Eli Manning was a very good NFL quarterback. The dude won two Superbowls and did so beating one of the best quarterback / head coach duos of all time in Bill Belichick and Tom Brady. TWICE. But he's always going to be in the shadow of his older brother Peyton. He's good, but not an all time great. This tier is dedicated to Eli.
#39. GLOW ON by Turnstile
While it would have been easy for Turnstile to churn out another collection of ass-whooping mosh pit anthems for their third LP, instead they've taken a disarming detour into post-hardcore dream pop. It's an aggressively ambitious collage of genres that at it's best comes off as a millennial response to The Refused's "Shape of Punk to Come" but at it's worst, sounds closer to something P.O.D. would have churned out near the turn of the millennium. But it's a fun and frantic experiment no doubt, even if the meshing of styles can be clunky and a little goofy at times (like on "Holiday" for example). But I'm so glad they didn't just settle on becoming the latest punk band to turn shoegaze.
#38. SKA DREAM by Jeff Rosenstock
What was initially thought to have been an April Fool's Joke (since it was announced on April 1 for an April 20th release date), Jeff Rosenstock actually delivered on his promise of a ska re-construction of last year's "NO DREAM". The only real problem with it is that "NO DREAM" is just so fucking good as it is. It's nearly impossible not to compare the previous arrangements to these new recordings and as a result, I'd say there's really only a handful of tracks that are improved upon here. But that doesn't mean this isn't a fun as hell piece of supplemental material for fans to chew on while we await his next masterpiece. Thanks Jeff!
#37. Swim Out Past The Breakers by Telethon
While Telethon's last record leaned on piano driven storytelling, like a pop punk Ben Folds, "Swim Out Past the Breakers" brings some major Antarctigo Vespucci vibes (and even features a Chris Farren cameo on the closing track). But it's also very reminiscent of Say Anything's "Baseball" in that even when the execution isn't perfect, the potential here jumps out and slaps you across the face. The songwriting is phenomenal, it's just a matter of time for the production to fall into place for this band to blow the fuck up. Now this record seems to lose it's way somewhere after "Checker Drive", drifting into a country rock / Americana stylistic misstep, but it's easy to overlook that once you've rocked the fuck out on the first half.
#36. LP1 by Couplet
On the debut album from Couplet, You Blew It's Tanner Jones finally gets to progress past his emo-revival roots without the inherent expectations attached to his former moniker. And I'm so fucking glad because this is a beautiful fusion of smoothed out electronic production and first wave emo vibes. And the percussion is absolutely spectacular - infusing an urgency to the otherwise mellow proceedings.
#35. A Diabolic Thirst by Spectral Wound
Spectral Wound delivers a punishing brand of black metal with triumphant power leads and relentless blast beats. Can we call it "Black Power Metal"? "Stadium sludge"? Whatever, don't get caught up in the ridiculous sub-genres, just listen on the loudest system you can find - preferably "Frigid and Spellbound" - the album's clear standout track. Also, this may be the best album artwork of the year. I want this on a t-shirt, stat.
#34. Montero by Lil Nas X
Honestly, I had no interest in Lil Nas X until I saw how mad his flamboyant persona was making conservatives. And releasing the most successful single of all time before you've even dropped your debut LP is a massive load of hype to live up to. But for the most part, I think the dude does just fine. He's much more than the country rap gimmick that sling-shotted him into superstardom and the latter half of this record shows promise that he's much more than a gen Z one hit wonder.
#33. What's So Fucking Funny? by Webbed Wing
Despite some sub-optimal lyricism and an unexpected country detour on "Need You Around", Webbed Wing's second LP is a solid Rozwell Kid substitute with heavy top end guitars and 90's alt rock energy oozing out of every track. It could use a little more personality but as it is, it's definitely worth your time. What's with all these bands using clowns for their albums though? Is there some through line with Webbed Wing and the upcoming LPs from Prince Daddy and Mom Jeans?
#32. An Evening With Silk Sonic by Silk Sonic
Two of the most musically gifted young men on the planet, Bruno Mars and Anderson Paak combine to form Silk Sonic - a joyous celebration of '70s soul throwback tracks that may not pack much in terms of lyrical content but the hella clean, airtight production is staggering. Not quite as prolific as their individual efforts, however it's an incredibly fun side project none the less. But it should have been a little funkier...
#31. Valentine by Snail Mail
Snail Mail returns with a surprisingly dancey expansion of her earlier sound (specifically on standout tracks like "Valentine" and "Ben Franklin") while maintaining the candid emotional tone that made her debut so memorable. This record sounds infinitely more full than "Lush" and honestly shows signs of a superstar in the making. The record tails off a bit in the latter half but the album is so well constructed that it's hard to walk away unimpressed and excited for what the future may hold.
#30. Stand for Myself by Yola
The issue with most nostalgia acts is that eventually, you run out of styles to regurgitate. But Yola does more than just repeat her obvious soul influences, she intertwines them with traditional country sensibilities. It's almost jarring how well she transitions from the soulful ballad "Dancing Away In Tears" into a country standard like "Diamond Studded Shoes". At first listen you'd almost think these were songs from separate albums but somehow Yola provides the perfect intersection of these two distinct sounds, breaking new ground altogether.
#29. Draw Down the Moon by Foxing
As much as I shit all over Green Day, Weezer, Foo Fighters or even Citizen this year for trying to make the jump to electropop rock, the only band I've seen make the transition successfully thus far has been Foxing with 2018's "Nearer My God". And what makes Foxing's transition work so much better than the others is the incredible lyricism and vocals from Conor Murphy, keeping the soul of the band intact despite the radical shift in style. "Draw Down the Moon" is somewhat lacking in that area though. It doesn't feel nearly as ambitious or heartfelt as "Nearer My God" but very few albums do. It's a solid follow-up even if it didn't quite set the world on fire the way Foxing seemed to have hoped it would have.
#28. Jubilee by Japanese Breakfast
On the aptly titled "Jubilee", Japanese Breakfast hones in on a sound balancing dancey rhythms with delicate lyricism, the likes of which I haven't heard done this well since early Camera Obscura. "Be Sweet" is a joyous indie pop banger but for me the highlight comes with the retro waltzy "Kokomo, IN" (and not just because that's where my wife grew up, I swear). The ending tails off a bit but it's hard for anything to follow that sexy ass saxophone breakdown in "Slide Tackle".
#27. Astral Pariah by Trophy Scars
Mid 2000's post-hardcore journeymen Trophy Scars return after a 7 year absence with a bold and unexpected alt-country, blues-western epic that sounds like Man Man took peyote in Monument Valley with Tom Waits. Lots of slide guitar, raspy growling vocals, and an eerily foreboding saloon piano has this record oozing with atmosphere even if it's not necessarily as dynamically composed as Trophy Scars' earlier work. "Brother" feels like the center piece of this haunting medley that serves as a welcomed return but with only 29 minutes of material to show for their 7 year hiatus, you can't help but wish for a little more and hopefully there will be...
#26. The Shadow I Remember by Cloud Nothings
I think you'd be hard pressed to find anyone on the planet who used their lockdown time more productively than Cloud Nothings. "The Shadow I Remember" is the 3rd full length album they've released since last June on top of a monthly subscription service which gave subscribers an exclusive 4 track EP every single month from August 2020 to July 2021. Holy shit man. "Am I Something" is clearly the best track on the album but the entire second half of this record is loaded. The beginning unfortunately, doesn't quite gel the same way. But once it gets going, it's definitely another solid addition to their ever expanding catalog.
#25. G_d's Pee AT STATES END!
by Godspeed You! Black Emperor
The seasoned veterans of instrumental ambient post-rock chaos have returned with their most triumphant effort in nearly a decade. But if I had to pick any band to score the hellish cultural landscape we currently find ourselves in, Godspeed You! Black Emperor might be my first choice. "G_d's Pee AT STATES END!" sounds like recovered artifacts of a post-apocalyptic human uprising found among the remains of an industrial wasteland. The triumphant swells, eerily echoing interludes and bombastic finale make it one of the most cinematic sounding records of the year. It's a lot to take in.
#24. Congregation Pestilence by Drawn and Quartered
I don't know why but it took listening to this record for me to finally realize nobody's really making straight death metal anymore, huh? Drawn and Quartered delivers a pounding onslaught of guitar hooks and thrash beats that I never realized I missed once As Blood Runs Black and Knights of the Abyss disappeared. Being BROOOOTAL hasn't been this much fun since the early 2010's and I'm glad to have some variance in my metal consumption these days after the over abundance of gloomy sludge and black metal.
#23. Cavalcade by black midi
Much like fellow post-punk pioneers Tropical Fuck Storm on their own sophomore effort, black midi gets a little too slow for my taste on their follow-up. However, the ingenuity displayed by the avant-prog, indie math four piece from London is impossible to ignore. Specifically on the album opener "John L" which most closely resembles the fast paced energy buzzing through their debut. It also has a prog-hook the likes of which haven't been achieved since King Crimson. The record is a collection of impressive instrumental complexity paired with slower, drawn out vocals that ends in a very mixed bag for me. Still demands a listen through though. Good, not great.
#22. Happy Birthday, Ratboy by Ratboys
Barely a year after 2020's Printer's Devil, Ratboys have returned with this surprise release celebrating the 10 year anniversary of their first EP - RATBOY. And while it starts a little slow with their re-recorded material (especially compared to Printer's Devil which kicks off with two of the best tracks the band has ever put out) "Happy Birthday, Ratboy" actually feels like the most complete record the duo has released to date with the way it covers all that they're capable of. Especially when you receive the shot of adrenaline from album highlight "Collected" and the closer "Go Outside".
#21. Bo Jackson by Boldy James and The Alchemist
I'm really glad producers are starting to share top billing with rappers in the hip hop world. Especially on a record like this where I'd credit 99% of the album's strength being The Alchemist's astounding ability to create such lush landscapes of enthralling music. So much so that I even felt a couple of times that he may be wasting his best material on a less skilled MC like Boldy James. But the production is so immaculate that it's easy to ignore the occasionally sloppy flow of Boldy. Especially when the album kicks into overdrive with "Diamond Dallas" and "Flight Risk".
#20. Colors II by Between the Buried and Me
Between the Buried and Me were one of my absolute favorite bands of the late 2000's. But they've struggled to recapture that same excitement they carried with them in their apex in subsequent releases. And by titling their latest release "Colors II" it's clear the band is trying to recapture that same ambition as well and for the most part, they succeed. "Fix the Error" is a brilliantly bizarre single and the onslaught of wah petals, organ keys, and oriental synth hits evokes the memory of BTBAM past effectively. A fun trip down memory lane, even if it doesn't blaze down any new trails. In terms of sequels, it's more of a Lethal Weapon 2 than a Godfather 2. But that's okay! Lethal Weapon 2 kicks ass!
#19. Infinte Grainte by Deafheaven
Seemingly the final mainstream metal band it's publicly acceptable to endorse, on their fifth album Deafheaven have fully embraced their shoegaze undertones and almost ditched the metal aspects of their sound entirely. And yet somehow their much calmer, subdued arrangements still pulsate with the same energy that their heavier music does. Largely due to the kinetic innovation from the drums, Deafheaven has made a shoegaze album that still very much sounds like a Deafheaven record. Bringing a level of intrigue and ingenuity to a sub-genre I've found stale in the past, the incredible songwriting and dynamic compositions showcase Deafheaven's ability to grow as artists and reach beyond the gimmick of "blackgaze" that elevated them into the fringes of mainstream.
#18. CHRISTFUCKER by Portrayal of Guilt
I really didn't expect a record called "CHRISTFUCKER" to be this groovy. Yes, it's incredibly abrasive at times but somehow it retains an enchanting rhythm throughout. Call it jangle goth? "Fall From Grace" is the standout track, with the band's vast ability to meld in your face hardcore tendencies with slow core riffs that embed themselves into your brain for days. Destructively catchy - call it crust groove? Sorry, I'll stop. This album rips, that's all.
#17. For My Mama And Anyone Who Look Like Her
by McKinley Dixon
Maybe the most literal and successful execution of a jazz rap fusion album I've heard, McKinley Dixon's soulful 3rd LP accentuates the best ingredients of both anthemic hip hop and instrumentally dynamic jazz without sacrificing the integrity of either. It's kind of a perfect recipe of abstract dirty south expressionism. Remarkably smooth and impassioned, this album has a soulfulness to it that's rarely been captured this effectively without coming off as corny. Incredibly innovative and undeniably sincere.
#16. Not Forever, But For Now by Funayurei
Funayurei's sophomore effort, "Not Forever, But For Now" carries with it a confidence that was absent in their debut album and exudes a sultry, neon drenched aura of heartbreak and desire that would make The Chromatics proud. And as well as Funayurei's 80s synth production nails the familiar aesthetic of the era on songs like "Ghost Stories" and "Autumn Leaves" - the sound progresses into darker, industrial terrain as the album sinks into the latter half. Climaxing with the ominously orchestral "Dirge" then bleeding into "What I Would Do To You", the fragile delicacy of the album's opening evolves into a sinister sound that would fit right in on a 90's Depeche Mode record. This is an immersive breakout achievement for a synthpop duo on the rise.
Listen to our interview with Funayurei here
#15. Home Video by Lucy Dacus
For me, the queen of sad girl summer had to be the lyrically astounding Lucy Dacus. From the forbidden love ballad "Christine" to the poignant longing of "VBS" no album was more emotionally gripping in the summer of 2021 than "Home Video". Granted, an album this singular in tone can come off a little one dimensional but she nails that tone so spectacularly that I can't really fault her for that. I can blame her for the oddly placed auto-tune on "Partner in Crime" though. Regardless, this is a solid selection of songs to sob with.
#14. South Loop Summer by Hospital Bracelet
Midwest emo / power pop isn't necessarily a genre starving for new material but that's what makes Hospital Bracelet's debut LP all the more remarkable in that it still manages to stand out among the overly crowded field. Most of which is due to lead singer Eric Christopher's impassioned, wailing vocals and scorned lyricism that adds an energy and levity to each track. The complex instrumentation paired against the long drawn vocal delivery is very reminiscent of Looming, with a bit more urgency and frantic pop punk energy. An incredibly promising debut and at just 28 minutes, it's almost demanding you to play through it again and again and agin.
#13. Bless My Psyche by Sincere Engineer
It's hard to believe it's already been 4 years since Sincere Engineer burst onto the scene with Rhombithian, but their sophomore effort is more than worth the wait. It's an unrelenting, hopeless romantic hit machine crescendoing with the album's highlight track "Coming in Last". My only real gripe is the song arrangement that has the record starting surprisingly slow. But the slow songs aren't bad even - just misplaced. Once "Hurricane of Misery" hits the album is unstoppable, I just hope people don't tune out waiting for the shot of adrenaline that's buried 5 tracks deep. But regardless, this is one of the best punk records of the year. Maybe just play it on shuffle?
#12. Seek Shelter by Iceage
Denmark's post-punk pride and joy, Iceage, follow-up their somewhat disappointing 2018 LP "Beyondless" with this surprisingly bright and upbeat collection of arrangements that still carries with it an underlying aura of despair despite the more refined aesthetic appeal. The bass lines are no longer meandering and the guitar fuzz is trimmed to a precise cutting stroke, clearing out a lot of the jumbled feeling their previous record carried with it. But make no mistake, this is just as sonically dense, it's just much more concentrated and aimed in a specified direction.
#11. Lustful Sacraments by Perturbator
If you're anything like me, you've probably grown weary of the countless retro synthwave projects recycling sounds of the 1980s. And while I may have lumped Perturbator into that category previously, "Lustful Sacraments" is a hard deviation for James Kent's darkwave endeavor that leans much further into it's gothic tones and industrial roots than on his earlier efforts. It feels much more exploratory, ominous and fully realized than anything he's put out up to this point in his career. It's a huge stylistic leap (one I'm sure some of his fans are hesitant to take) but this is a vastly interesting path he's heading down and I'm all here for it.
View the Rest of the 2021 Year in Tiers Here:
#music #aoty #albumreview #bestof2021 #albumoftheyear #nowlistening #nowplaying #albums #records #darkwave #synth #synthwave #electronic #Perturbator #Iceage #indie #indierock #postpunk #SincereEngineer #punk #poppunk #powerpop #HospitalBracelet #midwestemo #emo #LucyDacus #Funayurei #McKinleyDixon #HipHop #rap #Jazzrap #Jazz #PortrayalofGuilt #metal #hardcore #Deafheaven #Shoegaze #blackgaze #Blackmetal #BTBAM #ProgMetal #BoldyJames #TheAlchemist #Ratboys #indiepunk #alt #altcountry #alternative #altrock #BlackMidi #PostPunk #AvantProg #DeathMetal #DrawnandQuartered #GodspeedYouBlackEmperor #PostRockk #Instrumental #CloudNothings #TrophyScars #PostHardcore #JapaneseBreakfast #Foxing #Yola #Soul #Country #SnailMail #SilkSonic #Funk #BrunoMars #AndersonPaak #WebbedWing #LilNasX #SpectralWound #Couplet #Telethon #Ska #JeffRosenstock #Turnstile #Hardcore #DreamPop #internetkilledthevideostore