2021 was a weird year for music. I spent A LOT of time on albums that came out in previous years. So much so, I wasn't entirely certain I could pick ten records that had a huge impact on me. Some of these have ended up here despite my having not fully ingested them yet. That's okay, I always know the special ones the moment I hear them (for the most part).
Here then, are my ten favorite records released this year:
Jerry Cantrell - Brighten: This is the album I've been waiting for Jerry Cantrell to make for years, and its arrival serves as the beginning of a new role for him in relation to popular music. Cantrell has always been a sage, but previously he's been reluctant about it. Brighten shows him aging into this new position in a way so as to best take advantage of the role as a songwriter and musician. Brighten is big and filled with living reflections, a man looking behind him to better inform his path into the future. The songs hit hard, because, despite a decade between us, I can completely relate. Aging is rough, but you have to take what you can from it, use your mistakes and triumphs to make the future better.
Also, bringing Greg Puciato into the fold earns JC enormous goodwill in my book.
Sleaford Mods - Spare Ribs: Spare Ribs hit at exactly the right time, in my opinion, to make it both extremely poignant socially and serve as the most idealized presentation of Sleaford Mods' sound to date (I say that at the risk of having Williamson dismiss my assessment as 'cuntish'). These guys have a social perspective that previously made their minimalist approach to songwriting feel a lot bigger than it might have seemed at first glance. With Spare Ribs, the music has caught up.
Perturbator - Lustful Sacraments: How so many fans turned their backs on James Kent for this album blows my mind because to me, Lustful Sacraments is an evolution for him as an artist that makes 100% perfect sense. It's deep, layered with nuance and knows when to take huge swings - all of which land. Incorporating more traditional "band" elements is no doubt a turn-off to some old-school fans who want another Dangerous Days. For myself, I'm happy to go wherever Kent's artistic wanderlust takes him.
Mastodon - Hushed and Grim: Double albums almost never work, yet they remain a rite of passage for bands. Hushed and Grim is probably the most solid of the like to come out in three decades. There's no excess here, nothing is superfluous. Each of the songs helps to expand Mastodon's sound, while as an overall cycle, all fifteen tracks form a solid, coherent whole. Not a feat easily mastered, but then, Mastodon has become one of the best bands around.
Odonis Odonis - Spectrums: After 2016's Post Plague ranked as my number one album that year, I've not even really liked anything Odonis Odonis has done since. Spectrums is a return to form for the group, running the line between industrial and electro in a way that feels unique to this particular band, thrilling and a little crazy.
Eldovar: A Story of Darkness and Light: I stumbled across this record by the combined talents of Elder and Kadavar with no previous knowledge of either band's work. I think I may have listened to an Elder album at some point, but I remember nothing about that previous engagement with them. This then was a complete surprise. From the opening notes of the record, an immediate comparison to Led Zeppelin came to me. Not because of the sound of the music, per se, but because of the timeless aesthetic applied here. I believe this is what some folks took to calling "Proto Metal" back in the 2010s, and despite a certain lack of clarity in that as a descriptor, I get it. There's also a healthy dose of Acid Rock. But the emphasis on melody, specifically intertwining vocal melodies, gives this one an ephemeral quality that is not nearly as important to rock musicians today as it was in the afterglow of the 60s. Eldovar seems to have learned the lesson of that far-gone era and transported it to the present day with this album.
King Woman - Celestial Blues: King Woman has always been about balancing Doom aesthetics with a certain Post-Metal reserve, and on Celestial Blues, they perfect it. As brutal as it is reflective, this one drones, beats, cuts, and soars in a way that I defy anyone to put a definitive genre tag on. The haunting overtures that ebb and flow throughout the course of the album's nine tracks show songwriting on a level that bodes great things from this band in the future.
Nun Gun - Mondo Decay: A last-minute HOLY FUCK moment thanks to Heaven is an Incubator's 2021 list, it makes perfect sense this would hit me as hard as it did seeing as Algiers owned both my 2015 and 2017 with their first two albums. Mondo Decay is a strange, sick record that's filled with sonic homage while still playing as an extremely new, unique sound. When I listen to this, I feel like I'm honing in on it from between white noise transmissions, like Harlan and Maxx finding the pirate transmissions in Video Drome. This is clandestine and important, and a little scary in the best possible ways.
