That’s right my Top 50 Albums of 2021, over a year late! This has been sitting in my drafts for nearly a year and I was going to fine-tune it but fuck it I’m just posting it. Had every intention. I used to do these write-ups all the time, then I had a kid. Then another. Then another. So any free time I had to do this (Because it is a tremendous undertaking) vanished after 2016. Or so I thought! At the end of last year I was able to eek out time for the 2021 albums so here they are!
Oh and I made a list for 2022 (I still make a ranking list every year including the lost years 2017-2020) I just didn’t write about them. Maybe I’ll just throw those up sometime too. Enjoy!
50. N0V3L- NON-FICTION
N0V3L’s NON-FICTION is like if Franz Ferdinand had a thornier temperament and added some jazz flourishes. Sign me up.
49. Heartless Bastards- A Beautiful Life
Heartless Bastards return with A Beautiful Life, their most ambitious effort to date. The proficiencies of each member are on display, they can play taut one moment then unfurl and really hit a groove the next.
48. Half Deaf Clatch- Metamorphosis
Ever wondered what Tom Waits would sound like singing straight up blues? Look no further than Half Deaf Clatch and his latest murky set of dirges with Metamorphosis.
47. Ty Segall- Harmonizer
It’s gotten to the point where if a year goes by without a Ty Segall album we should be concerned. On Harmonizer Segall does some more genre-jumping with hints of electronica. One thing you can’t fault the guy for is diversifying his portfolio.
46. Wolf Alice- Blue Weekend
Wolf Alice continue to raise their stock and smash expectations on Blue Weekend. If this keeps up they’ll go from British buzz band to legit headliners in no time.
45. Ryley Walker- Course in Fable
I can neither confirm nor deny if there is such a genre as prog-folk but if there is then Ryley Walker may be peerless in the category. On Course in Fable Walker has taken his love of Genesis to a new level and blended it with a cobblestone minstrel’s cadence and makes it feel natural.
44. T. Hardy Morris- The Digital Age of Rome
Reminiscing can be a powerful thing as T. Hardy Morris proves by revisiting the past on The Digital Age Of Rome. By the time “Shopping Center Sunsets” rolls around you can clearly envision the amenities of a once thriving mall that has since been abandoned.
43. The Joy Formidable- Into The Blue
One look at lead singer Rhiannon “Ritzy” Bryan of The Joy Formidable may mislead some when it comes to their sound, but this band continues to consistently pack a wallop with each release and Into The Blue is no exception.
42. Parker Millsap- Be Here Instead
One of Oklahoma’s finest exports Parker Millsap continues to expand his sound on Be Here Instead but only ever so slightly so as not to be a radical departure. It’s a measured approach and it pays off in spades.
41. Christone “Kingfish” Ingram- 662
Christone “Kingfish” Ingram continues to belie his years sounding more like a grizzled blues veteran more than 3-4 times his actual age both in terms of vocal prowess and guitar chops on 662. Clarksdale, Mississippi is hallowed ground for the blues but Kingfish never once comes off as irreverent and has now taken up the throne himself.
40. Ayron Jones- Child Of The State
One of the better debuts of 2021 is Ayron Jones’ Child Of The State. Hailing from Seattle, Jones blends gunslinger bravado with a gloomy finish paying homage to a city that was once the epicenter for the grunge movement.
39. The Record Company- Play Loud
If there is room on modern radio for catchy rock bands any more aptly titled The Record Company fits the bill with Play Loud. It’s good-time music that doesn’t make you feel Butt-Rock dumb.
38. Black Country, New Road- For The First Time
Black Country, New Road’s rookie record appropriately named For The First Time is nearly uncategorizable in a good way. Wiry, knotty psych-rock that also includes a saxophonist. Time signature shifts even tip their hat the way of jazz almost sounding improvisational. A seven-piece band that can go anywhere and everywhere from here.
37. Cheap Trick- In Another World
Nearly five decades into their career Cheap Trick are as relentless as ever. The godfathers of power pop prove they’ve still got a thing or two to teach these whippersnappers on how to craft memorable hooks and catchy tunes on In Another World.
36. Jackson Browne- Downhill From Everywhere
From power pop pioneers to an adult alternative icon, Jackson Browne also seems revitalized in his twilight years with Downhill From Everywhere. Browne continues to illustrate his masterful balance of love, longing, and topical subject matter all shot through with his warm and reassuring croon.
35. Jake Bugg- Saturday Night, Sunday Morning
After being anointed “The Next Dylan” like so many others that came before him Jake Bugg hit a career snag when it was discovered that he had used co-writers on his first two albums that took him into the stratosphere. Bugg decided to go it alone after the news broke and the results were middling to less than savory to say the least. Saturday Night, Sunday Morning is the sound of Bugg finally turning the ship back around
34. Wolfmother- Rock Out
Released to no fanfare or record label support Wolfmother brain-trust Andrew Stockdale dropped Rock Out. While it’s yet another Wolfmother album that falls well short of the Valhalla glory days of the self-titled debut and Cosmic Egg there’s still no denying that Stockdale can write these kinds of mammoth riffs in his sleep.
33. The Felice Brothers- From Dreams To Dust
The Felice Brothers’ From Dreams To Dust is easily their best release since Celebration, Florida. Ian Felice’s nasally warble sounds reinvigorated right off the bat on sauntering opener “Jazz On The Autobahn” and that energy remains throughout.
32. Geese- Projector
As far as buzz bands go, none received more praise lavished upon them than Geese and rightfully so. Possibly not since The Strokes crashed the indie music scene has no New York City band sounded so self-assured and confident in their abilities. Their debut Projector blends nocturnal elements of the aforementioned Strokes and sinewy Television-like guitars and tempo changes that defy all logic that they’re still teens. Bands this young rarely make music this good anymore. Geese seem to be the masters of their own destiny in the music business before they even turn 20.
31. Aeon Station- Observatory
The Wrens were a band that had quite the cult following and critical acclaim to back them up. But record contract issues, real full-time jobs, families, and bad blood have all but laid reunion plans to rest for them. Founding member Kevin Whelan instead decided to release songs he was working on for the fourth Wrens album under the name Aeon Station with Observatory. The results make you pine for a Wrens unlikely reunion but that doesn’t detract from the marvelous material at hand here as Whelan showcases his ability as a true craftsman.
30. Inhaler- It Won’t Always Be Like This
Ireland’s best export for 2021 was the debut from Inhaler. U2 is arguably the biggest band in the world (A certain British act from England might beg to differ) and they can cast quite a giant shadow if you were to say have family ties to them and try to follow in their footsteps. That’s what Bono’s son Elijah Hewson attempts and with It Won’t Always Be Like This winning the Rookie Of The Year album for 2021 that’s a pretty good way to start. Right from the start it feels intrinsic that Inhaler can make arena-ready music that tugs on the heartstrings with some of the best, including U2. One way to get out of a shadow is to fly over it.
29. Dropkick Murphys- Turn Up That Dial
The bruised and battered boys from Beantown are back in the mosh pit with Turn Up That Dial. Laying uncharacteristically low even before COVID-19 hit Dropkick Murphys rebound nicely with a collection of fist-in-the-air shout-alongs like the title track, “L-EE-B-O-Y,” “Middle Finger,” “Good As Gold,” and “City By The Sea” that can stand up with the best of their definitive rave-ups.
28. Amigo The Devil- Born Against
Amigo The Devil (Real name Daniel Kiranos) had one of the more unorthodox albums of 2021 with Born Against. It has the refined sensibilities of folk and americana while also having such macabre subject matter at times it feels like it would make a Norwegian black metal band blush. If he hadn’t had it already Kiranos will almost certainly gain crossover appeal with the metal community after this.
27. Death From Above 1979- Is 4 Lovers
Before two-piece bands became a fad one of the pioneering acts was Death From Above 1979. They disbanded for years before reuniting in 2014 and picking back up like no time had lapsed at all with The Physical World. Fast-forward seven years later and the double dose of glorious racket continues with Is 4 Lovers which seems to all but erase previous bad blood from memory.
26. Prince- Welcome 2 America
Prince left this world for more ethereal plains over five years ago, but it’s been well-documented that he left behind an extensive vault of unreleased material. Enter posthumous album Welcome 2 America and it makes you miss the purple one even more. He remains unmatched when it comes to melding social commentary with sensual funk, R&B, and rock. Prince may no longer physically be with us, but it sounds like his essence and music will still be blessing us for years, maybe even decades to come.
25. Sturgill Simpson- The Ballad of Dood and Juanita
You just can’t pin Sturgill Simpson down. After reshaping what modern country could be on Metamodern Sounds In Country Music he jumped ship to the soul-soaked A Sailor’s Guide To Earth followed by an even more radical departure with the electrifying space rock of Sound & Fury. So, who had bluegrass concept album up next on their Sturgill bingo card? Naturally, he’s able to pull it off with The Ballad of Dood and Juanita. Simpson can transport you the dusty wild west as if he was writing a screenplay with ease.
24. Coldplay- Music of the Spheres
Coldplay continue to be the biggest chameleon on the planet. They aren’t quite sure what shade they want to be or how they want to sound. Like they are torn between the musical, well… spheres of pop and rock. The overall results seem to suffer from that indecision. While Music of the Spheres is still a decent album it seems like they’re going backwards in terms of quality again after looking like a return to form was imminent with 2019’s surprising Everyday Life. One promising aspect is the 10-minute closer “Coloratura” that almost takes them into Pink Floyd interdimensional territory. If only they had continued to mine that vein instead of vapid duets with hollow pop stars. Maybe I just need to convince myself that Coldplay will never get back to the lofty mountaintops of Viva la Vida and everything that preceded it. It’s a hard pill to swallow though.
23. Eddie 9V- Little Black Flies
There are many modern acts that attempt to replicate the mid-20th century boom era of the electrified blues but perhaps no one is doing it better than Eddie 9V (9-Volt). His latest offering Little Black Flies is a compelling take on one of the most important forms of American music. A retro sounding effort that Eddie still stamps his own brand on, you can almost smell the cigarette smoke of an old Chess Records studio as he lays it on you thick with his fantastic fretwork and soulful voice.
22. The Cold Stares- Heavy Shoes
The Cold Stares certainly have a muscular sound for only two guys. Heavy Shoes most of the time is as the title suggests: Heavy. Touchstones of southern rock, soul, metal, and blues are all at play here as the band is at their most raw and personal.
21. Joe Bonamassa- Time Clocks
Joe Bonamassa has a work ethic that seems like he’s going to die tomorrow. Unyielding record releases and touring (Well, until COVID hit) show that he’s striking while the iron is hot and doesn’t intend to relent any time soon. His latest, Time Clocks is more of what you’d expect from Bonamassa with some new frills. Sure there’s blues by the boat-load, guitar virtuosity in droves, and a big sound but there’s also the augmentation of female backing singers that adds a layer of (Dare I say it for a Bonamassa album?) intimacy and sensuality that may have been inconceivable in the past.
20. Tony Joe White- Smoke From The Chimney
Mastermind of The Black Keys and producing guru Dan Auerbach certainly deserves credit for resurrecting the spirit of Tony Joe White with Smoke From The Chimney but it’s the Swamp Fox himself that makes this such a great posthumous album. White feels like he’s live in the studio breathing life into this project with the sizzling and simmering countrified blues he practically invented bathed in his back-porch baritone.
19. Modest Mouse- The Golden Casket
Modest Mouse is one of those consummate indie-rock bands that may have even centered around the creation of such a genre. Then 2004 arrived and mainstream status followed thanks to their breakout hit “Float On” from Good News For People Who Love Bad News. Then front man Isaac Brock and company seemed to retreat from the limelight considerably. After two marginally successful albums The Golden Casket is Modest Mouse navigating their way back to shore some 17 years later. The quirky and enigmatic yet undeniably catchy Modest Mouse trademarks overflow from the opening ambush of “Fuck Your Acid Trip,” the ringing earworm “We Are Between,” the angular “Never Fuck A Spider On The Fly,” and the docile lullaby of “Lace Your Shoes” it’s clear that Modest Mouse may be trading their golden casket for another golden era.
18. The Dust Coda- Mojo Skyline
No dark horse album galloped more ferociously than The Dust Coda’s Mojo Skyline in 2021. Taking LA’s sunset strip sleaze with the heaviness of Soundgarden; front man/guitarist John Drake even flaunting some Chris Cornell-worthy pipes as he howls with reckless abandon throughout. The hotrod-revving single “Limbo Man” oozes with adrenaline and exhaust while the lumbering beast “Rolling” sounds like the aforementioned Soundgarden taking a trip out to the middle of the Mojave desert. Good new hard rock can be tough to come by these days but The Dust Coda seem like they’re ready to be anointed as saviors.
17. The Wallflowers- Exit Wounds
The fact that The Wallflowers have essentially become a one man show with hired guns over the years makes it even more impressive what Jakob Dylan is doing. After a nine-year layoff he returns under The Wallflowers banner with Exit Wounds. There’s a sense of maturation to be found here with Dylan taking his talents to craft a good alt-rock hook through an americana/folk filter he developed with this solo releases. Dylan has spent his entire career trying to live up to not only the expectations of his famous father but the monumental success The Wallflowers achieved in the ‘90s as well. Exit Wounds sounds like he’s made peace with reconciling the past and the future.
16. Neil Young & Crazy Horse- Barn
There is some sort of inexplicable simplistic magic that comes with Neil Young and Crazy Horse albums that doesn’t exist on his others usually. Balancing being organically soothing yet electrifyingly abrasive. Thunderous and lithe. Brooding yet defiant. Neil’s trusty Les Paul “Old Black” seems to ratchet up the volume and distorted crunch more and let’s that tension bounce off the ramshackle charm of Crazy Horse. The feel of Barn seems looser than the last couple of Neil and Crazy Horse outings like Psychedelic Pill and Colorado. Young grapples with some of his biggest hallmarks: Love, time, humanity, and the environment. It’s warm and inviting at times and barbed and taut elsewhere. Gentler cuts like the wistful “Song Of The Seasons,” shuffling “Shape of You,” sentimental “Tumblin’ Thru The Years” and lamenting “They Might Be Lost” are counteracted by the nostalgic blast of “Heading West,” cranky “Change Ain’t Never Gonna,” and barnstorming climate change tirade “Human Race.” Naturally the epicenter comes with “Welcome Back” which is a classic slab of Neil and The Horse. The eight-plus minute nocturnal expedition features Young’s guitar work crackling and lashing out in volcanic torrents before coming to a simmer only to repeat the process over again as he unspools a dream-like setting, “Gonna sing an old song to you right now/ One that you heard before/ Might be a window to your soul I can open slowly/ I’ve been singing this way for so long/ Riding through the storm/ Might remind me of who we are/ And why we walk so lowly.” Indeed, Neil has been singing this way for so long and we’re all grateful for it.
15. Iron Maiden- Senjutsu
one of the greatest catalogs in Metal history you could easily allow Iron Maiden to hang up their Eddies and retire or at least temper their ambitions. Instead of any of that for their 17th studio album they arrive with a bombastic double album Senjutsu. An onslaught of classic “Up The Irons” Maiden for 80+ minutes, front man Bruce Dickinson roars like someone who’s a third his age even with his recent throat ailments while the rest of band unleashes a blitzkrieg of guitar pyrotechnic mortars, machine gun riffs, and depth charge drumming. There’s no shortage of epics here but Senjutsu saves its grandest statements for the finale; A the three-headed monster of “Death of the Celts,” “The Parchment,” and “Hell on Earth.” Each song over 10 minutes a piece showcases the Metal titans in their finest hour. There’s Black Sabbath, Metallica, Iron Maiden, then everyone else significantly below that. Rarified air.
14. Nick Cave and Warren Ellis- Carnage
There is no one that makes music quite like Nick Cave. No matter which act he’s under the guise of he can twist and contort darkness to light and back again with a single phrase or line. Carnage contains haunted yet alluring soundscapes that are punctuated by Cave’s visceral, foreboding lyrical ballet. Cave teams with Bad Seeds member Warren Ellis here to create a world that may be his most engrossing act yet. Pulsing beats, icy synths, and symphonic squalls compete for supremacy as Cave’s words lash against the shoreline with aching vulnerability and unconscionable brutality. The contrast between gorgeously fragile cuts like “Albuquerque” or “Lavender Fields” and the billowing topical tirade of “White Elephants” is staggering and leaves one spellbound.
13. Royal Blood- Typhoons
Royal Blood continue to evolve their sound at an impressive rate considering there are just two band members. On Typhoons they take a page out of Muse’s playbook blending big-time riffs with emphasis on groove for a delectable tonic. The result is like Satan popped some sinister XTC then decided to open a discotheque in hell named Studio 666 and made Royal Blood the house band. The demons won’t be able to stay off the dancefloor with this one. Approval: Granted.
12. Black Pistol Fire- Look Alive
Few are better than Black Pistol Fire at churning out caffeinated, sweat-soaked blues rock and that trend continues with Look Alive. While the howling raucous machismo still flows freely there’s a sense of something more prevalent at hand. As if the double trouble of Kevin McKeown and Eric Owen have their sights set on bigger venues and headlining sets there’s a slight layer of polish. They lean further into the groove and chorus than they ever have before. In a perfect world this effort would directly translate to their supposedly lofty goals but with rock music pushed to the fringes more than ever it remains to be seen. One thing is for certain though is that this is a tasty banquet sure enough to satiate the voracious appetite of their fanbase.
11. Dinosaur Jr.- Sweep It Into Space
Is there a better band with a nearly 40-year career that’s had such consistent critical acclaim while still flying under the radar than Dinosaur Jr? Those are specific parameters so probably not. Regardless, the Massachusetts trio deliver the goods again with Sweep It Into Space. The fact that they seem to be able to make albums like this effortlessly doesn’t detract from its quality in the least bit. J Mascis continues to be one of the best unsung guitar heroes finding a tantalizing formula of scalding feedback and tuneful sensibility. Never overwhelming but always leaving listeners wanting more. Buoyant numbers like “I Ain’t,” “And Me,” and “Take It Back” along with crunching brontosaurus cuts like “I Met The Stones” and “Walking To You” suggest that the band is far from a dry well and these dinosaurs will walk the earth for years to come.
10. Israel Nash- Topaz
Israel Nash has set up shop in the realm of neo-folk/rock with a weathered tenor that can at times sound eerily similar to a youthful Neil Young. Nash’s ghostly yarns hoover around plush yet gristly arrangements on Topaz that add up to his best album yet. Imagine if Crazy Horse had more of a Stax-drenched delivery while adding horns and you’d be in the ballpark of where this album is at. Sound good? Yep.
9. Foo Fighters- Medicine At Midnight
Foo Fighters above everything else are survivors. The recently inducted Rock & Roll hall of famers have survived band implosions and trends in music for nearly 30 years while sticking to their own brand of post-grunge guitar-driven rock. With Medicine At Midnight Dave Grohl and the gang don’t attempt to re-invent the wheel but it is possibly the most diverse Foo Fighters effort to date. It’s certainly the sexiest of their canon (If that could be a thing). It’s still a monster but it’s like they concentrated on cardio instead of muscle, a leaner attack here. The psychedelic glam of the title track, the gliding Tom Petty indebted “Chasing Birds,” and the knotty “Shame” all display new wrinkles in their arsenal. The heaviness is not all lost however with “Cloudspotter,” “No Son Of Mine,” “Holding Poison,” and “Love Dies Young” having that classic chugging, relentless Foo Fighters spirit. Grohl with tongue-in-cheek stated the band may try their hand at a prog-rock record next. Whether or not that ever comes to pass or remains a winking joke remains to be seen but after this I’m sure they could pull it off.
8. Ryan Adams- Big Colors
Ryan Adams has been all but blacklisted from the music industry in the wake of his sexual misconduct allegations that he has since apologized for (In a roundabout way that could’ve been handled better). Was he wrong? Definitely. Should he lose his entire livelihood for it if he’s legitimately sorry for it and has remorse? I don’t believe so. Humans make mistakes and should be given a chance at redemption depending on the circumstance. Accountability and swift justice have come with the #MeToo movement and Adams has been hit hard to say the least. He’s had desperate pleas on social media hoping for an olive branch from any record company to make a deal. These since deleted posts suggested he was on the verge of losing his own label PAX-AM as well as his home amongst other things. Before those appeals, he was able to release the sonically vibrant appropriately titled Big Colors. Adams remains a master at turning personal tumult into art, some of his best songs have come from the bleakest moments. There’s no shortage of strife for him now going forward. Adams stated of the project, “Big Colors was created as a 1980s soundtrack to a movie that never existed.” He absolutely succeeded with its neon afterglow, shimmering guitars, and spacious production. The city saunter of the title track, moonlit “Manchester,” railroad overdrive of “Power,” soaring “I Surrender,” and Gold-era pop of “Showtime” are highlights but the best is saved for last with “Summer Rain” that comes on like an urgent rush with some of Adam’s most impassioned and impressive vocals. Whether Adams eventually finds salvation remains to be seen but it’s clear from the quality of Big Colors he still has a lot left to give and should get another chance.
7. The Killers- Pressure Machine
Could The Killers pull off a concept album revolving around small-town life with their mile high bravado and pageantry? The answer is overwhelmingly yes with Pressure Machine. Never before have they ventured so far into the frontier of Americana but they do so with gusto here. For all the (Wrongful) flack The Killers have received previously for apparently aping or imitating Bruce Springsteen this is by far the closest they’ve come to a Boss record. It lands somewhere between The River and Nebraska maintaining the bombast while balancing the sobering realities of adulthood with sepia-toned nostalgia, empathy, and a glint of optimism. Opener “West Hills” is cinematic in scope with prevalent instruments like fiddle, cello, and strings waltzing together as front man Brandon Flowers displays a canyon-wide wail at its apex. Engrossing character studies in “Terrible Thing,” “Cody,” and “Desperate Things” have Flowers continually honing and evolving his songwriting while “Quiet Town,” “In The Car Outside,” and “In Another Life” still deliver that classic Killers grandiosity that one may still crave. With last year’s stellar Imploding The Mirage followed now by Pressure Machine coupled with guitarist Dave Keuning rejoining full-time it seems The Killers are on the verge of tremendous 2nd act. Well, maybe 3rd act depending on who you ask.
6. Sam Fender- Seventeen Going Under
Speaking of comparisons to Bruce Springsteen prodigy Sam Fender is linked to him so much so that he is referred to as Geordie Springsteen in his native North Shields, UK. After his excellent 2019 debut Hypersonic Missiles Fender doubles down on the wide-eyed, big-hearted anthems for sophomore successor Seventeen Going Under. You’d be hard-pressed to find a better opening quartet of piston-firing rockers that include the title track, “Getting Started,” “Aye,” and “Get You Down.” Elsewhere he proves his dynamic range with contemplative ballads “Long Way Off,” “Spit Of You,” and “Last to Make it Home.” The grand finale is a doozy as Fender unleashes what could very well be his incarnations of “Born to Run” and “Thunder Road” with “Paradigms” and “The Dying Light” respectfully. “Paradigms” is a full-throttled towering psalm of defiance in the face of a decaying world before genuflecting into the welcoming piano-intro benediction of “The Dying Light.” It’s here where Fender’s lyrical dexterity and voice shines brightest as he sets the scene with lines like “This town is a world of waifs and strays/ Comedy giants, penniless heroes/ Dead men at the bar, I’ve drank with them all/ Through misadventure and drag/ But I’m alone here/ Even though I’m physically not/ And those dead boys are always there/ There’s more every year.” The laments soon turn to enduring hope and determination as the song builds to a Springsteen-worthy crescendo that is truly a transcendent moment. There’s even a saxophone in there as a possible tribute to the beloved late Clarence Clemons. Fender displays wisdom and a prowess beyond his years on Seventeen Going Under as if he might be the next great conscience or moral compass of Rock & Roll. From the sound of it he seems up to the task.
5. Stand of Oaks- In Heaven
Follow Strand of Oaks’ brain-trust Tim Showalter on social media and you immediately realize he is genuinely one of the most positive and optimistic individuals you’ll ever come across. Newly sober and feeling rejuvenated Showalter has released some of his best work in recent years and 2021’s In Heaven just might be the cream of the crop. That radiant energy he exudes permeates the album. At some divine intersection between My Morning Jacket, Fleet Foxes, and Lord Huron lies In Heaven. There’s no way to pinpoint a direct genre so essentially Showalter described it “Galacticana,” the same title as the opener. The music and touring industry have been hit hard from COVID which is a shame because this is an album that demands to be played live; To be enjoyed not only at home but experienced communally at packed theaters and festivals. It must’ve gutted Showalter to cancel a headlining fall 2021 tour because these songs would’ve slayed. Whether the asteroid jam of “Hurry,” The big bang hooks of “Jimi & Stan,” the cosmos baptism “Sunbathers,” or milky way swagger of “Sister Saturn” there’s a certain ethereal yet simultaneously grounded outer space quality to everything. It’s probably no coincidence then that the album cover looks the way it does as In Heaven transports you to another euphoric realm you wish lasted way longer than 43 minutes.
4. Kings of Leon- When You See Yourself
Kings of Leon return after five years, their longest layoff yet with When You See Yourself. For fans hoping for a return to the early wild and unbridled days of Youth & Young Manhood or Aha Shake Heartbreak they are going to have wait longer, maybe forever as this is a composed and thoughtfully cultivated statement. It’s arguably the most well-groomed and manicured effort in their discography to date which would’ve probably seemed impossible nearly two decades ago from the same guys that sported untamed long hair, moustaches, and beards. Now the Followill clan is well embedded in the marriage and family stages of their lives and the material reflects that. Make no mistake about it Kings of Leon can still rock when they want to but with added elements and dimensions to their repertoire for a more full-bodied palate. Take for instance the title track and “100,000 People” that is gently bathed in synths, the countrified-twang of “Stormy Weather,” or the heartland climate-change road-trip on “Claire & Eddie” that feel like new comfort zones. As far as more of the classic KoL flavor there is the radio-friendly big market single “The Bandit,” clipped riffs and “Southern Strokes” guitar shards on “Golden Restless Age,” the Only By The Night-worthy crepuscular ballad “Time in Disguise,” and adrenalized jangle of “Echoing” that are sure to quench some of that thirst. They’ve become one of the biggest rock bands on the planet which means they were destined to become polarizing as well. But in an era when rock music certainly isn’t in vogue, maintaining that headlining status is something worth noting and something worth continuing to make music for.
3. My Morning Jacket- My Morning Jacket
It wasn’t long ago that there was internal consideration from the members of My Morning Jacket that they call it a day and disband. Their 20+ year legacy is already well established and revered, no one would think any less of them. Jim James already has a burgeoning solo career and his bandmates have stayed busy with side projects as well. After a five-year absence they released The Waterfall II in 2020 although it wasn’t technically a complete comeback as it was recorded back in 2015 with its prequel. So, after six years there is finally completely new material and what better way to return than to make it a self-titled affair. My Morning Jacket is a snapshot of what the band does best: Playing unhinged. This is arguably the most relaxed and freewheelin’ they’ve sounded since classics It Still Moves and Z as they really let their hair down and stretch out. The album is built like one triumphant live set unspooling and taking flight at a packed festival stage on a hot mid-summer evening. Everything you could want from the band is here. Whether it be more adventurous cuts like the sunset synergy jam “In Color,” the buzzing Goliath stomp of “Never in the Real World,” the sprawling stream-of-conscience “The Devil’s In The Details,” and slow-burn avalanche “I Could Never Get Enough” or the warm embrace of thumping “Love Love Love,” the overflowing optimism of “Lucky To Be Alive,” or gorge-echo “Penny For Your Thoughts.” If anything, My Morning Jacket should come with a disclaimer warning that it will make you want to immediately transport to a live show. And with the current COVID-19 situation that’s a shaky proposition at best. This is about as close as you can get without physically being at the venue.
2. The Hold Steady- Open Door Policy
One thing that goes hand in hand with Rock & Roll is youth and rebellion. Two of the pillars that the genre is built on. So, when rock bands grow older and some become wildly successful how do they stay authentic? For some they continue to recycle the formula and it still works to an extent while others become a parody or shells of their former selves. Then there are others that adapt and evolve with the passage of time. Taking everyday situations, growing responsibilities of adulthood, and finding the profound in the mundane all while still being able to look back with rose-tinted glasses of the more debauched rough and tumble times without it becoming cliché or contrived. The Hold Steady is one such act that continues to be perennially reliable in their self-awareness and spinning it into gold. How did they achieve the transformation and maturation into elderly statesmen of the bar band scene? By indulging brazenly in Classic Rock excess like they never have before on Open Door Policy. Sometimes what was once old is new again if held in the right hands. They’ve never sounded as baroque or adept as they do here. The anxiety and looming darkness that pervaded other Hold Steady albums is still here but so too is the ebullient catharsis one great moment or night can have. Band leader Craig Finn is still the streetwise poet that fuels the engine, but these tropes are also accompanied by an even sharper world-weary wisdom and confidence that comes with past miscues and attempting to rectify them. He’s nearly peerless when it comes to detail and every nuance no matter how bizarre or eccentric seems pivotal. That’s one of The Hold Steady’s core charming traits. Opener “The Feelers” becomes a palpable environment as Finn narrates, “It was an early morning meet-up at the mansion up the mountain/ The Maestro still had glitter on his face/ They led us to the office and once my eyes adjusted/ I took a little look around the place/ On the mantle was a portrait of his father and the fortune/ He’d amassed from being ruthless but polite/ And a bottle with a model, a specific British clipper ship/ On his desk there was a pistol and a pipe.” “Spices” is a spiritual successor to “How A Resurrection Really Feels” when it comes to turning something as holy as Easter into a depraved bender and “Lanyards” is a cautionary tale of misadventure. The bleakness almost seems like it will take over and consume everything when suddenly the blast of “Family Farm” hits. A life-affirming instant classic Hold Steady anthem that’s every bit on the level of a “Stuck Between Stations” or “Constructive Summer.” There’s the metronome beat of “Heavy Covenant” that makes a mid-life crisis seem so poignant and enthralling, “Me & Magdalena” maps out the consequences of being snared by a life on the road, and closer “Hanover Camera” is a smooth operator lounge act that sounds like the most salacious yacht rock party not to mention the dynamite alliteration by Finn, “I swear I saw a soldier selling single cigarettes/ Stationed about halfway up the stairs.” Strange as it may seem ODP shares similar DNA to that of Wilco’s Sky Blue Sky. That was a turning point album for Wilco that saw them becoming comfortable as a sextet while this too feels like The Hold Steady are pushing past the growing pains and finding a relieving salve in aging together as an extra crispy six-piece.
1. The War On Drugs- I Don’t Live Here Anymore
New heartfelt rock music that’s truly genuine seems to be a dying breed or at the very least on the endangered species list. If a band is practicing in that movement then it seems there’s a glass ceiling that only allows so much success without being ironic or… terrible. Whatever the case may be nobody told Adam Granduciel, the mastermind of The War On Drugs, of that notion because their current situation seems to be an anomaly of sorts. Their ascension to headliner status has been an unlikely one given their stylings and their 21st century disposition where said stylings do not often provide fruitful fortunes. It began with their 2014 breakthrough Lost in the Dream that gave us a glimpse of what The War On Drugs could truly accomplish. Then came its expansive successor 2017’s A Deeper Understanding that was like someone took the qualities of a river and put it on record. Sublime moments of tranquility and a meditative calm that could burst into surges of transfixing release. If Bob Dylan didn’t skid off the rails in the ’80s creatively and made a “Left of the dial” album it would’ve probably sounded something like A Deeper Understanding. How do you follow up something like that? Granduciel and company have swung for the fences and delivered their biggest and best blockbuster yet I Don’t Live Here Anymore. The making of the album was quite a journey itself commencing over the course of three years and spanning seven different studios. While Granduciel was particularly meticulous and self-indulgent on previous albums this time he allowed more input from the rest of the band and that collaboration has allowed for these songs to be filtered and fine-tuned for maximum impact. I Don’t Live Here Anymore is filled with wraiths from the past, searching for connection and attempting to instill hope where there is none. Opener “Living Proof” is a bit of a misnomer with its gentle acoustic thrum accompanied by sparse blurbs of electric guitar that dissolve almost as soon as they arrive. Afterward everything lifts off into the stratosphere with the full band like strapping on a suit of high-grade polished mech armor starting with “Harmonia’s Dream” fueled by a motorik propulsion the band gets into an addicting groove that makes nearly seven minutes disappear in a flash. “Change” roams like a revenant in a downpour with a crystalized twang and “I Don’t Wanna Wait” has a Damn The Torpedoes/Hard Promises-era Tom Petty & The Heartbreakers smooth strut before “Victim” gives us a dose of percolating electronics enveloped in a fever dream. “Old Skin” begins with docile ripples of discontent before kicking into the dopamine payload as Granduciel sings, “Now I’m on the run, baby, and I don’t know why/ But the fear it gets too much to take/ Doesn’t matter just how hard you try/ When you feel so far away/ I’m talking of the old time/ Feeling dead this way/ Tired of the old life/ Feeling dead this way.” “Wasted” has classic endorphin-firing War On Drugs charge that melds into the devastating celestial ballads of “Rings Around My Father’s Eyes” and “Occasional Rain.” The centerpiece though is hands down the title track. It goes for both a mainstream audience and the jugular with the hooks piled high. Aided by the gorgeous choral backing vocals of Lucius, Granduciel pushes his voice into uncharted waters adding an entirely new element to the band’s cache of weaponry. A longing powerhouse that serves as a clarion-call to perseverance and compassion with a sing-a-long chorus, “Beating like a heart/ I’m gonna walk through every doorway, I can’t stop/ I need some time, I need control, I need your love/ I wanna find out everything I need to know/ I’m gonna say everything that there is to say/ Although you’ve taken everything I need away/ I’m gonna make it to the place I need to go/ We’re all just walkin’ through this darkness on our own.” Thanks to Granduciel’s seemingly consummate introverted type and being a true auteur, it has allowed him to craft something extravagantly extroverted. It simultaneously looks back and forward. He wears his heart and his influences on his sleeve perhaps more than any other prominent act. Here he takes cues from his musical heroes and forefathers like Bruce Springsteen and aforementioned Dylan and Petty amongst others then bounces them around like signals off satellites that transmit and reverberate into something alien and new. Music like this shouldn’t exist in 2021, at least not without some divine intervention, which has come from The War On Drugs.
Matt Ireland's Blog 