Another year, another list.
I’ve seen a lot of mixed reactions to 2021, music wise which I find interesting. Not that I agree with them precisely, headline wise compared to the last couple of years, 2021 didn’t seem like a truly exciting year all things considered. The ray of hope at the end of 2020 didn’t fully develop and manifest the way we’d all like to happen as we still endured another year of the pandemic and while there were movements which I’ll get to, it didn’t seem like people were really listening or paying attention to music that often. Hell, just look at the fact that the biggest song globally this year (at least according to Billboard), only went to number one in two countries. Pop Culture did feel quiet on the surface.
But time and art are never static: there were still big notable movements in music this year. We saw new singers and bands burst on to the scene like Måneskin, The Kid LAROI, PinkPantheress, Turnstile, Giveon, Black Country New Road and Magdalena Bay. Acts like Dua Lipa, Doja Cat, BTS, Lil Durk, SZA, and Lil Nas X prove they weren’t fluke artists and gain even more success this year. Singers like Porter Robinson and Bo Burnham reinvent themselves, or acts like black midi, Injury Reserve, Little Simz, Lingua Ignota, and SPELLLING find even more critical acclaim. Adele, Drake, and Bruno Mars all came back this year. Taylor Swift started her re-release of her first 6 albums with her Taylor Versions. And most newsworthy of all, we saw Olivia Rodrigo break into public consciousness as the potentially the first new superstar of the 2020s, breaking Spotify streaming records MORE THAN ONCE this year.
And it’s a shame not many people were paying more attention to music. I would argue that while the year has been a tad quiet or even underwhelming when it came to album releases, when it comes to the actual music, this year was top notch, especially when it came to singles. Despite the fact this list was actually easier to rank compared to last year, I actually had to bump my honorable mentions this year from 75 to 90, just because there were so many songs I wanted to talk about and give time to shine.
And one last thing I’d like to say before I start revealing what I think were the best songs of this year were is that if you do end up disagreeing with me in regards to placements or overall thoughts, don’t take that as a slight against you. As much as I joke about it online, I don’t actually want to put out that I’m serious when I say “I’m right when it comes to music”, I don’t want to be too condescending. I more than understand what it feels like to have something I like not be appreciated or talked about in a positive light (hence why I only do worst lists for hit songs; I don’t think it’s really worth expending much thought on garbage music). I think it’s much more better to look at the positive side of things. I just want to share some fantastic music I heard this year but if I can change your mind and show you this year wasn’t all that bad, that there is stuff to be happy about, I feel like I’ve more than done my job.
But before we start the list: I’d like to show a couple honorable mentions. I actually have a total of 40 this year. It was the most I could whittle it down to, there really was a lot of music I wanted to highlight this year. Here are the first 20 honorable mentions.
Favor by Julien Baker
Jackie by Yves Tumor
HEAVY METAL by Paris Texas
eyelids by Paris Jackson feat. Andy Hull
Working for the Knife by Mitski
Miss the Rage by Trippie Redd feat. Playboi Carti
Blouse by Clairo
You Give Death a Bad Name by Sufjan Stevens and Angelo de Augustine
Fault by Desperate Journalist
Renegade by Big Red Machine feat. Taylor Swift
Footloose Cannonball Brothers by Origami Angel
Jupiter by Jenny Hval
Shelter Song by Iceage
Speak with the Dead by Foxing
Posing in Bondage by Japanese Breakfast
The Slow Parts on Death Metal Albums by The Mountain Goats
BABY TEETH by Alice Glass
A Song About Fishing by Genesis Owusu
Perpetual by DV-i
Yoga by bbno$ feat. Rebecca Black
And now onto the list proper!
50. I Said Yes by City Light Mosaic feat. Andrew-Andrew! and Murrumur
We’re starting off with a song that I know a number of people have difficulty getting into. Not surprising, noisy industrial isn’t really an accessible genre but as someone who does enjoy industrial quite a bit, there’s more to this song than just harsh noise and distortion. The darkwave synths, the slow build of the song that shows genuine hatred and venom, the progression and instrumental changes adding more elements of techno and drum and bass, including a guitar solo. Again, I understand it’s not for everyone but for angry, spiteful, industrial, there wasn’t a better single than this in 2021.
49. Who Want Smoke?? by Nardo Wick feat. Lil Durk, 21 Savage and G Herbo
This crept up on me but man was this a fantastic surprise. Dark, grimy as hell, trap with a really good and most of all, credible dangerous edge. Almost everyone brings their A-game here with both cold bars – Durk and Herbo have the best verses in my opinion, but the song still has a sense of humor so it isn’t overly serious. I mean I’m not gonna act like I didn’t laugh at “I think my Draco might be gay (why?) ‘Cause he blowin’ n****” or how Wick and 21 used knocking sounds in their verses. I don’t think Nardo Wick will be able to capture lightning in a bottle like this again but for the moment it was, what a knockdown.
48. Black Rum by Cake Pop, Dylan Brady, Ravenna Golden and Lewis Grant
You can throw a lot of shade of hyperpop all you want but one thing you can’t diss these acts about is that they have a magic touch when it comes to making an earworm. And no matter how intentionally obnoxious it all is, this was one of my most replayed tracks of the year. And with how stick synth, central hook, and the autotuned vocals all are, when it’s this much fun, sometimes a good dose of annoying energy is needed.
47. Scavengers by Thrice
This was the first real song I’d ever heard from Thrice and talk about a great first impression. Dustin Kensrue’s tired but not oversold vocals, the gothic and fantastical worldbuilding of the lyrics that much like Iceage’s Shelter Song is all about finding solace and comfort in a dark, desolate world. Although ironically despite the more otherworldly vibe, it’s a lot more cold and unsure, almost as if even the narrator is unsure if having someone hold their hand as they face the darkness of the world will provide much comfort. It’s an amazing intro and lead-off single and as someone who’s late to the party when it comes to this band, can’t be more glad to be finally along for the journey.
46. Best Friend by Saweetie feat. Doja Cat
I said before that this year is mostly driven by what songs I’ve come back to and replayed more than “objective quality”. So while I’ve tried to strike more of a balance this year, with songs as simple, catchy, and quotable as this, all I really need to say is that it bangs. Oh and the music video’s awesome: we all need a best friend that’ll let you stand on their ass while buy handbags.
45. New Shapes by Charli XCX feat. Christine & the Queens and Caroline Polachek
Gonna be honest, surprised this shrunk on me since I first heard. It’s still phenomenal but it isn’t really up to par with the more tightly written and progressive songs of either three women. Still a fun 80s throwback with a great groove, catchy singing. It also ended up as my favorite collab between Charli and Caroline, with the latter providing my favorite part with that beautiful bridge. CRASH is looking to be one of the most hyped albums of 2022 and I hope that this is a good sign the hype will be worth it.
44. Exposure by Shelley
So I was not on board with Bruno Mars and Anderson .Paak’s mostly because while I think it’s a competent throwback, like past Bruno Mars works, it never really rises above a good imitation of that classic soul sound. But if you want an artist I think actually does this throwback style much better and more convincingly, I put you to Shelley formerly known to us as D.R.A.M. (Yes, Broccoli D.R.A.M.). Shelley’s always been a charismatic performer with great voice and for his rebrand, he’s upped the buttery smoothness of his persona and it’s more than sexy. And what I particularly love is that it’s not simply loving over someone, it’s mutual bond and connection he wants. Simple but when it’s as earnest, sweet, and charming as this, it’s really works. I really hope Shelley gets more love and attention in the future and with R&B making a comeback, both with contemporary and an old-school sound, he’d fit right in. He’s just too good to be ignored.
43. Wilder Days by Morgan Wade
Country has had an up & down year compared to 2020 – especially in the mainstream but there were still good country acts delivering good country music if there was a breakout act this year, it was Morgan Wade. She just has a great subtle raspy twang and the simply lyrics capturing the bittersweetness in getting to know a person and longing for who they used to be: more young, full of vibrant life, maybe the love would be happier…but she also just wants someone to hold her right now and sometimes, they’ll do. It’s complicated, patchwork, and rough – maybe even unfair in an immature point of view, but Morgan makes it work and if there’s some slim justice in the country industry, it’s that she gets more attention commercially and critically.
42. Lagoon by Horsey
This is without a doubt one of the happiest and upbeat songs of drug addiction I’ve ever heard since Third Eye Blind’s Semi-Charmed Life. And like that song, the power of this comes from how jaunty and some of the prog mixed with art punk experimentation. Theo McCabe’s smooth almost lounge singing crooning that can still handle some of the howling, the piano composition, there’s even 80s ballad interlude transitioning to a pretty cool guitar note, and yet there is still an appropriate amount of darkness given the subject matter. And while some people might think it’s disrespectful to take this approach to something as morbid as drug dependency, there’s a lingering sense that this comes from a real place and it’s not simply taking the piss out of an awful scenario. Either way, it’s a lot of fun, highly recommend it.
41. Buckingham by WEDNESDAY CAMPANELLA
It’s odd that a song that’s just naming various places (based on the translations) can be this much of a jam and this much of an earworm but here we are. I’ll be honest I’m still not familiar with much of WEDNESDAY CAMPANELLA but this more than makes me want to check more of her out. The naming of locations might just come across as a gimmick or non-sense word salad. It reminds me a lot of chelmico’s work last year, but whereas there the travelling was more driven by anxiety, this is surges more on a sense of wonder and adventure for love. And couple that with one of the best electronic drops this year. It’s just a really fun electropop song, bouncy and vibrant and really does make me miss the beauty of the outside world.
40. Need to Know by Doja Cat
The best of Doja’s hit songs and I won’t hear any debate. Finally her label allows to show her unique personality that’s slowly being sanded ever since her breakthrough Hot Pink, she’s allowed to be more than just another female rapper who can also sing. She showcases that same raunchy and funny energy that made me fall in love with her in the first place and with tighter production, some of the best on Planet Her, but also shows how far her singing has come – her hook game has gotten stronger. It’s a best of both worlds and with how many TikTok hits spawned from Planet Her, I hope it’s a sign to her label that they should just get out of the way and let Miss Amala do what she does best.
39. ANTONYMPH by Vylet Pony
Among the many surprises I had this year, a song making my top 50 about brony and internet meme culture played mostly serious, legitimately being one of the best pop songs of the year is not what I would’ve expected. And yet I think it goes beyond the cheap charm of a novelty song because there is a sincere emotional core to finding acceptance in the niche things you like and that shouldn’t be something to be ashamed about. It’s all part of life and identity, why degrade it when we could celebrate it. It reminds me a lot of Bo Burnham’s work actually: finding a true emotional center of introversion to resonate beyond the internet and all the memes. Cynical nihilism and doomerism is overrated so why be ashamed of liking quirky internet shit? It’s not worth shrinking your happiness just to admit you like something less cool.
38. Thot Shit by Megan Thee Stallion
At this point, I feel like the whole “Megan just raps about money, sex, and being a bad bitch” feels. Sure it’s like that on the surface but as big movie and TV blockbusters have shown, there’s still an art to making commercial, mainstream art and just on a technical level, Megan walks over most rappers in the mainstream before and after. The construction of her punchlines, the ability to switch flows effortlessly, balancing comedy and confidence, having buckets of charisma. And couple the song with the best music video of the year, I mean fuck, what else do I say besides it being good shit?
37. Headspace by Charli Adams feat. Ruston Kelly
Very few songs were as relatable for me personally for this song. A tragic duet where both Charli Adams and Ruston Kelly play desperate people, clinging onto each other for the attempt, in the mindsight they could change and “save” their partner, they’re the ones to escape the world together, even if it’s just for the night…only for both of them to realize it was for naught as addiction, depression, and their own insecurities only end up in both of them spirling down and stewing even more. They weren’t the exception or the one to break the spell and they both have to live with that. It’s a rather brutal song, one of a gut punch that still stings but one that wouldn’t have worked if they pulled
36. HULA HOOP by LOONA
It’s been a rough year of k-pop girl groups not gonna lie, with many bands in legal limbo or disbanding with the end of their contracts. But with a lot of new girl groups debuting, forming, or set to debut in 2022, LOONA perhaps ending their career on one of their best ever songs was a great note to end on. And it’s not a particularly complex song either: but one that highlights why they were one of my favorite girl groups. Fun vibrant and poppy harmonies, a great disco groove and beat, and one hell of an infectious hook, one of the best in k-pop this year. It’s pure sugary bubblegum but in the best way possible and whether or not LOONA survives in the years to come or this really is this end, couldn’t ask for a better song to end this chapter of LOONA on.
35. Male Fantasy by Billie Eilish
It’ll be interesting to see the public reception of Billie Eilish. Beyond the underperformance of her sophomore, I’m more interested in how the public views her and whether she’ll be pigeon holed into the image of an “edgy act” or whether they do acknowledge her strengths as a performer and writer. And interestingly, it’s an interest she also has as it’s the main theme of Happier Than Ever.
Fitting then that an album about expectations towards women also ends with one about porn actresses and about porn itself. A lesser talent might make this cringey and simply an anti-porn sentiment but what I love is how it centers about the conceit of a male fantasy that even then won’t end up being satisfying, and it’s ultimately one she wants to escape turning into, especially as she’s still struggling over her own expectations of others that are just as unrealistic. It’s a great track that shows Billie being one of the smartest songwriters in the mainstream right now and hopefully despite the underperformance of her recent material, she isn’t done in the mainstream just yet.
34. Track X by Black Country, New Road
Black Country New Road has been the breakout act this year. Both everything related to their debut and the teaser tracks to their sophomore dropping in 2022 have been great. And while Chaos Space Marine is a great fun track, I went with my favorite track from their debut. It’s a simple, understated, quiet love songs filled with all little details from attending and professing your love at a black midi concert of all things, to suicidal tendencies saved by your friends. And yet what I love is that the details are never done point of overselling either; it’s all kept small and personal. Combine it with the subtle instrumental touches – from the bits of horns and strings to the beautiful cooing on the hook and how there’s no great big crescendo, it truly does capture honest, simple, domestic love in the best way. I really can’t wait for their sophomore in 2022.
33. Boys at School by SPELLLING
There’s very few non-metal songs this year I’d call epic but this without a doubt is one of those songs. At 7:27, it’s a bombastic, even melodramatic tale cataloging her adolescent time in school and the slow changes her body is experiencing as she grows to be a woman. Like with Foxing, it’s all in the slow burn and the build-up to the crescendo and along the way Chrystia “Tia” Cabral’s thin nasal but ethereal voice remains captivating throughout and shows why she’s worthy of the Kate Bush comparisons. Meanwhile the progression of synths and piano, the way the drums come in, and that peak with one of the best guitar solos this year, there’s few better ways to describe beyond magical or mystical. It’s alien and strange but still speaks to an intimate truth. And now with her critical breakthrough and all eyes on her, we have to wonder if she’ll able to leave a legacy similar to Kate Bush.
32. Hot N Heavy by Jessie Ware
There’s very few songs in R&B or pop this year I can comfortably were as sexy as this one. And I don’t mean purely in a sensual cooing way either, I mean an adult, mature eroticism way that’s alluring, captivating., and most of all: fun! It’s not something that comes easy for most and yet for Jessie to make it sound so easy is a testament to how far she’s grown as a performer. Couple that with a great disco beat and one of her best hooks of her career, it’s nice to see Jessie showing What’s Your Pleasure wasn’t a fluke.
31. Woodstock by Chelsea Wolfe
Chelsea Wolfe definitely had a busy year. Outside of collabing with Converge for a great gothic metal album, she also released her own solo material and out of all the song she put out this year, this was my favorite. A beautiful gothic ballad where Chelsea Wolfe sounds beautiful in a phantom kind of way way. Ghostly but still captivating and alluring. so much so that you won’t even realize the lyrics about fame and while the idea of fame being this dark evil thing, has been a played out concept for years, Chelsea finds a way to make it sound unique. The line “we are stardust” never felt so foreboding but also still tempting, it rings as a bit of a Lana Del Rey song, only it’s better than anything Lana released this year! It’s simple and beautiful and I’m excited for whatever Chelsea has in store next.
30. John L by black midi
So much of the discourse surrounding Don’t Look Up has been interesting. I haven’t seen it in full but a common complaint is the unsubtlety of the movie which got me thinking: can political allegories and satire still be strong even if the figures of speech aren’t precisely subtle. The answer is of course; there’s been plenty of direct political satire made in decades prior and now that are just as powerful even if you know the background and obvious parallels (hell, I just finished reading Animal Farm a few weeks ago.)
In my opinion, whether art is clever or subtle commentary is is only as important as the presentation which I why black midi’s lead single caught me off guard. In summary: in chronicles the rise of John L (pronounced John 50), rallying a crowd behind his ideas, making them angry and restless, and indoctrinating them to his ideology: nationalism. The crowd can only take so much as violence ensues, resulting in the death of John L but his ideology will persist in those who survive, perhaps creating a new John L in the future. Again, you don’t have to reach that far to see the band is talking about but again, like a lot of good political allegories, even if you decipher the lyrics, the presentation is still powerful enough to make it art to come back to. From the stuttering up string, chopped up guitars, Geordie Greep’s vocals, the drumming, it’s all chaotic to serve the narrative and to evoke the atmosphere of being in the midst of a cult leader, but with enough distance to recognize that the emperor has no clothes. It’s bold and creative, and a great foot forward for what we can expect from black midi beyond experimental art rock compositions.
29. Moth to a Flame by Swedish House Mafia and The Weeknd
The re-examination of Swedish House Mafia – as well as the entire 2010s EDM scene – has been interesting to see. Time will truly tell how Avicii, Zedd, and the whole EDM house scene will be viewed but for now, it seems SHM are being viewed as the good ones, with the three songs they put out this year showing how much they’ve evolved from their bombastic festival days yet they still remain top notch when it comes to crafting a good pop song with a good hook; especially with the more gothic bells and chimes. And it’s also one of The Weeknd’s best ever electronic collaborations. Outside of his work with Daft Punk and Oneohtrix Point Never, most of his collabs with producers have been pretty stale pop but here, they still allow Abel to show his personality. It’s the best of both worlds and when I first heard this song, I was blown away by how well both worked together. It’ll be interesting to see what other experiments Swedish House Mafia have prepared for 2022 but after hearing this, I think we’re all glad the boys are back.
28. Cold Heart (PNAU Remix) by Elton John and Dua Lipa
I’m honestly a bit surprised how high this ended and I think a bit of you will be surprised this is even on the list. I’ve seen the backlash and indifference to this and how it’s not one of Dua’s better hits. Well I’m more than ready to disagree. I can’t help it, this is one of my favorite hits of the year. In the end I was won over the great groove, the great chemistry Dua has over the sampled vocals of Elton John, and most importantly the way PNAU was able to make sampling various Elton John songs feel cohesive and unique, including using the honestly rather saccharine and dated Sacrifice into something with body, something worth replaying. It’s one of the best hits of the year, the best electronic hit of the year, and a comeback in the mainstream for Elton John, all wrapped up in one great package. And besides: a song that reminds us how amazing the original Rocketman is can’t be all that bad.
27. Harshest Critic by Allison Ponthier
Okay so I don’t want to get too personal with these lists but out of all the songs here, this is the one I relate to the most but I think most of us can relate to crushing and potentially self-destructive doubt and insecurity. It’s the little things that only we’ll notice and that will eat at us while we sleep…that most people whether it be the audience at a show or just even just your friends, they won’t care about, won’t notice, or most likely unaware. It’s simple but powerful writing nonetheless from one of my favorite singer-songwriter acts from 2021…and one that’ll probably be powerful a few years, months, days, hell right now. Anxiety is a bitch, ain’t it?
26. Day After Tomorrow by Phoebe Bridgers
Phoebe Bridgers is lowkey becoming one of the best cover artists currently around. Her cover of the Goo Goo Dolls’ Iris was both great and for a great cause, her cover of Merle Haggard’s If We Make It Through December is stunning and would’ve been an honorable mention if I didn’t have a one-song-per-artist rule. Her cover of Nothing Else Matters is one of the best from that Blacklist album, and for a while, I was thinking about putting her cover of Bo Burnham’s That Funny Feeling.
But in the end, I went with her cover of a Tom Waits deepcut. Now covering Tom Waits is already tough as is, given his legacy. And the original isn’t an easy song to talk about. The song is about a soldier going to war with the belief he’ll return a hero…only to be faced with the reality, pointlessness, and cruelty of war. It is a hopeless scenario, one where he can only cling onto his memories of home as a source of comfort with the idea he’ll come home even alive now feeling like a fantasy…until the end where against all odds, he makes it home. And while the original is good and Tom Waits’ delivery certainly fits the character of the song, crucify me for saying this but I think Phoebe actually tops the original. Not just with a more soothing delivery that’s just as emotive in capturing the tragedy and hope of it all, but in the instrumental additions. Normally, adding more to a bare acoustic song would miss the point, make it too bombastic. But here the strings and guitar still fit the melancholy vibe while adding more melody to make it more palatable to return to and the short interlude of Silent Night evoke more emotions of homeliness. It’s a devastating song that rips your heart out to put it back in and it was somehow made better. What more can you ask from a cover?
25. Welcome to the Internet by Bo Burnham
Todd in the Shadows talked about this before but comedy music is without a doubt one of the hardest genres to do. Balancing songs that are musically competent, creative, and fresh, while also writing jokes that still need to be funny after multiple listens. It’s a tricky tightrope that only few can really master, let alone get acclaim for.
So it’s good to know that Bo Burnham isn’t just one of the few making good comedic music, that he isn’t just one of the few who’ve broken into the mainstream – especially after the release of his film Inside, but also that he hasn’t missed a step in being funny ever since his retirement from stand-up a few years ago. He’s always been a great talent when it comes to jokes but I think what’s underrated is his talents as a composer. So outside of the word salad about the insanity of the internet is a solid melodic tune even with all the admittedly corny sound effects. But the part of the song in my opinion is the bridge with a talk about the history of the Internet with a call to stick together…all to be bookended the maniacal laughter at the end before the final chorus. A wonderfully dark way to end the song. It’s a hell of an earworm, fun to sing-along to and memorize, and yeah, is still pretty funny even after multiple listens.
24. Keel Timing by Manchester Orchestra
Andy Hull has been one of my favorite discoveries this year. I’ve already talked about how I loved his work with Paris Jackson but without spoiling too much for my other list (wink wink), his work with Manchester Orchestra has also been stellar. And what’s great is that they’re pretty accessible as far as alt rock bands go. The hard rock strumming and drumming, Andy Hull being charismatic both with softer singing on the verses but still being capable of belting on the chorus, all around one of the best hooks on the album, and all centered around finding love from your loved ones and to cherish that love in the face of sudden death in the family. Manchester Orchestra’s got a ton of exposure this year and I can only hope they and Andy Hull get more love from alt rock fans and rock press going forward.
23. Chaeri by Magdalena Bay
Oh boy well I think most of y’all expected something from Magdalena Bay to show up sooner or later, and I bet some MagBay stans are mad this isn’t higher! Well, it’s all my opinion but that shouldn’t detract from the quality they’ve been putting out this year. It was neck-in-neck between this or Secrets as the rep but while I love the g-funk synthpop of the latter, the slow building climax of Chaeri can’t be ignored. Most of the music community on the Internet has already raved about ALL of the singles from Magdalena Bay this year so I won’t add much beyond the futuristic pop sound they’ve crafted has been fascinating. Given the album it comes from, it really does feel like music from a different world yet there’s still a familiarity to it. Not necessarily obtuse or complex but still new. The following the group as accumulated in a short amount of time has been interesting to see as well and I think all eyes are on what they have next.
22. brutal by Olivia Rodrigo
This is the song that I think proved to everyone, even to Olivia doubters and haters, that she wasn’t just another cookie cutter pop star. A fantastic way to open the album and a hell of an artistic statement, it’s juvenile, immature, bratty even annoying and whiney in its angst, but all underpinned under real relatable teenage anxiety. Forget what parents or other adults might say, the reality IS that your best sometimes not be good enough or that you’re even rewarded for doing so. And the world is messy, fucked up, full of expectations only to be gaslit when you don’t meet them, your own personal anxieties, and that’s before knowing WE STILL HAVE TO GROW UP TO BE AN ADULT! It’s adolescent music in the best way possible and shows Olivia has the potential to be a smart pop act in the 2020s.
21. Right On Time by Brandi Carlile
Even despite being one of the most acclaimed acts in country right now and even being nominated for Album of the Year back in 2018, I still feel like Brand Carlile isn’t appreciated more of. Maybe it’s country music marketing or label or maybe it’s the assumption she makes music that gets acclaimed in circles but isn’t talked about much from the outside but she should be in the conversation a lot more than just “critic bait”. Because beyond thoughtful and mature writing, she’s got a beautiful, powerful theatrical voice capable of matching other singer-songwriter acts like Angel Olsen and Sharon Van Etten. And this year, she showed herself to be capable of moving outside of the country sound and dabbling with piano rock, where she can show even more of her belting in one of the most powerful vocal performances of the year. And despite the volume of her voice and instrumentation, it never detracts from the gut-wrenching emotions she has in the lyrics as she tackles yet another breakup. I have a sneaking suspicion this won’t be the last time I praise Brandi’s music but if she continues making amazing music like this, I can’t complain much.
20. Great Mass of Color by Deafheaven
I think it needs to be said but Deafheaven’s pivot to pure shoegaze was vastly overrated. Sure it’s not reinventing the wheel when it comes to shoegaze nor as interesting as their blackgaze work but it was still solid enough pivot and still retained smart writing. The influence of American Football and Mike Kinsella is pretty obvious (especially in George Clarke’s more clean vocals) but that’s not a bad thing, especially if like American Football, they can capture that moment of transcendent clarity. A calm amongst the storm that’s not a pure or complete cleansing of inner darkness or fear, but just a moment of respite and clear thinking. A moment of going back to the drawing boards and thinking about what needs to be done next, even if it’s not clear yet. But really it’s the final hook that really solidifies this song for me. The death metal shrieks with the guitars with the line ‘You are the sea and nobody owns you’ being echoed. It’s a powerful statement to end on that I think was sorely underappreciated this year and I hope gets more respect in future years.
19. My Head & My Heart by Ava Max
YUP! I really did that.
And no, I’m not being ironic whatsoever when I say Ava Max made one of the best pop songs of the year. And I get the feeling that for a song as simple and straightforward as this, it really is a matter of taste because yes, Ava Max isn’t re-inventing the wheel nor does she still have the charisma or personality to really stack against other pop acts right now. If you don’t really care for this song or don’t think it’s all that special (especially special enough to be above Magdalena Bay, Bo Burnham, Phoebe Bridgers, black midi, and other acts who made “better/more complex music” in 2021. But goddamnit, I don’t care: I love this song so much, there’s a reason this was one of my most played songs of last year. The way she elevates the original All Around the World with a tighter groove, the beat, one of Ava Max’s best ever vocal performances (and videos as well), all centered around her best ever hook. It’s unlikely Ava Max will ever catch lightning in a bottle this simple yet satisfying but again, even when pop is boiled down the basics, even an act like Ava Max can make something truly great.
18. A Bottle of Rum by Xiu Xiu
Take all the context and lyrics of Great Mass of Color but have it be preceded by a whole album of vulnerability and accepting personal weakness. It’s the climax of the the album, one of the most powerful musical statements this year but even taken outside the context of the album, it’s just a phenomenally beautiful dream pop song. Jamie Stewart’s vulnerable singing opposite Liz Harris of Grouper, playing the woman who finally let’s him pick up the pieces of himself for self-compassion and to find love. In a world full of nihilism, pessimism, and despair, being able to find the light and create hope in the darkness – it wasn’t an easy path getting here nor will it be a stable path going forward; there’s still lingering anxiety and worry – but to be able to move forward, it is inspiring. And what’s funny is that this isn’t in my Top 3 of OH NO but we’ll leave that for another list. For now; a beautiful song and from a band mostly known for darkness, that was a pleasant surprise.
17. Ambiguous Norway by Cassandra Jenkins
…Not gonna lie: even until now this is the hardest song to really revisit and the one that touched me the hardest. Cassandra Jenkins’ tribute to the late David Berman with her grief-stricken vocals, the soft instrumental full of harps, snares, it’s always knocked the air out of me every time I’ve listened to it. Especially when you can clearly here her still trying to process events and trying to accept the reality of the situation…even if she doesn’t want to. No amount of description I have will ever do fully capture her grief over the situation, hence why it’s so hard to revisit. But it’s one I’m grateful to have heard and I hope Cassandra as well as David Berman’s family is healing. May David rest in peace and Cassandra’s words ring truer than ever.
You’re gone, you’re everywhere
16. INDUSTRY BABY by Lil Nas X and Jack Harlow
I’ve said it before and I’ll expand on it in another list but Lil Nas X is one of the most forward thinking and creative acts in the mainstream right now. Which might seem like way too much praise to the point of overexaggeration…but it’s probably one Nas has heard himself, one that he expects to here in fact. He’s acutely aware of all his detractors and critics who are ready to decry him a flop, a fad, and an artist who’s nothing but gimmicks of controversy, but only will he prove them wrong and flip expectations on their heads, he’ll have those who support him in populist empowerment. And with the powerful horns, catchy flows and a great hook, the queer spirit, and a fantastic verse from Jack Harlow, both men take what could’ve been another tired, annoying ‘fuck the haters’ song into something actually anthemic and motivational. Having studied queer arts and how most of it revolves around being the outcast of society, it’s great to hear a mainstream song from a queer artist actually bring us to the forefront.
But really when a song has the line: “All these social networks and computers got these pussies walkin’ round like they ain’t losers”. What else do I need to add?
15. CORSO by Tyler, the Creator
And speaking of gay black men feeling and acting powerful, I mean like Ava Max there’s a limit I can say to a song as simple as this and unlike Ava Max, everyone is on board with how great of a rapper Tyler is. His unique voice and buckets of charisma, the amount of quotables in this song, the various flow switches including a mantra to ‘turn the noise up’, even DJ Drama’s adlibs are great (according to Tyler, they were originally meant for A$AP ROCKY but I don’t think ROCKY would’ve been as charming as DJ Drama). Again, what else can I really add? Everyone’s praised Tyler to hell and back, if you aren’t on board yet, what the hell are you waiting for?
Call me if you get lost, bitch!
14. The Beachland Ballroom by IDLES
It takes balls and guts for IDLES to release a song this dark as their lead single, especially after so many anthems of populism but I’m also grateful because it’s one of their most raw and powerful songs ever. It’s a wake-up from a cocaine binge but in all the worst ways. Sweat sliding down your head, teeth grit, fist clenched, on your knees, barely conscious and aware of the self-destruction you’ve put yourself through and will most likely keep going through given addiction, but rather than being voyeuristic in despair it’s visceral and real. Joe Talbot’s howling for the final half of the song being the most evident, just a roar to self-destruct and leave nothing in it’s wake. It’s great to see IDLES shed the image that they’re just a band full of progressive sloganeering and that there’s also a reality behind all the loud anthems they make, a reality that’s darker than some of us realize.
13. 4 Da Gang by 42 Dugg and Roddy Ricch
Cards on the table: best trap hit of the year. And I know it might be “heresy” to rank a song like that so high but I don’t care, there’s just so much I love about this song! 42 Dugg has slowly been growing on me as a rapper; his nasal southern twang (odd since he’s from Detroit) took a while to get used to at first but he’s got enough presence and confidence as a rapper. And I also love his affection for the West Coast sound and bounce while never coming across as a poser or just doing a throwback for nostalgia sakes. And with Roddy Ricch still being one of the more colorful rappers in trap right now, the Scopions sample accenting the beat, and the chemistry both rappers have to play off with each other, again a song I found myself replaying over and over again. Too many people slept on this song and 42 Dugg this year, I think they need to change that.
12. Born Yesterday by Arca feat. Sia
Look, I get given the title given the title and Sia’s involvement it’d be easy to mock and ridicule this song but I hope people don’t ignore this song just because of Sia. They’d be missing out on one of Arca’s best songs yet and one of the powerfully queer musical statements of last year. The way that Arca’s been able to tap into a real LGBT emotional spectrum over the past two years has been fascinating to watch. And while most of it has ranged from smart flips of reggaeton tropes, peaceful ambience, or reckless but proud noise, this is her at her most angry. Still confident but fighting against a system that would dare question her intelligence and integrity as a trans woman and the gall at them for ever thinking they could take that away from her. But while I could praise the unstable groove and the flapping synths that sound like hordes of insects, loathe as I admit it, it’s really Sia who makes the track standout and as powerful as it is. This is without a doubt the best she’s sounded in a decade: not just spewing empty pabulums or corporate slogans of being united, this is her sounding reinvigorated and with purpose. It’s a loud song that shouts I am here and I’m not moving an inch in the face of systemic discrimination that feels real and should be an anthem for LGBT unity in the future. We weren’t born yesterday and we aren’t going anywhere tomorrow.
11. EAT by Poppy
I would’ve never suspected that a short little EP for WWE’s NXT brand of all things would lead Poppy to making some of the best music of her career and the best metal music she’s ever put out. Stripping away all the irony that’s been curtaining the impact she could do and giving one her best ever vocal performances with howling shrieks and distorted yells into something manic and looks chaotic but like with Arca, it’s not without a point. There’s a great anger in her voice as she lays it all out and yells ‘WHAT WOULD YOU LIKE TO EAT’, and given the real abuse and trauma she’s escaped, it’s a cathartic yell she more than deserves. It’s Poppy finally evolving into a credible and interesting metal act, perhaps the final stage of her evolution into metal but let’s hope the great music doesn’t end here and that she can expand and explore metalcore even more. I think we should all be grateful we’ve arrived at this destination.
So plenty of great material I shared and I hope y’all will check out but before I reveal my top 10 songs of 2021, here are the final 20 honorable mentions:
Bouncin by Tinashe
Like I Used To by Sharon Van Etten and Angel Olsen
Delicious Things by Wolf Alice
You’re Not One to Cry by Fawning
Hollywood by Emma Ruth Rundle and Thou
Peng Black Girls by ENNY feat. Jorja Smith
quicksand by Morray
Perennial Philosophy by Eidola
family ties by Baby Keem and Kendrick Lamar
mememe by 100 gecs
bugAboo by bugAboo
Tiny Houses by Sweet Trip
Stand for Myself by Yola
Venus Fly Trap by MARINA
Moonwalk by CupcakKe
porcelain slightly by Lil Ugly Mane
Thing With Feathers by Every Time I Die feat. Andy Hull
Measure of a Man by FKA twigs feat. Central Cee
DONT SHOOT UP THE PARTY by BROCKHAMPTON
Strawberry by Doss
And now that we’ve got that out of the way, let’s finish this!
10. Take My Breath by The Weeknd
If I’m being honest, I’ve never been over the moon with The Weeknd’s retro throwbacks. Don’t get me wrong, they’re fun mostly competent and they’re not just shamelessly nostalgic but I’ve always been more attached to the original brooding darkness that Abel’s been making his bread and butter for the past decade. So when I say this is the best of his 80s throwbacks and the best thing he song The Weeknd did in 2021, I mean that. Obviously the 80s disco beat is great to hear (nice to know the Daft Punk influence hasn’t gone even if they have) and of his mainstream hits, this is probably one of his catchiest hooks ever, it’s so sticky. But what I might love the most are the lyrics. Walking the tight line line of total sadistic submission while still having that nervous fear of ‘oh god, this might actually be the death of me’ in great melodramatic fashion.
9. Yoru Ni Kakeru by YOASOBI
Okay I know I’m cheating a ton by using a song originally released in 2019 but in all fairness, this song didn’t truly grow on me until this year, it was at least released on their debut EP released in January, and I couldn’t go a year without talking about this song, especially since it was one of the songs that defined my year. It’s pretty much common knowledge at this point how the jaunty and upbeat dance melody and vibe can be a bit of a tone clash with the lyrics discussing a love story with a double suicide. But I’d like to add that: 1. all of YOASOBI’s works are based on short stories and I think they do the story justice, and 2. even if that context is a bit jarring, I think that doesn’t take away from the great infectious beat, melody, and hook. And paradoxically, you could argue that it being so catchy is in line with the temptation…but look, everyone who loves this song isn’t in it for the lyrics. It can join the pantheon of great upbeat sounding songs with depressing lyrics. It hasn’t stopped anyone from listening to say 99 Luftballoons or Every Breath You Take, and it shouldn’t stop it now. There’s a reason YOASOBI’s one of the biggest acts in Japanese music right now: they make great pop music that’s catchy on the surface and can draw you in with great fantastical storytelling if you take the time to dig deeper.
8. Good Girls (Don’t Get Used) by Beach Girls
And speaking of great pop music with a subtle edge one of Beach Bunny’s best ever songs – perhaps their best ever? – and a great reason why they’re one of my favorite pop rock bands right now. A great brash and proud assertion from Lili Trifilio to prod the guy to stop messing around and be up front, stop playing games but also a reminder that she’s not one to be played with. For me, the line that’s always resonated with was this: you’re not a ghost, I’m not afraid of you. Simple, a bit basic, and with a sly use of current gen z lingo but as she asks in the song entails, straightforward and direct. She’s been clear about who she is, why can’t the guy? Couple that with familiar but effective pop rock instrumentals, I feel that Beach Bunny’s breakthrough should be coming any time soon. They’re adolescent twee Gen Z in the best way.
7. bang! by Haru Nemuri
But if you want a song that’s a bit more dense, full of political anxiety and stress from information about global news we’re all too aware of at the moment, and yet despite all that will still sing for life just to embrace it, yeah you’ve got one of Haru Nemuri’s best ever songs here and my favorite rock song of the year. Where her wordy, almost spoken word concerns are real, honest, and true and yet she’s still find a way to have spark to explode, have that burst of energy especially on the final chorus where the guitars shred for one of the best final hooks of the year. It’s an incredible powerful song and a statement I think most of us could use right now, and I could all just break down into one simple word: bang!
6. Good Days by SZA
I mean…what can I even add? It’s one of the most acclaimed songs of last year – hell it’s THE most acclaimed song that came out during 2019 on RateYourMusic’s ranking. And I feel like I’d be echoing what everyone else has said. The warm guitar driven instrumental, SZA sounding great, the outro with Jacob Collier that’s the best thing he’s ever made, and around it all, the conflicted feelings of trying to find good days and happiness in the midst of tragedy and depression – the callback to the story of Job is very clever, one that actually gets down to the root of the gospel in not trying to find silver linings but just pushing through with your strength. It is just a beautiful…but you don’t need me to tell you that.
5. I Hate You, I Love You by Little Simz
I feel like I could have put any Little Simz song here and no one would really disagree if I said it was the best hip-hop single of the year. It’s just been great to see her gain a critical following while still being one of the best lyricists in rap right now and without having to compromise her feminist vision. And while ‘Introvert’ was a great teaser and ‘Woman’ is one of best female empowerment songs I’ve heard in a while, we have to talk about one of the best songs on the album, one of the most personal and touching. It’s a long, in depth, look at fathers; both the love for the good times she’s had and in how she used to view him as her hero but also the hate in the trauma and abandonment. And it’s the latter side that’s most interesting, because Simz makes it clear she does not want the hate to rule her life but she also doesn’t know how to let go. It’s a decoupling she’s still in the path of doing, of humanizing family, but it’s a necessary one if she’s to be a strong woman. It’s a powerful song that needs to be heard but most importantly dissected and analyzed, along with the rest of her album. Statements this complete don’t come often, especially in rap, and I think we need to treasure that.
4. All Too Well (10 Minute Version) by Taylor Swift
…I mean, duh!
I debated for a bit whether or not I would include this song – even thought about just leaving this as the highest honorable mention. But ultimately the experience of listening to the full 10 minute version was first experienced this year. And besides, I couldn’t go this year without mentioning the year’s best hit and already one of the best ever songs to top the charts in history.
Because yeah, it really is as amazing as everyone say it is. Like Jenny Hval’s Jupiter, you barely notice this goes by, even with it going 10 minutes. The pacing and construction of going Verse-Hook-Verse-Hook and pause before the final verse and hook and a final two minutes just allowing you to breathe. Taylor’s storytelling has never been as strong as it’s been, the detail in showing how a relationship starts but turns into tragedy, melodramatic sure but like the best of her songs, it’s all done with a sincere and human touch. And since this is one of the re-recorded versions for her version of Red, her more adult and mature vocals along with the improved instrumentation that shows how much she’s grown since 2012, it’s a sight to behold. But all that begs the question: if a song that good with all these elements of heartbreak while also showing true artistic growth is only number 4 on this list, what could possible be better?
3. The Princess and the Clock by Kero Kero Bonito
When I first heard this song back in February, I immediately knew this would be a shoe-in for the Top 3 of this year, hell for a few months, I thought it would be the best song of 2021. Kero Kero Bonito’s best ever song that like All Too Well tells a story and one with a larger scope, and yet the fact they’re able to tell what is presented as a legend, a fairy tale in less than 4 minutes, while still showing a complete journey shows why they’ve been one of my favorite electropop acts of the 2010s. And this is them at their best: one of Sarah’s best ever vocal performances, the mystical and fantastical tone of the instrumental with one of the best drops and bridges of the year, it’s just a beautiful pop song and even with all the darkness KKB have always dabbled in, they show true genuine optimism can be just as inspiring in a time of nihilism and pessimism. It really is a song that I think speaks for itself.
2. Hall of Mirrors by Let’s Eat Grandma
So in my unpublished list for the best songs of 2019, I had Let’s Eat Grandma in my top 5 of that year and since then, I wondered if maybe I’d overhyped them a bit too much. I was just getting into more indie music, maybe if they come back I wouldn’t love them as much given how much indie pop I’ve listened to since then.
Well I’m more than glad to be proven wrong and that yes, Let’s Eat Grandma is one of the more interesting and promising acts in indie pop right now. Given they’re rather unorthodox experimentation, I recognize they’re not for everyone but personally, this song struck a chord with me that few songs really matched this year. And while I could talk about the great use of silence in the song, the gorgeous sax solo towards the end, the great piano against the buzzing synths, for me it’s something beyond the music. That feeling of being trapped in your own head, feeling dazed and hypnagogic stumbling around…and in the middle of the rain, finding calm and peace when you remember the love others have for you. It’s something special that I don’t think I’ll ever be able to properly write down how much this song touches me emotionally. And that’s fine, art this good can certainly leave you speechless or at a loss of words, and at the end of the day, resonate in a way only you know. And it’s something I’m truly greatful for.
1. Unfold by Porter Robinson and Totally Enormous Extinct Dinosaurs
Not gonna mince words, by the mid-point of last year. I knew this would be my number one song of the year, no doubt about it
But before I go on, personally I do want to address something. If there’s one thing I regret about my list last year it’s that I didn’t have Porter Robinson in my honorable mentions. I don’t regret placements of my list, I stand by most of it, but I do feel it was a missed opportunity not mentioning Something Comforting or Mirror last year. Well I’m more than glad to have made up for that mistake in hindsight in a big way!
Everything I said about Let’s Eat Grandma in terms of a personal, emotional attachment applies here albeit in a less abstract form. It’s a moment of finally letting go of yourselves; finally allowing others to share your personal weight that you feel you’ve had to shoulder for as long as you’ve been quiet about it. It’s a feeling of joyous and euphoric optimism that doesn’t feel plastic or bubblegum and yet is also authentic, and real. Every time the chorus comes in with the clattering percussion and Porter utters the simple phrase “And I watched the water unfold, It’s a feeling I want you to know” it hits me in a way very few art really has. And after the up and down year I and many folks have had, a song that really spoke about a sense of optimism and positivity that can be achieved, you don’t have to bear the weight of everything on your shoulders; that it is okay to ask for and you’ll be all the more happier for it, I don’t see what other song could’ve topped this list.
It’s about as close to perfect as you could ask for in music, a song I think is truly timeless, and will go down as one of the best songs made this decade…but I think I’ve said enough and I should just let the song speak for itself.
The best song of 2021 by a good margin, let’s see what 2022 has to reveal when it unfolds.
Dre's Music Box 