overcharged delivery. This track is so incredibly well-written and assembled that it makes me reassess Eilish’s ceiling as an artist, which now feels non-existent. Pair this with such a great music video, and you have a nearly perfect track. “Male Fantasy” is a wonderfully melancholic closer that allows Eilish to acknowledge the industry’s shortcomings and a male-centric society that she has had to continue to try to overcome as a young woman paving her own path. All in all, this is another great track on an already amazing album.

While the drawn-out rollout for this project left me slightly concerned with its direction, its actual release completely relieved any worries I had. Billie and Finneas have once again struck gold with their homegrown musical genius, proving that their debut success was anything but an anomaly. Creatively, Eilish is charting unnavigated waters at such a young age - and I can’t wait to continue to watch her growth as an artist. Her concert can’t come soon enough.

Favorite tracks: “Getting Older”, “Billie Bossa Nova”, “my future”, “Oxytocin”, “GOLDWING”, “Lost Cause”, “Halley’s Comet”, “OverHeated”, “Your Power”, “NDA”, “Happier Than Ever”, “Male Fantasy”

SCORE: 8/10

Album Review: The Off-Season - J. Cole

Fayetteville, North Carolina native J. Cole has established himself as one of the strongest rappers in the genre’s modern era. The self-described “middle child” of hip-hop, Cole embodies the aesthetics of modern styles while staying true to the roots of rap. The result of this dedication is a philosophical, lyrically talented artist with well-produced beats and a contemporary delivery. In the lead-up to The Off-Season, Cole released two singles and a viral freestyle on LA Leakers, along with a mini-documentary that captured the recording process for this newest project. These teasers had fans excited, expecting Cole to return to form and to deliver one of his strongest albums yet. Luckily, that is exactly what we received, as this 12 track offering clearly demonstrates Cole’s maturation and growth as an artist with many great songs to choose from.

Cole wastes no time setting the stage for things to come with the project’s opening track “9 5 . s o u t h”, which features lyrical accompaniments from Cam’ron and Lil Jon. A hard-hitting bass pairs well with Cole as he spits bar after bar, introducing the audience to his newly refined and intricate skills. The one-liners are strong right off the bat, with “Krispy Kreme dreams, sometimes my dogs wanna kill 12” standing out. “a m a r i” is a strong second song, featuring more of a modern and casual delivery style from Cole who still comes off as hungry. Again, we see him switch things up with autotuned and sung sections throughout. “m y . l i f e (with 21 Savage & Morray)” is one of my favorites on the album, utilizing its features incredibly well. The instrumental here reminds me of 21 Savage’s “a lot”, and goes very smoothly with his verse. Each artist discusses the benefits of persevering through hardship, which is something both of them have had to do throughout their careers and lives.

“a p p l y i n g . p r e s s u r e” sees Cole reflecting on the insincerity of rappers who tout false wealth through material goods without having the funds to justify them. The instrumental is somewhat one-dimensional here for me, so I’m glad this track is less than 3 minutes long. “p u n c h i n ‘ . t h e . c l o c k” is another short track that lets Cole discuss the many hours he has put into his craft, featuring an audio soundbite of a Damian Lillard interview, which is one of the many basketball references found throughout the album. This makes sense considering that Cole is now playing basketball professionally in Africa. “1 0 0 . m i. l ‘ (with Bas)” features Cole reflecting on how far his music has come despite his previous successes, which haven’t discouraged him from still always refining what he does best.

“p r i d e . i s . t h e . d e v i l . (with Lil Baby)” is one of my favorite songs on the album, featuring the same instrumental as Aminé’s “Can’t Decide”. As the title suggests, this song discusses the damaging nature of pride in different social environments. The transitional handoff to Lil Baby’s feature is seamless and thoroughly impressive, as he becomes one of my favorite feature artists as of late. “l e t . g o . m y . h a n d . (with Bas & 6LACK) is one of the most substantively mature songs on the project, echoing the themes of “4 Your Eyez Only”. Cole reflects on his doubts and fears, and what it’s like to be the father of a Black son in America. This is another great track.

We heard the next two songs before the album’s release, and luckily “i n t e r l u d e” and “t h e . c l i m b . b a c k” still hold up well in the project’s tracklisting. “c l o s e” reflects on a friend who fell into the pitfalls of drugs, but unfortunately this track is less than memorable to me for some reason - something’s missing on the penultimate song. Finally, the closer “h u n g e r . o n . h i l l s i d e (with Bas)” ties up any loose ends wonderfully. Here, Cole declares that he will always be the same person no matter how far his artistic career takes him. Bas closes the project with fantastic contributions, and Cole’s hard work proves paid off.

The Off-Season is a lot of what I wanted from a new J. Cole project. He has clearly reflected on what works for him as an artist, refining and practicing his craft to produce introspective, hard-hitting songs with lyrical depth and complexity and mass appeal, but there is still room to grow. It seems that he will soon be dedicating more of his time to pursuing other forms of expression besides rap, but I don’t think this is Cole’s final project. I highly suggest that you check this album out, as it’s my favorite of his since 2014 Forrest Hills Drive.

Favorite tracks: “9 5 . s o u t h”, “a m a r i”, “m y . l i f e (with 21 Savage & Morray)”, “a p p l y i n g . p r e s s u r e”, “1 0 0 . m i l ‘ (with Bas)”, “p r i d e . i s . t h e . d e v i l (with Lil Baby)”, “l e t . g o . m y . h a n d (with Bas & 6LACK)”, “i n t e r l u d e”, “h u n g e r . o n . h i l l s i d e (with Bas)”

SCORE: 7/10

Ossoff & Warnock Win Runoff Elections, Secure Democratic Senate

The world turned upside down. Last night, the polls closed for the 2021 Senate runoff elections here in Georgia. Incumbents David Perdue and Kelly Loeffler attempted to fend off challengers Jon Ossoff and Raphael Warnock, respectively. After months of anticipation, polling, and campaigning, we finally have a definitive result and outcome for this all-important election. Both Jon Ossoff and Raphael Warnock have been declared victors by Decision Desk HQ, securing a 50-50 Senate with Kamala Harris’s tiebreaking vote and a Democratic majority in the Senate. It feels like a dream.

Watching Georgia shift left over the years has been satisfying and inspiring. I never would have thought four or eight years ago that a Democratic presidential candidate would win this state, let alone win two Senate elections in the process. While I believe that time moves the country in the direction of progress, it’s interesting to try to unambiguously determine the factors that helped decide this election in favor of the Democratic candidates. I believe this can be credited to President Trump’s attacks on democracy, two largely unpopular Republican candidates in Perdue and Loeffler (especially the latter), and Stacey Abrams’ support of two solid candidates.

Donald Trump has repeatedly claimed that the 2020 Presidential election was rigged in Joe Biden’s favor. In doing so, he has delegitimized and negated the importance of each individual vote. Many of his supporters believed that their vote held no significance, and decided not to vote altogether. The rallies he held prior to the election, which were supposed to show support for the Republican candidates, wound up being complaining fests as Trump reflected on what he delusionally believes was a stolen election. That being said, even if he had shown more support for Perdue and Loeffler, it might not have made a difference.

Polls prior to the election showed that Perdue was trailing Ossoff less than Loeffler trailed Warnock. I credit this to Perdue’s actual incumbency, in that he had previously won an election to secure his seat in the Senate. Loeffler, on the other hand, was a Trump appointee who never won elected office, and instead was vying to secure her first victory in these runoffs. Both of these candidates made dubious and questionable decisions along the campaign trail, including when Loeffler likened herself to Atilla the Hun, when Perdue was photographed flashing a white power hand gesture, and when both candidates gave terrible debate performances and openly opposed further COVID-19 stimulus for Georgians, among many others. So the Republicans definitely messed things up for themselves, but how did Democrats break their runoff / mid-term dry spell habit of low voter turnout? Simple. Stacey Abrams.

The woman is a national treasure. Her ability to build a network of organizations dedicated to registering new voters from underrepresented communities ensured that over 800,000 Georgia residents were going to vote in these elections. With margins as small as the ones seen in Biden’s, Ossoff’s, and Warnock’s victories, it’s hard not to say that Abrams was a deciding factor. I hope that she decides to run for governor again in 2022 against Brian Kemp, and if she does, I like her odds. Georgia could be the next Virginia.

After growing up in Illinois and living in Georgia for the past eight or so years, it feels good to say I live in a blue state again. Attacks on Democracy, minorities, and common sense legislation just don’t work on an increasingly left-leaning population in Georgia anymore. I sincerely hope that a Democratic trifecta leads to the passing of meaningful and substantial legislation, and as a progressive, I won’t be afraid to call out the Democratic party if they stall on getting things done. For now, though, let’s celebrate the fact that Democrats took all three branches of government, and that they will take things over in just a couple weeks. Light at the end of the tunnel… finally.