Moreover, as you go further down the list, my preferences are pretty incremental, and by the time you get to the bottom, there at least a couple dozen other albums that could have made it. There was so much good music this year. That being said, I really, really dig the the stuff at the top of the list. I hope there are some things folks can discover on here, which is why I love looking at others' top album lists.
1. Charlotte Adigéry & Bolis Pupul: Topical Dancer (Dewee/Because): This Belgian duo mixes techno, R & B and funk with witty and incisive topical lyrics to make music you can think to and dance to at the same time. It never becomes strident, because it’s laced with humor, sometimes silly, often cutting. At various times, I heard things that reminded me of Laurie Anderson, LCD Soundsystem, and (an admitted influence) Talking Heads. This is all topped off by the infectious personality of Adigéry, whose singing is extremely compelling.
2. Suede - Autofiction (BMG): This is Suede’s (I refuse to refer to them as The London Suede!) third album since the band resumed recording, and it’s the best of those three, ranking up there with the band's first two LPs. Singer Brett Anderson doesn’t seem to have lost a thing, and the songs are razor sharp, brimming with passion, and teeming with hooks. They have maintained their ability to sound urgent without ever becoming overblown.
3. Grace Ives - Janky Star (True Panther/Harvest): Ives graduated to mid-fi production for her second album, and while the songs are still short sharp shocks of pop, she’s added layers to her electronic sound, while improving her melodic sense. The lyrics are fragments and phrases that stick in the brain pan, and in two or three minutes, she crams in a number of catchy parts. And her chronicling of a mid-twenties woman trying to keep her head above water resonates.
4. Silvana Estrada - Marchita (Glassnote/AWAL): An impressive debut solo album from this 24-year-old Mexican singer-songwriter who plays the Venezuelan cuatro guitar and sings folk-styled songs that sometimes reveal more modern inspirations. Her singing and playing are utterly captivating, with songs that are emotional and full of wonderful melodies. The arrangements and production are superb, augmenting Estrada where needed, while knowing just her voice and guitar are powerful by themselves.
5. Rina Sawayama - Hold the Girl (Dirty Hit): On her debut, Sawayama ingeniously melded unlikely forms into her modern pop songs. On the follow up, she reaches further back to a variety of ‘90s and ‘80s pop styles, with utter mastery of whatever she chooses to do. That she makes big, arena-worthy pop songs and melds them to personal lyrics in a way that the words aren’t essential, but sink in with further plays is quite something.
6. Weyes Blood - And in the Darkness, Hearts Aglow (Sub Pop): Natalie Mering continues to hone her distinctive take on ‘70s AM pop and the Laurel Canyon sound, taking those warm, melodic sounds and stretching them out into songs that manage to be quite epic and intimate at the same time. This album was inspired by the pandemic, and the loss of, and need for, human connection. The songs envelope in the loveliest fashion.
7. Sloan - Steady (Yep Roc): Thirteen albums into their career and the Nova Scotian quartet Sloan still finds new wrinkles in its splendid take on power pop. There is no template or gimmick on this album, just four singers and songwriters coming up with even more Grade A songs than usual, and playing them with craft and inspiration so that it sounds fresh. This ranks with their best.
8. Beyoncé - Renaissance (Columbia/Parkwood): Queen Bey’s seventh studio album is so dense and crammed with ideas, surveying so many types of black (primarily dance) music with an inclusive bent (there are a number of queer collaborators), it was a bit overwhelming when I first started spinning it. I really liked it, but I wasn’t connecting with everything, but I now realize that there was so much to connect with, it would just take time to unfold. There are a number of great songs, and the album has a terrific flow. And almost smack dab in the middle, “Plastic Off the Sofa” offers a breather with a classic mellow ‘70s vibe.
9. Poppy Ajudha - The Power In Us (self-released): Ajudha is just as comfortable singing jazz, soul, or rock, and that also holds true for the songs she crafts, bracing numbers that cohere through her lyrical sensibility. The variety of the songs for a debut album is really impressive, and all are imbued with a fiery spirit, best exemplified by the pro-choice anthem “Playgod”. But she can be playful and tender when the occasion demands, and has the voice to make it work.
10. Plains - I Walked With You a Ways (Anti-): Katie Crutchfield had earlier established her duet bonafides, singing with everyone from Madi Diaz to Wynona Judd. Doing a whole album with a sympathetic singer seemed like a natural, and sure enough, Crutchfield and Jess Williamson have come up with a ‘70s/’80s-style country pop gem. The album shimmers, and each singer gets their time in the spotlight, and when they harmonize, it’s pretty killer.
11. Julia Jacklin - Pre-Pleasure (Polyvinyl): The Australian singer-songwriter’s third album is my favorite of hers so far. She has a bit of the simple, sublime observational qualities of Natalie Reid, but with a expansive sonic palette somewhat similar to Lucy Dacus. So a mid-tempo keyboard-oriented track can suddenly burst out with a wave of guitar chords. Some of the songs are intimate, while others have a nice pop-rock coating, and the balance is just right.
12. Spoon - Lucifer on the Sofa (Matador): I think sometimes for veteran acts, particularly those with an extremely well defined sound, just taking some time off allows the players to come back refreshed. That’s certainly true of Spoon, who came through with one of their peppiest efforts since their early days. Some songs have a bit of an R & B/funk undertone that meshes well with the usual post-new wave riff/groove combos. There are even a couple of nice slow ones.
13. Joan Shelley - The Spur (No Quarter): She has one of those crystal voices that doesn’t need too much to be utterly winning. She writes songs with direct lyrics and simple, slightly sad melodies that fit that voice so well. She’s been on a winning streak, and the songs, if anything, are even a bit better than the prior two albums, with memorable guitar figures, and even some hooks, like on the superb “Like the Thunder”. There are hints of country on some songs, verging on the sound of Waxahatchee, but not quite that rustic. Timeless stuff.
14. Beach Bunny - Emotional Creature (Mom+Pop): Lili Trifilio and crew keep getting sharper, allowing for more depth and more possibilities in this ringing guitar rock. Trifilio herself has become such an terrific singer, really expressive with the power to compete with the guitars. And songs like “Oxygen” show her finding new places to take her melodies, with the usual smart, observational lyrics. The best may very well be yet to come.
15. Rosalía - Motomami (Columbia): An album that couldn’t be denied, as the Spaniard dove head first into pop, R & B, and hip-hop, coming up with a distinctive sound that was familiar, yet combined elements in such a unique fashion. There are so many ideas ping-ponging through this album, yet it never feels cluttered, instead being quite thrilling. Of course, this wouldn’t work if Rosalia didn’t have the vocal talent to do all that’s required to pull of this material, and my word, she does.
16. Nina Nastasia - Riderless Horse (Temporary Residence): A stunner of an album, with Nastasia taking inspiration, and healing wounds, with songs written in the wake of ending her romantic relationship with her long time manager (who had abused her), who killed himself the day after the break up. From this pain, Nastasia’s songs are remarkably clear headed, with simple folk-rock, Nastasia on her acoustic guitar, and her plaintive voice. The emotional range of this album, from some descriptive songs to anger to sadness and even memories of good times, makes it gripping listening.
17. Nora O’Connor - My Heart (Pravda): It had been 18 years since O’Connor’s last solo album. In that time, she’s cut two albums with The Flat Five, and been an in-demand backing vocalist, along with a slew of live performances. All that experience is channeled into some terrific self-penned songs that show off all of her talent. The songs encompass ‘70s AM gold, singer-songwriter, Laurel Canyon, some hints of country and R & B, and a defining song in “Outta Space” that deserves multiple covers (I’d love to hear Stevie Nicks and/or Allison Russell take a crack at it).
18. Natalia Lafourcade - De Todas Las Flores (Sony Music): This Mexican singer-songwriter has been recording for about 20 years, and starting out more in rock territory and eventually taking on all sorts of more traditional styles from her country and region. This album takes on everything from folk to bossa nova to jazz to torch songs and beyond, with Lafourcade’s singing always commanding the spotlight, while the playing and production is equally superb.
19. Mitski - Laurel Hell (Dead Oceans): Puberty 2 was just two albums ago, and that was, at the time, Mitski’s most polished effort yet. She’s followed that up with two albums that moved her out of the indie rock bag, into sophisticated indie pop that at times strongly evokes the ‘80s. This really is how I like my albums: some songs that sound like hit singles (in my ideal world), mingling with interesting album tracks that show other aspects of the artist’s sound. And I like how she can be dramatic, but never gets strident or over the top. It’s all earned.
20. The Comet Is Coming - Hyper-Dimensional Expansion Beam (Verve): This Shabaka Hutchings project has some whiffs of ‘70s fusion jazz, but mixed in with some Afro-futurism and bursts of soul and funk. While not sounding like his now defunct Sons of Kemet, there is a similar drive you don’t hear in most jazz, and a lot of that must be that his passionate saxophone playing needs an energy that equals his. There are also some lovely, lyrical moments too.
21 The Handcuffs - Burn the Rails (Pravda): The best album yet from this veteran band led by the one-two punch of the wife-husband team of singer Chloe F. Orwell and drummer Brad Elvis. This is the most varied album the two have done together (including their two albums in the band Big Hello), with the strongest glam rock influence to be found on any of their albums. There's a mix of boppers with tunes like the pulsing “Love Me While You Can” and swaying “The End of the Party” that have a real emotional core. Plus two guest appearances by Morgan Fisher of Mott The Hoople on keyboards, including the peppy “I’m Happy Just to Dream With You”. Orwell still is one of the best as inhabiting a lyric, and lead guitarist Jeffrey Kmieciak always comes up with the right fill or solo.
22. Connie Constance - Miss Power (Play It Again Sam): I think record labels have had a hard time figuring out this bi-racial Brit who can crank out a driving hooky rocker as easily as an R & B laced pop banger, and has the ambition to do more. Thankfully, Constance was finally snapped up and this long overdue second album shows off her considerable talent. The album is full of creative rhythms, memorable guitar lines, plenty of hooks, and some tender moments too. And “YUCK!” shows the influence of Self Esteem, and she shows she can equal Rebecca Taylor in the narrative pop game.
23. PVA - Blush (Ninja Tune): This British trio mixes dance beats (at times like old school disco), industrial sounds, trip hop, and post-punk skronk into some killer songs. The key to all of this is drummer Louis Satchell, whose creative playing both fuels the songs and pushes them in exciting directions, while Ella Harris and Josh Baxter sing in deadpan voices and add all sorts of keyboard and synth color, with a great use of dynamics. The first four songs are worth the price of admission alone.
24. Shamir - Heterosexuality (AntiFragile): After a poptastic debut, Shamir has spent years exploring his various musical interests, and that experimentation really comes to fruition on this LP, which mixes his indie rock vibes (including some guitar rock underpinnnings) with some new wave/Prince-style keyboards, synth-pop reminiscent melodies, and a bit of the old R & B style of his early years. This is all in service of songs with cutting, direct lyrics about sexuality. There’s some punchy stuff, some harrowing stuff, and some genuinely moving stuff.
25. Cécile McLorin Salvant - Ghost Song (Nonesuch): The great jazz singer came out with her most ambitious album yet, which had her take up a much bigger share of the songwriting. Some songs are still pretty classic jazz vocal exercises, but originals like the title track have an earthy bluesiness with more pop-like choruses. Ultimately, while the album is more arty, that actually gives it a great accessibility. She could just coast on her vocal brilliance and knock out great interpretation after great interpretation, but instead has done something much more interesting.
26. Automatic - Excess (Stones Throw): This L.A. trio’s minimalist post-punk pop is just so spot on, as they honed what worked on their debut album into even sharper form on this follow up. They have their ensemble sound down – I think I’d enjoy many of these tracks as instrumentals, with precise drumming, liquid bass lines, and retro keyboard sounds that are so attractive. But the deadpan vocals make it even better, with some hooks that come out of nowhere.
27. Elvis Costello & The Imposters - The Boy Named If (EMI/Universal): Not many artists can do what Elvis did here, going more than four decades and conjuring an album that has the same energy as he had on the debut album which led critics to call him an angry man (though he did sing “I’m Not Angry”). Elvis has never lost touch with his core characteristics as an artist, so while he may explore different types of sounds, getting back to just rocking is never awkward. And it doesn’t hurt to have such a great backing band. This album pitches somewhere between Trust and Blood and Chocolate, and is a bit overstuffed, but it’s full of highlights.
28. KAINA - It Was a Home (City Slang): Absolutely no signs of a sophomore slump here. To the contrary, Kaina Castillo makes records that exude confidence and wisdom that bely her 26 years on the planet. Her gentle soulfulness is pitched just right, with sun-kissed, languid backing tracks and comforting vocals, with subtle hooks that insinuate. The album gets stronger as it goes on, with the upbeat “Apple” and sublime “Golden Mirror” really shining.
29. Midlake - For the Sake of Bethel Woods (ATO): On the band’s fifth album, they come closest to the spirit of their classic The Trials of Van Occupanther. So the album sounds like a journey back to the ‘70s, with warm rock songs with folk undertones, which manage to be subtly informed by other influences, like post-punk. There are also some proggy touches, with the production adding a nocturnal vibe that give these songs a dream-like feel.
30. The Linda Lindas - Growing Up (Epitaph): One of the most inspiring bands around, these youngsters may have industry connections (through one of the dads), but their Pitchfork appearance confirmed that they are the real deal. This is a splendid melodic punk debut. I don't know how they came to the decision that everyone writes and sings, but it means that the album has a really nice balance, as each member has a slightly different slant in their particular songs, and they are all winning behind the mike. Add on the positive messages they put across, and what’s not to like? I so hope that they can build on this, as there is so much talent here.
31. Carly Rae Jepsen - The Loneliest Time (Schoolboy/Interscope): The only member of the “pop-not-popular” crew to actually have a hit, this masterful songwriter has put together another terrific collection of tracks. She hits some different notes on a few cuts, but most of the album is what she does best: 80's-inspired bangers with clever, but not too clever, lyrics. The closing duet with Rufus Wainwright has more of a ‘70s vibe to it, and makes me wish that she either did an entire album with him, or she did a duets album.
32. Danger Mouse & Black Thought - Cheat Codes (BMG): It’s great to have Danger Mouse making a hip hop record again. And given how infrequently The Roots put out albums, Black Thought had to be champing at the bit to bust some rhymes. This was something they wanted to do for years, and the end result is as awesome as one would expect. The Mouse still constructs amazing backing tracks and beats, and Black Thought is underrated. For those who like their rap old school, this is a brand new throwback.
33. NoSo - Stay Proud of Me (Partisan): Baek Hwong grew up in the suburbs of Chicago before moving to Los Angeles. He slowly developed the sound that came to fruition on this collection of keyboard oriented modern adult pop songs. Hwong layers on instruments without overdoing it, and shows off great arranging skills. His voice has an empathy and soulfulness that perfects these songs.
34. The Claudettes - The Claudettes Go Out! (Forty Below): This Chicago band has evolved, and currently creates wonderful soft pop songs with lovely melodies. These are songs that would slot well between Dionne Warwick, the softer side of The Zombies, and Judee Sill. Beret Ulsith is the perfect singer for these sophisticated slices of tuneage, and the rest of the band perfectly colors in the sounds, especially the great Johnny Iguana on piano and other keyboards.
35. Alvvays - Blue Rev (Polyvinyl): This is the breakthrough album for this Canadian band that mixes winsome pop with shoegaze guitars. There’s an underpinning of ‘80s British indie rock in the sound too, so Alvvays creates music that is propulsive and charming.
36. Amber Mark - Three Dimensions Deep (PMR/Interscope): This album finds Mark fulfilling the potential demonstrated on prior singles, EPs, and features. This is a great mix of modern R & B production techniques with a number of songs having characteristics of classic ‘70s and ‘80s jams. Mark is in tune with the tunes, utterly charming when she’s dialed down, but able to pick things up whenever needed.
37. The Beths - Expert in a Dying Field (Carpark): I finally hopped on to The Beths’ train on this, their third album. This is simply really well done indie pop; it's chugging, melodic guitar rock with a hint of sweetness balancing the slightly fuzzy guitars. The lyrics are terrific, with lots of smart observations.
38. Pip Millett - When Everything is Better, I’ll Let You Know (Dream Life/Sony): Somewhat similar to Amber Mark above, Millett has been building to this debut album, and this is a album mostly comprised of slow R & B burners, with some hints of trip hop and Sade. Her lyrics cut through the pleasant musical tracks with their blunt, cutting nature, while she sings great precision and feeling.
39. Sofie Royer - Harlequin (Stones Throw): The second album from the American ex-pat of Austrian and Iranian heritage is a step or two up from her swell debut album. Royer’s sound is a mix of ‘60s soft pop sounds with some ‘70s AM gold reference points. There’s a gauzy production sound on songs that verge on being twee, with Royer’s winning, guileless vocals on an album that makes me smile.
40. Hurray for the Riff Raff - Life on Earth (Nonesuch): Alynda Segarra’s continued growth as singer and songwriter is impressive, given all they’ve already accomplished. This is the most musically varied effort yet from HFTRR, as Segarra uses a variety of instrumentation to service the lyrics and emotions they’re portraying. I hear songs that evoke everything from Laura Marling to New Order, while never being imitative.
41. Raveena - Asha’s Awakening (Moonstone/Warner)
42. Big Joanie - Back Home (Kill Rock Stars)
43. Robyn Hitchcock - Shufflemania! (Tiny Ghost)
44. Oneida - Success (Joyful Noise)
45. Ibeyi -Spell 31 (XL)
46. Beach House - Once Twice Melody (Sub Pop)
47. The Sadies - Colder Streams (Yep Roc)
48. Horsegirl - Versions of Modern Performance (Matador)
49. Elizabeth King - I Got a Love (Bible & Tire)
50. Rolling Blackouts Coastal Fever - Endless Rooms (Sub Pop)
51. Ethel Cain - Preacher’s Daughter (Daughters of Cain)
52. Nnamdi - Please Have a Seat (Secretly Canadian)
53. Buddy Guy - The Blues Don’t Lie (RCA)
54. Craig Finn - A Legacy of Rentals (Thirty Tigers)
55. Beth Orton - Weather Alive (Partisan)
56. Lyle Lovett - 12th of June (Verve)
57. Sasami - Squeeze (Domino)
58. Syd - Broken Hearts Club (Syd Solo/Columbia)
59. Taylor Swift - Midnights (Republic)
60. Smut - How the Light Felt (Bayonet)
61. The Mountain Goats - Bleed Out (Merge)
62. Hollie Cook - Happy Hour (Merge)
63. Foxes - The Kick ([PIAS])
64. Ana Moura - Casa Guilhermina (Ana Moura)
65. Makaya McCraven - In These Times (International Anthem)
66. Ibibio Sound Machine - Electricity (Merge)
67. Lady Wray - Piece of Me (Big Crown)
68. Aldous Harding - Warm Chris (4AD)
69. Dendrons - 5-3-8 (Innovative Leisure)
70. The Well Wishers - Blue Sky Sun (self-released)
71. Superchunk - Wild Loneliness (Merge)
72. FKA Twigs - Caprisongs (Atlantic)
73. Belle and Sebastian - A Bit of Previous (Matador)
74. DEHD - Blue Skies (Fat Possum)
75. Gwenno - Tresor (Heavenly)
76. Mattiel - Georgia Gothic (ATO)
77. Star Feminine Band - In Paris (Born Bad)
78. Ravyn Lenae - Hypnos (Atlantic)
79. Confidence Man - TILT (Heavenly/[PIAS])
80. Claude - a lot’s gonna change (American Dreams)
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