In Search of the 21 Best Albums of 2021: July

Okay, look, this is the July review. And yes, it’s September. Perhaps the August review will make it out before the end of the following month? We’ll see. Meanwhile, whatever month it is, our search for the 21 best albums of 2021 continues!

If this is your first time here, I’m listening to new releases each month, sorting them into categories, and then I’ll do a final shakedown to get the best 21 after the year ends. If you missed previous months, you can find them here:

( January February March April May June )

This is one of three music-related blog series I’m doing this year. We’re at the halfway point of my ongoing review of critic’s choices for the best albums of the 2010s, and my final installment on my reviews of the 20 best albums of 2020 is here.

Before we go on, a quick note about the three categories:

Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. As of the end of July, this list is up to 140 albums, so, you know, it’s going to be a brutal reckoning at the end.

Maybe– These are albums that had definite strengths, but about which I have some reservation. I’ve noticed over the years that sometimes “maybes” linger, so I’m giving them a category just in case.

No– These albums are not in contention. Some of them deserve discussion, though, which I note.

And with that, we better get going, because I listened to 95 new releases in July. So there’s a lot to get through!

Billie Eilish, Happier Than Ever– Her smoky vocals and sharp emotionally complicated lyrics are in top form here, and the music works well with it, be it low-tempo piano cords, waves of electronic shimmer, or smooth beats. A worthy entry, all the way around.

Chet Faker, Hotel Surrender– This alter ego of Australian musician Nicholas Murphy brings a piece informed by electronica, R&B, and 70s flourishes, with a nice spare power, clean production, and some interesting musical, vocal, and lyrical twists. It’s really good, doesn’t sound like everything else I’ve heard this year, and also threw in a Star Trek reference. So, you know, that’s it for me.

Cookie Kawaii, Vanice– Oh my gosh, I love this! Apparently, she’s a Jersey club DJ who broke out on Tik-tok. There’s a2021 story for you. And here she’s delivering electronic dance/hip-hop that’s pure catchy fun, and is smart and coming from a unique point of view.

Dave, We’re All Alone in This Together– Dave is a British hip-hop artist, who turns out to have fierce and intelligent vocals and lyrics, delivered on a nuanced and subtle musical background. His songs deal with the personal and with social issues, and sound authentic and powerful in each vein.

Jodi, Blue Heron– Stripped-down, plaintive, vaguely melancholy. Offbeat and vulnerable lyrics and vocals, with a lurch that is reflected in the music sometimes too. In all, it’s really affecting despite its low-key tone.

John Glacier, SHILOH: Lost for Words– She (this London-based artist, despite the name, is a woman) delivers a disorienting tapestry of beats, music and vocals, informed by a left field hip hop sound and a strong, personal lyrical narrative. A great, low-key gem.

kolezanka, Place Is– Musically and vocally a swirling incantation, with the sweetness of melody, but the surprise and sometimes bite of musical experimentation. Kolezanka is the debut solo project of Kristina Moore, an Arizona native and current New York City resident who is a veteran of several indie bands. You can tell she’s learned her craft well along the way.

Ledisi, Ledisi Sings Nina– Ledisi is amazing, and the Nina Simone source material is great as well. So we have a solid basis, and from there the vocal performance is top-rate, the lyrics are smartly updated, and the musical delivery is in a swinging jazz style that’s a delight.

Los Lobos, Native Sons– Los Lobos is here paying tribute to their roots with a dozen covers of artists from Los Angeles that have influenced them. Multiple genres and eras from the 40s to the 80s get a  turn, in fitting with the band’s own eclecticism. As both a love letter to LA, and a tribute to their influences, it’s pretty effective. And as a showcase for the band’s 40+ years of craftsmanship it’s smooth and powerful.

Lucinda Williams, Lu’s Jukebox, Vol. 2: Southern Soul – From Memphis to Muscle ShoalsPart of the “jukebox” series of Lucinda Williams covering favorites. The source material for her covers here is great stuff. And she covers it well- her strength in terms of musical approach and sensibility fits it so well.

Mega Bog, Life, and Another– The music is acoustic with hints of jazz, flamenco, brill building pop, brittle noise, unusual vocals (sometimes quirky, sometimes whispery, sometimes discordant) and smart, off-center lyrics. It puts me a bit in mind of Laurie Anderson, Lydia Lunch, and the musically sharper side of Ani DiFranco. overall, the whole thing sits on the fine edge of charming and challenging, and that’s a great fence to straddle.

Molly Burch, Romantic Images– Musically and vocally, this sounds like its title-bright and lush with romance. A lot of the songs here felt familiar, in that “this is that song I used to like!” kind of way. One of the songs specifically pitches the joys of nostalgia too, so I think she knows what she’s doing.

Patrick Paige II, If I Fail Are We Still Cool?– The title of this is so charming I was pulling for it on that basis alone. As it turns out, his flow is smooth, the lyrics are sharp, clear and positive, and the production and sampling is spare and off-center (jazz, video game sounds, synth sound effects all make an appearance) in a way that drives everything along. There’s even a framing motif of an airplane flight that actually works with the theme of striving for personal uplift!


Rose City Band, Earth Trip– Country inflected indie with a warm hazy feeling. It reminds me of a certain vein of Neil Young and CSN&Y, but with a contemporary flourish. This turns out not to be an accident as guitarist Ripley Johnson apparently aims for this space in his projects. Just a delightful listen the whole way through.

Sault, Nine– I listened to Sault’s two 2020 releases as part of my review of the critic’s top twenty albums for that year. Darned if they weren’t both excellent, and this is too. Sault is an anonymous British hip-hop collective that mixes influences from electronica, hip-hop, and classic soul in a dizzying and skillful way. The musical side alone would be a treat, but then they have sharp, lucid, and uplifting lyrics and vocals on top of it.

Sonny & The Sunsets, New Day With New Possibilities– It started off sounding like moody and atmospheric acoustic folk with country flourishes, then got weirder and funnier from there. It reminds me of the attention to solid musicianship married with intelligent lyrics and a big sense of humor that Camper Van Beethoven had. Also more than a hint of Jonathan Richman. And it turns out they’re a San Francisco band, so no wonder I like them!

The Go! Team, Get Up Sequences Part I– So fun and energetic- it mixes full on indie rock in a synth/bedroom pop vein, 80s-flavored hip-hop, and what sometimes sounds like high school band practice. This the 441st new album I’ve listened to this year, and nothing else sounded like. And not many were as delightful either!

The Wallflowers, Exit Wounds– So, I’m from the 90s musically, thus I’m going to be interested in the Wallflowers based on lingering love for their 1996 album Bringing Down the Horse. Also, I’m a huge Bob Dylan fan, so I’ll always be curious about what Jakob’s up to musically on that basis. The good news for me on both fronts is that, without ever sounding derivative, he does remind of his father, and he continues to have his 90s gift for incisive lyrics, and a way with melody within solid rock structure. This album works, start to finish.

Tones and I, Welcome to the Madhouse– This Australian singer-songwriter delivers dance music as madness. The opening is cheerful and truly unsettling. Subsequent tracks are more conventional but still have a lot of intelligence emotional bite and surprise twists, unusual flourishes to both the music and the lyrics.

TORRES, Thirstier– Hello, is this a guitar wall of sound? With pleasing outbreaks of dynamism? And smart heartfelt lyrics delivered via lackadaisical yet powerful vocals from a frontwoman? I am practically required by law to like this combination. The album even has an ending that feels like an honest-to-goodness ending! TORRES is Mackenzie Ruth Scott, and I approve her message.


Wavves, Hideaway– Great lo-fi ringing indie rock from this San Diego band. Callbacks to 50s/60s rock, garage rock, the rockier side of 80s alt. Male and female vocalists trading off too, which you don’t hear nearly often enough. If you’re like me, this may restore your faith in the anarchic appeal of real rock.

Willow, Lately I Feel EVERYTHING– This was much rockier than I was expecting. Mostly rocking from a young Taylor Swiftian kind of direction, but full of attitude and musical verve. And sometimes coming in from metal and even Bikini Kill territory, with R&B and hip-hop dashes along the way. Well done young Willow!

Yola, Stand For Myself– Rich, sparkling, full, R&B. This British soul artist’s voice is a force, and musically this has a modern classic sound from all kinds of Soul/R&B directions. You’re in good hands from start to finish.


  • Andy Bell, Another View  -This is not Andy Bell of Erasure, but Andy Bell of shoegaze pioneer Ride. Let me tell you, this makes it difficult to search for. An electronica album by a shoegaze pioneer, well, I thought I was in trouble. But it turns out this is one of the livelier and more interesting electronica rides of the year!
  • Attacca Quartet, Real Life– One source described this as “classical crossover”, and I can see what they mean. A classical quartet goes for a spin that, while instrumentally still classical, has the flavor of rock and electronic dance music. It’s lively, powerful, and feels like it understands the spirit of rock, which I often wish rock still did. Call me crazy, but despite/because of the unusual genre approach, I think it could be a contender!
  • Barenaked Ladies, Detour de Force– They’ve never been less than really fun, and it’s still true here. Some of it feels a little by rote, but other tracks really stand out, and it’s impossible to find anything bad in this album. So I’m not sure it reaches “out of the park, best of the year” status, but maybe?
  • Bleachers, Take the Sadness Out of Saturday Night– Headed by very in-demand songwriter Jack Antonoff, Bleachers at times sounds like new wave, at times sounds like Springsteen (no accident, they’re both from New Jersey and Bruce even appears on one of the tracks), and their album is full of songs about yearning for rising above. The only thing that bumped it off of “yes” was the decision to end on two very muted low-key tracks in a row.
  • Christone “Kingfish” Ingram, 662– You know who’s got it going on as a genre? Contemporary blues. This album is muscular, electric, skillfully played. It falls prey a little too much sometimes, maybe, to production slickness, but really it’s pretty excellent. I wish rock would learn this lesson and be unafraid to produce unapologetic genre music.
  • Dusted, III– I kept thinking this was too much in a muted acoustic vein musically and vocally, but the emotional complexity, intelligence, and bite of the lyrics kept winning me back. Well done, Canadian indie rock band! I’m telling you, Canada is where it’s at!
  • Dave McMurray, Grateful Deadification– A jazz fusion great makes an album of Grateful Dead covers. How’s that for an album concept! My 80s alt teen self would have been aghast at two of the great enemies- Jazz and the Dead- being combined, but my more nuanced adult self thinks this take on it often works surprisingly well.
  • G Herbo, 25– There’s some great song structure work here and powerful clear flow, but it does tip into the autotune school of hip-hop on some tracks. Also, the subject matter and personality behind it is often quite interesting and revealing, but it dips into gangster cliches. On the other hand, he also questions these same tropes, and expresses a yearning for rising above it. And as it goes on, this actually increases.
  • Laura Mvula, Pink Noise– Starts off with those nice sharp metallic beats from the 80s, and strong vocals. It has a late-80s soul/R&B feel, also informed by jazz, and the dub/Caribbean influence often found in British soul/R&B(which makes sense since she’s British). I wonder about the dated feel, and it’s a little more produced than I often like things, but it’s such a fun mix, and her strong presence carries it through.
  • Marisa Monte, Portas– I’m not really up on my Afro-Brazilian pop/jazz artists, but she seems like a really good one! On the one hand, it’s not Portugese’s fault, but I don’t understand a word of Portugese. On the other hand, this is so engaging and charming. So maybe we average out at “Maybe”?
  • Prince, Welcome 2 America– This posthumous album is from unreleased 2010 sessions, but darned if they don’t fit 2020/21 weirdly well, which is one sign of his power. It’s lyrically, vocally and musically for the most part subtle but tight, and full of the utopian themes were one of Prince’s classic preoccupations. This isn’t the most innovative thing he’s ever put out, but it is eerily resonant of our moment.
  • Rodney Crowell, Triage– A country music veteran who helped kick start the neo-traditional movement in the 80s. This outing is often very personal and introspective (fueled both by the influence of the pandemic, and a nerve disease he has developed). The only reservation is that the music and lyrics sometimes go for an almost cliche standard, but he always sound sincere, and affecting. Some good covers, and his originals bring to mind Neil Young and Bob Dylan, which is a pretty impressive thing to have one’s originals do.
  • Son Volt, Electro Melodier– When the principals of Uncle Tupelo went their separate ways, the way Jay Farrar went was to Son Volt, where he continued a sound rather like Uncle Tupelo’s. Which is great! The lyrics do tend a little toward the klunky side of topical here and there, in a way that was charming for an 80s underground band and isn’t as much now, but that’s about my only reservation.
  • Taphari, Blind Obedience– A fun dynamic hip-hop outing, full of unusual musical, vocal, and lyrical choices that evoke a kaleidoscope of ideas and images. A little light/not always coherent, perhaps, for annual best. But maybe not!
  • The Flatlanders, Treasure of Love– Founded in 1972, The Flatlanders were a short-lived country rock/outlaw country band, but the individual members went on to long careers harking to traditionalism, which has fueled interest in their reunions over the years. There are a few originals here, mostly covers. This sounds just like you’d expect based on that, which is a sort of a minus- is it too familiar?, but also a strong plus- it sounds timelessly classic.
  • Tom Petty / Tom Petty & the Heartbreakers, Angel Dream– It’s a bit of a peculiar story. This album features songs from his soundtrack for “She’s The One” in 1993, but it’s not simply that soundtrack- it features some, but not all of the songs from it, and adds four previously unreleased songs from the same period. And it was released by his estate, so it’s official, and in, a way, a new album in its own right. The peculiarity is keeping it from “yes” for me, but it is such an excellent window into one of his most interesting and often overlooked periods.
  • Towa Tei, LP– I do have a generational soft spot in my heart for Deee-Lite, so maybe I’m biased, but this album reminds me of how fun electronic music can be. How it can be clever, knowledgeable of and conversant with musical idioms and what makes a song work, weirdly electronic and futuristic sounding, high energy, and just joyful. It got just bumped out of “yes” by having an out-of-tone with the rest of it dreamy slow number at the end, but otherwise excellent. Thanks Towa!
  • U-Roy, Solid Gold– A fitting send-off for a reggae veteran who is also often credited as one of the inspirations for the development of hip-hop. This album, completed in 2020 and then followed shortly after by the 78 year-old U-Roy’s passing in February of this year, is chock full of well-used guests, and  excellent songs with the particular spiritual-political charge and simultaneous joy of Rastafarian-inspired reggae. If not for two 15-minute versions of the same song in a row at the end, it would have been an automatic “yes”, but even that couldn’t fully defeat it.


  • Alasdair Roberts/Volvur, The Old Fabled River– If you say “Scottish folk musician” to me, I’m well-disposed in advance. That being said, it was a little too all in one groove on the mellow side of folky to stand out. 
  • Always You, Bloom Off The Rose– Lost 80s alt album of the intersection of synth and moody pop rock variety? It was very pleasant, but it got a little too into the sameness of its own grove after a while.
  • Amaro Freitas, Sankofa– A Brazilian jazz album is bound to be a little borderline in terms of what I’m looking for, but, no stone left unturned. It was very nice, but in a too low-key, mellow way to really leave much impression.
  • Anika, Change– This British/German musician, journalist and poet delivers electronic/dance music, but with a spare post-punk edge, high intelligence, and a somewhat unsettling lyrical and vocal presence. The best tracks are great, but it’s a little too inconsistent between the ones that really hit and and muted fade-to-background numbers.
  • At The Gates, Nightmare of Being– Swedish death metal band, from the technical/orchestral side of metal, with a fair twist of thrash thrown in. The vocals are in the shouted school of metal vocals, but are clear enough to make out, which isn’t always the case with that school. Ultimately, I don’t know that it’s committing enough to one or the other of its sounds, or doing anything new or especially excellent enough to reach “best”.
  • Blues Traveler, Traveler’s Blues– I like the inversion of the name. This album sees the band doing a variety of blues covers, which plays to their strengths. For a band fan, for a genre fan, it’s a very worthy endeavor but, though it catches fire on some tracks, for the most part it doesn’t rise decisively to the level of year’s best.
  • Born of Osiris, Angel or Alien– Metalcore band from the Chicago area. Technically very proficient, it’s, well, a little shouty vocally, which largely prevents me from approaching it lyrically. The album picks up some of the worst habits of 2000s metal and hardcore, and even works in a little autotune.
  • Cautious Clay, Deadpan Love– A hip-hop album, but one that leans very heavily in an R&B direction. Or vice versa? Makes some unusual choices, which is interesting, and the tone is very positive, but ultimately too all one tone.
  • Charlotte Day Wilson, Alpha– A solid serving of smoky soul from a Canadian R&B singer. It’s well done musically and vocally, but sounds too much the same track to track. As a debut, though, it carries a lot of promise.
  • Clairo, Sling– A kind of hazy 70s feel to it, her cool vocals and warm syrup of the swinging, even sometimes orchestral, music nicely offset each other. The tracks also have a strong individual identity. It was a real contender until it lulled out for a few too many tracks 3/4 of the way through. She’s worth keeping an eye on, though!
  • Darkside, Spiral– A kind of discordant and spare album. Too often trending toward abstract/background.
  • David Crosby, For Free–  David Crosby, of course, never sounds bad. And he doesn’t here either. It does have that “rock veteran makes album in 80s with slick production” feel though. I certainly wouldn’t tell fans of his to stay away from it, but it doesn’t get into “year’s best” territory.
  • Declaime, In the Beginning, Vol. 1– Ah, the Oxnard school of hip-hop! Okay, maybe there’s not such a thing. It’s a solid album, but doesn’t really do anything special to stand out or rise above.
  • Descendents, 9th & Walnut–  This album sounds like it could have been produced at any point in the group’s history from 1977 to now, which is both a strength and weakness. I don’t hear “best of year” here, but it does do what it does very well. And you have to admire punk’s ability to pack 18 songs into 25 minutes.
  • Dot Allison, Heart-Shaped Scars– She got her start in electronic music in the 90s, and this is electronic, but in a strings kind of way, which, with her flowing wisp of a voice, brings to mind Celtic and new age music. Pleasant, but fades into the background.
  • Durand Jones & the Indications, Private Space– I couldn’t decide if this was an early 80’s R&B sound I really liked, or a too-produced muzak/light-jazz 80s soul that I didn’t. Ultimately there was too much of the later for it to make it to yes for me, but enough of the former that it deserves mention.
  • Emma-Jen Thackray, Yellow– Discordant electronica, surging jazz opening, spoken word poetry, then shifts into a jazz-inflected dance music with clever lyrics, but it gets a little too into the jazz easy listening vein after that.
  • Foodman, Yasuragi Land– This electronica album is from Japanese DJ, Producer, and Painter Takahide Higuch. It’s interesting, but a little abstract and a little too all in one tone track to track to really stand out for me.
  • Guardian Singles, Guardian Singles– Rock! Hi-energy, sunny rock! Every time I hear it again, I remember how much I’ve missed it. You know when a song ends and the feedback fuzz is still there? That’s good stuff. Unfortunately, it mushed up into undifferentiated low-key tracks at the end. Alas!
  • Half Waif, Mythopoetics– The spare but powerful production-leans toward electronic/keyboard, plaintive slightly ghostly vocals, darkly textured lyrics. These are the strengths, and they are considerable, but ultimately too much of it just fades into the background of track to track similarity.
  • Horsey, Debonair– For the majority of these tracks, this South London band sounds like a muscular out of control lounge singer, kind of like if “Helter Skleter” Paul McCartney played the sweet diddies of sweet diddy Paul McCartney. And then methed it out a step further. I loved it, until they decided to end with a long low-energy song followed by a meandering “Revolution #9” type style track. Album greatness squashed.
  • Jackson Browne, Downhill From Everywhere– Like the David Crosby album, there really isn’t a version of Jackson Browne that sounds bad. And this doesn’t sound as “80s production” as Crosby’s album, though it does have traces of that. On the whole, it’s energetic and well done, and won’t do any Jackson Browne fan wrong, but doesn’t rise to his/the year’s best.
  • Jam & Lewis, Volume One– This is the debut album of Jimmy Jam & Terry Lewis, but of course their production work loomed so large in soul/R&B in the 80s and 90s that it’s hardly an unknown quantity. And that is maybe part of the problem here- it is, as one might expect, extremely finely produced. It’s also very familiar, and a little plastic feeling. There’s not enough of the dynamic or surprising here.
  • Jeff Lorbe/The Jeff Lorber Fusion , Space-Time– There is, maybe?, a version of jazz fusion that I like. Maybe. This isn’t it, it’s practically muzaky.
  • Jehnny Beth/Bobby Gillespie , Utopian Ashes– Sort of the post-punk version of a country duets album, featuring the front-man of 80s alt stalwarts Primal Scream and the vocalist of 2000s post-punk band Savages. The songs are well done, very fine in fact, but beyond some scattered moments here and there, the whole never really catches fire or raises above.
  • John Mayer, Sob Rock– I like John Mayer, but only in a certain small dosage, so between that and the title, I was a little leery going in. Boy do I stand by that! Vapid lyrics, smooth soulless music, coupled with 80s-style production. Saints preserve us!
  • John McLaughlin, Liberation Time– Based on its clanging electric opening, at first I thought that this might be the fusion album that I turned out to like. Then it started to go down the dark path of bubbly light and easy.
  • King Woman, Celestial Blues– A thick, somewhat doomy, somewhat orchestral sound, with vocals that started out more in the yearning than the screaming category. But then, alas, got more screamy. If you’ve ever been a goth kid, there is good stuff here, but ultimately it’s kind of the same track to track.
  • Koreless, Agor– Extremely minimal, even as minimal electronic albums go.
  • Leon Bridges, Gold-Diggers Sound– Definitely a solid soul/R&B album, but a little too in the autotuned direction, and I never felt like it consistently rose above.
  • Lucrecia Dalt/Aaron Dilloway, Lucy & Aaron– Well, they’re both experimental musicians, and this was very…experimental. Interesting, but a little too deliberately grating to be consistently listenable.
  • Luminol, Midwife– An ethereal swirl of vocals and muted keyboard chords. The lyrical voice is quite interesting and strong, which makes the best tracks very affecting, but it doesn’t happen consistently.
  • Maxine Funke, Séance– A folk-flavored outing from a New Zealand singer-songwriter. The songs are quiet, spare, and arresting. Ultimately too quiet to hold attention in a “year’s best” kind of way, but still very fine.
  • Moin, Moot!– Some moody and menacing electronica, some wailing in the background, some muttered lyrics. At its best, it’s actually pretty compelling, but the best is unfortunately only every other track or so.
  • Nancy Wilson, You And Me– This was a May release that I somehow missed! Over the years, I’ve slowly come to terms with not marrying her, and silently admired her too-often undersung guitar playing from afar. There are some great covers here, and the best items crackle. Then there are a few too many ballads/80s production numbers. Drop 4 tracks, and this might have been a “yes”.
  • Ora The Molecule, Human Safari– This is more accessible than you might think upon hearing that it’s the vehicle of a Norwegian avant-garde artist. It sometimes feels a bit too abstract, and isn’t consistent/coherent enough for album “best”, but there’s some worthy material here!
  • Paul McCartney, McCartney III Imagined– Not quite covers, but rather, a variety of artists doing remixes of Paul McCartney’s well-received album from last year McCartney III. Kind of like the Gray Album in reverse, and with a wider variety of artists working it (Beck, Phoebe Bridgers, and St. Vincent, among others, get in on the action here). It’s really quite fun, and was well on its way to being a “yes” until it ended with a low-energy 11 minute electronica track. There’s just no call for that. Alas!
  • Peyton, PSA– A pretty, pleasant soul/dance album, with some pleasing cursing thrown in, but it never really sparks up.
  • Piroshka, Love Drips and Gathers– The music by this supergroup composed of members of Elastica, Lush, and Modern English is surging and shimmering, and the  vocals have some verve to them. You can certainly hear the roots, and they’re good roots. It was really winning me over until it delfated at the end by having multiple slow/abstracts tracks in a row.
  • Rey Sapienz & The Congo Techno Ensemble, Na Zala Zala– This was very interesting, with unusual beats, and at times almost grating. I do like African music, but this was too opaque between the grating quality and foreign language. It is certainly unusual though, and doesn’t sound like everything else.
  • Rodrigo Amarante, Drama– Brazilian Singer-Songwriter, ultimately a little too world/jazz and in Portugese for me.
  • Royal Canoe, Sidelining– I definitely feel like Royal Canoe is an appropriate name for a Canadian band. They don’t sound as canoey as you might expect, more like an electronic-informed indie rock, with lurches into and out of guitar rock and dance/disco mode. It didn’t quite come together consistently enough for me in terms of track by track quality and coherence to reach “best”, but it is fun and often interesting.
  • Sennen, Widows (Expanded Version)– This re-masters the band’s original 7-song album from 2005 and adds 7 unreleased songs from that same era. It’s all a little too slow and fuzzy for me, without enough musical or lyrical hook to keep it moving from track to track.
  • Snapped Ankles, Forest of Your Problems– A real solid post-punk outing, it would feel very at home on College Radio in the 80s. It was a borderline call, and it really is well done, but it feels so much like an archive item.
  • Stimulator Jones, Low Budget Environments Striving for Perfection– The artist name and album name are both pretty great, though one shouldn’t judge by that. What it turns out to be is hip-hop flavored electronic music. It’s nice background music, and interesting, but too low-key/low-content to really stand out.
  • Surf Gang, Surf Gang Vol. 1– The opening is less surf music than you might think, and much more psychedelisized hip-hop. After that it’s uneven- some very fun and unusual mixes, some autotuned dreck.
  • Tangents, Timeslips & Chimeras– An expansion (like, really, more than doubling) of a 2020 release by an Australian band. This particular mix of all-instrumental deconstrcuted jazz and electronic is certainly interesting, but never really gets over the top in terms of being compelling.
  • The Orange Peels, Celebrate the Moments of Your Life– This band originated in the Bay Area during the indie rock outburst of the 90s, and they’re still very good at what they do! They’re here with a double album, thick with melody, pop sensibility, and rock that recalls the 80s underground, the 90s, and a sunny dreamy side of the 70s all at once. The best material here is really great, but the double album sometime meanders and bogs down, which keeps it from coming together. More streamlined and they could have been a contender!
  • Trees Speak, PostHuman– This instrumental album from an Arizona duo would have sounded very at home in a new wave or industrial dance club in the 80s. It does what it does well, but I don’t know that it does it “best of year” well.
  • Twin Shadow, Twin Shadow–  Poppy-rocky, and fun, outing from this  Dominican-American singer-songwriter. Some 90s soul/80s alt feeling, a little dash of ska. It’s all very fine, but doesn’t feel to me like it consistently rises above and beyond to “year best” territory.
  • Various Artists, Bills & Aches & Blues– A variety of artists cover songs from throughout 4AD’s catalogue in honor of their 40th anniversary. It seems like a promising setup, I mean I was practically raised by 4AD. And some of the covers are truly grand. Then some of them kind of fizzle out, or are of material that is itself very low-key. So it ends up being a little uneven.
  • Various Artists, Changui: The Sound of Guantanamo– A box set documenting contemporary rural Cuban practitioners of the changui style of Cuban music (influenced by Spanish and African musical traditions and instruments, and an ancestor of salsa) compiled in support of a documentary. There are 51 songs, with a four hour run time. Given this sprawling range, it’s difficult for it to work as a coherent album, though this definitely can happen for something similar in more compact form (cf. Buena Vista Social Club). A fun window into a fascinating style, though.
  • Vince Staples, Vince Staples– This hip-hop album is a little autontuned, a little one-tone musically and vocally. It’s a shame because the content is actually pretty good!
  • YN Jay, Coochie Chronicles– The name might give you certain expectations. While it sometimes rises above, the content largely bears out these expectations. It could possibly get away with it with very clever or unusual flow or off-beat musical choices, but it doesn’t do either often enough.

And there we are, finished with July! Before the first half of September. So I guess that’s something? Now, I better hop on over to working on August now so we can catch up!

What Were the Best Albums of the Twenty-Teens? (Part 5 of 10)

Here we are with part five of my ten-part review of critic’s choices for the 52 best albums of 2010-2019! Halfway there! (52’s a weird number isn’t it? See below for the reason why…)

If by chance you missed the earlier editions, you can find them here:

(Part 1 Part 2 Part 3 Part 4)

This is one of three musical blog series I’m doing this year. So go check out the final installment of my overview of the critical consensus on the 20 best albums of 2020, and my latest monthly review of 2021 new releases en route to finding the best 21 albums of 2021.

So. 52. It’s like this: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 posts of 5 albums each (or 6 each on the last two) and then a final wrap-up. With that explained, let’s get on with Part 5!

DAMN. (Kendrick Lamar, 2017, 5 votes)– From the first this made musical and lyrical choices that show something special is going on here. The dense weaving of storytelling, the unusual vocal mixing choices, the strategic deployment of music samples to set a mood, it all works. His 2012 album Good Kid, M.A.A.D City was a heck of a thing to have to live up to. Darned if this doesn’t do it!

Days Are Gone (Haim, 2013, 5 votes)– For my 2020 list I’d listened to their album Women in Music, and quite liked it. This feels like it leans even more poppy than that, but retains what I really liked about that album- a nearly perfect pop sensibility but some power and substance behind it. This does register as lighter than their later album, though. Is this the earlier album’s fault? No, and yet they must reverse-chronologically suffer for my knowledge!

Daytona (Pusha T, 2018, 4 votes)– It’s got energy and swagger, all right, and the wordplay is top notch. The music mix and sampling is crisp and sharp. The lyrics have some weight and meaning too. A little derivative (you’ll hear lots of influence of Jay-Z and Kanye West here- who produced it) but all in all, this is a very worthy effort.

Dirty Computer (Janelle Monae, 2018, 5 votes)– If you make a sexy, smooth R&B/dance album, I’m on your side. If you make an album with political/social import that doesn’t get polemical, I’m on your side. If you make an album full of smart, unusual lyrical, vocal, and musical choices, I’m on your side. If you make an album with sci-fi/tech themes, I’m on your side. If you do all of these together, you are Janelle Monae, and I’m over the moon.

DS2 (Future, 2015, 4 votes)– Early on I’m thinking this is a little more autotuned than I like, but the lyrical content is interesting at times, and there’s a pleasing air of menace in the music. However, there seems to be a lot more “bitch” and “pussy” here than I like. On balance, it’s a “no” for me.

And there we are with Part Five. 25 down, 27 to go. Five more posts. We can do it!

The 20 Best Albums of 2020? Elimination Deathmatch Overdrive Edition!

Once upon a time, we set out in search of the 20 best albums of 2020.

In pursuit of this goal, year-end “best album” lists from All Music Guide, AV Club, Billboard, Consequence of Sound, Jim DeRogatis, Greg Kot, Mojo, New Music Express, Paste, Pitchfork, Rolling Stone, and Spin were consulted. For every album one or more of these sources listed, votes that the album got between all of them were tallied up, resulting in the highest scoring twenty albums. Reviews of these were broken up into four blocks of five each:

(Part I Part II Part III Part IV)

Then, there was a wrap-up. But it turned out that only twelve of the critic’s choices made my “yes” list. So I figured I was due another eight albums. It was time for an Elimination Deathmatch!

The “how” was fairly easy. The top 20 albums had all gotten six votes or more from the combined lists. So I bumped it down a bracket and listened to the fifteen albums that had gotten five votes total. This netted me seven more “yeses”. I still needed one more, so then I listened to the eleven albums in the four votes bracket. Which got me another five “yesses”. Whoops!

We’ll deal with that at the end, but first let’s review what I found…

Sometimes the critics and I were not on the same page:

  • Good News (Megan Thee Stallion)– I’d heard of this stallion named Megan for a few years, but didn’t really know much about her. Turns out she’s a hip-hop artist! The thing is, the same things I generally don’t care for when I run across them in male-led hip-hop- pussy obsession, “bitch” left and right, and all bragging at the expense of substance, are what’s on display here. The gender inversion of it is something, perhaps even something worthy, but it isn’t for me.
  • Lianne La Havas (Lianne La Havas)– Gorgeous, heartfelt vocals that work well with the sparkling jazz/soul sound and emotional lyrics. While it is consistently well-done, it’s all too mellow and one tone for me to truly stand out as a year’s “best”.
  • Map of the Soul: 7 (BTS)– Hey, it’s a K-pop group! I guess it was inevitable we would run across a K-pop group eventually if we kept going. It’s actually really good, and seems to be doing some interesting thematic stuff as well, but, well, it’s mostly in Korean. For someone like me who’s big on lyrics, that makes it a little challenging.
  • Mordechai (Khruangbin)– This is undoubtedly musically skillful and well produced. But this kind of “jazz-fusion world music in a mellow vibe” has never been my cup of tea. It would be a great album for someone who’s cup of tea that is, though!
  • SOURCE (Nubya Garcia)– I mean, yeah, it’s a fine mellow jazz album. Except when it goes crazy with instrumentation and notes. It’s not bad, in fact I think it’s probably pretty good, but it doesn’t rank above any twenty other good albums from the year for me.
  • The Slow Rush (Tame Impala)– I keep trying to like Tame Impala, and I keep failing. I listened to Currents for my 2010 blog series, and had the same reaction I’m having here. I think what gets me is that there is really interesting psychedelia-flavored material, and nuanced lyrics. But the vocals are so low key and the musical approach is sometimes so “fade to background” that it all just kind of blends together. I do still have Lonerism to go for that other list, so we’ll see…  
  • Ultra Mono (IDLES)– The literally rocking start had my head bopping from the first second. The music doesn’t disappoint, the lyrics are interesting and worthy, but I am wondering about the shouted monotone vocals. Did they learn this from Sleaford Mods? It got to be too much for me after three or four tracks, which is a shame, because there’s a lot else here that’s going really well.
  • What’s Your Pleasure? (Jessie Ware)– There’s a nice steady cosmopolitan groove on the opening track. Unfortunately the second track followed suit, which slowed things down until we got to the more dynamic third and fourth tracks. And so on back and forth throughout. There’s plenty of really great songs here, I just never got the feeling it added up to an album.

In other cases, I could certainly see some of what the critics were talking about, but wasn’t sure it added up to year’s best for one reason or another:

  • Alfredo (Freddie Gibbs & the Alchemist)– For my 2021 list I’d listened to an album that the Alchemist co-produced and really liked it, so I was well disposed in advance here. That faith was justified. The production is sterling, musical samples are rich and evocative, and the vocal styling and lyrics are high impact. There’s also a narrative through-line here, which really helps an album come together. There’s a little much misogyny and glorification of violence for my taste, so it’s a very strong maybe instead of an automatic yes, but still pretty darn worthy.
  • Chromatica (Lady Gaga)– I mean, it’s not like I thought Lady Gaga was going to put out something bad. And for that very reason, I maybe have a steeper grading curve for her than I might for a relative newcomer. I’m measuring her against The Fame/The Fame Monster, which is a heck of a thing to do to someone. There is certainly material here that is that good, and there isn’t anything here that’s bad, but I never quite got the feeling it organically comes together as an album.
  • Fake It Flowers (Beabadoobee)– A pretty and lively indie rock album with a pop flavor and emotionally sophisticated lyrics from a Filipino-British singer-songwriter. I enjoyed it, especially on its rockier side, and it’s definitely not bad considering she was only 20 when it came out, and 19 when a lot of it was recorded. I can readily believe it might have been one of the better albums of the year, though I wouldn’t be surprised to find some others that come before it to round out my top 20.
  • Inner Song (Kelly Lee Owens)– She, apparently, is a Welsh electronic musician. I did love her drifting ghostly vocals, and they fit well with the pulsing music in the background. The music is also affecting in its simplicity. It’s at its best, best of the year material even, when her vocals and lyrics are there, which they are about half the time, but it fades into the background on the purely instrumental tracks.    
  • Ohms (Deftones)– Metal! Alternative metal. Arty intellectual metal. There’s even a song titled “The Spell of Mathematics”. I’m incapable of NOT loving this. That being said, while I like the content a lot, I’m not getting the feeling it totally comes together as an album. At least not in a top 20 “best of year” kind of way. That’s a pretty high bar, though, there’s no shame in not hitting it!
  • Ungodly Hour (Chloe x Halle)– A solid album from an R&B duo made up of two sisters. It was smart, energetic, and really fun, and not a track went awry. Kind of like the preceding, I could definitely see that it could well have been one of the year’s better albums, but I didn’t get that “home run” feeling that would tell me I’m not going to hear anything else that bumps it off.

And then there are twelve albums that I can entirely believe could be among the best of the year:

A Hero’s Death (Fontaines D.C.)– There are certain phrases that are guaranteed to positively pre-dispose me, and “Dublin-based post-punk revival band” is certainly one. Following up on that promise, this album is musically spare, vocally haunting, and lyrically slightly glowering in ways that favorably bring, say, Joy Division, Gang of Four, and Magazine, to mind. In theory, this could get a little too bleary and “one tone”, but what’s going on here has enough dynamism and power that it carried me the whole way through. It’s a yes for me!

A Written Testimony (Jay Electronica)– The album by Jay Electronica, one of the artists on Jay-Z’s Roc Nation record label, has everything you might expect based on that- sterling production, interesting musical sampling, sure grooves and strong beats, and guest appearances by Jay-Z. Jay Electronica brings to this mix personal material, social commentary, a kaleidoscope of cultural references, and spirituality via his faith in the Nation of Islam. That last can, of course, come with issues, but here it’s the empowerment part of that message that contributes positively to the whole. I can see how this got on so many lists.

Every Bad (Porridge Radio)– The darkly rocking, melodic, and emotional lyrics immediately started winning me over. Throughout, the songs by frontwoman Dana Margolin have a bitter, ragged, and even genuinely desperate edge at times, but without abandoning melody. Sometimes the lyrical repetition in songs bugged me, but ultimately it has a surging hypnotic payoff. A yes for me!

Good Souls Better Angels (Lucinda Williams)– Lucinda Williams made one of the hidden jewels of the 80s (Lucinda Williams), did one of my favorite albums from the 90s (Car Wheels on a Gravel Road), and is one of the primary exhibits of my thesis that some of the best music of the 00s was country music, even though you won’t hear it on country radio. She’s in great form here. The musical side of it is muscular and electric, leaning toward blues and rock. The subject matter is darkly textured, and her voice gloriously ragged as she closes in on 70. This is a great example of an artist getting more powerful as they age.

grae (Moses Sumney)– The classic soul feeling on the first track wowed me (think Motown, Sam Cooke, etc.). In other places you’ll hear 80s slow jams, electronica, indie folk, and more than a trace lyrically and vocally of Prince. There are really unusual and striking musical production choices as well, high level social commentary, internal psychological exploration, and also interesting gender role material. Honestly, it’s kind of a sprawling mess, but there isn’t a track here that isn’t interesting and complex, and it got there through towering artistic ambition. I have a definite soft spot for ambitious messes over smooth and polished blahs, so this is going on my list.

Heaven To a Tortured Mind (Yves Tumor)– As soon as I saw the description “experimental electronic artist” I suspected this wouldn’t be a top choice for me. So it’s a measure of how good it is that it overcame that not just to a “it’s actually okay” level, but all the way to “it’s great!”. The songs are a wild kaleidoscope of styles. They don’t all sound the same, and work as individual songs lyrically and in terms of song structure while still being loaded with surprising and disruptive choices. It’s almost a kind of punk approach to electronica.

how i’m feeling now (Charli XCX)– Dance music from an English singer/songwriter, well mixed, with some noisy rock edges. It’s really clever and fun too, and surprisingly emotionally vulnerable as well. So much fun I didn’t even mind the autotuned touches.

Miss Anthropocene (Grimes)– Ethereal dance music? Weird indie neo-psychedelia? Arty heavy concept-heavy prog rock? Yes, all of that plus an acoustic number and some cosmic DC Comics references. It’s like the soundtrack for the international online gaming community, which is to say there couldn’t be a more 2020 kind of sound. And what it lacks in coherence it more than makes up for with eclectic excellence.

Suddenly (Caribou)– If nothing else, props for naming your 10th album “Suddenly” (Caribou is the vehicle of Canadian musician/Math PhD Daniel Snaith, and is the tenth he’s released under various recording names). This is an electronic album that, in its mix of styles and verve, reminds me of the 90s heyday of this kind of music. The beats are lively, the arrangements and sampling from other sources is dynamic, and the lyrics are interesting. Even if the original vocals tend a little toward the low-key (it’s the most 2000s indie thing about it), in this mix of things it works.

That’s How Rumors Get Started (Margo Price)– When he heard I was doing this project, my friend Stuart, a confirmed audiophile who’s musical opinions I have a lot of respect for, enthusiastically mentioned this album. He was not wrong! This is musically and vocally lush but a legitimate country feeling still comes through. As well as a great variety of song styles. She’s a solid song-writer, knows how to work her chord changes, and there’s some great classic rock, 90s rock, and gospel influence scattered around too. If the lyrics do sometimes go a little for cliché, she never seems insincere and her charm totally carries it through.

Untitled (Black is) (Sault)– An anonymous British neo-soul collective? Well-sure! And what they deliver here is an electronica/house DJ sound informed by 70s soul, 90s R&B, African music, funk, gospel, and spoken word. All of it marshaled in support of Black identity and liberation. Musically delightful, meaningful, and full of heart the whole way through.

Untitled (Rise) (Sault)– This was released a few months after Untitled (Black is). It takes a similarly eclectic musical approach to that earlier album but, as the name implies, this is a more buoyant outing. Along the way, it loses none of the heart of the previous album, but is deliberately sunny, and the spoken word here is lighter on identity and power (though still has generous servings of those topics in places) and instead focuses on celebration. Accordingly, the music has more disco and smooth R&B grooves too! So, a different feeling from the previous outing, but just as delightful.  

So there we are, the good, the bad, and the excellent of the Elimination Deathmatch Overdrive. If you’ve been following along at home with your calculator, you know that we went in to this with twelve albums from the critic’s top twenty that I thought were indeed “best of the year” material. I then listened to another 26 albums in search of something to round out a twenty for me, and accidentally overshot and got another twelve. 12+12=24, and 24>20. What to do?

I made the following four cuts, with all due brutality:

  • Sault has two albums on the list, and of the two I like Rise better than Black Is. It’s musically stronger, without losing any of the import.
  • I did have a hint of hesitation about Jay Electronica’s album, and also several other excellent hip-hop choices, so out he goes.
  • The Fontaines D album was solid, but not something new or original, musically.
  • Similarly, the Lucinda Williams album wasn’t up to her strongest work (as opposed to say, the Springsteen and Dylan albums) and didn’t bring something new or challenging to the mix. (Please don’t tell her I said this!)

These are all kind of along the lines “what really great thing is slightly less great than these other great things?” But choices must be made! Here, then, are my picks from the critic’s picks for the twenty best albums of 2020:

  1. Every Bad (Porridge Radio)
  2. Fetch The Bolt Cutters (Fiona Apple)
  3. folklore (Taylor Swift)
  4. Future Nostalgia (Dua Lipa)
  5. grae (Moses Sumney)
  6. Heaven To a Tortured Mind (Yves Tumor)
  7. Heavy Light (U.S. Girls)
  8. how i’m feeling now (Charli XCX)
  9. Letter to You (Bruce Springsteen)
  10. Live Forever (Bartees Strange)
  11. Miss Anthropocene (Grimes)
  12. Reunions (Jason Isbell and the 400 Unit)
  13. Rough and Rowdy Ways (Bob Dylan)
  14. RTJ4 (Run the Jewels)
  15. Saint Cloud (Waxahatchee)
  16. Sawayama (Rina Sawayama)
  17. Suddenly (Caribou)
  18. That’s How Rumors Get Started (Margo Price)
  19. Untitled (Rise) (Sault)
  20. Women in Music pt. III (HAIM)

And so our review of the 20 best albums (?) of 2020 has drawn to a close. Fear not though, friends! We found some great music along the way, and we’re still reviewing the 2010s, and searching for the 21 best albums of 2021. More to come!

In Search of the 21 Best Albums of 2021: June

No, this isn’t a blog post on Blackjack. The review of new albums from June 2021 is here! That’s right, we’re halfway there in our madcap quest to find the 21 best albums of 2021. And, like Bon Jovi before us, we’re living on a prayer.

If this is your first time here, I’m listening to new releases every month, sorting them into categories, and then I’ll do a final list of the best 21 after the year ends. If you missed the previous editions, you can find them here:

( January February March April May )

This is one of three music-related blog series I’m doing this year. You can check out my ongoing review of critic’s choices for the best albums of the 2010s here, and my wrap-up on reviews of the 20 best albums of 2020 here.

I’ve received a few questions from readers, so the halfway point of this enterprise seems like a good spot to do an FAQ.

Q: How do you find the albums to listen to? A: I’m subscribed to weekly new release e-mails from All Music Guide and Pitchfork. I may be missing a thing or two, but between them I’ve listened to 440 albums as of the end of June, so I can’t be missing much!

Q: How do you listen to the albums? A: Between YouTube Music and Apple Music I can find almost everything- sometimes there’s a delay of a week or two, but most everything shows up in those places eventually.

Q: How do you listen to so many albums? A: I’m generally listening during the day at work, with moves through a lot of music if you do it daily! I take a few notes real-time, and then work on the write-ups after hours.

Q: What genres are you listening to? A: What I’ve always been interested in musically is Rock, very broadly defined, including all the genres that led to it and descended from it. So, I’m deliberately not listening to classical albums, chamber music, choral, opera, etc. Jazz is borderline, if it’s on the fusion edge of other genres I’ll often give it a try, whereas if it’s the more “pure” jazz I generally don’t. Otherwise, blues, country, dance, electronica, folk, hip-hop, gospel, rock, R&B and soul, etc. are all making it in.

Q: Are there any other criteria? A: I’m not listening to EPs since I have my hands full-enough with full-length albums. I’m also listening to new releases, so re-releases don’t make the cut. Either do live albums unless they’re of very recent vintage. I will listen to soundtracks if they’re comprised of new material.

Q: Do you listen to the whole album? A: It depends… I listen to at least the first few tracks of everything. If I’m three to five tracks in (depending on the length of the album) and I know it isn’t going to do it for me, I stop. But anything that’s a “yes” or a “maybe” I have listened to the entire album.

So that’s that for questions! Before we go on, a quick note about the three categories:

Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. As of the end of June, this list is up to 117 albums, so we’re probably looking at 200+ for the final reckoning at year end.

Maybe– These are albums that had definite strengths, but about which I have some reservation. I’ve noticed over the years that some “maybes” have a habit of lingering, so I’m giving them a category just in case.

No– These albums are not in contention. Some of them deserve discussion, though, which I note.

And now, let us proceed with the 82 new releases from June…

Amythyst Kiah, Wary + Strange– A plaintive folk-inflected beginning, then a muscular bruising blues track two, then back to soulful orchestral folk, on to an eerie steel blues, and so on (with a country song thrown in the middle too). Musically excellent, and informed throughout with vocal power and sharp, clear, lyrical picture-painting.

Anna Rochinski, Cherry– This 10 year alum of the Boston music scene and the band Quilt delivers pare synths and beats, driving vocals, an offbeat edge to both, and a certain dark attitude in the lyrics. Altogether, it’s a winning combination.

Birds of Maya, Valdez– Recorded in 2014 as a follow-up to their well-received 2013 debut, but just now released due to the Philadelphia-based band reforming. Bruising noise rock, pieces that go into surging, crunching length, with hints of psychedelia and metal along the way but informed by punk spirit- this is as excellently straight-up as 2000s hard rock gets.

Body Breaks, Bad Trouble– Is this electronica? 60s throwback? The results of an explosion in a psychedelia factory? This is weird, discordant, unexpected rock, and I love it.

Cola Boyy, Prosthetic Boombox– Some disco throwback, some home-studio electronica, a lot of wit and eclecticism, not to mention solid fun. Score one for the Oxnard music scene!

Danny Elfman, Big Mess– While he’s done A LOT of soundtrack work, this is Elfman’s first proper album as such since the 90s. There’s always been an edge of darkness and discord to his work, but here we’re often positively into Nine Inch Nails and/or noise pop territory. His trademark wit is here as well, and way with melody, though in this case buried beneath a layer of menace. A dark and challenging album that came by it honestly-explicitly struggling with aging, disappointment, Trumpism, COVID. Masterful, disturbing, and completely of its time.

Dean Blunt, BLACK METAL 2– This is not the black metal I was looking for. What it is, is a very interesting alternative hip hop album. This British DJ is delivering something that’s equal parts spoken word, acoustic, and indie rock, and is richly textured and darkly swirling. It’s excellent, and I haven’t heard anything else this year that sounds like this.


Holiday Ghosts, North Street Air– Bouncy, charming, incisive lyrics- acoustic rock with a punk spirit and sure knowledge of rock song structure.

Japanese Breakfast, Jubilee– Touches of new wave, touches of turn of the millennium dance music, touches of Kate Bush, with lyrics and vocals that are sensual and smart.

Liz Phair, Soberish– This is her first original album in ten years, which makes me feel a little old. The music has a pop sheen, but not as unadvisedly so as some of her earlier 2000’s efforts, and the lyrics have caught back up with her actual life. There’s almost a 60s swinging pop sound to it, with 90s snark. I might wish for it to be a little more rocking, but it’s musically and vocally lush, self-assured, and lyrically substantive. Well done, Liz!

LoneLady, Former Things– Some dynamic dance music here, with an edge of 80s sound. Julie Campbell is the LoneLady in question, and came to dance/funk from post-punk. I like what she’s laying down!

Lukas Nelson/Lukas Nelson & Promise of the Real, A Few Stars Apart– He sounds a little like Willie Nelson, which is not genetically an accident, since he’s Willie’s son. The music straddles several eras/genres of country and is always utterly sincere, and the lyrics have that same air to them. This feels like an instant classic country record.

Marina Allen, Candlepower– A debut album from the ethereal side of folk, but with a strong musical drive and powerful lyrical turns that preserve it from the danger of fuzzing out.

Matthew Dear, Preacher’s Sigh & Potion: Lost Album– Hi, is this cowboy DJ/mix music? That was the opening track, after that it got more varied, but remained a mix of instrumental heartland-flavored music with minimalist electronic/beats and interesting and unusual lyrics delivered with low key vocals. I really like it! This is from an experimental direction he took a few years back, but was unreleased.

Modest Mouse, The Golden Casket– Sometimes I remember the promise of indie rock-the power of rock, livened by experimental and unusual music choices, subject matter not normally touched, and an unapologetically intelligent approach.

Mykki Blanco, Broken Hearts & Beauty Sleep– Alternative hip-hop, a great vocal and musical mix, glowing with positivity and fun but also weight and power. The genderfluid aspect of performance artist/poet/musician Mykki Blanco also adds to it. I like things that aren’t like everything else, and also I like things that are really good, and this is both!

Night Beats, Outlaw R&B– I love the idea that the album name brings to mind- an R&B equivalent of Outlaw Country. I wouldn’t quite say it’s delivering that, but it is an R&B brimming with a feeling of the 60s- I hear some Beatles in there, some Who, some Cream, some Del Shannon. There’s even a spooky gunfighter ballad and a garage rock banger that sneaks in there from somewhere. This was just great, a thoroughly enjoyable turn from this Texas band.

Quivers, Golden Doubt– Opens with great instrumentation, strong lyrics, nice production flourishes on the vocals. These are rock songs that work, with a pop leaning, that are both strong and catchy. Callbacks to 60s pop, golden syrupy 70s, 80s alt, 90/00s twee pop, it’s all here. And it’s all beautiful!

Raoul Vignal, Years in Marble– Moody and affecting acoustic folk-tinged indie rock. Some nice unusual flourishes, and while it’s certainly in a vein, it never descends into sameness.

Scientists, Negativity– From the first distorted guitar feedback notes, I feel like this is something I’m going to like. Naively klunky lyrics and ragged vocals add to the charm. It kind of pivots back and forth between the amateurish charm of original punk rock and a very garagey neo-psychedelia. The sound isn’t an accident, as this Australian band started out in 1978, then took 1987-2007 off before reincarnating. And I love it!

St. Lenox, Ten Songs of Worship & Praise for our Tumultuous Times– Boisterous, quirky and awkwardly earnest vocals and lyrics, music informed by gospel and electronic, unconventionally spiritual, this really does achieve its aim of delivering songs of worship for our modern age!

The Mountain Goats, Dark in Here– The Mountain Goats was one of those groups I knew secondhand from knowing many people who liked them, so I was curious. I am quite pleased to have formally made their acquaintance! Lively propulsive instrument-heavy indie rock, playing with genres, and darkly-inflected lyrical wit. I can kind of see where they fit in too, among the Arcade Fires and the Death Cabs and what not. And they’re welcome!


  • Atreyu, Baptize– Hi Atreyu, I have needed someone this year to be metal, and you are quite metal! I like the mix of moving parts here- Screamcore? Yes. Technical/orchestral? Yes. Thrash? Yes. A dash of punk and emo too. If it was any one of these, it might bog down, but by including all of them, and thanks to song times on the shorter side, it’s dynamic without sacrificing being heavy. A little too produced sometimes, but a strong entry regardless!
  • Hiatus Kaiyote, Mood Valiant– This Australian band is described as genre- bending, and I get it. Jazz? Yes? Fusion with multi-layered R&B production? Yes. Sound loops and sound effects? Yes. Quirky kaleidoscope of vocals? Yes. All of this is very charming, and keeps pulling it back from the edge of meandering/nonsense side of jazz.
  • Jeb Loy Nichols, Jeb Loy– Has the feeling of a 60s soul throwback, not as a forgery but as a genuine expression from this now Wales-based veteran U.S. soul singer. The lyrics sometimes go for rote/cliché, which is my reservation, but the music and vocals and spirit of it are spot on.
  • John Grant, Boy From Michigan– swinging, unusual, brooding, an electronic-informed indie rock. While it’s a little heavy on the slow/ballady side, the unusual voice, both lyrically and vocally, and the way the music informs and livens the content keeps it going. It reminds me of Sufjan Stevens and Ben Folds in terms of tender revelatory lyrics made epic-sounding.
  • Lin-Manuel Miranda, In the Heights [Original Motion Picture Soundtrack]– There was a Broadway Cast album a few years back, but this is from the film that is out now. Show tunes are, of course, their own kind of boisterous fun, and these are massively informed by hip-hop and latin music on top of it. It’s musically and lyrically interesting, and full of voices and points of view that aren’t typical for music. I have to call it “Maybe” because I’m not sure it stands on its own outside the context of the musical.
  • Lucy Dakus, Home Video– Produced with dark musical tones and vocals livened by a trace of haunting, this meditation on adolescent experiences in the shadow of a strong church upbringing is arresting. It reminds me of the kind of interior work Sufjan Stevens does. I sometimes wondered whether it was too similar musically track to track, but it also never lets go of one’s attention.
  • N0V3L, NON FICTION– I feel like a lost post-punk album form an early-80s college rock station has just landed on me. It’s a pleasant impact. There’s really nothing to fault in this perfectly delivered entry from a British Columbia band except that it sounds very of an era. 
  • Peter Holsapple/Chris Stamey, Our Back Pages– The founders of 80s college rock darling the dBs are here with a mighty fine acoustic album of new arrangements of dBs songs. These are excellent versions, and also a reminder that 2000s indie didn’t come from nowhere. It seems a little self-derivative to be best, but gosh it’s pretty darn good.
  • Sleater-Kinney, Path of Wellness– Sleater-Kinney is one of those artists where there’s no such thing as a “bad” album. The main problem this album has with me is that it isn’t the Sleater-Kinney I want, but what’s going on here is sophisticated, complex, well-played. And if I wish it was a little more conventionally rocking, and I’m kind of sore at them for letting long-time drummer Janet Weiss go, well, is that the album’s fault? I could see it growing on me.
  • Styx, Crash of the Crown– Like the Cheap Trick album I reviewed a month or two ago, the mere existence of a new Styx album is kind of an existential surprise. It sounds like- a really good Styx album! I’m kind of flummoxed by this- so dated in a way, and yet every damn track works.
  • Tyler, The Creator, Call Me If You Get Lost– Very smart production, lyrics, and sampling in this hip-hop album. There’s also a framing structure around travel. Turns out Tyler is a creator! It does get a little “bitch”y for my taste, but is full of personality and some atypical subject matter, which I really appreciate.
  • White Flowers, Day by Day- The music and vocals are pretty, ethereal, darkly billowing. This reminds me of the Cocteau Twins and My Bloody Valentine. I do wonder if it’s a little too similar track to track, but I liked it the whole way through and was never moved to turn it off.


  • AFI, Bodies-This is a fine example of AFI’s kind of thing, but it strikes me as too one-tone throughout, and curiously emotionally detached. I probably would have liked this in the 80s, though.
  • Alessandro Cortini, Scuro Chiaro– It is quite very ambient.
  • Amy Helm, What The Flood Leaves Behind– As you might expect from Levon Helm’s daughter, there’s big Americana here. Unfortunately, while there are rich vocal and musical moments, it tends a little more toward the slick and pre-fab side of things.
  • Angelique Kidjo, Mother Nature– Powerhouse veteran of West African music- the music here is exquisite, but the lyrics sometimes go a little too cliché polemical and it doesn’t feel like it has the coherence, or lyrical consistency needed for “year’s best”.
  • Azure Ray, Remedy– Very pretty, tender and sophisticated lyrics, but a little too same track to track, and the production ia glossy at the expense of genuine.
  • Billy Gibbons, Hardware -In one of the less surprising things to ever happen, this solo album by a ZZ Top member sounds a lot like…ZZ Top! I do like a certain dose of ZZ Top in my life, but I’m not sure there is anything new enough/above and beyond here to qualify as “best album of the year” status.
  • Charnett Moffett, New Love– This was described as a crossover jazz album, but I think it has not crossed over far enough for me. That being said, it’s not bad at all, if you’re a jazz fan you might want to check it out!
  • Ches Smith/We All Break, Path of Seven Colors– When I read that part of the mix here was the artist having spent years studying voodoo drumming, I was definitely intrigued. It’s very good, but given the instrumental leanings and pervasive use of Haitian French, it’s a little inaccessible for “year’s best” status.
  • Chris Thile, Laysongs– An interesting set of acoustic songs, delivered in an offbeat, almost discordant way. It was a little too low volume and jumpy for me.
  • Crowded House, Dreamers Are Waiting– Very competent outing by a very competent band, but it doesn’t rise above itself.
  • Daniel Avery, Together in Static– The first track was so ambient it nearly ambiented itself into another dimension. Things picked up from there, but not much.
  • Dave Koz/Cory Wong, The Golden Hour– As bouncy crossover jazz instrumental albums go, this is a pretty good one. I don’t think it’s unique or different enough to make “top album of the year” status, but genre fans may want to check it out!
  • Eli Keszler, Icons– Really low-key shimmery electronic music with a new age flavor. Ugh.
  • Faye Webster, I Know I’m Funny haha– Sparkling and sophisticated acoustic pop with a jazzy sheen, but it’s all a little too produced and same track to track for me.
  • Francis Lung, Miracle No– At its best, sparkling pop that I think the Beatles and Brian Wilson would approve of. At its not best, too many songs in a row that are a little too low-key keep deflating it. Alas, because this could have been an absolute yes on its strongest tracks.
  • Garbage, No Gods, No Masters– A more electronic outing from them- not badly done. But the music does feel a little pre-fab, and the lyrics a little cliché at times as well. The covers on the second disc of the deluxe edition are kind of great though!
  • Gary Louris, Jump For Joy– Jayhawks co-founder delivers almost an ELOesque production shine to the tracks. If more had the energy of the opener, it really could have been a contender, but too much of the rest of the album is in “lull” mode.
  • Greentea Peng, Man Made– Self-described “psychedelic R&B singer”, this, plus knowing she’s British, and that there’s a fair amount of dub influence, gives you a good idea what you’re in for here. It is interesting and very well done, but a little too all in one mellow groove without standing out. I think it would have taken some more variability, and a shorter run time (it’s over an hour) to make it to the “yes” list.
  • Gucci Mane, Ice Daddy– The musical mix and vocal stylings here were actually very dynamic and fun, but the contents too often didn’t get much beyond boasting, hos, and money.
  • Helvetia, Essential Aliens– The first track of this outing by Duster alumni Jason Albertini is discordant sound, the second and onward is an often lively and jangly indie rock sound with a raw musical and vocal edge. Puts me in mind of Camper Van Beethoven/Cracker and the Meat Muppets, which I greatly appreciate being put in mind of, but it unfortunately bogs down in the middle and starts to get off every other track from there.
  • Hiss Golden Messenger, Quietly Blowing It– A pretty nice slice of Americana-flavored folk, more than a twist Dylanesque and you know how I like that. On the best tracks it definitely works, but ultimately too much of it sounds a little too standard, without enough notable/authentic breaking through.
  • James, All the Colours of You– I remember James when they were an 80s alt band. Then they became a 90s BritPop band. They were good at both things, and they’re still sounding good, but not particularly new or different, and there’s also some klunky lyrical topicality here.
  • João Donato/Ali Shaheed Muhammad/Adrian Younge, Joao Donato JID007– Really kind of a rocking jazz record, with great percussion, but it started to get a little too note bubbly.
  • Ka$hdami, Epiphany– This is high on charm and lyrical wit, but the auto-tuned vocal and musical school of hip hop continues to be…troublesome…for me.
  • Kid Millions/Jan St. Werner, Imperium Droop– The drummer for Oneida and an experimental musician/artist for Berlin team together for something experimental. As sound art, it’s interesting. As a best album of the year, I think it’s too self-consciously sound art to make it.
  • King Gizzard & the Lizard Wizard, Butterfly 3000– I really liked their album earlier in the year, L.W.. This one, well…it tends more towards sing-songy lyrics and electronic sound effects. I’m not mad at them, though. The essence of range and experimentation is that not every experiment will land!
  • Kings of Convenience, Peace or Love– This Norwegian acoustic duo has a winning combination of brightly played and sung, and lyrically bitter and blasted by love. It fades a bit too much toward sameness, but there’s something worthy here. 
  • Lightman Jarvis Ecstatic Band, Banned– Lurching music, swirling vocals, everything is deliberately offbeat-both figuratively and literally. it’s an interesting ride, but a little too off-kilter in the end.
  • Lightning Bug, A Color of the Sky– Pretty, textured, acoustic-oriented pop. To be clear, there is NOTHING wrong with this, but it was all too much in one tone, and too much track to track sameness compared to what I would need for a best album of the year.
  • Loraine James, Reflection– Why? Why so much autotune in the world? The hyperdub form is interesting, but it doesn’t feel like it comes together as a consistent album to me.
  • L’Rain, Fatigue– Left of center soul from this Brooklyn songwriter, with some strong concept in the album. Ultimately, it too often fades into low-key to really come together, but there is definitely worthy material here.
  • Mabe Fratti, Será que ahora podremos entendernos?– Album from a Guatemalan cellist and experimental musician. The arrangements are a little too on the orchestral/experimental side for me, but it is an intriguing exploration of soundscapes.
  • Maroon 5, Jordi– Adam Levine and autotune. Saints preserve us. Maybe it’s just that I still haven’t forgiven them for winning the Best New Artist Grammy over the White Stripes, but I’ve never succeeded in liking Maroon 5. Still true.
  • Mdsgn, Rare Pleasure– Light and bouncy jazzy easy listening sound please no.
  • Mia Joy, Spirit Tamer– Very pretty, well-produced, ethereal, but I never found something solid I could grab on to track to track.
  • Michael Cormier, More Light!!!– A nice, mellow, low-key folk album. There are tracks that get more interesting, but not until halfway through, which is too late for “great”.
  • Pan Daijing, Jade– A little too on the experimental and discordant side for me, but I do appreciate her artistic daring, and it’s genuinely eerie and unnerving.
  • Pastel Coast, Sun– Opening feels like it inhabits the kind of sunny overlap of pop-rock and electronic that Phoenix is in. Not quite as high-energy and dynamic as them, though, and the tracks here faded into sameness by about halfway through.
  • Polo G, Hall of Fame – Lots of autotune, lots of gangster rap tropes, not a lot that really grabbed me as unique, special, or especially well done.
  • PWNT, Days in the Summer– 60s swinging pop sound, a little twist of Brian Wilson. It was really very pleasant, but it never quite rose above that.
  • Rise Against, Nowhere Generation– It’s passionate, it’s intelligent, it’s well played, but late third-generation punk has to do something pretty special to, well, rise against the background.
  • Rostam, Changephobia– This album by Vampire Weekend’s co-founder, and award-winning producer, Rostam Batmanglij, is by no means unpleasant or unskillful. But a lot of it is also the kind of musically and vocally mellow where everything just blends together in a way that makes it fade into the background. It perks up halfway through, but, well, if you don’t perk up until halfway through…
  • Schneider TM, The 8 of Space– If you like music that sounds like it was made by machines for machines, you might like this. I do like a pinch of that, but it gets hard to sustain at album length.
  • SPELLING, The Turning Wheel– Jazzy, sparkly, light and bubbly. I can barely stand it.
  • Squirrel Flower, Planet (i)– The first track was too ethereal, the second had some brood and some bite to it, the next got back to a little too slow and down-tempo. It goes on kind of unevenly like this- the best bits from Boston-diy scene and currently Iowa-based folk singer/songwriter Ella Williams are really good, but it doesn’t add up to a coherent album.
  • The Catenary Wires, Burling Gap– This veteran duo from several indie groups delivers something well played, well sung, and gets into some fun pop/twee space, but too many tracks fade into a mellow sameness.
  • The Mountain Movers, World What World– This started off with excellent distorted electric guitar psychedelia with a side of sinister, then the middle bogged down in multiple slow songs in a row. Alas!
  • Wolf Alice, Blue Weekend– This is unquestionably well done, but it felt a little too slick and packaged for me.

Join us next time for the review of July’s new releases which, you never know, just *might* be completed before the very end of August!

In Search of the 21 Best Albums of 2021: May

Well, it looks like we just barely got the May review done before the end of June. Better that then even later!

As part of my continuing search for the 21 best albums of 2021, I’m listening to new releases every month, sorting them into categories, and then I’ll do a final shake-down after the year ends. If you missed the previous editions, you can find them here:

( January February March April )

This is one of three music-related blog series I’m doing this year, you should also check out my ongoing review of critic’s choices for the best albums of the 2010s here, and my wrap-up on reviews of the 20 best albums of 2020 here.

But, for the moment, we’re concerned with 2021. And the 92 new releases I listened to in May! Before we go on, a quick note about the three categories:

Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. As of the end of May, this list is up to 95 albums, so the reckoning is going to be bloody.

Maybe– These are albums that had definite strengths, but about which I have some reservation. I’ve noticed over the years that some “maybes” have a habit of lingering, so I’m giving them a category just in case.

No– These albums are not in contention. Some of them deserve discussion, though, which I note.

And now, boldly forward with May!

Alan Jackson, Where Have You Gone– This feels like it’s just on this side of cliché, but almost classic, and musically and vocally straight up. Much of it is a conscious paean to the best of 70s and 80s pop country, and he delivers the feel. Despite the album running over an hour long, when it ended, I honest to gosh had the immediate impulse to play it again.

Allison Russell, Outside Child– Between the soulful jazzy first track, and the country third track, I had a feeling I would like what was going on here. Vocally powerful, musically complex, she tours genres like nobody’s business. All with looming feeling. A Montreal native and fixture of the Chicago and Nashville music scenes working with other bands, this is her debut solo album. She’s apparently self-taught and a multi-instrumentalist, which speaks to her range and power. Personal, meaningful, magnificent.

Aquarian Blood, Bending the Golden Hour– Neo-psychedelia, but also with some 90s rock and indie folk feeling to it. It’s a great mix, well-rendered, the male and female vocals add to it, and there’s an element of darkness and even menace to it that I appreciate.

Buffet Lunch, The Power of Rocks– I like buffets and I like rocks, so I walked into this album well-disposed. It turns out it delivers an offbeat, psychedelic-flavored sometimes discordant rock that repays my initial good will. The opening reminds one of the sillier side of the Beatles, in a good way. It stays in that vein but also gets discordant in a post-rock kind of way. It’s an interesting combination!

Chrissie Hynde, Standing in the Doorway: Chrissie Hynde Sings Bob Dylan– All right, the basics- Bob Dylan is in my all-time top five, I love Chrissie Hynde, and I really like cover albums. So Hynde covering Dylan starts off conceptually ahead for me. Hynde capitalizes on this head start, though, by choosing some more unusual songs from the catalogue, and giving them her own sound while honoring the spirit of the original. She is superb, and this is a definite contender.

Current Joys, Voyager– There’s a spareness and sometimes even delicacy to the music that is a nice offset to the emotional seriousness of the lyrics and yearning vocals. This album by Multi-band alumni Nick Rattigan feels like an evocation of Alex Chilton, with a good layer of 80s alt via a 2000 indie rock treatment.

Czarface/MF Doom, Super What?– One of two posthumous hip-hop legend releases we have this month. RIP MF Doom. I don’t think it’s just that sentiment that’s got me liking this- the delightful swirl of music and samples, pounding vocal flow, themes of superhero/sci-fi, pandemic, and pop culture, all add up to a great outing! And all the more reason for sadness that there isn’t more to come.

DMX, Exodus 1:7– The other of the two posthumous hip-hop legend releases we have this month. RIP DMX. This starts off muscular and menacing. Then is, by turns, a flashback to late 90s/early 2000s hip-hop, spiritual, and a considered meditation on age and parenthood. A tour de force, and fitting final testament.

Fiver, Fiver With the Atlantic School of Spontaneous Composition– Sometimes it seems like a country album, sometimes it seems like a jazz album, at times it gets almost psychedelic, and the vocals of lead singer Simone Schmidt have a subtle power that often breaks out into downright soaring. An unusual and arresting album.

Gruff Rhys, Seeking New Gods– Well this is lovely! Melody, clear instruments, and the thick voice of this Welsh singer-songwriter (and Super Furry Animals alum) all work together to create a feeling reminiscent of some of the highlights of pub rock, art rock, and prog rock.

J. Cole, The Off-Season– Musically muscular, great mixing, strong and clear vocals, great energy and variation on tracks. When it comes to contemporary hip-hop, I do appreciate that ROC production…

Jack Ingram/Miranda Lambert/Jon Randall, The Marfa Tapes– Several pop country stars hang out together on a porch in West Texas and record what they get up to, and it’s better than anything on pop country radio.There’s a lesson here! The songs are stripped down (including talk between takes, mistakes, and background noise, almost like demos really), honest, and shine like gold.

Jerry Douglas/John Hiatt/The Jerry Douglas Band, Leftover Feelings– By turns rollicking, relaxed, and tender, this music lives at the intersection of rock, blues, and country. Hiatt’s voice is just the right kind of ragged to fit with this and make it feel utterly authentic. You may hear echoes of Dylan, Springsteen, the more wistful edges of Outlaw Country, and even, I swear, Carl Perkins here. None of it is derivative though, that’s just the mythic space this album is inhabiting.

Johnny Flynn & Robert Macfarlane, Lost in the Cedar Wood– Kind of a hardcore folk album, it also reminds me of the folk side of Led Zeppelin. Strong music, clear vocals, and lyrics that create a world. And I thought Johnny Flynn was just a pretty lovelorn BBC shows-TV face!

Jorge Elbrecht, Presentable Corpse 002– Strains of dark folk, psychedelia, indie rock, put together in a way that is menacing and mind-bending. It feels like a time-lost classic. Reading up on it after listening, there is a through story, which is hard to get at first listen. Even without that, though, it’s thoroughly well done.

Lydia Ainsworth, Sparkles & Debris– Toronto composer and singer, this is musically simple, electronic and just on the edge of dance, and in a sense vocally straightforward, but with interesting touches to both, and her literate lyrics are arresting. Pop but deeper-think of, perhaps, Dido? It even gets philosophical and metaphysical! And the “Good Times” cover is amazing!

PACKS, Take The Cake– Surging guitar rhythms, darkly inflected vocals with a lackadaisical undertow. Am I in the 90s? Musically, I love being in the 90s! As per many an excellent rock band from the last decade plus, they’re from Canada (Toronto, to be exact). Oh Canada!

Pardoner, Came Down Different– You know that promising young band of indie rock guys with great crunching guitars? This is them! I always like them, whoever they are. This particular iteration are from San Francisco, which is maybe an additional reason as well, but I swear the promise is there.

Riley Downing, Start It Over– A croony soulful swell of music, informed by some country flavor, some soul and blues, and some glowering alt presence. The vocals are like spoken word soul, except with a country inflection, and remind a little of Tom Waits. It all adds up to something pretty compelling.

Robert Finley, Sharecropper’s Son– This Blues and Soul veteran returned to recording in 2016 after a break of many years, and is here coming out with an album produced by the Black Keys. You might figure these would be the elements of excellence, and they gosh darn are. Muscular electric blues and soul.

St. Vincent, Daddy’s Home– Attitude, vocal verve, sometimes dancey sometimes smokingly croony music informed by multiple genres, with clever lyrics. What here is not to love? Honestly, she reminds me of Prince in her playfulness, range, and power.

Texas, Hi– Brooding, swinging, rocking, smooth and sophisticated, familiar with 80s alt, indie rock and classic idioms, full of feeling. I do love my Scottish bands, so I don’t know why I didn’t know about Texas a lot earlier than this, but they have got it going on!

The Black Keys, Delta Kream– This Black Keys homage to Delta Blues is clearly a sound that’s in their wheelhouse. A bunch of 2000s white guys covering early/mid 20th century black blues musicians certainly has representation problem potential. However, their whole lifetime approach holds this music in such reverence that I think it avoids that trap and shines as a labor of love.

The Chills, Scatterbrain– A very lost in time feel, one might legitimately think one was stumbling across a lost classic of the psychedelic era, though as it goes on it picks up more than a little twist of synth pop. Not a track misfires.

Weezer, Van Weezer– Not an album of Van Halen covers, but rather an invocation of the spirit of that era/style of music. This is near and dear to my heart, and obviously to theirs as well. So well done!


  • Aly & AJ, A Touch of the Beat Gets You Up on Your Feet Gets You Out and Then into the Sun– A very pretty and well done pop record. It’s not profound, but it also never lets you down, and I kept wavering between “not substantive enough”, and “yeah, but it’s pretty good”. So I guess by definition this is a maybe!
  • Bachelor, Doomin’ Sun– Friends from two indie bands rent a house together during the pandemic and get as deep and weird as they want to home recording. That’s a good start, and the results are shimmery, raw, and real. Their visions are complementary, but not identical, and the results are beautiful and always interesting, albeit maybe it doesn’t feel totally coherent.
  • CHAI, Wink– The “quirky becomes downright weird” side of J-pop is one of my favorite locations. They play around with dance music and disco to excellent, and consistently subversively fun, effect. It feels a little light and slight, perhaps, which is the only thing keeping it from a “yes” for me.
  • Damien Jurado, The Monster Who Hated Pennsylvania– The title is great, and the cover is pretty good too. Don’t judge a book by it’s…? Well, the lyrics and vocals are lucid, even poetically luminous. It’s all on the acoustic and mellow side musically, maybe a little too same that way, but the lyrical/vocal side of it keeps it in strong contention!
  • Dispatch, Break Our Fall– Wastes no time, started out rocking. With 60s classic/80s jangle feel-rocking numbers, ballads, lighter almost novelty songs. A little klunky in its topicality and maybe too long, but song structure and music is 100%. A lot of it sounds instant classic.
  • Giant Claw, Mirror Guide– I kind of liked the discordant random plucked notes start to this. I made it to halfway through and realized, unlike many electronic albums I listen to, I wasn’t questioning its or my continued existence. There’s something weird, off-beat, even sci-fi about it that keeps it compelling. Despite the oddness, because of the oddness? This is a definite maybe for me!
  • Juliana Hatfield, Blood– I really like Juliana Hatfield, and I’m also required by law to like smart, angsty, fuzz-guitared 90s songstresses in general, and this is firmly in that vein. She’s never not had an edge, but this is nasty in a sharp-tongued kind of way, and hilarious. The lyrics feel a little too topically on the nose sometimes, which is the only thing keeping it from a “yes”.
  • Kasai Allstars, Black Ants Always Fly Together, One Bangle Makes No Sound– African folk from a Congolese group, delivered with exuberance. There is obvious application of the roots of their sound to American music as well. There is the foreign language issue, but the music is so dynamic and fun it pretty much overcomes that for me.
  • L’Orange/Namir Blade, Imaginary Everything– It didn’t quite feel like it came together, but there’s a lot of excellent hip-hop experimentation going on here. The eclectic musical sampling work is superb, the mix and wordplay is surreal.
  • Lord Huron, Long Last– I’ve been curious about this Lord, and his great lakey realm, for a while. I’m not sure what I was expecting, but this is a very welcome surprise- country inflections with that spooky minor chords sound, sometimes in a downright cowboy ballad vein, but with a heartfelt air. There’s even a framing device for the album that works. It was all superb, and was headed toward being an automatic yes until a 14-minute ambient track at the end. Alas!
  • Lou Barlow, Reason To Live– Nice acoustic energy, evocative vocals, I kept teetering toward everything sounding too same early on, but the songs sound looming, like something important is going on. This 80s/90s lo-fi rock pioneer (alumni of Dinosaur Jr. and Sebadoh) knows what he’s doing, I think.
  • Mach-Hommy, Pray for Haiti– The musical/mix side of this is great, with many offbeat choices, and the vocal flow is smooth but dynamic, and the subject matter-a kaleidoscope of personal and cultural references focused by an overarching meditation on the political and economic straights of Haiti-is compelling. It was very promising on the first half, but got unfocused and over-run with guest MCs who watered down the coherence on the second half.
  • Micky Dolenz, Dolenz Sings Nesmith– The more poppy former-Monkee covering solo work from the more experimental former-Monkee is an interesting idea. Like, imagine what a McCartney covers solo Lennon album might be like? It turns out really well, and the only thing going against it as an album is also it’s strength- a wide diversity of source songs. So it doesn’t really come off as coherent, but it is fun!
  • Moby, Reprise– This is literally a reprise- Moby not just re-recording, but re-imagining, a baker’s dozen plus one of songs from throughout his career. Between the strength of the original source material and the interesting nature of the re-works, it’s pretty compelling.
  • Mustafa, When Smoke Rises– Spoken word, hip-hop, and there’s something quiet and compelling about it. It’s very low-key, musically and vocally, which is about my only reservation, but it gets under your skin and is talking about things that have some weight to them. It doesn’t sound like everything else, and all-in-all is a pretty hefty accomplishment for someone who’s only 24.
  • Natalie Bergman, Mercy– Is this an electronic indie neo-disco gospel album? I kind of think yes! I actually liked that idea pretty well, and it’s weirdly compelling. I was with it for quite a while, until it got a little wobbly halfway through, but then ended powerfully.
  • Paul Weller, Fat Pop, Vol. 1– Paul Weller walks into this with a problem that’s really sort of his fault, which is I’m expecting a lot from him. And you know what, I hear the Jam here and the Style Council in parts, also a fairly strong Bowie influence, and a lot of variety and verve. The only thing keeping it from a “yes” is some of it sounds cliched/by rote. But, come on, his rote is better than most people’s best effort.
  • Sophia Kennedy, Monsters– This is fascinating. Largely keyboards and electronic percussion, but with unsettling brooding and flashes of musical discord, sharp vocals, and dark lyrics. And unlike many another album, it actually gets more interesting and varied as it goes on, with tin pan alley pop and even dance beats rearing their heads. In fact, it got so variable that lack of coherence popped it out of automatic yes!
  • TEKE::TEKE, Shirushi– Now this is suitably strange! A Japanese band, and their music is a mix of surf music, traditional forms, and psychedelia-flavored electronic. There’s the language issue, and the fact that it sometimes get a little too experimental, but on the other hand it’s a fun and interesting listen, and the experimentation goes somewhere.
  • The Reigning Sound, A Little More Time with Reigning Sound– Swaggering but melodic indie rock with hints of country, 50s rock, the Beatles, and Dylan. When I heard this band was from Nashville, I kind of hoped they’d sound like this. The vocals are klunky in a wonderful way that actually highlights the directness of the musical approach. It slowed down a little in the middle, though never got bad or fully deflated. These pacing issues just keep it from “yes”.
  • Van Morrison, Latest Record Project Volume 1– I do admire the school of album naming this hails from, but also must note that there are very few circumstances, even for a living legend, under which a more than two hour album is justified. The opening track is kind of brilliantly solipsistic, though. So there’s the length, a general crankiness, and a certain level of right wing ranty in the lyrics. On the other hand, it’s so musically and vocally excellent I don’t feel let down by a single track for more than hours. Does this all equal out to a maybe?


  • black midi, Cavalcade– The opening is really something. Disco, rock, lurching music, trippy spoken word. The next track is even more disorienting with it’s trip into a classic croon. The third track lurches back and forth between these two modes. And so on. Ultimately a little too much on the “not consistently listenable” side of experimental. But interesting!
  • Blackberry Smoke, You Hear Georgia– This band is deeply steeped in southern rock, very skillfully rendered, but I can’t escape the feeling that it’s too often a little “prefab” in terms of lyrics and production.
  • Blake Shelton, Body Language– This is a little too on the “pop” side of pop country for me, and falls into the cliché/rote route too often. That being said, he has tons of charm, and as pop country goes, this is very well done.
  • Carlos Nino & Friends, More Energy Fields, Current– A little too jazzy and instrumentally mellow for me.
  • Cheval Sombre, Days Go By– The first track sounds like a grunge ballad. Now, I like an occasional grunge ballad, but it turns out pretty much every track either sounds like that or a slow slide into My Bloody Valentine. That’s too much in that vein for me!
  • Cloves, Nightmare on Elmfield Road– Mellow dance beats and shimmery vocals, I gather that there is a kind of horror story going on in it, but it’s too mellow and shimmery for me to pick it up.
  • Colleen, The Tunnel and the Clearing– The down-tempo here almost fades into non-existence. The third track sounded like it had sea lions in it, so I liked that.
  • Dark Tea, Dark Tea [2021]– Brooklyn based musical collective. A little country and classic rock twist, excellent song structure, vocals, and melody. At its best, it’s very good, but it too often falls prey to a feeling of sameness, and long pacing lulls.
  • Dave Holland, Another Land– As funk-flavored all instrumental jazz outings go, this is a fine one, but this cup of tea, it is not mine.
  • David Gray, Skellig– This may have suffered from being the second mellow acoustic album I listened to in a row. It’s solid, but I never really caught a spark from it.
  • Dodie, Build a Problem– English singer-songwriter, kind of a mellow electronic folk. It’s nice enough, literate emotionally sophisticated lyrics, but eh.
  • Dorothea Paas, Anything Can’t Happen– She has a really great voice, and things are well played on this folk album, but it doesn’t feel like there are enough moments that are surprising or get beyond a certain narrow musical/emotional range.
  • Erika de Casier, Sensational– The music is more on the subtle side than I often prefer, but the changeable flow of the vocals and the emotionally vulnerable lyrics are compelling! It ends up being a little too musically thin though, and the tracks fade into a kind of sameness.
  • Facs, Present Tense– I mean, it’s kind of punky, kind of electronic, kind of glowery, there’s feedback and distortion and anguished shrieking in the background. It all got kind of tiresome pretty quickly.
  • Fatima Al Qadiri, Medieval Femme– This is interesting, but it’s a little too “fade into the background” world music for me.
  • Fly Pan Am, Frontera– Well, there’s beats, moody background music, and some occasional screaming. No.
  • Georgia Anne Mudrow, Vweto III-Sadly, no. This is mostly instrumental, but there is a lot of verve in its mix of influences- hip-hop, 80s club, disco, and funk all make an appearance. Not bad by any means, in fact really good, but it doesn’t feel like there’s enough connecting it together to add up to a great album.
  • GoGo Penguin, GGP/RMX– Some tracks totally caught my attention. Others seemed to be animated by a sound not unlike eating lettuce.
  • Greenhouse, Music For Living Spaces– This, let it be known, is literally an album about plants. That being said, I was pulling for it, and it is very pleasant. But a little too low-key and instrumental in the end.
  • Iceage, Seek Shelter– The opening descent into vaguely sinister guitar warms my heart, as do the weary burned-out vocals. It’s pretty good down-tempo slightly sleazy rock, and has some fine anthemic moments, but keeps slowing down without warning, and doesn’t sound differentiated enough- the tracks blend into each other.
  • John Andrews & the Yawns, Cookbook– Jazz vibe, hints of Santana, a mellow California feel, musically and vocally like a hazy summer day. It’s very nice. For a track or two. I’ll avoid obvious jokes about the band name.
  • Jorja Smith, Be Right Back– Beautiful British soul, it’s never bad, but ultimately it never sparked up for me.
  • Lampchop, Showtunes– Slow piano chords, sonorous vocals, and philosophical lyrics create a melancholy feel. It all adds up to one downbeat tone, without enough variety or texture to rise above that.
  • Last Days of April, Even The Good Days Are Bad– Strong indie pop-rock with a classical feel. The tracks have a propulsive, independent sound, and vocal variability. And then it had the dreaded second half deflation, including literally ending on a downtempo song called “Downer”. Almost well done Swedes! I swear the people who seem to still be doing rock well these days are almost all Canadian or Scandinavian…
  • Lionel Boy, Lionel Boy– As auto-tuned slow-tempo well-produced contemporary R&B goes, this is fine.
  • Lisa Gerrard/Jules Maxwell, Burn– A collaboration by the vocalist and keyboard player from Dead Can Dance. This is the kind of orchestral ambient swirl of music you might expect from that. If it’s your thing, you might like it, but I don’t hear enough going on here, powerfully enough, to be a “best” album of the year.
  • Loscil, Clara– It is very ambient. The cover is a picture of melting ice. That seems appropriate.
  • Magic Castles, Sun Reign– A little 80s/90s alt a la Jesus and Mary Chain, a little paisley underground, but it kind of ended up all blurring together.
  • Marinero, Hella Love– Lush Latin music-themed romanticism. It’s largely a paen to San Francisco, which certainly tugs on my heartstrings, but, with exceptions, it’s mostly too low-key and all in one tone to really engage me.
  • Matt Berry, The Blue Elephant– I knew him as a British actor from the IT Crowd, but he’s a pretty fine musician too! Jazzy instrumental first track had me thrown off, but the psychedelic swirl and powerful instruments on the next track was great. Then another jazzy instrumental. And so on. This was half of an excellent album and half of a blah one.
  • Matt Kearney, January Flower– Upbeat indie rock leaning toward electric folk, but it was a little too poppy and prefab for me.
  • Mdou Moctar, Afrique Victime– A Tuareg singer-songwriter from Niger in the eclectic “Desert Blues” genre. It is musically muscular! I really like it, but in the end, the language barrier keeps me from connecting with it enough to rank it as a “year’s best” album.
  • Morcheeba, Blackest Blue– This is undoubtedly well-produced and high quality. Its particular brand of lush and easy just fades into the background for me, though, and I need a “best” album to stand out more than that!
  • Murcof, The Alias Sessions– This is a double album. It is also spare and minimalist, sometimes to the point of barely registering. I did not care for it.
  • New Order, Education Entertainment Recreation– When I was a lovelorn depressed teen, I was a big fan of New Order. I still like them, they certainly have their place. A live album by them is relatively unlikely to result in surprises, though. That being said, these are fine live versions , but two hours of live album practically identical to studio, well…
  • Olivia Rodrigo, Sour– The opening sounds like she really likes grunge, and has a pop sensibility too, and her lyrics have some real wit and personality. The subsequent tracks were much more Taylor Swiftian, but still with an almost operatic quality to the emotional drama. Often affecting, but also very young, and it has a few too many tear-stained ballads in a row. But so well rendered, and she’s only 18, there is big promise here.
  • Paula Cole, American Quilt– “Paula Cole covers American standards” doesn’t sound like a bad premise. The variety of styles is laudable, and all are really well-done. But I only like about half of them- more the blues, soul, and gospel side, less the extended jazzy and ethereal celtic ones. Which I guess means this would work for me as a selected EP?
  • Sarah Bareilles, Amidst the Chaos: Live From the Hollywood Bowl– Just because streaming technology makes it possible for one to have an almost two-hour long concert album does not mean one should. That being said, this is a really good live album- excellent sound quality, good versions, charming interaction with the crowd. It would need to be a little more streamlined to be in contention for year’s best, but I would certainly recommend it for fans.
  • Sons of Kemet, Black to the Future– Poetic ragged vocals, jazz backing, timely Afrocentric lyrics. There’s a lot to admire here, but it too often faded to background sound for me.
  • Squid, Bright Green Field– The sound collage opening was a minus, which is a shame because the off kilter vocals and music of the next track were interesting. Unfortunately it’s the kind of off-kilter that wears thin after several songs. And what is it with the recent shouted vocals trend with British bands?
  • Sunroof, Electronic Music Improvisations, Vol. 1– The album name made me think this might not be for me. The Beats, atmospheric sounds, and electronic boops and bops confirmed it.
  • The Mighty Mighty Bosstones, When God Was Great– Like the Offspring album we reviewed in April, this was mostly a case of a fine example of their sound, but kind of a victim of that very thing. What would raise it above that to the realm of great? There are some songs that I think are actually on track, doing a retrospective look at the history of the band and its scene, showing where it actually is in time and space. More of this, and maybe…in the meantime, there’s plenty here for a ska fan to like.
  • Trevor Powers, Capricorn– First impression: This sounds like discordant muzak. Those were actually the better parts, in other places it got very ethereal and sound samply.
  • Twenty One Pilots, Scaled and Icy– Starts off 70s sunny, then becomes kind of autotune, then kind of Weezery, then electronic influenced rock, a little discoy, a little hip hop, all clever, but rarely feels very genuine.
  • Will Stratton, The Changing Wilderness– There’s a richness to the lyrics and the vocals, and understated power to the low-key indie rock. It’s pretty, it’s well-done, but it’s kind of the same track to track.
  • Young Nudy, DR. EV4L– I was in just based on the cover alone, and it definitely has some material that dives deep into the horrorcore theme the cover indicates. Unfortunately, too much of the rest of it is full of bitch and pussy talk. It’s a shame- there could have been a great, or at least very interesting album here.

And there we have it. Next, on to June! Which, who knows, I may get done before the last day of the following month…

The 20 Best Albums of 2020? (The Wrap-up!)

Once upon a time, in an effort to catch up on new music after a hectic few years, I went in search of the 20 best albums of 2020.

In pursuit of this goal, I took year-end “best album” lists from All Music Guide, AV Club, Billboard, Consequence of Sound, Jim DeRogatis, Greg Kot, Mojo, New Music Express, Paste, Pitchfork, Rolling Stone, and Spin. For every album one or more of these sources listed, I tallied up the votes that album got between all of them, and took the highest scoring twenty albums. I broke up the reviews into four blocks of five each. You can find them here:

(Part I Part II Part III Part IV)

So, having listened to all 20 of the critics top choices, what have I concluded?

There were a few albums where the critics and I just couldn’t agree:

  • Eternal Atake (Lil Uzi Vert)–I like hip-hop. A lot! But there’s a kind of “autotune” school of recent hip-hop that I’m not super-keen on. On top of that, the first half of the album is thick with misogyny, apparently unironic/uncritical. There just aren’t that many moments that get beyond that until halfway through.
  • It Is What It Is (Thundercat)– I mean, if you call your band Thundercat, you’re already halfway there with me. This mellow jazz fusion sound was well done, but I couldn’t find a heart of anything that felt real or vital in most of it.
  • Punisher (Phoebe Bridgers)– Well done indie pop rock, with sophisticated emotional lyrics, and clear production. It tends mostly to a muted tempo and musical pallet, which is a shame, since the few more up-tempo moments are super-fun.

Then there were also several albums which, while I found a lot to like, didn’t quite add up to “year’s best” for me:

  • color theory (Soccer Mommy)– Solid pop-rock structure, beautiful clear vocals, introspective lyrics, the songs proceed along very pleasantly in a way that’s hard to find any fault with. It’s not transcendent, but she was only 22 when she made this album. We could do a lot worse, and there is huge promise for the future here.
  • Petals for Armor (Hayley Williams)–This solo venture by Paramore’s lead singer features electronic beats, strong clear vocals, and dark lyrics. I’m not sure about this as a “best”, but it was a consistently interesting high energy listen.
  • Set My Heart on Fire Immediately (Perfume Genius)-It was a slow start, but I really liked many of the later more up-tempo tracks, and I do appreciate the lush same-sex romanticism found throughout. Overall, I’d say this is not consistent/well-structured enough to be a “best” album, but there’s certainly a lot that’s worthy here.
  • Shore (Fleet Foxes)– At this point, hearing the phrase “indie folk” tends to fill me with preemptive dread. This pleasantly surprised me, though! The music has a lot of dynamism, and the tracks have an independent identity, two things that often seem to get sacrificed to the sameness of indie folk approaches.
  • YHLQMDLG (Bad Bunny)– I mean, this seemed like it was very good, but it’s also entirely in Spanish, which prevents me from connecting with it lyrically. I will say it’s fun, interesting, and well-produced. Although it does have more than none of the autotuned style that is the order of the day, and I’m not sure it needed to be over an hour long- generically, it takes something pretty special for me to sign off on an album doing that. Though, given the language aspect, there may be some structure or narrative line that justified it here, but isn’t understandable by me.

Which leaves the following albums that I can heartily endorse as quite possibly being among the best albums of the year:

Fetch The Bolt Cutters (Fiona Apple)– I expected this to be excellent, because it’s Fiona Apple. So the lyrical and vocal power wasn’t a surprise. What I was surprised by was the musical side of it- there’s a dizzying mix of flourishes from classical and musicals, sound samples (I recommend having a dog around when you play it for extra fun reactions), pop beats, the use of the piano as practically a percussion instrument. There’s enough variability in the first track alone to be a virtuoso performance. The tracks each sound different, but fit together, and that is THE trick to pulling off an album. There is a much more conventional (to her approach) version of this album that could have been produced, and it would in many ways be an easier/smoother listen. But it wouldn’t be nearly as interesting and arresting.  

folklore (Taylor Swift)– The title had me thinking this album might be somehow folky. It isn’t! What it is, is a fine showcase for Taylor Swift’s continued evolution as a songwriter. Musically, it explores a slower, more darkly textured side of pop than her previous outings. And lyrically, as she herself admits, on earlier albums she often wrote based on imagined feelings and life situations. That began to shift with 1989, a solid pop album that came more from direct experience. Not always profound experience, but real. Here, she sounds like what she actually is, someone hitting their 30s, and reflecting on youthful follies with a combination of wisdom and wistfulness. AKA, it’s kind of a review of the folklore of a life. Sometimes the songs are personal, sometimes they’re the kind of character storytelling you often find in country songs (she did start out in Nashville, after all). She’s always been a mechanically solid song-writer, and here there’s some real substance to back that up.

Future Nostalgia (Dua Lipa)– In the opening track she says, “You know you like this beat” and darned if she isn’t right! Dance music has its place, and this is great dance music! The beats work, the lyrics and vocals are sultry, and it’s full of dynamic shifts and attitude. It just feels good to listen to this. I don’t often groove in the club these days (okay, I never often grooved in the club), but I do groove while writing blog posts in bed. And this is perfect for that!  

Heavy Light (U.S. Girls)– This album has solid 2000s beats with nice overtones of 70s music in several guises- 70s Soul, Patti Smith, AM radio. She (U.S. Girls is the vehicle of producer/musician Meghan Remy) has such a great pop sensibility, but it’s laced throughout with lyrical subversion. And livened by some surprising musical choices and vocal varieties on particular tracks. Crucially, these surprising moments still fit with the overall album. This grew on me track by track.

Letter to You (Bruce Springsteen)– I’m a big Springsteen fan, but with a particular valence. I have a marked preference for the “dark” Springsteen of every other album (or so), when a certain pessimism and airing of fears and doubts boils to the surface. Thus, Darkness on the Edge of Town, Nebraska, Tunnel of Love, The Ghost of Tom Joad, and Magic, for instance. This album is definitely in that vein, which is not to say there aren’t surging anthemic moments (especially since the E Street Band is backing him here). But there’s a central preoccupation with aging, loss, and ghosts of memory, and Springsteen is in fine lyrical form wrestling with these themes.  


Live Forever (Bartees Strange)– The muted musical background, swirling sound effects, and sweetly rough off-kilter vocals of the opening wove a spell. While beautiful, it would have been bad news if it all stayed in that low-key vein, but the next track went immediately up-tempo and rock-y and became almost a hardcore song by the end. The next one was like a beat-oriented indie rock song, the next after that in a neo-soul/hip-hop flavored vein. And so on, through a dizzying array of musical modes. All of this, tied together by a strong and surprisingly vulnerable lyrical voice throughout, makes for a very interesting listen. I well understand what it’s doing in the top 20!

Reunions (Jason Isbell and the 400 Unit)– The first track kicks into gear right away, with soulful yearning vocals and lyrics, and moody acoustic background instrumentation. As you might expect from a former Drive-by Trucker, the songs freely mix acoustic, electric, country, and rock, but they all keep hitting with the same level of power, solid song structure, and a haunting melancholy feel. You’ll hear hints here of Dylan, Neil Young, and Jackson Browne, but nothing that rings inauthentic or derivative. Really a mighty fine album.

Rough and Rowdy Ways (Bob Dylan)– Full disclosure: Bob Dylan is in my all-time top five favorite musical artists. I appreciate almost everything he does on some level. That being said, I don’t have blinders on to the fact that, once you get past the mid-70s, not every album is necessarily a …timeless masterpiece. So hopefully I have some credibility when I say that this album deserves to take a place with the trio of widely revered “later-day” Dylan albums- Time Out of Mind, Love and Theft, and Modern Times. The first song here is like an elegy to himself, and the last is an elegy to the entire era since his debut in the early 60s. That same mood pervades in between, and things are in top lyrical and musical form- thick with allusions and references, and stripped-down and effective use of different blues idioms. If not a timeless masterpiece, at the very least an excellent outing from an old master.

RTJ4 (Run the Jewels)– I was more familiar with Run the Jewels co-lead Killer Mike’s politics than his music, though based on his politics I had certain expectations of what his music might be like. These were not disappointed. I was hooked from the initial burst of metallic beats and high-impact lyrics, both demanding respect. The whole album is so dynamic and clever, and political without being polemical, which is always the big challenge. This brought me back to a feeling I haven’t had since the heyday of Public Enemy. Which is good, because now more than ever we need to party for our right to fight!

Saint Cloud (Waxahatchee)– The music is solid in a country-inflected indie rock with multi-instrument production flourishes kind of way, but what really moves it above and beyond is her voice. (Waxahatchee is a band fronted by Alabama-raised singer-songwriter Katie Crutchfield.) Because of her voice, both vocally and lyrically, everything here sounds earnest and authentic despite/on top of the production gloss. This kind of reminds me of the space Edie Brickell used to occupy. And I loved the space Edie Brickell used to occupy!

Sawayama (Rina Sawayama)– Complex and well produced dance music is the impression from the first track. With energy, and lively musical (rock! Hip hop! ballads!) and vocal choices. This has both fiery attitude and vulnerable emotion, and picks up on some social and personal issues. The storytelling on some tracks is almost poetically visual, and things have that sophisticated international feel you often find on European dance music. I can definitely get behind the critics on this one!

Women in Music pt. III (HAIM)– It’s a great start, smooth beats, multi-instrument pop and clever lyrics with clear, lucid vocals. After several songs that go through a kaleidoscope of musical styles, I realize that this, and I hope they will forgive me for saying so, reminds me of a Wilson Phillips with more musical sophistication and indie attitude. I actually think that’s the key to this for me- it’s a thoroughly pop sensibility and production, but one with a rawness and power behind it musically and lyrically. It’s high quality and a fun listen, and I can well imagine it being one of the best albums of the year.

And there we are, all 20 reviewed! If you are a mathematical genius, you may notice that my “yes” list only includes twelve albums, and that 12<20. Which brings us to the special announcement alluded to last time…

I figure I am still owed eight albums, in order to get to 20. Accordingly, there will be one more post in which I review further down the critic’s choices in order to round out my list. That’s right, WE’RE GOING TO ELIMINATION DEATH MATCH!

Stay tuned…

In Search of the 21 Best Albums of 2021: April

Hey, we made it a third of the way through this madcap quest!

As part of my search for the 21 best albums of 2021, I’m listening to new releases every month, sorting them into categories, and then I’ll do a final reckoning after the year ends. If you missed the previous editions, you can find them here:

( January February March )

This is one of three music-related blog series I’m doing this year, you should also check out the latest from my review of critic’s choices for the best albums of the 2010s and 2020.

But you’re here to hear about the 92 (!) new albums I listened to in April. Before we continue with that, a quick note about the three categories:

Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. This is no guarantee! In fact, at current pace, we will likely end up with more than 200 possibilities by the end of the year, so every album that makes it to the top 21 will be standing on a mound of the corpses of its vanquished foes.

Maybe– These are albums that had definite strengths, but about which I had some reservation. I have noticed over the years that some “maybes” have a habit of lingering, so I’m giving them a category just in case.

No– These albums are not in contention. Some of them deserve discussion, though, which I note.

And now, on with our April reviews!

Art d’Ecco, In Standard Definition– This starts off with surging guitars, drums, and powerful slightly surly vocals. I’m listening! It reminds me of Siouxsie and the Banshees, and Bowie. Later tracks occasionally get a little dancey, and when that happens we’re in a kind of glam disco space. This all creates a weird timeless world, and I didn’t feel let down by a single track. And the fact that the lead vocalist and everything about the band is Gay as hell is a happy bonus.

Ashley Monroe, Rosegold– Country singer makes a pop turn is really not an unusual story. What makes this stand out is that she does this not in a country pop way, or even in a contemporary mass market pop way, but instead produces a shimmering, golden, vaguely otherworldly pop. It’s really pretty extraordinary.

Beach Youth, Postcard– I think maybe I was expecting something more- beachy?- from this French group. That said, it is very good guitar-centered pop-rock with a dreamy feel, but enough propulsion to keep it from fuzzing out. Viva la France!

Benny Sings, Music– The album opens with a weird sunny 70s-flavored piece, and this turns out to be a really good preview of what we’re in for here. Track after track by this Dutch pop musician sounds like it fell out of a 70s easy listening station, but with a quirky twist and plaintive air. It’s just delightful the whole way through.

BROCKHAMPTON, ROADRUNNER: NEW LIGHT, NEW MACHINE– Hey, it’s a multi-racial hip-hop collective that want to redefine the meaning of “boy band”! A promising premise, and the opening track gave me a feeling I haven’t had since the height of conscious hip-hop (think Arrested Development, De La Soul, Digable Planets, etc.) and political hip-hop (think Public Enemy, NWA) in the 90s. Subsequent tracks bore that out, but also featured the best of the kind of storytelling tracks found in 90s gangster rap, and multi-layered 2000s hip hop production styles. Lyrics, vocal styling, sampling and mixing, everything here is dynamic and substantive. This is one boy band I can get behind!

Demi Lovato, Dancing With The Devil…The Art of Starting over– Imagine you are a sometimes not taken seriously pop princess. Imagine that as you were seemingly on top of the world you were actually wrestling with addiction, depression, eating disorders, and recovery from sexual assault. Now imagine that you go public with these struggles, your near-death from them, and release an album that is unstintingly honest and vulnerable about the process. And that you somehow make it into musically lush and vocally powerful pop music. Simply amazing.

Dry Cleaning, New Long Leg– This UK band sounds like they’re doing a conscious throwback to/revival of the angular and nervy early era of post-punk. And they do it very well! The musical side of it is excellent and the dry spoken word vocals of vocalist Florence Shaw are a nice touch too.

Du Blonde, Homecoming– It begins with a burp, launches immediately into sludgy guitar, husky vocals with an undertone of both malice and boredom, and packs ten songs into 25 minutes. Some melodic sweetness kicks in along the way too, placing it at a kind of cross roads of 60s girl group and stoner rock. Shades of Blondie, shades of Hole. (She knows her oeuvre too, since Garbage’s Shirley Manson appears on one of the tracks.) I had no choice, I am required by law to love this. And I do! Also to note, the power behind this, Beth Jean Houghton, is also a multi-media artist and director of music videos for numerous bands.

Elizabeth King, Living in the Last Days– “77 year-old gospel recording veteran gets a chance to record a new album for the first time in decades” is a good story. Good stories don’t always translate into great albums, but it sure did in this case. Gospel, blues, funk, and her assured powerful voice make for rocking soulful gospel at its best.

Grave Flowers Bongo Band, Strength of Spring– The name gives one pause, but the reality is something unexpected: a guitar heavy post-punk, metal, and prog rock/psychedelia hybrid. Every track is both propulsive, and sings with the guitar work. I’m a yes!

Greta Van Fleet, The Battle at Garden’s Gate– Why lovingly recreate a 70s hard rock sound? Why not! The thing is, it’s done so well, with such sincerity, that it doesn’t sound like a knock-off, but a genuinely new album from that era that somehow just popped into contemporary existence. It will be fascinating to see how this group develops over time.

Guided by Voices, Earth Man Blues– Nobody else quite does what Guided by Voices does, and they are doing it very well here. Every track is like an instant classic, and they’re all in different styles. There’s even a Batman-themed song!

Juan Wauters, Real Life Situations– This Uruguayan musician living in New York City took advantage of COVID confinement to produce this mix of slice of life sound samples, hip-hop, electronic dance music, acoustic, latin pop, and jazz. The whole thing, along with lyrics in English and Spanish, creates a surprisingly listenable urban pastiche, delivering exactly what the title is promising.

Matthew E. White/Lonnie Holmes, Broken Mirror: A Selfie Reflection– This is a powerful melding of funk, jazz, and electronic beats from Virginia musician Mathew E. White and vocals that are in turns growling and poetic from 71 year-old multi-media artist Lonnie Holley that weave themselves through the music. I’ve noticed that these kinds of collaborations between artists can be either ponderous or magic. This one is magic- revelatory, challenging but always interesting and listenable, you probably won’t hear anything else like it this year.

Luke Haines, Luke Haines in…Setting the Dogs on the Post Punk Postman– Oh my god, I love it! The kind of weird simultaneously personal and international tales of intrigue delivered in melodic and affecting pop and rock that Warren Zevon used to deliver. One might also hear hints of Elvis Costello or Nick Lowe. I never wanted it to end

Midland, The Sonic Ranch– Well shit, this is an honest to God country album. Nothing feels affected, nothing feels slick. It’s in a neo-traditionalist vein, and doing it flawlessly. The excellent country album I’ve been looking for since the beginning of the year!

Nick Waterhouse, Promenade Blue– 50s/early 60s rock/soul revival sound with a wild edge and hint of indie darkness. Think of a kind of intersection of Buddy Holly/Buster Poindexter/Brian Setzer/early Elvis Costello, aka I fucking love it.

PONY, TV Baby– Oh hi, this album fell through a time warp from the 90s and hit me on the head, and now I love it. I saw one description of the band describe it as “bubble grunge”. Well yeah, you give me a female-fronted guitar-crunching band that has a pop sensibility, and I’m almost guaranteed to be on board.

Remember Sports, Like a Stone– There’s this band I fall in love with every few years. The basic elements are: an all-female or 3/4 female band, real guitar rock with real drums, and punk power and verve but strong melody and pop sensibility. It has been, variously, the Skirts, the Bangs, the Soviettes, and Vancougar. This is that band. I’m in love! They should watch out, though, because my love-band inevitably puts out less than a handful of albums and breaks up before meeting with the reception they deserve. Alas!

The Coral, Coral Island– This opens with one of those classic psychedelia spoken word intros The jangly psychedelia-flavored indie rock that follows, and spoken travel narrative interludes throughout, show this is exactly what this English band is going for, and they deliver-flawlessly

The Reverend Peyton’s Big Damn Band, Dance Songs for Hard Times– Obviously, the band name is great, and the album name is energetic and hopeful. The even better news is that this Indiana country-blues band delivers with a set of rocking hi-energy blues songs. Every last track is solid fun!

Topaz Jones, Don’t Go Tellin’ Your Momma– A lively and varied hip-hop album, I’m digging it! It has rich grooves, variability on tracks, smooth flow, and clever and positive lyrics. It also feels personal and authentic, and bing-bing- coherent!

Winds, Look at the Sky– Well instrumented (they know their rock chord changes!), with by turns moody and melodious vocals and lyrics. They deliver indie rock with a strong nod to the more swinging side of 70s singer-songwriter and 80s alt Replacements-style guitar rock. Sometimes it has a kind of “lost in time” feel, but darned if it isn’t excellent!


  • Cory Hanson, Pale Horse Rider– Country flavored, and the minor chords, the lyrics, and vocals deliver a kind of evocative melodious melancholy that works with this. Two weirdly ambient tracks at random(?) spots is the only thing costing it an automatic yes.
  • Dinosaur Jr., Swept Into Space– As an 80s alt kid and 90s American guitar-rock fan, well, what can I do? If not for one mysteriously dud/low volume track, this would be a “yes”.
  • Eric Church, Soul– I like this better than Heart, the other album he released at almost the same time. And, as you’ll see below. there was nothing wrong with Heart, technically, it just felt like it leaned more often on country tropes than authenticity. While still smooth, the material here feels more authentic to the artist.
  • Field Music, Flat White Moon– This feels Beatlesesque, which can be a pathway to doom, but this English band does it so straight up sweetly, and with enough indie rock verve and discord to not be a shallow copy. The thought that maybe it’s a little derivative is keeping it from automatic “yes”, but it’s a strong maybe!
  • Garage a Trois, Calm Down Cologne– All-instrumental is an inherently harder sell for me, but this jazz-funk fusion is truly excellent, and never let me down, despite some really long jammy tracks- maybe!
  • Gojira, Fortitude– French metal band named after Godzilla?-I’m pulling for you! Well-done thrash/prog metal with some mirthful choices, even the pause in the middle works. It may not totally exceed its genre, but 1/3 into the year, this is the metal album I’ve been hoping for!
  • La Femme, Paradigmes– I mean, it’s much more than half in French, but it’s so swinging and hi-energy and musically dynamic that I’m seriously considering it!
  • Lucinda Williams, Runnin’ Down a Dream– There are very confusing indications of what year this was released, but hey, I love covers, Tom Petty. and Lucinda Williams, so… As approaches to covers goes, I think this is the gold standard-respectful but no slavish, she successfully brings her own sensibility to them, and many of the tracks are unusual/ less common choices.
  • Major Murphy, Access– Stripped down rock and clear, emotional vocals, this is giving me a 90s flashback feel, with a hint of 70s rock in there too. It slows down on the second half, and it’s not profound, but everything is well done.
  • Maxwell Farrington/Le SuperHomard, Once– This collaboration between Australian singer Farrington and composer Le SuperHomard has swinging 60s orchestral-style pop, is vocally and musically rich, while being lyrically dour, which is an interesting combo. The tracks get a little similarish, but they’re so good and none of them dud out.
  • Mon Laferte, SEIS– This really makes me wish my Spanish was better, because she is a vocal powerhouse. This is a also a lively musical exploration of Mexican folk. I like it so much, I have to give it a “Maybe” even though I can’t really understand it!
  • Shelley FKA Dram, Shelley FKA Dram– The autotune, why does this age have so much autotune? Yet this album quickly transcends that, and my word is it good- robust production, genuine feeling, disarming charm. I wonder a little about consistency, but it makes up for it with lots of authenticity.
  • Silver Synthetic, Silver Synthetic– My first impression is a country-rock feel with a hint of paisley underground, and chord changes reminiscent of the Velvet Underground, which automatically makes me well-disposed toward it. It sounds a little derivative, and isn’t profound, but every track is doing exactly what it needs to do.
  • Steve Cropper, Fire It Up– This veteran guitarist of Booker T. & the M.G.s and the Blues Brothers Band sounds completely as excellent as you’d think based on that. It comes off a little dated. Or perhaps that’s timeless, as he’s pushing 80? It lands short of yes, but still rates highly.
  • The Reds, Pinks and Purples, Uncommon Weather– I was pre-disposed to want to like this when I realized the cover of his previous album (the “band” is the diy project of multi-band alumni Glenn Donaldson) was a picture of the corner I lived on in San Francisco for 7 years! Fortunately, he has a way with alternately sweetly ringing and fuzzy guitars, melody, and weary vocals and heartsick lyrics, so I didn’t feel like I was in danger of manufacturing a case for him just based on home pride. It all creates a dreamy side of 80s alt feeling, and the only real drawback is that the tone is a little too similar from track to track. (The cover of this album, by the way, is another street scene from my old SF neighborhood. Keep it local!)
  • Zo! & Tall Black Guy, Abstractions– This is another one of those cases where band name alone makes me want to like something. It turns out I did like it! This conciously hearkens back to 80s R&B, with jazz, funk and some modern hip-hop, and a celebration of Detroit thrown in along the way. I kept wondering if it was too mellow, but I also enjoyed it and its eclecticism the whole way along.


  • Alfa Mist, Bring Backs– Overall it was too jazz-easy listening-new age for me.
  • Andy Stott, Never The Right Time– I certainly appreciated the unsettling sonic dissonance of the opening. Overall too spare and sometimes ambient a version of electronica for my taste, but interesting.
  • Animal Collective, Crestone (Original Score)– Not as unlistenable as the last Animal Collective album I listened too. Merely kind of boring.
  • Arooj Aftab, Vulture Prince– It’s beautiful, but it’s generally too in the category of orchestral soundtrack/world music for what I’m looking at here.
  • Balmorhea, The Wind– The opening track was so slow and muted it almost literally put me to sleep. Subsequent tracks did not improve on that. Nearly ambient musical changes, whispered vocals when there are any. Ugh no.
  • Birdy, Young Heart– Very pretty folky pop, but doesn’t get above a kind of simplicity and track to track sameness.
  • Bonnie “Prince” Billy / Matt Sweeney, Superwolves– Good start, poetic lyrics and music by turns brooding, driving, acoustic, with many a classic rock reference. It did get a little bog-downy in the middle/end, though. Alas!
  • Cabaret Voltaire, BN9Drone– This is the third album Cabaret Voltaire is releasing this year, which isn’t bad for a group that I hadn’t thought continued to exist after about 1989 or so. It is my least favorite of the three, they each seem to get closer and closer to being annoying noise.
  • Californian Soil, London Grammar– Well, the intro definitely pissed me off with its orchestral swell and disembodied ethereal singing. It was kind of electronic pop folk after that, and really pretty good, but it feels a little too polished versus authentic.
  • Cannibal Corpse, Violence Unimagined– I mean, it’s not like you don’t know what you’re going to get from this group. If you happen to need some grisly death metal, you’ll get a very good serving of it here. But it doesn’t get enough beyond what you’d expect to be in contention for best, I’d say.
  • Cheap Trick, In Another World– I have to say, I didn’t expect “a new Cheap Trick album” would be something I could possibly be listening to in 2021- it’s pretty good, but a little too exactly what you’d expect from them.
  • Citizen Cope, The Pull of Niagara Falls– The spare acoustic guitar, growly vocals, and grim lyrics are an affecting combo, but in the end I found it all too one-tone musically and vocally to sustain itself at album length.
  • Dawn Richard, Second Line– I think this is pretty good, but it does tend toward a sameness after a while. Sic semper electronicus. Her approach is great, though, and some of these I would certainly want as singles.
  • Dntel, The Seas Trees See– Outright weird electric voice beginning is somehow much better than the currently popular autotune that pretends to be really singing, but sadly it vanished after that and what was left, despite interesting moments along the way, was way too electronica abstract and/or almost ambient.
  • Eric Church, Heart– Hey, it’s a country album! I am always on the lookout for a good country album. Very well done, but it feels like more formula than heart throughout.
  • Flock of Dimes, Head of Roses– It’s a nice indie album with elements of folk, rock, and electronic. But it feels way too low energy and same track to track to really engage.
  • Flying Lotus, Yasuke– “Electronic music soundtrack for an anime series focused on a Black Samurai” is a pretty good mission statement, but it all tends a little toward too low-key/background mostly instrumental for me.
  • Gary Bartz/Ali Shaheed Muhammad/Adrian Younge, Gary Bartz JID006– I was led to believe that this might be the kind of jazz that interfaces with rock or funk in interesting ways. It was not. It’s a nice mellow vibe, if you like that kind of thing.
  • Ghlow, Slash and Burn– Beats, guitars, and the sound of a race car revving up was actually a pretty promising start. It IS the kind of thing I like, but there’s too much all-one tone to the music and the vocals, no distinction between tracks.
  • girl in red, if i could make it go quiet– Such a shame! pop-punk, hip-hop, melody, searingly personal lyrics, sweet pop and honestly unpretty lyrics. It was in serious contention until it did the dreaded second half deflation.
  • Godspeed You! Black Emperor, G_d’s Pee AT STATE’S END!– Between hearing they’re a Canadian experimental music collective and that title, well, one wondered what to expect. What’s delivered is kind of in line with what some good guesses might be. Very interesting, sometimes quite compelling, but a little too experimental for me.
  • Imelda May, 11 Past the Hour– A dark haunting opening, with gorgeous and smoking vocals, but it gets a little too slick, and some of the lyrics too cliched for my taste.
  • Leon Vynehall, Rare, Forever– Electronic music, and an album inspired by psychedelic revelation of music as therapy, which is interesting. But, it’s a little too abstract and chaotic for me.
  • Lil Tjay, Destined 2 Win– This is from the severely auto-tuned vocals school of hip-hop, and, well, no matter how worthy parts of it may be, I just can’t. Sorry.
  • Liquid Tension Experiment, LTE3– Progressive metal supergroup! And, sure, this is pretty good. In fact, really good. But, um, it’s entirely instrumental and almost two hours long. That’s a pretty tough sell for me.
  • Luca Yupanqui, Sounds of the Unborn– An experimental musician records in utero sounds from her daughter (Luca, of title fame) and remixes them into an electronic music album. The results are fascinating, often even unsettling. I don’t think it’s quite an album in “best of the year” sense, but it is a sonic document worth perusing.
  • Manchester Orchestra, Million Masks of God– It does indeed sound a little orchestral. It’s well produced, but every track sounds kind of the same.
  • Merry Clayton, Beautiful Scars– The best moments here would definitely get a “yes”, and it is very high quality throughout. Ultimately, it felt a little too much like glossy production drowned out authentic passion.
  • Moontype, Bodies of Water– Nice fuzz-rock start and they know how to do their crashing chords. It often had my head bouncing, but pacing problems doomed it-sudden lurches between fast and slow tracks threw the rhythm of the album off.
  • Motorpsycho, Kingdom of Oblivion– With the band’s name, I was going to be disappointed if it wasn’t heavy. It is, but also surprisingly melodic and with light poppy vocals and a musical mix of metal, prog, and psychedelic. It was doing so well until track 5 and the long beginning of track 6 went ambiently dead. From there, pace and voice got all wobbly. It’s a real shame!
  • Mythic Sunship, Wildfire– If your band name is Mythic Sunship and the average length of a track on your album is 9 minutes, I’m going to have certain expectations/ trepidations. The blistering opening exceeded my expectations and almost avoided my trepidations. Wild jazz version of an instrumental metal jam? Metal jazz? I don’t know, but I loved it! For like 7 of its 10 minutes. Ditto on track two. So maybe there was a 33 minute version of this album that would have been a yes?
  • Norah Jones, ‘Til We Meet Again– I’ve been avoiding “from the archives” live albums, but have included recently recorded live albums, which this is. Everything she does is beautiful, but ultimately it was a little too long slow jazz groove for me. I’ll tell you what though, “Black Hole Sun” always makes for a great cover no matter who does it!
  • OMAAR, Drum Temple– I mean, an entirely instrumental electronic percussion album was going to be a hard sell for me as “best of year”. But if you’re a fan of beats, you might like it!
  • Orions Belte, Villa Amorini– Nicely played drums and guitars, lively production flourishes (including jazz, psychedelia, and Nigerian music), a mellow vibe, and when the vocals do kick in (much of it is instrumental) they’re also well-done and interesting. It’s skillful, but shallow enough that I’d had enough after halfway through.
  • Peter Frampton, Frampton Forgets the Words– While I love a good covers album, and I really appreciate his skill, courage in the face of debilitating disease, and his self-deprecation, an entirely instrumental guitar album, even one as excellent as this, is a hard sell for me.
  • Raf Rundell, O.M. Days– Definitely some fun stuff here vocally and lyrically, and the electronic music is occasionally lively, but more often than not the whole thing fades into the background.
  • Rhiannon Giddens, They’re Calling Me Home– Haunting vocals, traces of blues and celtic, classical-ultimately a little too on the classical/vocal music end for me and my purposes here.
  • Royal Blood, Typhoons– Rock with a dance beat, and it works as both genres, with propulsive music and crisp vocals. It’s really good at what it does, but the tracks do all start to blend together. Sorry to be so picky but with this album, I’d just passed 250 albums listened to. The bar is high and getting higher!
  • Ryley Walker, Course in Fable– A very interesting lyrical voice, but the smooth and easy musical production left things feeling cold.
  • Sindy, HORROR HEAD– If you spell Sindy with an an “S” and call your album Horror Head, I am per-disposed to expect something truly unsettling. Instead this is a vaguely new wave, vaguely My Bloody Valentine piece of pop electronica. I think the lyrics might be unsettling, but they’re so fuzzy-mumbled I can’t tell. There are some tracks that get there, but mostly no.
  • Son Lux, Tomorrows III– Not bad by any means, but a little too lurching ethereal sound effect for me.
  • Spirit of the Beehive, ENTERTAINMENT, DEATH– Between the title and the fact that the title was in all caps, I figured we’d be in for something here. The noise collage opening had me worried, but it turns out there is a band that knows about melody in there somewhere. Unfortunately, this is co-located with the band that’s doing a melange of industrial, noise-rock, and layers of sound samples. It just isn’t very listenable, and not even a song titled “I suck the Devil’s cock” could save it.
  • Still Dreams, Make Believe– I mean, don’t get me wrong. I like my J-Pop. And this is fun, but it’s not “best” material.
  • Taylor Swift, Fearless (Taylor’s Version)– No, but it’s an interesting story. To get around the former record label that’s got her debut album all locked up, she’s re-recorded it, along with six new songs. The whole thing is a little too weird (and faithful) conceptually to be a “best”, but it reminds you of how good she was from the get-go, which is reinforced even more by the six previously unreleased recordings from that era.
  • Teenage Fanclub, Endless Arcade– This is all well done, but a little too much all in one tone musically and vocally, and I can’t shake the feeling that I’m listening to their “jam band” album. Saints preserve us!
  • Tetrarch, Unstable– This was put out by Napalm Records, which gives you an idea of the sound. Actually, it’s the shortfall of that expectation that’s kind of the problem. It’s a competent mix of hardcore punk and metal with a little doom/scream vocals. But it doesn’t get beyond that to something that truly napalms the soul.
  • The Armed, ULTRAPOP– Anonymous post-hardcore collective? Go on, I’m listening… It’s an interesting deconstruction of hardcore using electronic music and samples, but a little too abstract and grating to be listenable for long.
  • The Legal Matters, Chapter Three– Neo-psychedelia, well done, but feels a little hollow/too slickly produced.
  • The Offspring, Let The Bad Times Roll– A friend of mine said, “It sounds just like their albums from the 90s.” True. And Smash was one of my favorite albums of that decade. Actually, I think they’re a little more musically and thematically nuanced here, and it’s certainly a good time for fans of the genre. But I’m not sure it rises above previous efforts, or, for example, exceeds Green Day’s “aging punker looks at the world” efforts.
  • Thomas Rhett, Country Again– It’s very competent country, better than a lot of 2000s pop country, but it has that similarly soulless prefab quality.
  • Tom Jones, Surrounded by Time– It’s another cover album, and I like covers albums, and Tom Jones, well, he’s predictably great. So, it’s solid, but I don’t think it gets to “year’s best” great.
  • Yellow Ostrich, Soft– Mellow, intelligent, literate, emoish indie. Can barely stand it.
  • Yoshinori Hayashi, Pulse of Defiance– A nice selection of mellow beats, purely instrumental, just didn’t spark anything in particular for me.

And there we are! The April review is published before the end of May. Now, onward!

What Were the Best Albums of the Twenty-Teens? (Part 4 of 10)

Commencing part four of my ten-part review of critic’s choices for the 52 best albums of 2010-2019! (Wait! What? 52? There is a reason, see below…) If you missed the earlier editions, you can find them here:

(Part 1 Part 2 Part 3)

This is one of three musical blog series I’m doing this year. So go check out the latest installments of my overview of the critical consensus on the 20 best albums of 2020, and my monthly review of new releases en route to finding the best 21 albums of 2021.

So, wait, did I say 52? This is what happened: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 total posts of 5 each (or 6 each on the last two) and then a final wrap-up. With that explained, let’s get on with Part 4!

Celebration Rock (Japandroids, 2012, 5 votes)– Hey, that’s some good rock! At least on the opening track. It’s got the guitar. It’s got the backbeat. It’s got surging passionate vocals. It’s got the feedback fade after. They totally know how rock song structure works as well, and there are affecting lyrics. Without sounding absolutely the same track after track, there isn’t a track that stops rocking. God bless Canadians, I sometimes think they’re the only ones who still get it.


Black Messiah (D’Angelo & the Vanguard, 2014, 5 votes)– In a previous iteration of this kind of exercise a few years back, I had been confidently informed by critics that D’Angelo’s album Voodoo was one of the best albums of the 00s. I had trouble getting there. It was good stuff, but I couldn’t see what I was getting from it that I wouldn’t, for example, get from Prince (who it felt heavily derivative of). I’m having a similar reaction to this. To be fair, though, I suppose this could be considered praising by faint damnation, since that’s a pretty darn elevated reference point.

Channel ORANGE (Frank Ocean, 2012, 7 votes)– This is the second of two albums of his that made the list, and the chronologically earlier of the two (the other one being Blonde from 2016). Well done Frank! Like that album, the autotuned nature of some of the vocals here gives me pause. Also, like that album, the lyrical wit, interesting sampling and production, and varied musical approaches utterly overcomes those reservations. I can see how this got listed, especially since it came out first!

Control (SZA, 2017, 7 votes)– Musically sophisticated, emotionally honest, and lyrically complex R&B. Some tracks are harrowing, some sweetly vulnerable, some sarcastic, and some downright hilarious, like Doves in The Wind in which she (SZA is the stage name of Solána Imani Rowe) uses samples from Westerns and Kung-fu movies and a guest appearance by Kendrick Lamar to explore the obsession with pussy. On the downside, it’s got more than a bit of the “autotuned” sound that’s the bane of the decade and maybe falls a little short in overall coherence. Part of the issue may be that, as the 19th album from the list I’ve listened to, I’m now comparing it to the very best-structured albums from the list. That’s pretty minor sour grapes considering how high quality this is, and how powerful she is.

Currents (Tame Impala, 2015, 4 votes)– This is a little trippy, which I hear is their jam. But, more on the dance/electronic side of trippy, with some new wave influence. It reminds me, perhaps, of something the Flaming Lips might put out, except from them I’d expect even more weirdness, and also more overarching album structure. The tracks are also tending a lot toward sameness. Not bad, by any means, but I’m not convinced this adds up to a “decade best” album.

And that’s it for this installment! 20 down, 32 to go…

The 20 Best Albums of 2020? (Part IV)

Look, the last few years have been…tough. Nationally. Globally. Personally. It happens. And, as a result, sometimes one loses touch with some things. One of those things for me, and a very important one to me, was newer music. And this year I’ve determined to catch up! As part of this quest, I’m reviewing the critical consensus on the 20 best albums of 2020. If you missed the earlier installments, you can find them here:

(Part I Part II Part III)

This is one of three musical blog series I’m doing this year. If you’re curious, check out the latest editions of my review of the critics choices for the best albums of the 2010s, and my monthly search for the 21 best albums of 2021.

First, a quick re-visit of methodology. I took year-end “best album” lists from All Music Guide, AV Club, Billboard, Consequence of Sound, Jim DeRogatis, Greg Kot, Mojo, New Music Express, Paste, Pitchfork, Rolling Stone, and Spin. For every album one or more of these sources listed, I tallied up the votes that album got between all of them, and took the highest scoring twenty albums. I’ve broken up the reviews into four blocks of five albums each, and will follow with a sum-up at the end.

With that explained, here is our last block, 16-20:

Sawayama (Rina Sawayama, 8 votes)– Complex and well produced dance music is the impression from the first track. With energy, and lively musical (rock! Hip hop! ballads!) and vocal choices. This has both fiery attitude and vulnerable emotion, and picks up on some social and personal issues. The storytelling on some tracks is almost poetically visual, and things have that sophisticated international feel you often find on European dance music. I can definitely get behind the critics on this one!

Set My Heart on Fire Immediately (Perfume Genius, 7 votes)– Right off, I’m not sure if the combination of sonorous vocals and orchestral swirl on the opening track are working for me. The scene improved on track two with some good wall of distortion guitar work, although the vocals remained similarly languid. There was more of a dance beat on the third track, and the vocals here and elsewhere started to remind me of a certain era of Bowie/Bryan Ferry. It was a slow start, but I really liked many of the later more up-tempo tracks, and I do appreciate the lush same-sex romanticism found throughout. Overall, I’d say this is not consistent/well-structured enough to be a “best” album, but there’s certainly a lot that’s worthy here.

Shore (Fleet Foxes, 7 votes)– At this point, hearing the phrase “indie folk” tends to fill me with preemptive dread. This pleasantly surprised me, though! The music has a lot of dynamism, and the tracks have an independent identity, two things that often seem to get sacrificed to the sameness of indie folk approaches. The lyrics are also interesting, and combined with the music and the vocals, give everything a yearning, even elegiac feeling. It also, while feeling completely contemporary, transmits something of the spirit of 70s folk and singer/songwriters.

Women in Music pt. III (HAIM, 7 votes)– It’s a great start, smooth beats, multi-instrument pop and clever lyrics with clear, lucid vocals. After several songs that go through a kaleidoscope of musical styles, I realize that this, and I hope they will forgive me for saying so, reminds me of a Wilson Phillips with more musical sophistication and indie attitude. I actually think that’s the key to this for me- it’s a thoroughly pop sensibility and production, but one with a rawness and power behind it musically and lyrically. It’s high quality and a fun listen, and I can well imagine it being one of the best albums of the year.

YHLQMDLG (Bad Bunny, 6 votes)– I mean, this seems like it’s very good, but it’s also entirely in Spanish, which prevents me from connecting with it lyrically. I will say on the musical and vocal side, it’s fun, interesting, and well-produced. Although it does have more than none of the autotuned style that is the order of the day, and which I just can’t get behind. Also, I’m not sure this needs to be over an hour long- generically, it takes something pretty special for me to sign off on an album doing that. Though, given the language aspect, there may be some structure or narrative line that justifies it here, but isn’t understandable by me. Reading about the production has clued me in to the whole world of Latin-Caribbean reggaeton and latin trap music though, which is fascinating!

And there we are, we’ve completed our review of the 20! Tune in next time for the final wrap-up, and a special announcement…

In Search of the 21 Best Albums of 2021: March

I listened to 75 new albums in March so you don’t have to!

Insanity? Possibly, but also part of my search for the 21 best albums of 2021. In service of this great goal, I’m listening to new releases every month, sorting them into categories, and then I’ll do a final shake-out after the year ends. If you missed the previous editions, you can find them here:

( January February )

This is one of three music-related blog series I’m doing this year, you may also want to checking out the latest from my review of critic’s choices for the best albums of the 2010s and 2020.

Before we continue, a quick note about the three categories:

Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. This is no guarantee! In fact, at current pace, we might end up with as many as 200 possibilities by the end of the year, so there’s going to be quite a reckoning to get to 21.

Maybe– These are albums that had definite strengths, but about which I had some reservation. But I have noticed over the years that some “maybes” have a habit of lingering, so I’m giving them a category just in case.

No– These albums are not in contention. Some of them deserve discussion, though, which I note.

And with that, away we go with March’s albums!

Alex Beeker, Heaven on the Faultline– This was just delightful from the first few bright, clear and poppy, lof-fi synth-organ notes. A sure feel for melody and hooks, packed with clever musical choices and lyrical surprises as well. I genuinely didn’t want it to end. Also, I think the album should have lunch with Ron Gallo’s album further below.

Andrew Bird/Jimbo Malthus, These 13– When I heard this was mining the territory where country, blues, and folk overlap, I knew I was in (the good kind of) trouble. If they did it even halfway well, I was probably going to like it. And they did it very well! It never strikes a false note.

Arab Strap, As Days Get Dark– Dark and fascinating. Lyrically like some of the darker turns of goth music, but musically on the soft edge of indie folk and orchestral electronica, and the vocals are a kind of low-key narration. It all seems calculated to undersell how disturbing the content is. Very much all in the same tone, lyrically and emotionally, but with enough musical variability to pull it out. Dammit, I like it!

Armand Hammer/The Alchemist, Haram– Trust me, you probably don’t want a more hi-res version of that picture. “Haram” refers to things that are forbidden in Islam, and well, that’s a graphic illustration of one of them. As for the actual album itself, though, it’s simply superb. Jazz-informed hip-hop, with literate and vivid socially conscious lyrics that also get metaphysical but feel personally urgent. And on top of that, a rich musical mix and interesting use of samples.

Ben Howard, Collections From the Whiteout– A compelling musical swirl with traces of indie rock, folk, acoustic, and synth. Add to that literate and interesting lyrics that explore internal and external landscapes, and vocals that are also emotionally evocative in their understated way, and there’s a lot going on in each track. It’s really just pretty great, all in all.

Benny the Butcher/Harry Fraud, The Plugs I Met 2– This collaboration brings together a New York-based MC and hip-hop producer. There’s beautiful musical sampling work, fun weaving in of Scarface references, smooth vocal style, and lyrics with strong storytelling. Certainly a contender!

Esther Rose, How Many Times– Solid acoustic folk with nice country instrumental flourishes. She has a clear and engaging voice, and things here are charmingly not perfectly smooth. As a result, it’s lively and utterly genuine-feeling.

Judith Hill, Baby I’m Hollywood– She does classic smoldering soul, old style R&B, funk, and swinging rock equally well, with a voice that doesn’t have a note of falseness in it. Musical variability and verve, soaring vocals, sharp lyrics that address the personal and the social. There isn’t a single thing here not to love! Originally a backup singer who broke out, former contestant on The Voice, and having been produced by Prince, you can hear how much she’s mastered along the way.

Lana Del Rey, Chemtrails Over the Country Club– The subtlety of the first track alone is breathtaking. Throughout, the music is restrained, even minimal, but there’s such honesty and authenticity in the vocals, and her voice itself is an instrument. All of this supports, as per her usual, sophisticated lyrics. It’s powerful!

Leeanne Betasamosake Simpson, Theory of Ice– Luminous lyrics and vocals, with an electronic-infused acoustic pop sound. She’s a First Nations Canadian writer/musician, and you will certainly hear that thematically here. But it’s also so personal, evocative, and poetic that it can reach any audience.

Loretta Lynn, Still Woman Enough– Uh, she’s almost 90, this is her 50th album, and I love it! Straight up classic country the way it’s meant to be, with covers of standards (hers and others) plus an original or two. The duets here work too, and there’s even a spoken word version of Coal Miner’s Daughter that reminds you of how well that song works as storytelling. This is probably a better album than most of pop country radio will get anywhere close to this year.

Matt Dillon, Suitcase Man– Oh my God, I love it! Tom Waits-style growly vocals, smart and often hilarious lyrics, weird off-beat instruments (one of his specialties is the vibraphone). Between bands, solo projects, and collaborations, he put out 18 albums in 18 years getting here, and I’m just sorry we hadn’t met earlier.

New Moon Jelly Roll Freedom Rockers, New Moon Jelly Roll Freedom Rockers, Vol. 2– You may not have known that anybody still made blues like this, but this blues/roots music supergroup is here to tell you they do. Well, sort of still do, since the jam sessions that produced this were actually recorded in 2007, and one of the key members, Jim Dickinson, has even died since then. But it is still damn good!

Noga Erez, Kids– I still feel strangely bad for not liking the last Israeli recording artist we came across (I believe in January?). Fortunately here we are, and this dance beats and hip-hop oriented album is a step above. There’s great attitude throughout, surprising musical and vocal choices, and it never stops being interesting.

Ron Gallo, PEACEMEAL– I mean, I’m both interested and leery when you start with a backwards vocals intro. This betrays a kind of 60s psychedelia/70s concept album bent which is borne out in the best lo-fi home-recorded way in the rest of the album. This is angsty, quirky, idiosyncratic, delightful. And you see what I mean, right? This album should definitely have lunch with Alex Bleeker’s album at the top of our list.

Skeggs, Rehearsal– Apropos of an Australian garage rock/surf trio, this is pleasingly melodious and rocking. In fact, you know that rocking 80s alt band you loved, and that 90s band that never quite made it big but you adored them? This is that. Every track left me unremittingly happy the whole way through.

Special Friend, Ennemi Commun– This French/American duo has clear bright instrumentation, and knows how to do fuzzy crunchy guitars, with melody and a yearning mood in lyrics and vocals. There isn’t a track that goes astray, although I do think the last one may be Vaselines plagiarism. Even that commends them to me, though!

Tim Cohen, You Are Still Here– Melodious, moody, a unique lyrical voice. He demonstrates a mastery of pop/rock tropes, and all of the above plus the shimmery and assured production invokes a world. I almost felt like I was listening to a later-day Warren Zevon.

Valerie June, The Moon and Stars: Prescriptions For Dreamers– Solid vocals and affecting lyrics, livened by skillful layered production. It pulls together acoustic, indie rock, classic soul and R&B, and psychedelia. Bob Dylan has cited her as one of the contemporary artists he listens to, and I can see why. This is exquisite and gorgeous.

Xiu Xiu, Oh No– Having lived in the San Francisco Bay Area for years before being expatriated eastward, I’d long heard of Xiu Xiu, but didn’t really know what their deal was. Their deal is extraordinary! Experimental, evocative, musically and lyrically surprising. Something this experimental and unconventional seems like it shouldn’t work at album length, but it totally does. This particular album is all duets between Xiu Xiu founder Jamie Stewart and other indie luminaries, which is a nice touch.


  • A.A. Williams, Songs from Isolation– As has been established in previously editions, I do love a good covers album. This is a great covers album! Haunting, beautiful, respectful, but not slavish. The sameness of emotional/musical tone is keeping it from automatic “yes”, but it’s close.
  • American Culture, For My Animals– Low-fi, dissonant, definitely trends toward punk/alt rocky, but melodious and with classic rock flourishes worked in. It reminds me of diy early NY punk lyrically. The only reason it’s not an automatic yes is a nonsense dub sound effects track that was second from last.
  • Bernice, Eau de Bonjourno– Beats, mellow smooth instrumentation, vocals flowing smoothly, but really surprising musical/production choices and complex lyrics lift it up. It’s all a little too mellow to be an automatic yes, but close.
  • Central Cee, Wild West– This British hip-hop album has a unique voice and vision, pounding cadence, interesting and unusual samples, and heartfelt material that doesn’t lean on cliché. But vocally it’s all too much one tone after a while.
  • Chad VanGaalen, World’s Most Stressed Out Gardener– This is like a really trippy psychedelic album from the 60s ran into a 90s noisepop album with some 80s alt in there to mediate between them. Perhaps predictably, I love it! A pair of nearly ambient instrumental pieces really threw off the momentum, though. Would have been a yes without them, so maybe?
  • Cool Ghouls, At Geroge’s Zoo– This San Francisco group really feels like they’re a 60s garage/psychedelic rock band, or on the paisley underground side of 80s alt. The songs have an individual identity but all fit together, and not one of them strikes a false note, but ending on two slow songs in a row cost it the “yes”.
  • Death From Above 1979, Is 4 Lovers– From the first distorted guitar feedback notes, and then the pseudo-dance beats kicking in, you know you’re in DFA’s hands. You’re a Woman I’m a Machine was one of my favorite albums of the 00s, and this is not quite as dynamic as that debut. It feels a little uneven, but I still love what they do.
  • Justin Bieber, Justice– Dammit. Look, I can hold a musical grudge. Teen Bieber was so banal musically, and jerky personally that I’ve been anti even as evidence emerged that he was becoming a pretty solid artist. This is really quite good, personally revealing and emotionally sophisticated. The only thing that’s cost it the yes is the title and the MLK speeches sampled material, which is so bizarrely out of joint with the contents.
  • Kings of Leon, When You See Yourself– Well produced in a 2000s Indie kind of way, but I worry it squashes the weird and spooky they are at their best. But it kept having breakout moments that got under my skin. Not an automatic yes, but a strong possibility.
  • Lake Street Dive, Obviously– 70s R&B inflected pop feel with an indie rock twist, upbeat, energetic, great at weaving vocals and music together. I wonder about the dated feel, but that’s really the only negative.
  • Middle Kids, Today We’re the Greatest– Folkish Indie start, got more rocky and catchy and infectious as it went. Nice musical variability too, with sophisticated emotional lyrics, but sometimes a little too slick production-wise at the expense of feeling genuine.
  • Music on Hold, 30 Minutes Of– Between the band name and the album title I was nervous, but this is delightful! Nice upbeat indie rock with lively vocals and a clear new wave synth influence. It’s not profound, but strong lyrics, and every track works. Huzzah!
  • Painted Shrines, Heaven and Holy– Solid Indie rock, they know how to work their major and minor chords, with hints of classic rock and 80s alt. Slight deflation toward the end and the decision to end it on a low-key instrumental cost it the “yes”.
  • Rob Zombie, The Lunar Injection Kool Aid Eclipse Conspiracy– I mean, you have to be in a Rob Zombie horror-inflected metal and hellbilly paen to LSD kind of mood. If you are, it’s pretty fun. Maybe not coherent enough to be a best of year, but very good at what it does.
  • Triptides, Alter Echoes– See, now that’s a nice straightforward indie/alt/strong influence of 60s garage and psychedelia rock start! And it works for track after track, though they did do the dreaded two slow songs in a row thing. And then another a song later. They had the sense to end it on an up note though, which saved it from total deflation. This all kept it from yes, but still a strong maybe.
  • tUnE-yArDs, Sketchy.– Well this was fascinating! Nervy, eclectic, and muscular. It felt like it sometimes rode right on the edge of too discordant to listen to, which is why it ended up in “maybe”. But, crucially, I never did stop listening. In fact, I couldn’t turn away.
  • Zara Larsson, Poster Girl– Swedish dance-pop, this is actually very good at what it does. It bogged down briefly 2/3 through, then bounced back. I surprised myself by how much I loved it!


  • Allie Crow Buckley, Moonlit and Devious– Her voice is a wave of power underpinned by a dark surging wall of music, but while the quality is very high, there becomes a kind of sameness before it’s 1/3 through.
  • Andra Day, The United States vs. Billie Holiday (Music from the Motion Picture)– You might expect this would be Billie Holiday covers, and it is, but there are originals too. The covers are perhaps too faithful and yet still powerful owing to the source material, and the originals weave together hip-hop and modern R&B with Holiday’s jazz and blues style and are just stunning. But I’m not sure the two excellent parts ever come together properly.
  • Barbarossa, Love Here Listen– Mellow synth waves, electronic beats, smooth vocals-there’s nothing wrong with it, but it never rises above pleasant.
  • Belle Orchestre, House Music– It’s good in an electronic jazz and noise pastiche of sound kind of way. Which is not a way for me.
  • Blake Mills/Pino Palladino, Notes With Attachments– This melange of musical styles is pretty pleasant. Jazz, electronic beats, hip-hop, funk, and African rhythms all make an appearance. It is very well done, and explores some interesting soundscapes, but doesn’t quite come together as an album in a way that appeals to me.
  • Cabaret Voltaire, Dekadrone– I do have to admire their ambition to release three different albums this year, but I don’t like this any better than the last one. Worse actually, as it’s even more noise and less music than Shadow of Funk.
  • Cameron Knowler & Eli Winter, Anticipation– This is a very nice acoustic americana roots record. If you like that intersection of folk/country/blues (I do!) you’ll probably enjoy this (I did!). But it’s a hard sell for me for a purely instrumental album to get to “best of year” status.
  • Carrie Underwood, My Savior– One of two “big name star releases gospel record” we’re reviewing this month-must be something in the air… In any case, these are all very serviceable versions, but emotionally muted. It could have gone in several directions, but with a few exceptions didn’t go in any- not folksy, not passionate, not great country, not great gospel.
  • Chase Atlantic, Beauty in Death– No x1000- Beats and autonune vocalsssss hellll- I feel like I need to do something to clear my musical pallet from having even listened to a few tracks of this.
  • Chevelle, Niratias– Ah, metal. I am always glad to see you! This doesn’t rise to something interesting or different enough to be in contention for “best” (though I did appreciate its sci-fi affects) but it is good clean genre fun.
  • Chris Corsano/Bill Orcutt, Made Out of Sound– This, as it turns out, is made out of some pretty good sounds. Somewhere in the meeting up of punk, experimental, and jazz. It’s very good, but didn’t feel like it had the cohesion needed to truly make an album out of a jam session, even one as interesting as this.
  • Clark, Playground in a Lake– A little too instrumental and a little too abstract for me, though I’ll grant you it got more interesting by the end.
  • DJ Muggs, Dies Occidendum– Nicely weird, a kind of Black Sabbath approach to hip-hop/electronica, which isn’t surprising if you know Cypress Hill, which DJ Muggs hails from. Fascinating, but I think ultimately a little too abstract. However, you could (and should) play it at a Halloween party!
  • Dr. Lonnie Smith, Breathe– Jazz soul veteran teams up with Iggy pop? Of course I’m interested! But it ends up being more of a curiosity than a great pairing, and is otherwise a nice mellow jazz album. That’s not my jam, and it’s not year-best material.
  • El Michels Affair, Yeti Season– You call your album “Yeti Season”, you automatically have my attention. Remarkably, it doesn’t disappoint the high level of interest that creates. The music is a great melange of funk, soul, jazz, and global musical influences. Smooth, but never in a lulls you in and vanishes kind of way. Ultimately what cost it was being mostly instrumental, and entirely non-English (in multiple languages!) when it wasn’t. This didn’t give me enough connection to make it coherent as an album.
  • Elizabeth & The Catapult, sincerely, e– Her weary voice is lovely, and fits the pandemic theme. It goes uptempo too, and has some fun pop flourishes. There’s a bit to much hush and background level songs for me, but the best moments here are very good.
  • Floatie, Voyage Out– Nice little indie rock album from Chicago group Floatie, with angular guitar work, quirky vocals, and pleasant songs. No serious missteps, but the tracks all kind of sound the same. I do think they’re worth keeping an eye on, though.
  • Fruit Bats, The Pet Parade– Nice Indie folk feeling at first, then classical echoes as well as 80s/90s alt country start coming in, but it gets way too samey until tracks 4-10 really pick up. And then promptly losses all that verve right after. I really think there could have been a great album here, but the slow start and uneven nature kills it.
  • Harry Connick, Jr., Alone With My Faith– Harry Connick’s take on some gospel standards- I gave it a whirl because gospel has been a major source of country and soul/R&B, and I was curious to see his approach. These are solid and heartfelt versions, but a little conventional. And, honestly, generally less energetic and swinging than I was hoping for until a section in the middle, which really showed what a great album this could have been.
  • IAN SWEET, Show Me How You Disappear– In theory this feedbacky wave of synth sound isn’t totally my jam, but every individual track kept winning me over with her lyrics, dissonance, and musical surprises. But it started to run out of steam for me at track 6, becoming a kind of undistinguished swirly feedback shimmery blend.
  • Jane Getter/Jane Getter Premonition, Anomalia– It booms into a metal-flavored synth and instrument wave with dissonant notes, but ends up a little formulaic and too similar, although very well played.
  • Jane Weaver, Flock– This surges into gear immediately, with melody and enough fuzz to be serious. Before long though, it starts to feel a little too folktronic and ungrounded. It’s very good, it just doesn’t quite come together as an album.
  • Jon Batiste, We Are– As one might expect from an album by the Late Show’s band leader, this is well made and technically very proficient, with classic soul references all over. But I feel that somehow production is trumping the emotional connection throughout.
  • Lil Dirk/Only The Family, Only The Family Presents: Loyal Bros– 23 song sampler from the Only The Family hip-hop production company. There’s definitely some good stuff here, but it’s hard for a sampler to qualify as a great album in a coherent sense, and a lot of the material is a little too-gangster oriented and misogynist “bitch” rant-full for me. Fans of the genre might find it useful to bookmark some names to keep an eye on, though.
  • Lost Girls, Menneskekollektivet– This kind of sounds like the album name might lead you to suspect, a sound project from an art collective. Not uninteresting, but not my cup of cha.
  • Mare Cognitum, Solar Paroxysm– If you tell me you are a “Portland Oregon one-man cosmic black metal band” I’m already at least halfway there. The strong opening did not disappoint, but the vocals were so scream-doomy that the lyrics were practically inaccessible. It’s really this complete lyrical opacity that landed it in “no”. The music was 100%!
  • Michael Beach, Dream Violence– It starts rocking right away, which is always a good way to get my attention, with hints of classic rock, 80s alt, 90s rock, a moody haunted sound. I kind of loved it, until it ended with three long slow songs in a row, leading to complete second half deflation. Musicians! DON’T FUCKING DO THIS!
  • Mint Julep, In a Deep and Dreamless Sleep– Nice dream pop, it’s very pretty, but it all kind of shimmers into the background.
  • New Bums, Last Time I Saw Grace– Nice acoustic rock, intelligent lyrical work, it maintains a steady mood, but a little too steady, not enough musical or tone variability to make it really stand out.
  • Sara Watkins, Under the Pepper Tree– Really pretty covers of standards, but a little too blandly pretty. I frequently found myself wishing that her bluegrass roots would show through more.
  • serpentwithfeet, DEACON– What’s that you say? A gay indie soul album? I mean I love that, but unfortunately I think I admire what it’s doing much more than how it’s doing it, which is too low-key and narrow a range, musically and vocally.
  • Sunburned Hand of the Man, Pick a Day to Die– Ain’t my groove. Opening track was instrumental low-key atmospheric electronica, occasionally some actual beats and vocals kicked in but everything felt a bit loonngggg.
  • Tex Crick, Live in…New York City– Charming 70s feel, but a little too muted and low key, all one tone.
  • The Antlers, Green to Gold– Nice sort of folkie low-key indie. Nothing wrong with it, but the tracks all blend into each other in a way too low-key fashion for my taste.
  • The Writhing Squares, Chart for the Solution– The opening is like a great trip into the arty side of synth early 80s but with elements of something thrashier, then it ends up being something I might call noise jazz. Overall, a little too discordant art project for me.
  • Various Artists, Endless Garage– Project of John Dwyer of Thee Oh Sees that pulls in various musicians, instruments, and sound effects. An interesting art project, but it doesn’t add up to an album.
  • Visionist, A Call to Arms– Noise and disorganized music samples, sections have vocals and melody but in a muted low key ambient background kind of way.
  • William Doyle, Great Spans of Muddy Time– a little too muted musically and emotionally. It seemed to be going sinister for a second, but, alas, backed off.

And there we are for March! One quarter of the year down on our way to uncovering the best 21albums of 2021. See you again for the April wrap-up!