[REPOST] The 100 Best Songs of 2021
My original list of the best songs from 2021.
Continuing my monthlong quest to repost all of my old music lists on this blog, we have my original list of the 100 best songs of 2021, first published on January 7th, 2022. Only minute changes to grammar and context were changed. As always, a link to every track and record is included with each entry.
Check out the original website here!
ORIGINAL FOREWARD: 2021 wasn’t quite the come up year we all wanted it to be, but there’s no doubt that our collective situation improved. While the pandemic still affects our everyday life, the music of 2021 seemed to thrive on the world slowly reopening, from the return of tours, big surprise releases and so much more. These following 100 songs are my favorites from a year where ever so briefly, the world seemed to return to normal once again.
As London Grammar’s music became more synthetic, their emotions did not. The sting of losing a lover rings as true as ever on “How Does It Feel”, a synthpop gem from their latest album. Hannah Reid’s crystal voice carries you into the whirlwind of the breakup, one that they hope the other party never recovers from. LISTEN
The backbone of all good Crumb songs is the slick drumming, but “Balloon” elevates itself with a new element: a haunting synthesizer. Lila Ramani’s voice can come across as frightened as the bedroom pop the band is known for descends into a frenzied mess as the song closes. It’s an intriguing new direction for a burgeoning bedroom pop staple. LISTEN
What does every great Lana Del Rey song have? A beautifully arranged piano melody and a lyrical stream of consciousness that’s anywhere from touching to hilarious. “Sweet Carolina” has these qualities in spades, and it’s clearly one of the best offerings from both of Lana’s 2021 records. LISTEN
Both the sound and artwork for Kacy Hill's music are incredibly indebted to the 80’s, but “Easy Going” doesn’t carry the brash swagger of some memorable 80’s hits. It’s about doing everything in your power to get better but still feeling down, and finding a way to keep moving on. The situation is a sad one, but Kacy’s voice and the sublime instrumental are anything but. LISTEN
Over an overly pleasant piano pop melody, Tyler Joseph preaches to the crowd about having fun without drugs. Twenty One Pilots have always been vocal about advocating for mental health, and that’s probably the point of “Mulberry Street”, but damn guys could this have sounded more corny? Even so, it’s an upbeat, very pleasant track that I can mindlessly listen to over and over. I’m not backing off my Twenty One Pilots defense any time soon. LISTEN
In 2020, Yves Tumor set the rock world afire with their experimental Heaven To A Tortured Mind. In 2021, it’s more of the same. “Jackie” is the standout from their companion EP, a raucous and wild rock track that could easily slide into HTATM. It only adds to Tumor’s mystique, continuing their streak as a can’t miss artist. LISTEN
A true bar room stomper, “Heavy Covenant” tells a story but it’s only a backdrop for you to scream along to. The raucous instrumental is incredibly fun, and it’s worthy of singing and stomping along to with a beer in hand. LISTEN
Leaving behind where you began your life is a tough prospect, but that’s just what Jack Antonoff does on “Stop Making This Hurt”. Over one of his typically sublime indie pop beats, Jack painfully moves on from where he began, even as he’s hurt by those he loves begging him to stay. It’s a grim subject but one beautifully hidden by a jubilant instrumental. It’s peak Antonoff stuff. LISTEN
The tussle between wanting to be good and falling into the void of your mind is a constant one, especially for younger generations. So why not meld that struggle into a synthpop jam a-la Future Islands? That’s how Michelle Zauner described “Slide Tackle”, a highlight from Jubilee that combines everything from a dance-y drumbeat, saxophone solos, peppy synths and more. The slide tackle is the move Zauner uses to combat that darkness, and it brought forth one of her most sublime songs to date. LISTEN
Movie tie-in songs are often cheap tracks that only exist because of money, but listening to “Hunter’s Moon” is like hearing a Ghost deep cut. The full amount of effort is present as you’d hope, and Tobias Forge paints a sinister picture of Michael Myers’ murderous rampage in the film Halloween Kills. I can’t vouch for the quality of the movie, but I can tell you it is better for having this track attached to it. LISTEN
The first thing you hear on “Chismiten” is the African wilderness. It’s open and intimidating, but soon there’s footsteps that approach the mic. All of a sudden, you’re thrust into one of the most thrilling guitar performances of 2021, as if Mdou Moctar is playing to no one but the empty African sahara. The open world is his audience, and he gives it a show worthy of legend. LISTEN
“Too Good” is the perfect song to overhear at a coffee shop or a bookstore and want to look up later. Parks’ performance is incredibly relaxed and easy on the ears, as is the indie pop instrumental. She established herself as an up and comer in 2021, and more songs like “Too Good” will only keep her on the upswing. LISTEN
The world of The Turning Wheel is like a fantasy world, whimsical at almost every turn. But like any good fantasy tale, there’s a darkness lurking, and that darkness turns up on “Queen of Wands”. The track is like entering the haunted forest to find a witches hut, with elegant strings and a foreboding synth beat beckoning you in. Spellling’s voice fits the mood as she devilishly asks if you’re afraid of the power she possesses. As the song ends, you can hear her sinister laughter echoing throughout the woods, and no doubt your mind for a few days. The dark side of The Turning Wheel is an intoxicating one. LISTEN
No one knows how to party like Confidence Man, and the first single from their upcoming LP TILT will make you tilt as you dance your ass off. Janet Planet and Sugar Bones are right at home over a 90’s Ibiza-inspired dance beat, boasting about getting paid, the best weed on the block and more. It’ll make you want to find the closest club and demand they blast “Holiday” on repeat. LISTEN
In an album full of Beatlesque tunes, “Take Me Back To The Summertime” might be the most Beatlesque. The jaunty tune desires for a simpler time, a time where the summer is bright and the future is open to anything. That’s sort of the theme of Coral Island, and “Take Me Back To The Summertime” is the best snapshot of that fantasy. LISTEN
After a world traveling adventure in Everyday Life, Coldplay decided the only place to go was beyond the stars. “Higher Power” is the rocket ship that takes them there, a blast of a pop song that Coldplay has spent years perfecting. The resulting interstellar journey (Music of the Spheres) crash landed somewhere near Jupiter, but “Higher Power” still managed to shine. LISTEN
Britt Daniel and co. played around with synths on their last record, but “The Hardest Cut” is back to basics. It’s rock’n’roll at its finest, hard nosed and bullish on the guitar. With an emphasis on the rough and tumble, “The Hardest Cut” is a great preview of what will probably be yet another great album from one of rock’s most consistent groups. LISTEN
As they wowed us with dazzling synthpop epics in 2018, we wondered where Let’s Eat Grandma would go next. Turns out there is plenty of more to mine from the synthpop genre, and “Hall of Mirrors'' is a maze of synths worth getting lost in. With a swell saxophone at the climax, this tale of love at a carnival is a welcome and exciting return, and a sure sign of greatness to come on this duo’s next record. LISTEN
Almost twenty years into their career, GY!BE still the ability to portray their feelings through intense sound like few others. Their intense rage at the cruelties levied on people around the world, be it by pandemic or people in power, is levied into “Job’s Lament”. The churning baseline of the track builds and falls over and over, as if to represent those less fortunate. It’s a powerful track, and a powerful reminder of GY!BE’s incredible abilities. LISTEN
Yes, Lorde’s third LP was a massive disappointment. But some of admirable risks that were taken on that record did pan out on occasion, and the title track is a fine example. Over a crisp and simple instrumental, Lorde’s enjoyment of the simple things showcases her amazing songwriting skills. It’s the best piece of the imperfect puzzle that is Solar Power. LISTEN
Anyone over the age of 25 will remember the age of analog, where cameras printed photos as soon as you took them. They’ve long been viewed as nostalgic devices by younger generations, and “Analog Sentimentalism” turns that nostalgia into an incredible emotion. Parannoul’s cries for the times in those analog photos ring strong over a thriving shoegaze instrumental. Though those times may never return, the memories on the photos and the memories of analog times will stick around forever. LISTEN
Speaking of analog, that is specifically what Nation of Language excels in. The timbres of their synths are like something out of a 70’s science fiction film, evoking memories of the past with ease. “This Fractured Mind” is one of their more energetic cuts, disguising the themes of longing to fix your past with golden hued synths. Though the subject matter is undoubtedly sad, it’s hard to not want to jump out of your seat and dance along to this classic sounding track. LISTEN
There’s something so wonderfully cheesy about the prog-worshiping music on Escapades, and “Belladone” might be the most over the top. Over a funky bassline, some of the most dramatic synthesizers you’ll hear make it seem like this is the finale to a forgotten 80’s b-movie. And that’s all before the yodeling lady comes in at the very end. It’s a gleefully silly track that’s bound to put a smile on your face. LISTEN
Over the grooviest instrumental on her new record, Clairo sees herself correcting the mistakes she made on “Amoeba”. Like the ever-morphing object of the track’s title, Clairo seeks to change herself for the better, with more communication with her parents and better self-care after falling into bad habits on tour. The groove on this track is different than the rest of Sling, and that’s what makes it such a standout. LISTEN
The Swedish quartet is well aware it’s been 40 years since they last made new music, and “Don’t Shut Me Down” seems to be their answer to their absence. We might be bewildered to hear them back again, but with all the same qualities that made them famous all those years ago, “Don’t Shut Me Down” soars. The disco melody, with all its glowing synths, pianos, maracas and more, sounds ageless, as do Anni-Frid and Agnetha’s harmonies. We could probably wait another 40 years when ABBA is well over 100 and the music would still sound this good. LISTEN
A thick haze envelops all of “Into the Universe”, a standout track on Holiday Sidewinder’s sophomore LP. The drum hits echo into the great beyond, and Holiday’s voice has a wispy quality like a spiritual guide into uncharted territory. It’s truly a trip into a universe you haven’t experienced, but one you’ll want to explore once you begin. LISTEN
Perhaps no rapper is more deserving of a round of applause for how they’ve grown their craft and image than Little Simz. Over the last few years her profile has skyrocketed, and for good reason. Her skill at spitting bars is unparalleled in the rap game, and the opulent beats she chooses maximize her talents. Though the majority of Sometimes I Might Be Introvert is about Simz’s insecurities, “Standing Ovation” is a deserved victory lap. LISTEN
Faye’s world is filled with daydreams, and those daydreams stretch pretty far. “A Dream With A Baseball Player” is about none other than Atlanta Braves superstar Ronald Acuña, a person Faye has apparently fallen in love with despite never meeting him. Over her typically sublime R&B influenced slacker pop and accompanied by a saxophone, she muses on how this could’ve come to be while doing little to help herself. Maybe she can catch him at a Braves game some day. LISTEN
My favorite k-pop song of 2021, it’s a wonder that “SUPER MOON” wasn’t the title track of WJSN’s latest EP. It’s a super fun, super energetic sugar rush of a pop song that never lets up on the joy. The girls of WJSN have been doing this for a while now, and it’s almost automatic for them to hop on top of an instrumental like this and kill it. That chorus of “super moooooon” will get stuck in your head for days. LISTEN
Apparently made for a FIFA soundtrack but excellent enough to stand on its own, “The Darkness That You Fear” is just the kind of epic dance track you’d expect from The Chemical Brothers. The song pulses with life, encouraging us to see the color and overcome the darkness inside us. It’s inspiring, great sounding and probably sounds great playing on FIFA loading screens. LISTEN
As the second track on Animal opens, the drumbeats and strings sound absolutely guttural. It’s as if a giant beast is shifting for the first time in eons, rustling ancient dirt off its creaky bones. Laura Marling’s mysterious voice tells the tale, maybe about nothing but maybe about something. It ends with Marling’s distorted voice asking to be introduced, as if she’s the awakened creature this track seems to represent. LISTEN
Arguably the phrase of the year as the world began to open up, leave it to Metronomy to spark the joy of normal life slowly returning with a synthpop jam. “It feels so good to be right/So unreal to be alive” just hits different when, at least for a brief moment, mask mandates disappeared and you could go out into the world with an upward outlook. Damn, it is good to be back. LISTEN
Somehow, the trio of Charli XCX, Christine & The Queens and Caroline Polachek hadn’t combined forces on a single song before “New Shapes”. The three have worked together numerous times before, but hearing all three on this synthpop banger has me begging for more. The trio seamlessly flow together as they apologize to their lover for not being able to stick around. It’s just not who they are, because who they are is a trio of pop stars who seemingly do no wrong on the mic. LISTEN
A swell introduction to the Mercurial World Magdalena Bay cooked up on their debut. “Hysterical Us” has all the qualities that have put this duo on the map, from a catchy chorus, an incredible combination of musical influences on the instrumental, and great vocals from Mica Tenenbaum. It’s one of many singles I couldn’t get enough of from Magdalena Bay in 2021. LISTEN
An anthem to taking down abusers, St. Vincent wastes no time skewering a man she could never take true revenge on. With a funky guitar and thumping drums, “Down” brings back memories of Prince and Stevie Wonder as she fantasizes all the ways she would destroy her abusers. It’s the grooviest and the strongest lyrical exercise on Daddy’s Home. LISTEN
Maybe what Bruno Mars and Anderson .Paak captured most with Silk Sonic is the pure fun that was 70’s disco and R&B. That music is infectious and groovy, much like Silk Sonic highlight “Skate”. A simple ode to getting to know a potential lover, the glistening guitars and gleaming vocals lay into your ears like a hot knife through butter. It’ll make you yearn for simpler times where you could turn on the tunes and skate the music away. LISTEN
“Oxytocin” drives near the same lane that Billie’s first album did, but in a much seedier, sketchier way. The synthesizers blip like strobe lights in a rave as Billie declares her target as only good for the oxytocin. “I wanna do bad things to you” she sings as she only gets a rush from this person, not a sense of love or passion. And despite her warnings (You should really run away), you’ll undoubtedly keep coming back for more. LISTEN
Rivers Cuomo and friends found a striking balance of profound and simple on OK Human. A song like “Here Comes The Rain” can be as intricately arranged and produced as any song in the Weezer catalog, yet still contains lyrics like “My umbrella/Makes me look just like the Morton Girl/Splish, splish-splash/Woah-oh, woah-oh, taking a bath”. Banally simple yet beautiful constructed, it’s the true Weezer experience. LISTEN
If it ain’t broke, don’t fix it! The Weeknd found worldwide success off of the 80’s-inspired After Hours, so his next move is more of the same. The first taste of his next record, “Take My Breath”, follows the formula of megahit “Blinding Lights” by drenching Abel’s usual tales of despair and pain with more synthesizers than you’d know what to do with. It’s also got that sweet sweet melody and a killer chorus as all great Weeknd songs do. If “Take My Breath” is any indication, The Weeknd’s worldwide chart dominance isn’t ending any time soon. LISTEN
One of the sweeter and more overlooked synthpop songs of the year, Islands took the best of their contemporaries and made their own little hit. While “(We Like To) Do It With The Lights On'' doesn't cover any new ground, it plays the hits as well as you’d want, and Nicholas Thorburn’s vocals are as sweet as can be. Sometimes what’s always worked can still be enough for a good song. LISTEN
Lucy’s latest is all about little anecdotes from her past, and “Brando” concerns a guy who thought he knew a lot more than he did. Whilst sharing all his favorite classic films with Lucy, he forgot to care about her as a person, and Lucy’s lyrics are truly biting. Between “I’d be lucky to be your third wife” or “All I need for you to admit/is that you never knew me like you thought you did”, this song isn’t lacking in some of the more memorable lyrics of the year. LISTEN
Aaron Dessner and Justin Vernon’s side project is all about collaboration, and one of their best collabs is with none other than Taylor Swift. “Renegade” concerns the struggles of loving someone with mental health issues, and it twinkles with all the qualities that make each of these artists special. Swift’s vocals are on point, the folksy instrumental builds well, and the dueling Swift and Vernon vocals towards the end are beautiful. It’s tough to love someone through their struggles, but it ain’t tough to love these excellent collaborations. LISTEN
A summer anthem in every sense of the word, “Dance For Love” is sun-kissed at every corner. Zella’s performance is everything from carefree to passionate, often in the same lyrical passage. She’s explosively happy, a sentiment reflected by the sugary guitars and crisp, upbeat drums. It’s the kind of song that’ll make you feel the sun on your skin and the wind in your hair. LISTEN
What I love so much about CHAI’s latest record is the variety, and the most notable genre experiment happens on “PING PONG!”. Yes, it is about nothing more than playing ping pong, but it’s set to the catchiest chiptune instrumental this side of Anamanaguchi. The CHAI quartet sound right at home over the YMCK-assisted beats, bringing their usual energy and fun to the song. “PING PONG” makes it seem like any genre is conquerable for these Japanese stars. LISTEN
Sleigh Bells is back baby! “Locus Laced” feels like the group getting back to the chaotic noise pop that defined them in the best way possible. “I feel like dynamite, I feel like dying tonight” is the standout chorus of the song, surrounded by crunchy guitars, drums and more. It’s hectic yet melodically built around that chorus, resulting in one of Sleigh Bells’ catchiest songs in years. LISTEN
Functioning like an audio diary, “Hard Drive” sees Cassandra Jenkins talking to everyone who comes across her path. She discusses sculpture, chakras, and the astral plane. She discusses getting her drivers license and seeing her therapist. These stories are everything from huge ideas to minute moments, all set over a gorgeously jazzy instrumental. Jenkins turns the littlest moments in life into tales worth drifting along to with her. LISTEN
Never one to shy away from tough subjects, Nick Cave gives his thesis on the social unrest that plagued the summer of 2020 with this churning epic. As Cave details the protestors and statues of this unrest, you can feel the instrumental getting ready to explode. Surely enough, the song peaks with Cave screaming to the heavens, his voice amplified and powerful. It seems that tragedy brings out the best in Cave, his allegories are never stronger than in the face of fear. LISTEN
An epic tale in the form of a fantastic synthpop bop, “The Princess and the Clock” is easily one of KKB’s most robust songs. Every instant of this track is pulsing with energy, and every different instrument is like a small gear in a larger robot. The story is that of a woman trapped in a tower, worshiped as a princess, and it’s an allegory for the expectations that you cannot shake. The only thing you’ll shake is yourself upon repeat listens to another Kero Kero Bonito gem. LISTEN
An excellent ode to the days of your youth where your summers were nothing more than harmless crushes and days in the water. “Pool Hopping” captures that magic with a nonstop energy from the guitars and drums, not to mention Sarah Tudzin’s always peppy vocals. The way Tudzin recreates a beautifully innocent time will instantly catapult you back to those hot summer days. LISTEN
Joe Goddard is a dance music wizard, and his team up with Amy Douglas is an exercise in dance excellence. The best of the bunch is “Holding On Too Long”, a 7 minute epic about the typical pitfalls of love on the dance floor. The mesmerizing piano and Douglas’ impassioned voice guides us through this tale of someone holding onto a relationship for too long. You get the sense that this situation is dire, as if the world will end if this situation doesn’t resolve itself. That sense if impending doom is a great overdramatic touch on a great overdramatic dance song. LISTEN
The cruel reality of the end of a relationship is that you’re in for every emotion imaginable before you’re truly healed. You’ll feel fear, anger, sadness, happiness, often at the same time and at inopportune times. Kacey Musgraves certainly felt all of this following her divorce, and “justified” is her experience with that whirlwind of emotion. It’s one of her cleanest mixes of country and pop yet, with a sticky chorus and some truly striking movement in the instrumental. No doubt it’s hard to lose someone, but Kacey puts it in a frame that anyone can sympathize with. LISTEN
Navigating the tricky world of being an adult isn’t easy, but with Self Esteem’s “Moody”, there’s no time for people who can’t keep up with you. She’s moody as hell and full of great one liners (“Sexting you at the mental health talk seems counterproductive”, anyone?). The explosive beats pair with the witty lyrics to make a pop winner, and a great companion piece for any young adult trying to make it in this wild world. LISTEN
While “Tried To Tell You” is the story of watching a friend throw away love despite your pleas, it can be seen as much bigger than that. Tamara Lindeman seems aware of the bigger problems around, like the constant fear of war and the way humans ruin this planet. With a truly gorgeous soft pop instrumental, Lindeman sings as if she’s ready to crumble under the weight of the world. The song is best summed up by the line “I feel as useless as a tree in a city park/Standing as a symbol of what we have blown apart”. What can we really do as the world around seems to fall apart? Giving The Weather Station more streams is one solution. LISTEN
slowthai and Skepta made for a perfectly grimy pair as they took aim at cancel culture on “CANCELLED”. With a seedy grime beat, the duo delivers flex after flex on those who hide behind screens trying to end their careers. It’s short, simple, to the point and one of both rapper’s best songs they’ve put out yet. LISTEN
Adele usually needs nothing more than a piano behind her to bring tears to our eyes, but “To Be Loved” is on a whole other level as a vocal showcase. Not only does her voice ring as incredibly powerful as it ever has before, the subject matter pushes the emotion over the top. It’s a letter to her young son for when he grows up, an impassioned message on the sacrifices she made to give him the life she wanted for him. Adele reportedly recorded this song in one take, and she’s said she’ll probably never be able to perform this song live without breaking into tears. If that’s the case, we’ll have to live with the immaculate studio version, and that’s just fine with me. LISTEN
The definitive song from Black Country, New Road’s breakout record, “Sunglasses” begins as timid as the narrator of the song. The lightly strummed guitars and tapped drums hint at something more while our main character can’t seem to stand up to his girlfriend’s parents. But once he puts those sunglasses on, it’s over. “I’m more than adequate!” he screams as the song grows into a monstrous jazzy rock epic. As his confidence grows, his sanity grows weaker, signified by how wild the instrumental gets. It’s enough to make the narrator go crazy, and enough to make BCNR a band to watch. LISTEN
It seems that the 2017 ARIA’s mishap will shape how Kirin J Callinan’s music will be for the foreseeable future. It was a big theme on Return To Center, and it remains the focal point of “Dumb Enough”. “I’ve done dumb things/I’ll probably do them again” is as blunt as Kirin’s ever been, acknowledging his status as a rabble rouser will probably never leave him. Thankfully his musical abilities haven’t left him, as “Dumb Enough” is as catchy as some of his best. Let him keep doing the dumb things to keep making great songs like this. LISTEN
On her debut LP, Remi Wolf took every role that suited her, and on “Sexy Villain”, that includes being a killer. But a sexy one. It’s got all the qualities that made Remi a breakout star, like the clever wordplay, an earworm of a melody, and incredibly creative production. It’s enough to make it seem like being killed by Remi wouldn’t be that bad. LISTEN
The boys from San Marcos are most well known for their pop rap bangers, but they’ve got the ability to throw in a little indie rock here and there. “WHAT’S THE OCCASION?” sounds like the climax of a seminal teen movie, a montage where the protagonist gets their shit together and becomes who we expect them to be. The boys’ singing ability has never been better, and the guitar-driven instrumental is one of the best on ROADRUNNER. As the pianos build and the guitars get fuzzier, the main characters embrace and ride off into the sunset, overcoming all that troubles them. It’s a beautiful sendoff on BROCKHAMPTON’s best record yet. LISTEN
The Mercurial World of Magdalena Bay flips everything you know on your head. So why not end their debut album with a song titled “The Beginning”? And because nothing is as it seems, the end called “The Beginning” is an absolute banger. “Sit back and enjoy the show” is the best line on a delightful chorus surrounded by pianos, synths and more. It’s a sugar rush ending that I’ve kept on repeat since the first time I’ve heard it, and if this is only the beginning for this duo, color me excited. LISTEN
The best young writers can portray heartbreak in a way no adult ever could, and that style of writing is right in Lindsey Jordan’s wheelhouse. Beginning with a more synth driven direction, “Valentine” eventually explodes into a phenomenal chorus, one you’d expect from Jordan. “Why’d you wanna erase me, darling valentine?” cuts like a knife over the aggressive guitars and drums. Much like the stages of love, “Valentine” experiences highs and lows, a great parallel for the feelings that so many of us struggle to describe. It points back to Jordan’s strengths as a writer and musician, and why any Snail Mail release is a must listen. LISTEN
“Bunny is a rider/Satellite can’t find her”. That’s how Caroline Polachek’s solo banger begins, setting the stage for our heroine. Bunny’s on the run, who knows why and who cares. Is Bunny even a person? “I’m so nonphysical” Caroline croons as the slick synthetic beats power the track forward. It all ends with Bunny still on the run, evading whatever may stand in her way. Perhaps that’s the message of it all, to push on through the pain as Bunny does. Either way, “Bunny Is A Rider” stands out as one of Caroline’s best solo songs yet. LISTEN
As Porter Robinson looked to shed his dubstep origins, he indulged in many other styles of electronic music. The highlight of his adventures in electronica is “Look at the Sky”, a song that’s as pure in heart as it is in sound. Porter’s pitched up voice finds a reason to be hopeful as life moves on. “Something must have changed in me” he proclaims as the joyous synths swirl around his voice. It’s the first true track on Nurture, and it’s the perfect tone setter for an album that feeds of happy energy. LISTEN
The ethos of Escapades is to make prog larger than life, and no song on the record does a better job of that than “Force majeure”. Translated into English, the song means major force, and that’s precisely what the track brings. It’s a glitzy effort in synthetic prog music, clearly in love with a time long past. The grandeur of the song is blissfully over the top, and that’s all part of the fun. Let it guide you into a world where the nerds make the music as big and boisterous as they want. LISTEN
“MONTERO (Call Me By Your Name)” was the track that brought Lil Nas X the most notoriety in 2021, but my personal favorite remains this Kanye-produced banger. Nas deserves the fame he’s achieved, and he spends “INDUSTRY BABY” flaunting his success, and the glorious chorus is the main attraction. He even brings Jack Harlow along for the fun, who delivers one of his best features of his young career. Lil Nas X is here to stay, and that’s a damn good thing. LISTEN
There’s a powerful melancholy to the music Future Islands make. Listening to “Peach”, a fantastic b-side to their last record, is as if you’re sitting on a coastline, pondering your past, present and future. With a gorgeous melody and Sam Herring’s always excellent vocals, it’s a shame this track didn’t make it onto As Long As You Are. Regardless, we have it now, and “Peach” is another reminder at how good Future Islands are at their craft. LISTEN
No one asked Twin Shadow to go this hard, yet he did it anyway. “Johnny & Jonnie” are two outlaws on the run, and their adventure is chronicled on a reggae-inspired pop jam. The bass guitar is the backbone of the song, and its strong play leads directly into a chorus that’s bound to stick in your head for a while. Throw in an instrumental breakdown at the peak of the track and “Johnny & Jonnie” will take care of your soul. LISTEN
“Kiss Me More” seemed destined to be a hit from the beginning. You’ve got Doja Cat, who’s music is instant Tik Tok video material. You’ve got SZA, who’s the perfect compliment to Ms. Doja. You’ve got a sublime beat that’s easy to make viral dances to. It comes together as well as you’d expect, and earworm we’ll hear on the radio and on the internet for years to come (for good reason). LISTEN
The R&B that Tyler indulged in on his last few records defines “WUSYANAME”, a wistful ballad trying to court the apple of Tyler’s eye. It’s almost like a 90’s G-funk song, and Tyler makes it seem like he’s been doing this his whole life. After he’s done with his verse, Young Boy NeverBrokeAgain drops possibly the feature of the year, showing a side of singing I didn’t know he had in him. And before you know it, “WUSYANAME” is over, a brief and incredible moment of a world-trekking record. LISTEN
An assault of the senses, “John L” is the most harrowing rock song of the year. If the aggressive drums don’t hit you first, the wiry strings will cut you with their sharpness. Geordie Greep sings like a frog is stuck in his mouth as cascades of piano keys fall in behind him. The whirlwind only gets more insane as Greep’s voice echoes, as if he’s screaming into a bottomless pit. “John L” really never lets up, and that’s what makes it such a memorable and incredible track. LISTEN
What better way is there to portray the memories of a lost love than with the sounds of an abandoned sound? “Wounds of Love” is built around a lovely analog synth melody and carried by Ian Richard Devaney’s longing voice. “Can I ever get past the wounds of love?” he cries, knowing the pain might never leave him. But in a way, it’s cathartic, lessening the pain of memories he’d like to forget with a sound we could all use a little more of. LISTEN
“Leave The Door Open” tries so hard to be sexy, and yet it might be the most unsexy song ever put to recording. And yet, it’s so genuine and meticulously made that it’s irresistible. Bruno Mars and Anderson .Paak both turn in career best performances, and the love for the sounds of 70’s funk is apparent throughout the entire song. Maybe this song won’t be played with rose petals on the bathtub, but it will damn sure be played everywhere else. LISTEN
As with all things Adam Granduciel does, “I Don’t Live Here Anymore” is filled with uncertainty. He worries about the past, if the choices he’s made have been the right ones. After all, “We’re all just walking through this darkness on our own”. But the gorgeous, Springsteen-worshiping instrumental brings a brightness the song needs. By the end, Granduciel is soaring to the 80’s synths and mega-drum beats around the chorus, and undoubtedly you will be too. LISTEN
Charli spent years deconstructing future pop down to it’s core to the point it was unrecognizable. “Good Ones”, the lead single off her next record Crash, is back to the basics. It’s as if she’s done all she can with future pop, so the next logical thing to conquer was the realm of mainstream pop where she began her career. If “Good Ones” is any indication, she’s back with a vengeance, and the brisk nature of the track seems to indicate a snappy record to come. Let it be known that radio pop Charli XCX is back. LISTEN
No one revisits her music quite like Taylor Swift has over the last year, and the way she plays with her own mythos is astonishing. Expanding on one of her most classic songs, this version of “All Too Well” breaks 10 minutes, further exposing one of her most explosive breakup anthems. The level of detail is much more vitriolic here than it is on the album version, exposing the true feelings behind (allegedly) the end of her relationship with Jake Gyllenhaal. It’s incredible that Taylor wrote such a mature song at 22, and it’s equally impressive for her to add even more to it at 32. I’d argue Swift is arguably on her hottest streak with these re-recordings, giving new meaning and new life to songs you didn’t think needed it. LISTEN
While Billie has grown her name on her understated vocals, the title track to her sophomore LP breaks that mold. It begins innocently enough, as Billie questions why her lover has been so shitty to her. These feelings have clearly been bubbling (“You made me miserable”), and you just know the tipping point is coming. Finneas’ production slowly crescendos into a fiery climax of crashing drums and slurred guitars. Billie matches that energy with her most scorching, direct and hurt lyrics she’s ever appeared. “Just fucking leave me alone” is a searingly honest end to a song that redefines Billie in the pop sphere, and a song that, mark my words, will soundtrack a great film someday. LISTEN
Through the controversies, the public drama, and the constantly changing release dates, Kanye showed he’s still an incredible musician on Donda. He knows how to produce a fire song, and he knows how to curate the artists that appear on them. “Hurricane” remains the most powerful, teaming up with two of the world’s hottest musicians and getting them to turn in career best features. Kanye’s no slouch either, rapping about his changing life like a b-side on College Dropout. Make your way past the surface drama and Kanye rarely disappoints. Just forget JESUS IS KING like I have. LISTEN
Britain’s best rapper took a lot of time looking inward on Sometimes I Might Be Introvert, and “I Love You, I Hate You” is as direct and powerful as she gets. Simz struggles with not only the success she’s brought to herself, but the family situations she had to deal with grow up. Delivering line after line of impactful poetry and backed by an expectedly opulent instrumental, this is Simz operating at her highest. Eventually, she comes out on top of the fears that live inside her, and it’s an impressive statement and better song. LISTEN
The most melodic bop on an album full of them, “Interior People” is the most trippy thesis on quarantine to bless our ears since the pandemic began. The song bounces along with carefully plucked guitars and a crisp drum beat, focusing on themes of paranoia and the insanity of keeping to yourself for too long. Ultimately, Gizz proclaims “You gotta punch through the drywall inside your skull”, escape the cocoon you’re trapped in, and turn into the butterfly you’re meant to be. Or something like that, but damn if this isn’t one of my favorite Gizz songs yet. LISTEN
The majority of Godspeed’s work is compelling as a call to arms to confront the issues that plague society. They’re massive yet dour songs. On “Cliffs Gaze…”, though, the massiveness of the track is much more uplifting. The hugeness of the song is meant to bring you up rather than pummel you down, and when the song reaches its climax, you’ll feel like you’re soaring. It’s as if Godspeed is encouraging a brighter future, one where their dour anthems have moved people enough to solve the world’s issues. May we all soar together to “Cliffs Gaze…” one day. LISTEN
Painful yet beautiful, “Superstar” is Beach House working at their absolute peak. Alex Scally’s melancholy guitars have never sounded better surrounded by the fuzzy synthesizers. Victoria LeGrande’s lyrics about a failing relationship are as intoxicating as ever, and the parallels between relationships and falling stars are extremely poetic. It’s powerful stuff, and a clear indication that this duo has lost none of their dream pop mastery. If “Superstar” is any indication, Once Twice Melody could be Beach House’s best record yet. LISTEN
There’s a certain nymph-ish quality to Spellling’s voice that reminds me of FKA twigs. They’re both beautiful yet fleeting, and “Always” is the former’s best fantasy from The Turning Wheel. Like she’s sitting by a sacred pool in a mystical forest, Spellling begs her lover to let their love fly free. The string instruments make this song seem straight out of a fairy tale, and the bits of harp that flutter in and of “Always” further the fantasy theme of the record on the whole. There’s no stronger moment of whimsy Spellling delivers on The Turning Wheel than this one. LISTEN
The narrator on “Pay Your Way In Pain” sure deals with a lot. She’s got no money in the bank, she gets weird looks from the moms at the park, and she can’t even get into her apartment. It’s a tough life, but a hella colorful one, thanks to St. Vincent’s fantastic tribute to 70’s funk music. Throughout her hellish day, the track grooves like no one’s business, and St. Vincent’s voice matches the mood to a T. It’s a bad day for our heroine, but her expense lends us one of the year’s best songs. LISTEN
Seeing the worldwide protests of 2020 inspired “ACTION”, a simple yet strong message of unity. Over their synthiest production to date, CHAI preach “action more than words”, yelping along as the synths pulse. The directness of the song works in their favor, eschewing wordiness for a simple message. It’s a new direction for CHAI, but one they nail, as they seem to do with everything these days. LISTEN
“...maybe the reason you’re always the one making mistakes is because you’re the only one trying.” That’s the core thesis behind “The Only Heartbreaker”, a grand return from one of music’s most forlorn writers. With a stronger synthpop base, Mitski becomes the only heartbreaker at her own expense. It’s one of her danciest songs ever while retaining the core sadness that makes Mitski’s music so striking. As the song reaches a huge climax, it powers forward, with Mitski shouldering the burden of heartbreak for all of us. LISTEN
Perhaps the best way to describe Magdalena Bay is “terminally online”, a phrase that appears on “Secrets (Your Fire)”. The digital anxiety of your appearance is a core theme on the track, but don’t let the anxiety distract you from the blustering electronic beat concocted here. It’s the best on an album full of jams, electric on production and sublime in Mica Tenenbaum’s voice. Surrounded by numerous Tik Toks that expanded their online world, Magdalena Bay really was the breakout band of 2021, and “Secrets (Your Fire)” was at the forefront of their explosion. “Dragon fire!” LISTEN
Olivia Rodrigo’s eyes would be starry if they weren’t always filled with tears. She quickly showed the world her mastery of teenage heartbreak this year, and no song of hers was more affecting than “deja vu”. Seeing her former boyfriend recycle the activities they did together only stings her more, and the cutting wordplay Rodrigo employs is well above her years. The mix of moping and shouting perfectly describes the feeling of seeing your ex with someone else, and the punchy drums and twinkly beats make for the perfect backdrop to Olivia’s heartbreak. It’s an incredibly powerful song from one of music’s newest yet brightest stars. LISTEN
The stark guitars to begin this punk rager could almost tear the song apart with their disjointedness, but Sarah Tudzin just won’t let that happen. The seemingly gibberish title turns into an anthemically gibberish chorus as Tudzin shreds everything in her way. Start-ups, the DNC, and more are no match for Tudzin’s spirited delivery, and you can feel the smile on her face as she screams “If you’re not laughing baby, than you’re not making money!” “MMMOOOAAAAAYAYA” is the song that finally delivers on the promise that illuminati hotties has been hinting at for years, and it’s a sign of blessed indie rock jams to come. LISTEN
While they’ve got plenty of hits in their library, “Well Rested” sees KKB doing something they’ve never done before; a song over like 3 and a half minutes. It’s a risky proposition, but it pays off beautifully. The synths pulse as Sarah Bonito describes a crumbling society anticipating the apocalypse. As the song progresses, it feels like you’re scaling a pyramid to escape the impending doom. When you’ve reached the peak, the song reaches an explosion of glittery chaos. “We will be well rested as the ascension comes” is the defining line of Kero Kero Bonito’s most experimental and impressive song yet. LISTEN
You’ve heard blues rock before, but never in the way that Mdou Moctar presents it on “Afrique Victime”. Moctar introduces you to the title track with his impressively passionate Tuareg delivery, but once the singing stops, the real song begins. Moctar plays his guitar with such reckless abandon you’ll see images of a stampede of water bison across the sahara. There are so many highs with “Afrique Victime” that it’s hard to pick a favorite. It’s easier to just be impressed by the skill of the musicians, and pray we get more of this style of music soon. LISTEN
Having found a great sound in groovy rock on Wide Awake!, Parquet Courts sought to further those sounds with a New York edge. That combination came together perfectly on “Walking At A Downtown Pace”, a driving yet danceable rock song that’s instantly one of the band's best. It’s easy to see yourself struggling down a NYC avenue with this as your theme song, like an everyman just trying to make it. It’s punchy, jangly and catchy, it’s everything and more I want to hear from Parquet Courts. LISTEN
There’s an eeriness to Low’s music unlike any band. With just Alan Sparhawk and Mimi Parker’s voices to open “Days Like These”, you’d be remiss to think of it as nothing more than a camp singalong. That image is shattered by a heavy layer of distortion on the second verse, symbolizing the difficulty of the times we live in. Yet through the distortion, the beauty of what Sparhawk and Parker sing about is still in place. It’s a harsh balance that Low is incredibly good at finding, and in this late career renaissance they’re in, “Days Like These” stands out as a career best. LISTEN
Maybe the most impressive thing Adele’s voice can do is give all the emotion in the world to a single letter. The way she stretches out her e’s in the chorus of “Easy On Me” is enough to stir up something fierce inside you. It’s a skill she’s honed with years of experience, not that her voice hasn’t always been her strong suit. I think what sets “Easy On Me” apart from her past hits is the level of maturity you can feel from it. These emotions aren’t for some random ex, these are gut-wrenching cries about a man she truly loved and, at one point, wanted to spend her life with. These grown up emotions meld wonderfully with her powerful pipes, and it takes Adele to her highest heights. LISTEN
A few days in quarantine can feel like an eternity, let alone a full year like we experienced in 2020. Many of us spent hours staring up at the ceiling, questioning whether the pandemic or your sanity would disappear first. These feelings are what the reclusive Parannoul perfectly encapsulates on “White Ceiling”, a shoegaze epic that’s constantly teetering on the edge. Over ten minutes, the clangorous drum machines and fuzzy guitars (all instruments played by this one guy btw) grow in size and scope, with Parannoul’s Korean wails get louder and more frenzied. It’s as if his sanity is disappearing by the second, a product of inherent loneliness made worse by a virus forcing isolation. It comes crashing down in the end in a series of screams, both samples and the singer’s own anguish. To feel this mountain of emotion without understanding a word of what he’s saying is a testament to the incredible music Parannoul made in 2021, and “White Ceiling” is the best of the best. LISTEN
One of the best musical developments over the past few years has been Tyler, the Creator’s transformation from musical bad boy to soulful poet laureate. He’s found his stroke as a purveyor of love, be it tragic or gleeful. “SWEET/I THOUGHT YOU WANTED TO DANCE” is a mix of both, set to the most glorious mixture of soul, R&B, hip hop and more you’ll hear from 2021. The first part is all about the infatuation, seeing Tyler and company musing on how in love they are with this person over a bouncy beat. The way Tyler uses his words will almost make you fall in love with his target. But following the infatuation, the samba-style instrumental switchup on “I THOUGHT YOU WANTED TO DANCE” is the comedown. Though the swap between parts is seamless, the confidence in this love plummets. Tyler’s dipped his toes too deep into the pool of love, and the confusion over whether he’s doing the right thing tears him up. Though the song is a hefty 9 minutes, the longest of any Tyler two parter, the way Tyler guides us through this roller coaster of love could be endless and still masterful. It’s like Tyler is challenging himself to top his previous two parter, and this song is part of that mean streak. LISTEN
Nostalgia is a powerful drug, and it’s a drug Lucy Dacus uses well on her latest record. On the album’s biggest highlight, Lucy breaks the feeling down to its barest essence. “Hot & Heavy” is longing for your childhood crush, the home you grew up in, the streets you used to roam. Thanks to Lucy’s open descriptions of the past, her nostalgia can claim to be anything, and it makes the song easy to attach to. It’s no slouch on the instrumental side either, as it’s the most direct and moving indie rock movement on Home Video. These “heavy memories” could swamp a lesser artist, but Lucy is as good as they come, and that makes “Hot & Heavy” a winner. LISTEN
No indie rock project was as fluid as Animal was, and the title track perfectly encapsulates what LUMP was going for. Simple in its wordplay yet infectious like all hell, the track prowls around your eardrums like a creature of the night. Through the simple carnal desires Laura Marling sings of, you get a sense of exactly what kind of beast she’s describing. It’s driven by simple desire, a primal sense of need. The mixture of punchy drums and fleeting synths in the background create the animal’s layer, never lacking for intrigue. It’s deceptively simple, and much like the wild creature envisioned here, “Animal” can sneak up on you and render you speechless. LISTEN
"At some point you’d have to live as if the truth was true." That’s a line Tamara Lindeman heard while working on Ignorance, and it became the centerpiece for the album’s masterpiece. “Loss” intertwines fears of heartbreak and climate change like they’re made for each other, crescendoing on the chorus of “Loss is loss is loss”. It’s blunt yet effective, followed by a typically gorgeous piano melody. For a song lamenting the change in life and in the world, “Loss” beams with a brightness unseen on the rest of the record. It’s a ray of light through the clouds of change, assuring you that you’ll move on and be better for it. LISTEN
In a world where doom and gloom has seemingly overtaken all facets of life, Michelle Zauner chose to be happy. “Be Sweet” may concern a failing relationship when the lyrics are taken at face value, but it’s impossible to resist the most jubilant instrumental of 2021. The glittery synths are stolen straight from the likes of Madonna, bursting with an energy previously unseen from Japanese Breakfast. The chorus of “I wanna believe in something” is something I see as a rallying cry heading into 2022, using the light of this track to find the things worth living for. If you can’t bring yourself to be happy, let “Be Sweet” do it for you. LISTEN
An instant classic from the moment it arrived, “Like I Used” is the anthem of a world trying to return to normal. These two indie stalwarts sing together like they were always mean to, with Sharon Van Etten’s deep croon a perfect compliment to Angel Olsen’s nasally cries. They sing of a return, taking turns coming back to the activities they used to enjoy. Everything from sleeping in, lighting up a joint, and falling in love have new meaning when we haven’t been allowed to enter the real world in a while, and both singer’s cadences make these mundane activities seem like grand events. Van Etten and Olsen are of course the main attraction, but the Springsteenian instrumental only makes everything that much more magnificent. The thunderous drums and passionate guitars do their job perfectly, all leading up to the duo’s immaculate harmonies that end the song. Everything about this collaboration is larger than life, a testament to the power and ability of these two growing legends. It’s the kind of collaboration that only comes around once in a generation, the kind of stuff that sends chills down your spine. Go listen to it! LISTEN
Top 50 Albums of 2021: https://cfreemon.substack.com/p/repost-the-best-50-albums-of-2021
2021 Honorable Mentions: https://cfreemon.substack.com/p/repost-2021-honorable-mentions-songs
Top 5 EPs of 2021: https://cfreemon.substack.com/p/repost-the-best-5-eps-of-2021
Worst Music of 2021: https://cfreemon.substack.com/p/repost-the-worst-songs-and-albums-fd5