TOP 50 ALBUMS | Bestmusic2021

Carter's Top 50 Albums Of 2021

2021 wasn’t quite the come up year we all wanted it to be, but there’s no doubt that our collective situation improved. While the pandemic still affects our everyday life, the music of 2021 seemed to thrive on the world reopening. The following 50 albums are my favorite from a year where ever so briefly, the world seemed to return to normal once again.

Lana Del Rey

Blue Banisters

The zenith that Lana reached with Norman Fucking Rockwell! was probably too high a peak to match, but two years later she’s back in the ballpark. Blue Banisters is expectedly lush on the ears, a collection of croons that are unmistakably Lana. She reacts to the COVID-ravaged world around her, and how things have changed since her artistic peak. But luckily for us, Lana’s lost no ground in that time, and Blue Banisters keeps a great artistic streak alive.

slowthai

TYRON

He went and got himself cancelled, then turned it into a banger. Slowthai’s breakout was not without hiccups, and he addresses those hiccups on his self-titled sophomore release. Split into a half of ragers and a half of feelers, both sides of TYRON reckon with the fame, fortune and misfortune slowthai has brought upon himself. Both his rapping and his singing are on point throughout, and the beats and guests he brings along are suitably on point as well. Slowthai’s here to stay barring any future cancellations, and even if he gets canceled again he’ll probably turn it into another banger.

HARD FEELINGS

I’ve decided that anything touched by any member of Hot Chip is dance music magic. Those guys know how to make me move, and the latest spinoff from the band is no different. HARD FEELINGS is 8 tracks of club goodness, with Joe Goddard providing the beats and Amy Douglas providing the vocals. It’s typical disco-dance stuff elevated by two musicians working at their best. In a year where the dance floors returned to normalcy, this is the stuff worth hearing as you dance your heart out.

Holiday Sidewinder

Face Of God

Completely uprooting your signature style is a bold move, but Holiday’s moves have always been bold. It’s that boldness that’s made her a name to watch, and Face of God is her boldest move yet. The pop star guides through misty landscapes, her voice effervescent over sublime, airy instrumentals. As soon as we thought we knew her, Holiday melts away into a dream and continues the intrigue in a whole new way.

Weezer

OK Human

They’re a bit of a tired concept now, but in early 2021 the quarantine album was all the rage, and of course Weezer was going to chase the trend. But rather than continue their drab pop conquest of late, Rivers and company got all baroque on us. The result is an album that, while lyrically banal, continually impresses with great string arrangement after great string arrangement. It’s a unique approach to Weezer’s usual pop rock, and one that’s consistently above their recent output.

Clairo

Sling

Sling builds on everything Clairo is good at in the best way. The instrumentals are pillowy-ier, her voice is clearer, and her songwriting is that much more potent. Through the uncertainty of the world around her, the bedroom continues to be a place of comfort for Clairo, and she gladly welcomes us into her world. It’s all another sign of growth from one of indie pop’s foremost stars, and listening to Sling, you’ll feel as cradled as the dog on the album cover.

Kanye West

DONDA

Expanding on his continued struggles in coping with his mother’s death, Donda is an experience, a two hour long epic almost-mess of an album that somehow all comes together. It’s understandably unbalanced as every modern Kanye project is, but the stark production (Jail) and bevy of excellent guest features (Kid Cudi on "Moon") lift Donda up. And don’t forget Ye himself, as both his rapping (Hurricane) and singing (Come To Life) are as on point as they’ve been in a long time. His fixation of Christian themes isn’t overbearing for the first time, and he weaves it in well with his personal turmoil. For the first time in a while, the hype train surrounding Kanye West’s life finally delivered a worthy album.

Arlo Parks

Collapsed In Sunbeams

One of this year’s best breakout stars, Arlo Parks hit all the right notes on her debut record. Like Clairo and her compatriots that preceded her, Parks sifts through the realm of bedroom pop in an highly enjoyable way, and her confident voice is a wonderful guide. Bedroom pop is quickly becoming a crowded genre, but with efforts like this Parks will sit up at the top for years to come.

Black Country, New Road

For the first time

BCNR make songs so big that even with almost 10 minute runtimes, there’s still not enough time for all their ideas. The songs of For the first time constantly evolve, siphoning guitars, saxophones, violins, drums, and even more into frenetic tracks that are as epic as they are evocative. This style of experimental rock can often become dull, but the intensity of all performances makes each track a must listen. It’s no wonder these guys have had a whirlwind of hype around them, and there are many moments on For the first time that warrant the lyric “the absolute pinnacle of British engineering”.

Snail Mail

Valentine

The crushing success of fame took its toll on Lindsey Jordan, which explains the wait for the release of Valentine. A stint in rehab couldn’t keep her down though, and her return is as strong as her debut. The continual spiral of youthful love is the central theme again, and Jordan’s cries remain piercing over excellent indie rock instrumentals. It’s not easy to navigate the trials of young love, and Jordan does a damn fine job.

The Coral

Coral Island

Transporting the listener to another place is an art, and on Coral Island, The Coral literally send us to their fantasy. A concept double album, Coral Island is one of the most sound indie records of the year, precisely played and meticulously paced. The world has been worth escaping for the past two years, and Coral Island is as fine of an auditory trip to take as there has been this year.

Kacey Musgraves

star-crossed

The pandemic took its toll on everyone in different ways, and it led to Kacey Musgraves’ divorce. Rather than grieve alone, she chronicles it all on star-crossed, from the initial love to the falling apart to the separation and the healing. She tells this story over a blend of her typical country pop style and a heavier use of shimmering synthesizers, resulting in heartbreakingly beautiful music. Time will tell if Musgraves will heal her heart, but star-crossed is an incredible documentation of a terrible time.

Islands

Islomania

Islands take the best bits of New Order, Future Islands and other synthpop greats and simplifies the formula. You won't find a dull moment across Islomania, as every track is catchy in its own way. There's nothing here that hasn't been done before, but there's also no reason you can't find something enjoyable to the record as a whole.

SPIRIT OF THE BEEHIVE

ENTERTAINMENT, DEATH

Listening to ENTERTAINMENT, DEATH is kind of like delving into the devil’s mouth on the album’s cover. It’s intimidating, and your initial encounter is hazy and hectic. But spend more time inside, and the beauty of SPIRIT OF THE BEEHIVE’s brand of noise rock emerges. It’s hypnotic and fluid, free-flowing from one song to another as you continue to navigate music that’s akin to a foggy maze. It’s an addictive maze though, one worth navigating time and time again, and a promising sign that SOTB can be a big player in the rock world for years to come.

Nick Cave & Warren Ellis

Carnage

The latest stage of Nick Cave’s career might just be his finest, and Carnage continues a streak of heartfelt yet ferocious music. The arrangements are as stoic as they are beautiful, a stirring mix of the baroque rock Cave’s Bad Seeds have provided on their last few records. There’s a sense of grief for the world throughout Carnage, one that can turn into rage (White Elephant) and sorrow (Lavender Fields). In these trying times, Carnage makes for a fine soundtrack.

Twin Shadow

George Lewis Jr., aka Twin Shadow, has been operating as one of the more underrated pop artists of the last decade, and it’s a mystery as to why he hasn’t gotten more publicity. Listening to his self-titled fifth record, it’s apparent the dude has a knack for catchy tunes. Eschewing the heavy synthpop of his past, he leans into the funk and soul of his youth, and the results are excellent. Be it a simple love song (Get Closer), a tall tale (Johnny & Jonnie), or a high energy bop (Lonestar), these songs will infect your ears and refuse to leave. This may be Twin Shadow’s most straightforward record yet, and as a result, it may be his most fun.

ABBA

Voyage

Despite over 40 years passing since their last studio album, ABBA return like nothing is different. The Swedish quartet sounds as timeless as ever, as if these songs have always existed despite decades-long inactivity. Whether it’s a tender ballad like “I Still Have Faith In You” or a fun bop like “No Doubt About It”, Anni-Frid and Agnetha’s voices are ageless over Benny and Bjorn’s pristine production. Even the album title sounds so ABBA that it makes you wonder why it took so long for a glorious comeback like this to happen, but I only thank the group for blessing us with the longing disco that we’ve all been missing.

Lucy Dacus

Home Video

Recreating one’s past in musical form is no easy task, but don’t tell Lucy Dacus that. The way Home Video brings us into the Christian summer camps of her youth will make you feel as if you’re there, singing songs and falling in love like you’re a child again. The sincerity in Lucy’s performance is the reason to return to these memories. She’s sweet and brave as heartbreak and questionable ethics run rampant through her childhood. The times of her youth may be bittersweet, but they’re a perfect backdrop to one of Dacus’ best set of songs yet.

Lil Nas X

MONTERO

It’s been over two long years since “Old Town Road” dominated the world, but Lil Nas X hasn’t lost any of the spark that made him a viral superstar. Whether he’s causing a Satanic panic on “MONTERO (Call Me By Your Name)”, taking over prisons in the music video for “INDUSTRY BABY”, or collaborating with fellow superstars like Doja Cat or Young Thug, Lil Nas X sticks to what he does best: quick yet addictive pop hits. The songs on MONTERO pop as much as his previous hits, and Lil Nas X shows a new side of openness on several tracks. Opening up is tough, but spilling your feelings and making it catchy is award worthy. MONTERO was worth every day of the long wait, and a perfect showcase for one of music’s brightest young stars.

Faye Webster

I Know I'm Funny haha

Just as you thought slacker rock was drifting into oblivion yet again, Faye Webster comes through with this gem. I Know I’m Funny haha features absolutely no urgency, fully allowing you to drift through Faye’s ups and downs at a languid pace. The lounge-y instrumentals are consistently excellent, lush on the ears as Faye wonders again and again why she’s fallen in love again. How one can sound so lazy but so entertaining at the same time, the world may never know.

Silk Sonic

An Evening With Silk Sonic

Silk Sonic is like a dream come true when it comes to collaborations. A superstar with a knack for massive hits and a supremely technical musician’s musician? It’s a match made in music heaven, and the resulting album delivers on the hype. The sublime mix of classic R&B and modern pop sensibilities helps every track pop, in both the best and the silliest of ways. This music tries so hard to be sexy that it’s irresistibly corny while still being irresistibly catchy. Music like this will rightfully dominate the charts and Spotify playlists for years to come, keeping us smiling and grooving like it’s the 70’s all over again.

black midi

Cavalcade

No matter where you look on Cavalcade, there’s always a sense of uncertainty. Will the given song switch gears into something completely different? What instrument will be wildy implemented into the song at random? Will Georgie Greep’s voice change from a meep to a bellow? black midi has always kept listeners on their toes, and their mightily impressive sophomore album only ups the ante. These songs needle you with precision, as if every manic guitar & string chord and hectic drumbeat is meant to make you go insane. Though there are moments of genuine beauty (Marlene Dietrich), they only serve to give you time to imagine what bizarre tempo switch is in store next. And once you’re done with the wild ride that is Cavalcade, I bet you’ll be ready to hop back in for more.

Remi Wolf

Juno

One of the most creative debuts of the year, there’s nary a moment where Remi Wolf rests. Much like the album cover, Juno is a Where’s Waldo-esque experience where there’s always a new wrinkle around the corner. Remi’s eccentric voice is only the beginning of the wonderful weirdness. When she’s not panging along about the guys she’s into, she’s singing about everything from her exes, her dog, being a sexy serial killer, and more. It’s all backed by a style of indie pop that’s as electric as the singer, with incredibly sticky beats throughout. Juno is the beautiful beginning of a career that’s sure to keep us entertained for a long time to come.

Big Red Machine

How Long Do You Think It's Gonna Last?

As a side project, Big Red Machine allows Justin Vernon to expand more with his music, and he takes full advantage. How Long Do You Think It’s Gonna Last? continues to explore the sounds of what fall music really is with a bevy of guests, all who fit in well on their song. These collaborations cause a lot of looking inward to move on from grief, loss and more. It’s all backed by a stellar mixture of instrumentals, the kind you’d expect from Vernon and collaborator Aaron Dessner. The more Vernon looks to define how seasons sound, the more he succeeds.

Porter Robinson

Nurture

One of the stars of the dubstep era, Porter has been trying to shed that label for years, and I think he finally succeeds on Nurture. It’s an album that explores every nook and cranny of electronic music, and it looks at these sounds with big, hopeful eyes. The sound of Nurture is very pure, and positivity for the future is a big theme throughout. It’s beautifully arranged and a pleasure on the ears, and an album we can embrace to take us past these COVID-ravaged times as we turn the page on 2021.

Adele

The divorce record is not a new concept (see Number 39: Kacey Musgraves - star-crossed on this very list). But the ability to transport you through the trauma and the healing is an ability few have, and no one has the voice to do it quite like Adele. Her tremendous pipes are now accompanied by an expansive set of intimate instrumentals, ranging from her typical pop radio wheelhouse (Easy On Me, Oh My God) to 6+ minute stunners (My Little Love, To Be Loved). Adele’s as open as she’s ever been on 30, down to literally breaking down crying at the end of “My Little Love”. Though it is obviously hard to hear an icon like Adele in such a down place, putting her pain and healing front and center turns 30 into what I think is her best album yet.

Sleigh Bells

Texis

Sleigh Bells are at their best when they’re pummeling our ears with joyous noise, and Texis wastes no time in blasting us. From beginning to end it’s a roller coaster of noisy pop jams, with a healthier dose of synthesizers than they’ve ever used before. There’s also a sense of kookiness to almost every song, as if the noise is just a front for having some fun. Alexis Krauss’s voice is just as welcoming on top of the chaos as ever, and I must say it is nice to have these guys back after a couple years of layoff.

Olivia Rodrigo

SOUR

Beginning on Tik Tok and ending on awards show stages, no artist took 2021 by storm quite like Olivia Rodrigo did. Everywhere you went you were subjected to her heartbreak and rage, excellently put to song form on her debut SOUR. She expresses her pain in a profoundly human way, the way we all felt it when we were 17. Olivia’s tender voice always seems ready to break, but she keeps it crystal clear whether she’s ready to cry (traitor, drivers license) or commit crimes (brutal, good 4 u). I was certainly skeptical of yet another Disney star getting massive press, but I’m happy to say SOUR proved me way the hell wrong.

Gaspard Augé

Escapades

Justice has always worshiped the prog rock of the 70’s, and Escapades takes that worship to a whole new level. Gaspard Augé’s solo debut will have you soaring over landscapes as fantastical as the one on the album cover. These songs are pure fun, backed by sturdy synth layers that evoke something almost primordial. Augé takes us back to an idealized version of prog where the lyrics can be nothing but “Hey!” over and over (Hey!) or nothing but a yodeling woman (Belladone), yet the sense of unbridled fun is infinite.

Billie Eilish

Happier Than Ever

How does one follow up an album that swept every major Grammy category and became ubiquitous with an entire generation? By remaining 100% true to the person that she is. Billie Eilish is still Billie after blowing up and dying her hair, and she and Finneas are sure to remind us of that on Happier Than Ever. The dry humor and delivery that made her famous are more than intact here, but they come at us in wildly different ways. This music could be featured in underground clubs (Oxytocin), in Hot Topic (I Didn’t Change My Number), or the finale of a seminal teen film (Happier Than Ever). Her sonic palette has evolved, but nothing ever sounds out of Billie’s range, and this album has some of her most impressive vocals yet. It’s yet another landmark moment for an artist that still can’t legally buy liquor. Damn I feel old.

BROCKHAMPTON

ROADRUNNER: NEW LIGHT NEW MACHINE

It’s never fun when a band teases their ultimate demise, but if ROADRUNNER truly is the last BROCKHAMPTON record, they’re going out with one of their best. The boys from San Marcos have put behind years of tragedy to turn in their most cohesive project yet, drawing from rap, indie rock and more. They work in tandem like a small army, picking up where the others leave off, rarely giving us a chance to breath. They’re fiery (BUZZCUT, DON’T SHOOT UP THE PARTY), they’re melodic (I’LL TAKE YOU ON, COUNT ON ME), and they’re emotionally vulnerable (WHAT’S THE OCCASION?). It’s an eclectic and incredible mix from the best boy band since One Direction, a high note to go out on if that is indeed what ROADRUNNER is.

Parquet Courts

Sympathy For Life

When listening to Parquet Courts’ latest, you might have phrases like “Fuhgettaboutit” or “Hey I’m walkin’ here!” come to mind. Sympathy For Life is incredibly indebted to New York City, from the sounds you hear to the images they provide. Opener “Walking At A Downtown Pace” sets the tone for an adventure in groove through the Big Apple. The band’s play is tight as all hell, never missing a beat on an album full of great ones. They’re one of rock’s greatest bands, and they’ve given NYC a great soundtrack for the future.

illuminati hotties

Let Me Do One More

Let Me Do One More begins with a summertime fun fest (Pool Hopping) and it rarely looks back. Sarah Tudzin finally realizes her immense potential on this one, and the resulting indie punk songs deliver hit after hit. Tudzin’s here to have fun, especially at the expense of her enemies. Be it the DNC, health goths, shitty boyfriends, or whoever else, Tudzin lights them up with her energetic and witty wordplay. Even when she’s shouting gibberish like “MMMOOOAAAAAAYAYA”, it packs a punch unlike any of her compatriots. It’s an awesome record that paves the way for more illuminati hotties fun for years to come.

Nation of Language

A Way Forward

The way that Nation of Language utilize the analog synth on A Way Forward give the forgotten instrument a whole new life. Analog serves its purpose perfectly here, working twofold as it brings back memories of when it was common in music and memories of the lost love Ian Richard Devaney laments. Beyond the genius use of analog, these songs are flush with great melodies, from upbeat moments (This Fractured Mind) to more introspective songs (Wounds of Love). They all come together like the soundtrack to a classic science fiction film, a modern marvel with a forgotten sound.

St. Vincent

Daddy's Home

Much like Parquet Courts’ latest, Annie Clark was inspired by New York City on her new record. However, her vision of NYC is a much different one, as she steers her sound towards the funk and groove the city thrived on in the late 1970’s. Every sitar stroke is pinpoint, and Daddy’s Home is as good of a recreation of that era of music as we’ll hear today. It’s also influenced by the return of Clark’s father from prison, hence the title. This event leads to some of Clark’s best songwriting of her career, particularly as the album comes to a close. It all renders Daddy’s Home as another winner from one of pop’s most colorful faces.

The War On Drugs

I Don't Live Here Anymore

Adam Granduciel has spent years perfecting his Springsteen-inspired rock outfit, and I Don’t Live Here Anymore makes its case as his best work yet. Allegedly these songs were reworked and remastered multiple times, and the meticulous nature of the editing process shines through on every track. Each synth-tinged rock epic soars (Harmonia’s Dream, I Don’t Live Here Anymore) and every weary & teary moment cuts deep (Living Proof). Granduciel is still stuck under the weight of the world and his own indecision, but his well traveled voice is as magnetic as it’s ever been. The War On Drugs remains one of the best rock bands working today, and Adam Granduciel can do no wrong.

Little Simz

Sometimes I Might Be Introvert

In order to break out, one must look in. That’s the approach Little Simz took on Sometimes I Might Be Introvert, an album that anagrams to SIMBI, her real name. Simbi is not as boisterous as her rap songs may seem, and she uses that insecurity to maximum effect on Introvert. She rapid fires on her family struggles (I Love You, I Hate You), her struggles with her image (Introvert), and much more across 19 tracks that have more layers upon repeated listens. Beyond her top-notch rapping ability, the opulent production makes SIMBI seem like a tale of legend, a journey through the hero’s mind where she eventually comes out on top. In a year where event rap albums failed to live up to hype, Little Simz blew them all out of the water with this opus.

Japanese Breakfast

Jubilee

"After spending the last five years writing about grief, I wanted our follow up to be about joy." That was the mantra Michelle Zauner took while creating Jubilee, and the joy is clear throughout the record. The overall sound of this synthpop shimmers at every turn, almost blinding with how bright it is. This jubilance carries over into Zauner’s vocals, seeing her as clear and soothing as she’s ever been. In a world where darkness seems to envelope every aspect of life, Zauner chose to be happy, and Jubilee makes us all better for it.

King Gizzard and the
Lizard Wizard

Butterfly 3000

When I said King Gizzard and the Lizard Wizard should record a synthpop album in my review of Infest The Rats’ Nest, I was 100% joking. Yet now, I’m 100% serious when I tell you the band with the best name in the biz nailed the synthpop album. Butterfly 3000 is gloriously Gizzard, as weird as it is musically sound. Every synth glitters in a light never before heard by the group, but the band’s talent makes it seem like they’ve been doing this style of music forever. There’s bouncy bops (Yours, Dreams), introspective songs (Butterly 3000), and moments of pure fun (Catching Smoke). And even though I wouldn’t call this a quarantine album, the band’s thoughts on lockdown leak through on album highlight “Interior People”. So now that they’ve conquered yet another genre, why not keep expanding? I’m sensing an opera album next.

Low

HEY WHAT

HEY WHAT is full of psalms of distortion. Alan Sparhawk and Mimi Parker sing like a folk duo with beautiful harmonies, but any sense of calm is destroyed by the harsh blasts of noise constantly surrounding them. But producer BJ Burton turns this noise into something incredible, creating a stark yet beautiful contrast between the singer and the instrumental. These psalms constantly threaten to fall apart into nothing but chaos, and in the hands of a lesser artist they would. Low took this potential chaos and turned it into one of the best and most unique albums of 2021. Go figure.

Taylor Swift

Red (Taylor's Version)

I went back and forth on including an album that’s almost ten years old on this list, but the fact of the matter is this: Red is Taylor Swift’s best record, and Red (Taylor’s Version) is a showcase of her best music and also her growth as an artist. Though almost identical to the original, Taylor’s voice sounds oh so more nuanced and mature, giving every song new life. The perfect dichotomy of country and pop sounds just as good now as it did then, and it’s like hearing career highlights like “22”, “Red” and “Holy Ground” for the first time again. Beyond the classic album, the bonus songs from Taylor’s vault slide right into the original record, and you’d be remiss to think they’ve been around forever. Taylor’s talents for turning teenage heartbreak into teenage anthems remain as strong as ever on these vault songs, and it all culminates in an expanded version of “All Too Well”. It’s an incredible finale to an album that defined the 2010’s, and Taylor’s current re-recording crusade ensures it’ll define pop music for another decade.

Mdou Moctar

Afrique Victime

On no other album in 2021 will you hear a guitar played with such reckless abandon than on Afrique Victime. Mdou Moctar takes us soaring over African landscapes with his trusty instrument, and every track sizzles with blues rock joy. He and his band are in total sync, revolving around the electric guitar but not slouching on some incredible drum patterns. Moctar’s vocals are all in Tuareg, yet his impassioned cries for African equality will ring true to anyone’s ears. It’s albums like Afrique Victime that gives blues rock a giant shot in the arm.

Parannoul

To See The Next Part Of A Dream

I’ll always contend that the most affecting material will reach you regardless of language. Emotion can be felt through noise alone is the strongest, and Parannoul’s uncanny ability to capture raw emotion is on full display on To See The Next Part Of A Dream. Over precisely produced shoegaze, a genre that’s emotional as is, Parannoul sings in Korean yet speaks to everyone. He frequently becomes swallowed in layers of fuzz and guitars, as if he’s swallowed by the feelings of dread and uncertainty of being a young adult. The songs build to monumental climaxes capable by few artists I can think of. Let this be a testament that there will never be a language barrier in music, and those who say there is would be shattered by this incredible album in an instant.

Godspeed You!
Black Emperor

G_d's Pee AT STATE'S END!

Few bands can claim to soundtrack the world like Godspeed You! Black Emperor have for the last 30ish years. No matter who is in the Oval Office or what global atrocities are taking place, they’ve been there to distill it with their ubiquitous brand of post rock. G_d’s Pee AT STATE’S END! is no different, a clear reaction to the COVID-19 pandemic, the failure to combat said pandemic and the racial unrest seen in the last year. They say nothing with their mouths but say everything with their instruments, delivering some of their most haunting and powerful songs to date. You can just feel how big everything is, as if the strings, drums and noise tower over you. Much of this music senses the oncoming dread, sounding like a warning against our current ways. But perhaps the most striking thing about G_d’s Pee is the final suite, where the band almost sounds hopeful. For a band who’s seen so much terrible in the world to send a message of hope is a wonder. Maybe there is hope for all of us after all.

CHAI

WINK

CHAI records always play off the album title, and WINK is no different. The group’s third LP is a playful one in both style and substance, with the quartet as tongue in cheek as ever across their most expansive sonic palette yet. Beyond the energetic rock you expect from CHAI (END), they try their hand at synthpop (ACTION), lo-fi beats (KARAAGE) and even some chiptune action (PING PONG!). It’s a varied mix that sounds easy to these four, with every style and change given the love it deserves. The girls sound right at home singing over these styles, mixing English and Japanese lyrics together with ease. Much like a wink, the album is a quick one, but that wink just invites you back for more. CHAI treats their music like they seemingly treat their life: lighthearted, irresistible and full of fun, and it all makes WINK a triumph.

Spellling

The Turning Wheel

The Turning Wheel is a fairy tale in musical form, a journey through forests, castles, witch huts and more. The production is as immaculate as anything you’ll hear from 2021, a mixture of strings and synths that bring this world to life. It’s the perfect backing for Spellling’s childlike voice. Her delivery is one of the most unique you’ll hear in indie music, and she sings as if the eyes she sees the world through are as big as saucers. It’s an incredible combination of singing and sound, something almost unthinkably good sounding from an independent musician. The tracks that create this world range from romantic (Always) to fearful (Boys In School) to haunting (Queen Of Wands), but the different vibes never feel out of place. Spellling sings about a damn penguin (Emperor With An Egg) and makes it sound wonderful. To listen to The Turning Wheel is to meld yourself within its world world, and once you do you’re going to want to stay.

The Weather Station

Ignorance

Tamara Lindeman sings as if a tear is constantly falling down her cheek. The themes of her fifth album are certainly a cause for these tears, as the reality of climate change comes crashing down across these ten tracks. Using heartbreak and loss as an allegory for the melting of the Earth leads to some of the most piercing and impactful lines of the year, all delivered in Lindeman’s stoic tone. The subject matter may be grim, but Lindeman and her band mask the sadness with sophisti-pop bliss, a collection of woodwinds, strings and more that are so posh it feels like running your hands through a luxurious cat’s fur. It’s a stirring album, one that brings attention to both Lindeman’s cause and Lindeman’s beautiful music.

Magdalena Bay

Mercurial World

Enter the Mercurial World with caution, or with reckless abandon. No matter how you approach it, the irresistible party that goes on inside will hook you and never let go. Mica Tenenbaum and Matthew Lewin have concocted an experience that’s filled with grooves, internet memes, easter eggs, but most of all, great music. You can pick up elements of anything from synthpop to g-funk to vaporwave to emo rock to whatever else you may find throughout the tracklist. It’s a lot to digest but they cobble these sounds together to create something totally unique to themselves. This world begins with “The End” and ends with “The Beginning” because why not? The sense of irreverence is strong in Mercurial World, and the leadup to this record was filled with Tik Toks, dated websites and more. These two grew up on and are indebted to the Internet, and they take the World Wide Web into their own fantastic place. It’s one of the best debut albums in a long time, a great distillation of the weirdness of the internet, and a hell of a lot better than that Metaverse garbage Zuckerberg has been peddling lately.

LUMP

Animal

Every moment of LUMP’s sophomore record feels alive. It pulses with life, like a monstrous heartbeat coming from deep inside the Earth. Each moment on the record feels like a different animal, a chimera of fascinating sounds. Animal flutters like a butterfly in “Bloom At Night”, it prowls like a panther on “Animal”, and it leaps like a monkey on “We Cannot Resist”. These songs flow seamlessly together thanks to Mike Lindsey’s masterful hand, using guttural strings and spirited drums to sew this creature together. Laura Marling provides the voice of this beast, singing of carnal desires with a simple directness. Her pristine croons end up in layers upon layers of indie rock genius, like guttural guitars and spirited drums. Every bit of instrumental play only enhances the feeling that the record is its own living, breathing organism. It’s rare for a record to sound this cohesive, with every moment working in tandem to create something even bigger than the sum of its parts. Animal is a landmark moment for indie, an under-appreciated gem that your favorite artists could one day call their favorite album.

Tyler, the Creator

CALL ME IF YOU GET LOST

It’s no coincidence that my favorite album of 2021 is a globe-trotting affair. After a year in which we were confined to our own space for far too long, the feeling of freedom and traveling has never felt more exhilarating, and Tyler takes that feeling to a whole new level. CALL ME IF YOU GET LOST is all about getting away, be it from quarantine, your past or your present. It’s a tale of excess in the highest form, where no expense is spared on both the trips Tyler takes or the music he creates. Tyler enlisted mixtape master DJ Drama to craft an opulent experience, and there’s truly something for everyone on CMIYGL. You’ve got the grungy rap he cut his teeth on (LUMBERJACK, JUGGERNAUT), the smooth R&B/pop from his last few albums (WUSYANAME, RISE!), and of course a double song that’s the highlight of the whole experience (SWEET/I THOUGHT YOU WANTED TO DANCE). There’s also some lyrical flexes (MASSA, MANIFESTO) where Tyler’s ability to expose his innermost feelings on national issues is on full display. It’s almost magical how these various songs flow together, and for an album that’s almost an hour it feels like a breeze. And what is a trip without your best friends? The artists that join Tyler’s world trek perfectly slide in on every song, and some sound as good as they’ve ever sounded (that YoungBoy NeverBrokeAgain feature though???). It all adds up to a lavish record, one you can imagine hearing anywhere from the mountains of Switzerland to the outback of Australia. Most of all though, Tyler sounds as free as he’s ever sounded. It’s as if he’s left behind the heartbreak of IGOR and Flower Boy, drowning his sorrows in opulence and new experiences. Judging by the interludes, he’s damn happy doing it. CALL ME IF YOU GET LOST is proof Tyler can do whatever he wants, whenever he wants and turn it into something amazing. Go listen to it!