It’s that time of year. 2021 is finally coming to a close, and with it we will reflect on all the music this year had to offer. From amazing solo debuts to unexpected comeback records, plenty of LPs blew us away in 2021. As a quick recap of 2020, our top three albums from that year were Cherry Blossom by The Vamps, folklore by Taylor Swift, and Superbloom by Ashton Irwin. Before we get into the 2021 list proper, let’s give a rundown of some honorable mentions and shoutouts that we hope you’ll take the time to listen to. (In no particular order.)
Honorable Mentions & Shoutouts
- Honest Men – Field of Vision
- Snail Mail – Valentine
- Julien Baker – Little Oblivions
- Piqued Jacks – Synchronizer
- Ashley Monroe – Rosegold
- Citizen – Life In Your Glass World
- Maple Glider – To Enjoy Is the Only Thing
- Tune-Yards – sketchy.
- Delta Goodrem – Bridge Over Troubled Dreams
- Birdy – Young Heart
- Grayscale – Umbra
- Jeremy Zucker – CRUSHER
- Fiddlehead – Between the Richness
- Vistas – What Were You Hoping To Find?
- Porter Robinson – Nurture
- Yellow Ostrich – Soft
- Madi Diaz – History of a Feeling
- Carpool Tunnel – Bloom
- Laura Stevenson – Laura Stevenson
- Michigan Left – Capsize
- Free Throw – Piecing It Together
Best Albums
These are our most played, favorite albums from 2021. To call them the “best” albums of the year seems like a stretch; just because we enjoy something on a personal level doesn’t mean it’s spectacular critically. But maybe you can hear me out on these…
9. Justin Bieber – Justice
Look, I know this is probably not the best way to start out the list, but Justice truly has its moments. Bieber leaves behind the lowkey alt-R&B of 2020’s Changes for a sleek, energetic blend of pop rock, electro, and indie pop on Justice. As with any JB record, it’s still quite sterile and safe. However, despite owning the horrible “MLK Interlude” and other samples of King’s speeches, Justice ultimately serves as Justin’s homerun comeback, especially into the mainstream by scoring big hits like the smooth R&B jam “Peaches” and the gospel-inspired “Holy.” The real gems on this record are found in the deeper cuts. Songs such as “Hold On” and “Somebody” offer up a delectable mixture of ’80s-esque synths and percussion with modern-day production qualities, which is also akin to the more mellow tracks “Deserve You” and “Die For You.” The vivacious reggaeton beat of “Love You Different” will remind listeners of Justin’s memorable outing Purpose, and the world-influenced “Loved By You” gives the album some different flavors. But we find Justin at his most reflective on the rawer tunes like “2 Much,” “Unstable,” and “Off My Face.” The straightforward pop nature of “Ghost” and “As I Am” makes them destined for radio, and the track “Anyone” is surprisingly a romantic power ballad. While the album is a bit all over the board with its styles and collaborators, it still feels relatively cohesive and each individual song shines in its own ways.
Best tracks: “Hold On,” “Deserve You,” “2 Much,” “Name (ft. Tori Kelly) [Bonus Track]”
8. Olivia Rodrigo – SOUR
Olivia Rodrigo’s debut album SOUR is a sweet listen with a bitter sting to its subject matters. Even more, she seems to ride the wave of a rock revival in the mainstream with searing guitars and live drums, something quite daring for a future star’s initial effort. At only 18 upon its release, Olivia explores typical teenage struggles of heartache, self-esteem, social media, and fitting in, although many listeners beyond her age group have found themselves relating to such topics as well. Perhaps the musicality of the album facilitates that; songs like “good 4 u” and “brutal” will remind you of pop punk bands that found their footing in the mid-2000s, and the tracks “drivers license” and “deja vu” seem to take cues from the playbook of 2010s pop artists like Lorde and Taylor Swift when working with Joel Little. There are a few singer/songwriter cuts on the record as well, like “favorite crime” and “enough for you,” which are nearly timeless in their instrumentation. While I acknowledge that many may rightfully deem SOUR as melodramatic, derivative, and undercooked, it displays Olivia’s potential as a rising artist and writer. Her work with Dan Nigro as producer is obviously reminiscent of Conan Gray’s 2020 debut full-length Kid Krow, which also drew major influence from Rodrigo’s citations like Lorde, Taylor Swift, and others. This sound seems to be carving out a revitalized path in the mainstream considering how successful and eminent SOUR has been throughout 2021.
Best tracks: “jealousy, jealousy,” “favorite crime,” “good 4 u,” “enough for you”
Okay, okay, maybe this is where the list should realistically have started…
7. Alessia Cara – In the Meantime
Third time’s the charm? After the sensational EP This Summer in 2019, Alessia Cara’s third studio album In the Meantime is possibly her most cultivated and tasteful yet. Instrumentally, Alessia keeps it tight this time around, mainly utilizing guitars, keys, bass, percussion, and the occasional horn section or piano. She also employs vocoder effects on a handful of tunes, which offers some variety, but the vocals alone are still the standout star of these compositions. Alessia’s skill as a singer and songwriter remain unmatched; her voice is velvety and passionate, smooth yet exposed. And her lyrical endeavors here tend to journey outside the box (pun majorly intended). In the Meantime observes emotional self-awareness, coping mechanisms, self-doubt, relationship complications, and uncertainty towards the future, and Alessia approaches these topics with such vulnerability that many big-name popstars would never dare put on display. She also details her struggles with insomnia on “Sweet Dream,” the bouncy lead single that may just be 2021’s supreme sleeper hit (okay, no pun intended).
The bows that tie all these components together are ultimately the production qualities and catchy melodies. Every instrument lives exquisitely in the mix, and the percussion sounds exceptionally crisp. The horn sections are rather luscious, most notably on songs like “Bluebird” and “Box in the Ocean,” and the basslines are as flawlessly rich as can be—my favorite would be that walkdown line featured on “Clockwork.” Alessia Cara truly knocks it out of the park on In the Meantime: her pop sensibility and knack for good hooks coupled with her operatic abilities and pensive lyricism makes for the perfect alt-pop record.
Best tracks: “I Miss You, Don’t Call Me,” “Somebody Else,” “Box in the Ocean,” “Clockwork”
6. Dream Jacuzzi – Lemon Hazy Nights
Dream Jacuzzi’s debut album is a perfect example of accidental genius. As they put it themselves in our exclusive interview, “Consciously, we didn’t realize what we were doing at the time, but subconsciously, we were making something that was fairly cohesive.” The tracklist for Lemon Hazy Nights is structured almost entirely in chronological order of when the band made each song, and yet so many tunes transition nearly seamlessly into the next. In the title track, we hear the line, “Tell me, what’s the last thing on your mind before you close your eyes to sleep at night?” On the following tune “Black Walnut,” the listener is met with this cloudy dialogue about sleeping, beginning with the line, “Hey, what’s the last thing you remember before you fall asleep?” and ending with the words “till I fall asleep,” which of course leads into the next track of the same name.
We also hear birds chirping on a couple songs, like “Redbird,” which is another ribbon that ties the album together. The concept of “lemon hazy nights” is referred to multiple times, a fuzzy idea that the band has ultimately left up to the listener to define for themselves, but it begins to feel as clear as day by the time we reach the end. The unintentional attention to detail even shines through on songs individually. On the tune “Rollercoaster,” a glissando-tinged guitar line emulates the ups and downs of a rollercoaster, sliding from one octave to the other, which is something so astute and yet the band executed it completely coincidentally.
Dream Jacuzzi also shows off their musical versatility on this record, from plucky electric guitar lines to coarsely distorted ones, from glossy keys to organic acoustic guitars. “Purple Skies” is hardly nothing more than an instrumental interlude but it certainly is destined to be one of your favorite tracks. Drawing inspiration from bands new and old, such as Tame Impala, Arctic Monkeys, Pink Floyd, and The Beatles, Lemon Hazy Nights is a refreshing fusion of styles melded cohesively together with clean production, smart songwriting, and alluring vocals.
Made on a whim and with gallons of subconscious expertise, Lemon Hazy Nights is an exciting glimpse into what Dream Jacuzzi is capable of if they actually sat down and put thought into crafting an album. But that doesn’t seem to be how they roll; perhaps the winging-it, foggy-headed style is exactly what they needed to pull these ideas out of their heads. After all, sometimes your best thoughts come to you in your dreams.
Best tracks: “Roselyn,” “Don’t Wanna Fall In Love,” “Leaving Bokim,” “Lemon Hazy Nights”
5. The Brook & The Bluff – Yard Sale
A tragedy I lived through in 2021 was obtaining tickets to see The Brook & The Bluff live in Opelika and then not being able to actually go. Regardless of such misfortune on my part, the band’s newest album Yard Sale is another smashing addition to their discography. The hometown boys are as talented as they are human, as soulful as they are charming, more than ever perhaps on this latest LP. Heavy basslines, impassioned vocals, and lush guitar strumming is customary for The Brook & The Bluff at this point, but they’ve reached a new pinnacle on Yard Sale. Oh, and don’t forget the catchy as hell melodies. But Yard Sale displays another characteristic that seems to be more elevated than ever: the lyrics. “Being perfect goes at this yard sale,” for instance, is not only a marvelous line, it’s also quite meta. This album is ever so perfectly rough around the edges. The band appears to be having more fun than ever, blending their time-honored brand of blues rock with a familiar yet new Beatles-influenced style characterized by cheery acoustic guitars and off-the-wall backing vocals. They also explore some string-based orchestral instrumentation on “Little Sheets” and tackle their first collaboration on a song with Molly Parden on “Wallflower.” Yard Sale is ultimately a delightful retreat into more vintage musical styles uplifted by contemporary production and thoughtful lyricism, and it’s surely a record you won’t want to sell.
Best tracks: “Don’t Go Slippin’ Away,” “Misnomer,” “Doobie Bronson,” “Little Sheets”
4. Lorde – Solar Power
It felt like decades since Melodrama, Lorde’s (incredible) effort in 2017, so of course expectations were through the roof for her radiant return. But Solar Power sounds nothing like her previous records. This album is inching towards psychedelic, delineated by lush guitars and ebullient percussion unlike anything we’ve witnessed prior. Lorde’s signature layered vocals do make an appearance, but she seems to be demonstrating a higher register in her voice and playing with more complicated melodies this time around. Solar Power is more barebones and somewhat minimalistic compared to its predecessors, but it’s quite a welcomed shift in Lorde’s musical catalog. I could almost compare the sunshiny sonority of some of these songs to a peak mid-2000s artist like Natasha Bedingfield (think “Unwritten”) or Corinne Bailey Rae but imbued with hypnagogic styles of the ’60s and ’70s. Although a few of the tracks fall short in the lyrical department, the New Zealand artist delves into some interesting topics, such as “self-care” culture, her famous status, the questionable use of crystals, and the climate crisis we face. This album seems to have flown over many people’s heads. Yes, it’s different and of course it has its shortcomings, but Solar Power is a strong and, well, powerful expansion to Lorde’s discography.
Best tracks: “Stoned at the Nail Salon,” “Fallen Fruit,” “Secrets From a Girl (Who’s Seen It All),” “The Path”
3. Lucy Dacus – Home Video
Lucy Dacus flexes her unparalleled songwriting skills once more on her latest record Home Video. Her third full-length is patterned with religious trauma, familial struggles, plights of sexuality, and dissatisfaction with both the past and the future. Lucy’s creative prowess shines through in her lyrics, characterized by inventive personification (“The sunset threw a tantrum”), vivid specificity (“Back in the cabin, snorting nutmeg in your bunk bed”), sprightly imagery (“Eating cherries on the bridge, feet dangling / Throwing pits and stems into the current below”), and, well, existential dread (“The future isn’t worth its weight in gold / The future is a benevolent black hole”). It’s pure poetry, so good that you can’t dream of laughing, and the subjects viewed feel deeply personal to Lucy and yet construed with such relatability. The album is indeed akin to a home video: exclusively intimate but widely understandable. This is accomplished by that unique specificity employed in the lyrics; the pictures Dacus paints are distinct and honest, but the subjects at hand are tangled emotions that the masses can relate to. (Hence the cover art—Lucy is putting this “home video” on display in hopes of an audience.)
It causes Lucy to feel more human than ever, which is facilitated by the rudimentary instrumentation and unpretentious musicality. Defined primarily by guitars, bass, drums, and the occasional piano, Home Video is authentic in more ways than one. Many tunes are stripped-back in their orchestration, like “Christine,” “Thumbs,” and “Please Stay,” which allows their messages to feel even more exposed. “VBS” is a lovely example of how Dacus utilizes the musical composition to bolster the lyrics, singing “There’s nothing you can do, but the only thing you’ve found / Playing Slayer at full volume helps to drown it out” while crackling into a breakdown of distorted guitars. “Partner In Crime” is performed entirely in autotune, supposedly due to some lackluster vocal takes, but this modification of her voice reflects the falsified nature of the lyrics as well, which explains how she would lie about her age to appeal to older love interests.
Overall, Home Video is like a movie you don’t want to miss. I’ve raved about it enough, now view it for yourself. In fact, I “Triple Dog Dare” you. Lucy’s expressiveness will leave you feeling like you got a front row seat to an old camcorder tape, full of personality and rumination on prior life events. Some may consider it diary-like but I find something charming about a fittingly obsolete VHS from days gone by.
Best tracks: “First Time,” “Thumbs,” “Brando,” “Cartwheel”
2. Luke Hemmings – When Facing the Things We Turn Away From
Imagine a three-way lovechild between Tame Impala, Fleetwood Mac, and Bon Iver while still being original and experimental on its own. That’s essentially a very basic way to describe Luke Hemmings’ solo debut album When Facing the Things We Turn Away From. Confessional and introspective, When Facing is a strong first outing from the 5 Seconds of Summer vocalist and guitarist. The lead single “Starting Line” is, if I had to choose, the least remarkable song on the album, sounding like any typical indie rock soundtrack to some young adult coming-of-age film, albeit still rather enjoyable. Luke shines brightest on his more exploratory moments, marked modestly by his utilization of vocal effects on “Place In Me” and quasi-psychedelic ventures on “Baby Blue.” “Motion” is a dazzling synth-rock tune at full steam ahead, and “Saigon” displays a blissful array of instrumentation. Further still, the more out-of-the-box cuts are songs like “Mum” and “A Beautiful Dream” where listeners are met with glorious walls of synthesizers and guitars amongst changing melodies and vocoder inflections.
Luke’s lyricism is nothing less than impressive, contemplating his romantic relationship and personal sense of self having grown into adulthood under the spotlight. His fiancée Sierra Deaton contributed to many tracks as a backing vocalist and songwriter, which lends a rather wholesome touch to the record. Overall, When Facing the Things We Turn Away From is an exceptional solo debut that avoids being derivative or conceited, offering twelve solid tunes that will stay “living on repeat.”
Best tracks: “Saigon,” “Place In Me,” “Slip Away,” “Diamonds”
1. Taylor Swift – evermore
Yeah, it’s Taylor. Shortly after the surprise drop folklore in the summer of 2020, Taylor Swift returned with a sister album in December titled evermore. Sticking with folklore collaborators Aaron Dessner, Justin Vernon, and Jack Antonoff, evermore is certainly a sister album in sound and demeanor but ultimately serves as an improvement and refinement of what folklore originally aimed to bring to the table. Reflective and emotional indie folk pop (?) is probably the easiest way to define the genre here, but there’s also modern country storytelling on the HAIM-supported “no body, no crime” and orchestral-tinged electropop on “gold rush.” The skittering percussive beat of “closure” and use of vocal effects renders it one of the more experimental songs on the LP, and it may also bring to mind Bon Iver of course.
As folklore presented a shift in Swift’s lyrical writing, evermore further improves upon it. “tolerate it” and “happiness” will undoubtedly leave your heart aching while “ivy” (which has my favorite line: “My pain fits in the palm of your freezing hand”) and “evermore” have the power to transport you to another world entirely. “’tis the damn season” and “coney island” explore strained relationships over captivating rhythms, and “long story short” and “dorothea” stand as the more upbeat songs on the album. The lead single “willow” is a saccharine love song though broodingly mystical and enchanting. (“Witchy,” as Swift likes to say.)
All in all, evermore places Taylor at a crossroads once again; does this style of writing and musicality signal the direction for her future projects? Or is this simply a fever-dream-esque glimpse into what she is capable of as an artist unbothered by the demands of the mainstream? Either way, evermore is our number one album of 2021.
Best tracks: “ivy,” “closure,” “tolerate it,” “evermore (ft. Bon Iver)”
Let us know your favorite albums of 2021 and what you think of our picks down in the comments below!
DJ: We pretty much did it on a whim. Our first EP was made with a different producer, and our two singles “Blue Dream” and “Stuck In A Daze” were with another producer. Then John Pagonis, our producer now, hit us up. Well, I (Josh) was in my freshman year, taking a chemistry class, and this guy just started talking to me while I was walking to class since he was going there too. And, you know, when you write music, you get really excited about it and you feel the need to tell people, even if they don’t care. But he actually did care! His brother had a small record label and was trying to get a studio in the works. Eventually, he ended up contacting us, and we met with him back in about February of 2019. We didn’t hear from him until August, and he said, “Hey, the studio’s ready, I need a guinea pig to test it out. Free studio time if you come up to Nashville and record.” So we did that and it’s been awesome. He lets us stay at his house and we stay up all night recording tracks. It’s so much fun, honestly. He’s probably one of the best people we’ve met, he’s like our best friend at this point, and we’ve only known him for a little over a year now. We were kinda skeptical, like, this guy is just hitting us up for free studio time? Probably not going to be any good, production might suck, but it’s free and we might as well try it. So we recorded “Redbird” and when he sent us the mix, we were blown away. We really liked it a lot and thought, “You wanna just do an album?” Seemed like the next logical step, of course! Later on, we realized that’s not how most bands normally do things. Most of the time they have a lot of stuff prepared, but we didn’t have anything prepared. We were just, you know, going to do an album. We wrote it as we went on, we didn’t plan it. We didn’t have all the songs written and then go in. We just wrote “Redbird” then the next one and then the next one. Almost the entire album from start to finish was written chronologically. There are a few tracks that were mixed around, but basically from the first track to the twelfth track, that’s almost the order we recorded the songs in. It kinda worked out good, I really like the order that it’s in.
DJ: Hm, I don’t know about actual experiences, but I guess it starts with a real experience that creates a real feeling. So we try to write to fit that feeling. It sometimes starts with something that may have happened, but we want our songs to be relatable to everyone else. We want people to relate to some of what we’ve experienced, so some of it is true, some of it is a real experience. But, you know, it just kinda goes back to the feeling. You have that real experience that creates that real emotion, that real feeling, so then you might write about something else that you can see creating that same feeling, it fits the song. So there are things in the album where it’s like it’s true because it felt that way, but then there’s a lot of added stuff and it gets blurry to where you can’t say any song is completely true or completely made up. Some might say it gets a little … hazy.
AC: And you should be because this album is really incredible.
Taylor Swift unleashed the best record of her career as a mid-July surprise, and it immediately swept critics and fans alike off their feet. Taylor retreats to her guitar-playing roots with an almost folk album, tugging at the heartstrings with lyrics that read like a diary. With minimalistic production, candid lines, and cultivated vocals, folklore is without a doubt Taylor’s shining moment. Standout tracks include 
Wake Up, Sunshine has been received as a return to form for the pop punk veterans All Time Low. 2017’s Last Young Renegade was quite the departure from the band’s trademark rock style, but Wake Up, Sunshine reels it back in and better than we could’ve expected. This album is what a solid pop punk LP should sound like in 2020, and it’s nice to have the boys from Baltimore back. Standout tracks include 
Under My Influence, the most recent LP from The Aces, is the opposite of a sophomore slump. This triumphant record displays the Utah band expanding their sound and trying out new styles with it rather than sticking with the same old, same old or switching things up entirely. This more refined approach certainly offers up some ’80s-inspired pop rock bangers you don’t want to miss. Standout tracks include 
Looking for some indie rock that isn’t watered down or boring? Here’s your album. UK band The Magic Gang’s second LP Death of the Party is a refreshing release and another great hit in the group’s discography. Buoyant guitar riffs, catchy choruses, and bright horn sections dominate Death of the Party, as well as thought-provoking lyricism. Standout tracks include 
Gentle plucking of an acoustic guitar and tastefully ardent vocals characterize Charlie Barnes’ latest LP Last Night’s Glitter. This most recent outing is primarily a redux of Charlie’s past tunes, transitioning them from piano ballads or upbeat indie pop songs to stripped-down acoustic schlepping and operatic voice performances. Standout tracks include 
Breezy indie rock begging for replays. Standout tracks include 
Another gut-wrenching outing filled with impassioned vocal performances and ripping guitars. Standout tracks include 
Upbeat indie pop rock that’ll make you feel at least five years younger … in a good way. Standout tracks include 
Rowdy, punk-tinged garage rock. Standout tracks include
Tasteful amalgam of electronics, acoustic guitars, and layered vocals. Standout tracks include 
Standout tracks include
