The year 2021 was a treat. After a pretty quiet 2020, due to the ongoing COVID pandemic, 2021 saw a surge of releases from old favorites, new mainstream artists, and fresh underground faces alike. The potential amount of records that could have been placed on this list is staggering, as it seemed like new good music just couldn’t stop coming out. I had to cut this list in half just so I could reasonably fit it on this page. 2021 saw a wide variety of incredible releases in all genres and styles, and was a perfect apology gift for the relatively lackluster pandemic year. With all of that being said, let me dive into some of my favorite releases from 2021.

1. Call Me If You Get Lost- Tyler The Creator

While not my favorite Tyler, The Creator project by any stretch, Call Me If You Get Lost is a diverse ode to the Gangstagrillz mixtapes that got Tyler into rap in the first place. This record sees Tyler kind of break free of the focused, heavily stylized albums that he’s known for in favor of direct, stylistically varied songs, tackling genres like hardcore hip-hop, dub-reggae, syrupy-RnB, and millions of other strands of pop and rap music. Tyler also seems to throw it back to his older sounds on this record, such as the Goblin-inspired stripped-down drum loop and lurking synths on ‘Massa’, or the wild, warped vocal samples, youthful energy, and offensive lyrics on the Wolf-tinged ‘Manifesto’. Tyler seems to come back to these styles he’s previously employed so that he can prove to his long-time fans that he still has it, and these tracks are amazing at doing that. Tyler also tries to prove himself more in the hip-hop community too, with the first leg of this tracklist being dominated by a slew of radio-friendly takes on Tyler’s classic sound, complete with features from NBA Youngboy, 42 Dugg, and Lil Uzi Vert. While these tracks don’t always hit as they should, ‘WUSYANAME’ and ‘JUGGERNAUT’ are some of the most fun Tyler songs out there. Call Me If You Get Lost doesn’t feel as inspired as other Tyler albums, but no matter what listening phase I am going through, there is always a song I can pluck from it. This is an indulgent, lavish, globetrotting record, that perfectly encapsulates the state of music in 2021, and is an easy choice for album of the year.

2. By The Time I Get To Phoenix- Injury Reserve

Underground hip-hop veterans Injury Reserve return with an oasis of new ideas, sounds, and genre concepts on By The Time I Get To Phoenix. Despite the passing of member Steppa J Groggs, the group saw fit to have this record release, as its recording was completed at the time. By The Time I Get To Phoenix is a warped, twisted, hellish record, exploring sounds of industrial music, hip hop, hardcore, noise, EDM, soul-pop, and quite possibly every other genre there is to combine. The result is a dizzying, trudging, alien experience, lulling you into a sense of comfort while simultaneously causing a manic episode. Nothing can prepare you for the experiences and noises that are going to turn up on this record. Hardcore, experimental hip hop with all the ambition of a King Crimson record, the oppression of a 2010’s Swans record, and glitches of a 20-year-old laptop struck by lighting. The stuttering, lumbering percussion matches with the unpredictable and glitchy production, providing the perfect bed for these robotic, monstrous vocals to rest. This seminal post-rap record is simultaneously earth-shattering, heartbreaking, and weirdly hypnotic, and is an absolute must-listen for anyone interested in experimental strains of hip hop.

3. Actually, You Can–Deerhoof

California post/indie-punk legends Deerhoof aren’t new to the game in any way, being active consistently since 1997. Since their debut, Deerhoof hasn’t dropped an album worth skipping, and have explored seemingly infinite variations on their idiosyncratic rhythmic guitar playing, delicate lead vocals, and garage-y, energetic drumming. Every Deerhoof release is unique and amazing, and Actually, You Can is no exception. Gone are the Midwest emo and lo-fi influences that showed up in spades on last years Future Teenage Cave Artists, as Deerhoof seems fit to switch that for one of their brightest, catchiest, and heavily textured records yet. The ear-piercing guitar distortion, hypnotic, unpredictable drumming, and harmonic vocals all culminate into an extremely fun and intoxicating record. Songs like ‘Plant Theif’ and ‘Scarcity is Manufactured’ are blisteringly entertaining, and get instantly stuck in my head. If you’re looking for a super fun, upbeat, and energetic post-punk or indie rock record, or if you’re a fan of artists like The Strokes, Animal Collective, or LCD Soundsystem, Actually, You Can is a great listen.

4. Nurture­–Porter Robinson

Nurture is Porter Robinson’s sophomore record, following up 2014’s critically acclaimed, and commercially successful, Worlds. Worlds was a massive, maximalist record, creating electro-pop with generic progressions with epic presentations. I am not as big of a fan of Worlds as most people are, but I understand the appeal of it. A super bubbly, feel-good, danceable record with alien vocals, Worlds is an inspirational, colorful record, even if somewhat tacky to my taste. Nurture, on the other hand, takes all of the annoying choruses and vocal effects off, focuses on more clear and concise songwriting, and expands on the influences Robinson showed off in Worlds, while still managing to deliver pulsing, accessible, electronic laced pop music. Nurture is a festival-sized, feel-good record, who’s songwriting is a true testament to the possibilities this genre holds, and whose influences go beyond pop, folk, and various breeds of electronic music. Insatiable dance grooves, infectious hooks, and blissfully satisfying songwriting all make this record incredible. At its core, Nurture is simply riveting, driving, and impossible to not dance along to.

5. Bo Jackson–Boldy James, The Alchemist
This year was a great one for lyrically focused hip hop, including Bo Jackson. Bo Jackson is an ode to classic, pure rap music. Nothing but amazing beats, interesting flows, deep wordplay, and gangster posturing on this record. Boldly James shows off his charisma, intelligence, and hunger in spades on this album, with The Alchemist serving some of his best beats of all time. Dusty, jazzy boom-bap, in line with the modern Griselda movement, some abstract ideas, and amazing features make this record one of the easiest and enjoyable rap albums in this style of the year. Highlights include ‘Fake Flowers’ and ‘Photographic memory’, and this album is a great one for any old-school hip-hop head.

6. The Fool- Bladee

Bladee is a Swedish cloud rap icon, who’s moody brand of washed-out trap caught on heavily in the early 2010s. Being closely related to Yung Lean, and the Sadboys movement, Bladee is one of Sweden’s most influential and controversial rappers. His despondent delivery, abuse of autotune, and off-kilter presentation are all seen as negatives to some, but are the reasons his fans love his music. The atmosphere created by a Bladee record is the allure, and it’s one that Bladee delivers accurately with consistency. Last year’s Exeter and 333 saw Bladee dipping into electronic and IDM influences more heavily, a trend he continues on The Fool. The Fool sees Bladee take heavy inspiration from European trance, EDM, and Techno music, as he finds new and interesting ways to work these sounds into his production. Bladee is also way more direct on this record, focusing on cleaning up his singing, and delivering well-executed songs. Some of Bladees catchiest material is on this record, with tracks like ‘Hotel Breakfast’ and ‘Lets Ride’ almost boiling down the Drain Gang aesthetic to its purest forms. The Fool is yet another solid release under Bladees belt.

7. Madison- Sloppy Jane

While an appreciation of pop music was always there in Sloppy Jane’s older work, I could have never seen the bands shift from progressive punk to chamber pop going so smoothly. Madison is an intricate, detailed piece of blissful chamber pop, calling back to the elegant, dreary sounds of 60’s vocal ballads, which isn’t all that unheard of, as artists like Adele, Lorde, and Lana Del Rey all take influence from this style, but Madison has an amazing gimmick. Despite being extremely well-written songs, Madison was recorded in a West Virginia cave, adding a sonic depth and texture unmatched by any other record this year. The production on this album is immaculate, with lavish instrumentation that bleeds beautifully into itself, guitars and pianos and violins all blending into one gorgeous, baroque sound. The tracks ‘Party Anthem’ and ‘The Constable’ stick out particularly to me, for their brilliant vocal performances, enchanting choruses, and solemnly painful lyrics. This album is gorgeous, chilling, reverb-heavy, and frankly stunning.

8. Rainbow Bridge 3- Semetary

Slipknot x Chief Keef x Lil B. This was the most fun album I got to listen to this year. Everything about Semetary is ridiculous by design, as he portrays himself as a greasy-haired ultra-violent white boy who rocks nothing but true religion. The music in Rainbow Bridge 3 is almost impossible to describe and must be listened to in order to truly understand the magnitude of the bass in these songs. Semetary creates ultra-distorted horrorcore/early trap/ Chicago drill beats and matches them with growling rapping and extremely violent lyrics. This album is crushing, at times hilarious, at times terrifying, but always fun. Semetary is obiviously an act done tongue in cheek, but everything in his music is played completely straight. It might be somewhat of a novelty, but the actual songs and flows beyond these walls of distortion are legitimately catchy. Whether it’s ‘Creeping Thru The Woods’ or ‘Chainsaw Party’, the choruses here still manage to stick out. This album will not be for everyone, but if you get it, and this sounds like a good time to you, definitely check this record out.

9. LP!- JPEGMAFIA

JPEGMAFIA is a Baltimore rapper who’s been making huge waves since the release of 2018’s Veteran. With a smorgasbord of influences, styles, and ideas, every single Peggy drop is sure to be a unique listen. Peggy is an artist who revels in both obscurity and diversity, as evident in Veterans abrasive hip-hop and industrial influence, contrasting harshly with All My Heroes Are Cornballs poppy, shoegazey, progressive RnB influences, while still managing to keep the aura of unpredictability and danger. LP!, on the other hand, seems to be a healthy blend of these two styles, creating a stumbling, uniquely interesting record. JPEGMAFIA seems to trade out his trademark screams for the most part on this record, as he keeps it somewhat light on the vocal front with this release in favor of letting the super detailed and thoughtful production. The production is all intensely inspired, unorthodox, and distinctly JPEGMAFIA, with highlights including the arena-sized ‘END CREDITS!’, dizzying ‘SICK TIRED AND BROKE!’ and nocturnal ‘NICE!’. LP! Is a dark, engaging listen, and like all other Peggy releases, pushes the boundaries of hip hop to its weirdest, darkest, and most gender-bent.

10. 30- Adele

Adele is one of the most consistently amazing voices in popular music and proves this to be the case further on 30. Adele is amazing at creating songs that are accessible, radio-friendly, yet also heartbreaking and beautifully performed. Adele keeps her mass appeal without dumbing her sound down for anyone, which she shows brilliantly on 30. 30 might be Adeles least poppy record to date, following a shift in focus onto storytelling. Adele paints hurt, heartbreak, and disappointment amazingly on this record, with tracks like ‘To Be Loved’ and ‘Strangers By Nature’ being two prime examples. There isn’t much to say about this record as a whole other than it is one of the best-written pop and soul albums from an artist this large in recent memory.

11. Glow On- Turnstile

Turnstile delivers one of the most creative and varied hardcore punk records of all time with Glow On. The concept for this record was genius, attempting to take dream-pop and shoegaze elements, combining them with Turnstiles Bad Brains revivalist sound. Reverbed vocals, spacey drums, airy production, and ethereal guitar passages all add to the already direct and heart-pumping hardcore punk songs they’re added to. These aesthetics never get distracting either, with these dreamy and cerebral sounds added tastefully to the base instrumentation of this album. Elements of Trash metal also turn up in spades on this record, with its speedy, chugging guitars, and headbanging vocal performances. Another huge plus about this record is its percussion, with its thick, dense mix, and wild variation, with the group, even incorporating some sequences on this record. This is a kaleidoscopically imaginative record, who’s combination of seemingly opposite styles of music culminates into one of the most refreshing and blistering listens of the year.

12: An Evening With Silk Sonic- Silk Sonic

Silk Sonic is an unlikely duo, made up of pop-r&b superstar Bruno Mars, and funk/soul/rap fusion artist Anderson Paak. While kind of obvious, both of these artists’ work pretty heavily sounds inspired by the ’70s, and collaboration would only enhance both of their best features, the extent of Silk Sonic was a surprise. A full Bruno x Anderson Paak record, complete with massive sunglasses, lavish production, an amazing, soulful single, and special host Bootsy Collins, this album seemed like a dream come true- and in some respects, it is. The songs on this record are direct, soulful, funky, colorful, intricate throwbacks that serve their nostalgic purpose perfectly. Every song here sounds straight out of a George Clinton recording session and is a great encapsulation of not just the performance style, but also the songwriting and production aesthetics of the 1970s. This whole record feels like a live performance in a smoke-filled room with velvet curtains and bear rugs, in the absolute best way. Highlights include the funky and rhythmic ‘Skate’ vaguely psychedelic ‘After Last Night’. If this style interests you in any way, there are few albums as indulgent as this one.

13. Smiling With No Teeth- Genesis Owusu

Smiling With No Teeth is easily one of the most ambitious records I heard this year, especially in the genres of bedroom pop and funk music. The sound of this record is hard to define, as it is just so unique and diverse, but it’s funky, vibrant, energetic, and smart. Instantly memorable, witty, brisk fusions of pop, hip-hop, and varieties of indie rock dominate the tracklist here, in many ways reminding me of Jean Dawsons Pixel Bath, if not in its sound, in its ambition. This record is manic, fevered, and a ridiculously fun listen, even if some of the subject matter is dark. This is one of the most forward-thinking and innovative projects I have heard all year, and you should not let it fly under your radar.

14: Donda- Kanye West

Donda kind of frustrated me. I kept wanting to love it as much as everyone around me, but I really can’t. Donda is a huge mixed bag, ranking pretty low among my favorite Kanye albums, with a ton of terrible ideas, and a lot of boring songs. Despite this, Donda’s highlights and moments of clarity are some of the best in Kanye’s career. My relationship with this album is, frustrating, because it forges so many amazing ideas, and works some of them into really impressive songs, but as a whole, this record did not blow me away. I still liked it, it was definitely a huge moment culturally, and it was really fun to talk about. Donda feels like a record that’s gonna pull a lot of people into listening more closely to their music, and that is a good thing, it just didn’t impress me as a Kanye release. Obviously, it’s still on my end-of-year list, so I clearly enjoyed it, but this record’s sheer size and magnitude is mostly the reason for its placement. Songs like ‘Pure Souls’ ‘Keep My Spirit Alive’ ‘Jail’ and ‘Praise God’ are some of the absolute best songs of the year, and the decade so far. Kanye pushes rap music in these tracks, with bold ideas, great production, and well-placed features. Dondas brightest moments are totally stellar, but everything in between causes this record to drag consistently.

15. Happier Than Ever- Billie Eilish

I like Billie Eilish. I think her strand of super dark and bassy pop music is really refreshing and effective, especially on When We All Fall Asleep, Where Do We Go?. Her older music is not as interesting to me, but some tracks off of her Don’t smile at me EP were among my favorites of that year. Billie is an artist I’ve been watching for a while, and her meteoric rise to fame was really fun to see. Industry plant or not, the dark, foreboding sound she forecasted on singles like ‘You Should See Me In A Crown’ left me begging for more. Happier Than Ever is not as amazing as her debut, but this is still a formidable pop record. With more elements of vocal pop and vintage girl groups, Billie experiments more with song structure and soundscapes on this record. The title track ‘Happier Than Ever’ starts out as a super cutesy piece of vintage pop music, giving Billies voice the spotlight, and slowly morphs into a demeted piece of alt-rock, and is just proof of the new styles and sounds Billie is incorporating into her music. Other highlights include the nocturnal, industrial, ‘Oxytocin’ and groovy ‘Overheated’.