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: An Evening With Silk Sonic - Silk Sonic

After months of anticipation, pop superstar Bruno Mars and underground rapper extraordinaire Anderson .Paak have finally released their debut collaboration album An Evening With Silk Sonic. This ingenious duo took the music industry by storm with this project’s singles, including “Leave The Door Open”, “Skate”, and “Smokin Out The Window.” Blending their natural abilities with a soul-inspired sound all around, Silk Sonic brings timeless feel-good music back to the mainstream. With a runtime of just over 31 minutes, this fun-sized project left me wanting more, but the small offering of tracks is the epitome of quality over quantity.

“Silk Sonic Intro” sets the stage with the album’s “host,” self-proclaimed blaster of the universe Bootsy Collins. This short track does its job of capturing the essence and impression that this album is being performed in a small, intimate concert venue setting. “Leave The Door Open” follows, a now-familiar song that allows Bruno Mars’s vocals to shine and .Paak’s humor to thrive. This song’s music video encapsulates its luxurious aura and rich texture, as just like every song on this album, it is mixed masterfully. The following “Fly As Me” is an album-wide highlight for me, with a bassline so clean that Anderson .Paak could literally rap anything over it, and it would sound good. Luckily, his (and Bruno Mars’s) egos don’t come off as pretentious here, but instead, both artists just radiate well-earned confidence and swagger.

“After Last Night (with Thundercat and Bootsy Collins)” is likely my favorite song on the tracklisting, as every artist’s contribution to the three-part harmonies is necessary and nearly angelic at times. This track is equally sensual and humorous, as this project’s whole atmosphere encourages over-the-top lyricism without ever becoming unbelievably silly. Thundercat was the perfect guest feature for a project like this; the man’s skill on the bass is unparalleled. “Smokin Out The Window” continues this album’s hot streak, essentially offering a “she belongs to the streets” anthem. At first, the “This bitch…” that started each artist’s verses seemed a bit heavy-handed, but the lightheartedness of this song’s music video help me realize the levity intended here.

“Put On A Smile” is the darkest song on the album lyrically and tonally, as Mars and .Paak reflect on what it’s like trying to keep up appearances through heartbreak. I enjoy this track, but it isn’t as distinct or memorable as the others that keep me coming back for more. “777” wears its Bruno Mars influence on its sleeve, painting a picture of Las Vegas gambling and casino shenanigans in a lighthearted and with a fun-first attitude. We then have “Skate”, another solid feel-good single that channels many 70s sounds that complement each artist’s vocal abilities very well - even pushing .Paak further than I thought he was capable of going. Then, to close, .Paak takes the wheel with the silky smooth closer “Blast Off”, which will be a great send-off for their eventual live shows. The increasing pitch changes end this project on a high note, both literally and figuratively, but such a luscious final track would’ve had so much more gravity with just a few more tracks leading up to it, assuming that their quality would’ve delivered just as much without overstaying their welcome.

I see Silk Sonic as a one-time collaboration that seems to have caught lightning in a bottle. Mars and .Paal clearly had fun making this album, which translates to the final product, as this project is just feel-good soul-inspired bop after bop. While I wish there was more to chew on or think about after this album ended, it’s just long enough and varied in its composition to keep on repeat for quite a while.

Favorite tracks: “Leave The Door Open”, “Fly As Me”, “After Last Night (with Thundercat and Bootsy Collins)”, “Smokin Out The Window”, “777”, “Skate”

SCORE: 8/10

Best Foot Forward: A Sneaker Series (Part 14)

Fall is finally upon us, which means that the Earth tones, boots, and Fall aesthetics from my wardrobe are finally in full swing again. This year has been packed full of exciting sneaker releases, collaborations, and high-end designer sales, some of which I’ve been lucky enough to get my hands on. Fortunately, I am once again able to write another installment of my favorite series here on this blog with part 14 of Best Foot Forward: A Sneaker Series.

Pair 1 (Upper Left): Saint Laurent Paris Wyatt in Brown Suede

The Saint Laurent Paris Wyatt has cemented itself as one of the most recognizable and iconic silhouettes in all of high-end menswear. Its signature heel and cowboy-like strap take this pair’s playfulness to the next level in the brown suede colorway, as opposed to my black leather pair’s elegance and presence. SLP’s craftsmanship is top-notch, and after many wears, the Wyatt’s sole is still holding up strongly. I was lucky to grab a pair from SSENSE on an over 50% off sale, which is essential given this boot’s retail price. Even though I will be wearing these year-round, and their deep brown color and buttery suede were built for the Autumn season.

Pair 2 (Lower Left): Air Jordan 1 High Retro ‘85 “Neutral Gray”

The Air Jordan 1 High is easily my favorite sneaker of all time. The “Neutral Gray” colorway, after its initial release in 1985, was brought back for the first time in 36 years this year and came fully adorned with the original detailings that made the first pair so special. A slightly higher-than-usual heel cut, a soft suede swoosh, and an ever-so-slightly blue tint to the sneaker’s tongue are impressive details that complement this shoe’s simple and clean design.

Pair 3 (Upper Right): Air Jordan 3 Retro X A Ma Maniére “Raised By Women”

Of all the sneakers I’ve added to my collection in recent years, the Air Jordan 3 Retro X A Ma Maniére “Raised By Women” is one of my favorites. Jordan Brand’s collaboration with Atlanta streetwear staple A Ma Maniére brings out the best from the Air Jordan 3. Thick suede elegantly replaces the iconic elephant print found on most threes, while aged and vintage-looking color tones add to this sneaker’s vibe. An homage to the women that raised him, this shoe is a powerful statement from its designer. This is easily the sneaker of the year.

Pair 4 (Lower Right): New Balance 550 X Aimé Leon Dore “Evergreen”

Speaking of collaborations, New Balance recently teamed back up with New York streetwear brand Aimé Leon Dore for the re-release of the 550. This vintage basketball silhouette checks all of the boxes for what makes sneakers popular in 2021: It is slightly chunky, features various materials, and features neutral colors that go with everything. I picked up the green pair, but wouldn’t be against also adding the gray ones eventually, as well. The cream lace swap just puts these over the top.

Although I’ve been writing a lot about music on this page recently, sneakers are still my favorite hobby and interest. I’m lucky to rock many of my dream shoes and pick up a lot of the best releases in any given month, and this year has been especially rewarding in that sense. What’s your favorite pair featured here?

Album Review: Friends That Break Your Heart - James Blake

Two years after the release of his critically-acclaimed album Assume Form, James Blake has returned with his highly-anticipated album Friends That Break Your Heart. Blake’s 2019 project was a vessel used to experiment with his sound, vocals, and aesthetic, working with collaborators such as Travis Scott and Andre 3000 to create an understated hip-hop spin on his usual style. Friends That Break Your Heart follows in the footsteps that Assume Form planted, allowing Blake to further refine his delivery with sharpened production, sophisticated instrumentation, and more compelling subject matter than ever before.

Blake, whose previous project centered mainly around self-reflection and introspection, decides to discuss and examine relationships with those closest to him on this project. The complex, lasting effects that the people in Blake’s life have had on him are evident and all too relatable in his lyricism. “Life Is Not The Same” is the first of many heart-wrenching lamentations of connections lost, with a disorienting and swirling trap instrumental that offers the listener no solace from Blake’s heartfelt delivery.

There are few collaborators on this project, but those who are featured alongside Blake are done so effectively and memorably. “Coming Back (feat. SZA)” uses SZA’z vocal abilities seamlessly, and the low-key banger evolves into its second half, featuring echoey and haunting vocals from both artists. After the lonesome and depressing “Funeral”, Blake utilizes Atlanta rappers JID and SwaVay on “Frozen”, one of the most immediately memorable tracks on the project. A unique beat paves the way for hard-hitting bass and well-written verses from the featured rappers here. This song also uses vocal manipulation, which sometimes bothers me, but that instead works very well here.

“I’m So Blessed You’re Mine” is a bit of a Frankenstein’s monster of a track, never fully realizing its identity and instead continually morphing from genre to genre. This experimentation isn’t to the song’s detriment, though; instead, it demonstrates Blake’s continued willingness to experiment, leave his comfort zone, and adapt to new styles. The following “Foot Forward” features production from the legendary Metro Boomin’, whose esoteric and bouncy beat is addictive as usual — this is one of Blake’s smoothest tracks yet.

“Show Me” is a beautiful, heartbreaking duet featuring contributions from artist Monica Martin, whose vocals complement Blake’s dazzlingly. The track discusses observing growth from previous partners, which is an incredibly mature and bittersweet topic that indicates Blake’s growth. “Say What You Will” is one of the most touching and sonically wonderous tracks on the project, as Blake reflects on the self-love he’s cultivated despite the negativity he’s been shown throughout his life from others. Again, it can’t be emphasized enough how spectacular Blake’s vocal performances are throughout this project, and this ballad is no exception.

“Lost Angel Nights” contemplates missed opportunities and trying to endlessly reinvent oneself to remain relevant, especially in such an unforgiving and forgetting industry. These contemplative themes flow naturally into the penultimate title track which really is revolutionary, subverting the typical topic of romantic relationships failing, and instead discussing the tragedy of long-term platonic relationships coming to meet ill fates. This track’s acoustic backing and solemn vocal delivery are truly haunting and tear-jerking to the point that I just want to give Blake a hug. Blake continues his tradition of closing with understated tracks with the final moment “If I’m Insecure”, a beautiful contemplation of love in the middle of all-encompassing misery, something he likens to where we are after recent events, closing the album on a very high note.

The complexity, material richness, and memorability of this album’s back half are some of Blake’s best work yet. As he continues to grow as an artist and as a person, the depictions of the ethereal and relatable reflections he partakes in continue to mature as well, leading to truly cathartic and repeatable listening experiences. Beautiful from beginning to end with only small bumps along the way, Friends That Break Your Heart is exactly what I had hoped for from James Blake, and I highly suggest you give it a listen.

Favorite tracks: “Famous Last Words”, “Coming Back (feat. SZA)”, “Frozen (feat. JID and SwaVay)”, “Foot Forward”, “Show Me (feat. Monica Martin)”, “Say What You Will”, “Friends That Break Your Heart”, “If I’m Insecure”

SCORE: 7/10

Album Review: Sometimes I Might Be Introvert - Little Simz

I was made aware of Little Simz after the release of her 2019 album Grey Area. The London native rapper established her dominance and lyrical stature with track after track packed full of aggressive, hard-hitting bars over refined beats. Only a few minor tweaks away from being perfect, Grey Area was a fantastic introduction to Little Simz’ sound and style. Her most recent album, Sometimes I Might Be Introvert, is in many ways diametrically opposed to the aesthetic of Grey Area, this time employing rich instrumentation and introspective lyricism with almost twice as long of a runtime. All of these changes, however, allow Simbi to explore new genres and prove just her versatile and talented she really is. With apparently only a single sample on the entire project, Sometimes I Might Be Introvert is inventive, masterfully written, and diverse in its construction, leaving no stone unturned by an artist whose introversion manifests in a flawless project.

After learning that this project’s tracklist was a lengthy one hour and five minutes spread over nineteen songs, I grew weary that this project would be bloated and unrefined like many rap albums have become in the streaming era. To my surprise, though, this runtime is precisely how long Simbi needs to explore the many intricate themes discussed here - no more, no less necessary. The project never becomes stale, either, with each track transitioning logically and naturally into the next, oftentimes carrying thematic elements over gracefully to keep the listener engaged at all times. “Introvert” is a grandiose, epic opener, and only two tracks later, “Two Worlds Apart”’s minimal, bass-heavy instrumental sets the perfect backdrop for Simz to deliver complex rhymes schemes. The soul-sample-inspired aesthetics of this project just work for me, and I can’t help to hold on tightly to all aspects of Simbi’s intoxicating wordplay.

The production, sonic elements, and instrumentation for this album were clearly assembled with unrivaled craftsmanship and attention-to-detail that modern hip-hop often lacks. “I Love You, I Hate You” builds slowly but surely, and by its end, Simz has reflected on the challenging relationships in her life, with potent verses two and three that tackle the complicated back-and-forth she has always had with her father, leading to eventual forgiveness - not for him, but for her. “Little Q, Pt. 2” is just as deeply personal, but instead recounting her cousin’s upbringing and unimaginable circumstances from his perspective that would lead most to become resentful or hateful. Instead, Simz grows more empathetic and understanding of those in similar situations to the point that she is able to forgive the boy who once stabbed her. Little Simz’ emotional maturation and intelligence are inspiring.

This album is interesting in part because of its use of interludes, which are actually used correctly and effectively instead of simply for artistic effect and stylization. These spoken-word breaks build the album’s theme just as strongly and efficiently as the tracks do. Simz understands that interludes are best used as turning points in albums, but also as bridges that can connect two thematic and sonic elements together harmoniously.

The middle of the album should give Grey Area fans a taste of what made that project so special, with Simbi dropping banger tracks like “Speed” and “Standing Ovation” that leave no holds barred. Almost every track here sounds like a sample cut or interpolation of a classic hip-hop track, which makes it that much more astounding that this album’s production was almost entirely original. These tracks transition into “The Rapper That Came To Tea - Interlude”, which transitions the listener from more hard-hitting rap songs to the genre-bending styles that Simz has now proven she can also master without wavering in her own element. “Protect My Energy” is not only impressive because it’s a What’s Your Pleasure?-level disco-inspired hit, but because its artist can also excel in complicated rhyme schemes and hip-hop beats as well as she can. “Point and Kill” with Obongjayar is inspired by Nigeria according to Simz, and this authentic African influence can be felt throughout the track just as intended. That same vibe continues into “Fear No Man”, but Simz drops more bars before closing the album out on an introspective high-note.

The album’s penultimate track “How Did You Get Here” is one of the moving songs on the project, as Simz outlines every step that it took to find success in doing what she loves. Themes of perseverance despite doubt and lack of confidence thrive here, as they do throughout the rest of the project. Little Simz rightfully reflects on the uphill challenge she has faced as a Black woman in the rap game but describes how she overcame odds to become the amazing woman she is today. As perfect as this track would have been as a closer, “Miss Understood” yet again one-ups Simz, raising the bar and ending just as beautifully as they started.

Don’t worry, I’m very aware of what I’m doing. After only giving one perfect score last year, you might think my standards are slipping. But as a blogger who frequently reviews music, I find it important to come into albums as unbiased, neutral, and objective as possible while holding a consistent standard for the media I consume. This year has just been that good for music. Promises and now Sometimes I Might Be Introvert are flawless, transcendent, once-in-a-lifetime albums that have come out within months of each other, and they all deserve as much praise and recognition as possible. Little Simz has cemented herself as the best female rapper in the industry with this album, and I cannot wait to see where she is able to go from here.

Favorite tracks: All

SCORE: 10/10