My Favorite Records of 2021 So Far (In Alphabetical Order):
It is hard to believe we are already halfway through 2021. It has been an unquestionably strong year for music so far, which is good because there hasn’t been very much going on with live music yet. I am certain I will be seeing many shows during the second half of 2021, and I am hopeful there will be plenty more great records released in the second half of the year as well.
For now, below is an alphabetical list of my favorite records from the first half of 2021, as well as a modest writeup on the album from my weekly articles from so far this year. The first embedded spotify playlist is my favorite track from each of the albums below; the second embedded playlist below includes the standout tracks I selected for every record I’ve highlighted in the WILTTW articles each week—Please enjoy!
Aaron Frazier : Introducing…
A pleasant, unexpected discovery at the beginning of this year was this wonderful new solo record from Aaron Frazer, drummer (and back-up singer) of the soul revival band Durand Jones and the Indications. Produced and co-written by Dan Auerbach of Black Keys, this album is a super catchy contemporary soul classic. Frazer has an unforgettable falsetto voice and the pure pop songwriting is truly top class.
Standout Tracks: If I Got It (Your Love Brought It); Girl On The Phone; Ride With Me; You Don’t Wanna Be My Baby; Can’t Leave It Alone
Arlo Parks : Collapsed in Sunbeams
This talented London-based poet and songwriter has been releasing solid singles for a few years now. She released her long-awaited full debut Collapsed in Sunbeams in January. At just 20 years old, Parks displays an impressive ability to craft indie pop songs featuring a personal vignette approach to storytelling that recalls The Streets or Courtney Barnett. A nice listen for a smooth, low-key background vibe.
Standout Tracks: Black Dog, Eugene, Green Eyes, Hurt, Caroline
Bachelor : Doomin’ Sun
Bachelor is the new collaborative project of Jay Som (Melina Duterte) and Palehound (Ellen Kempner). I am not too familiar with Palehound, but Jay Som’s 2019 album Anak Ko was one of my favorite indie rock records from that year and featured the supremely likable single Superbike.
I had this record on my turntable nonstop for a couple of weeks last month. It is probably my favorite 90s Alt/grunge scene-channeling indie rock album since Soccer Mommy’s album from last year. Hole and Liz Phair are obvious touchpoints, but there is plenty of welcome reference points to Elliott Smith and The Smashing Pumpkins going on as well.
Standout Tracks: Back of My Hand; Anything At All; Moon; Sick of Spiraling; Stay In The Car
Black Country, New Road : For The First Time
Black Country, New Road are an exciting collective of seven young British artists mixing it up in the London music scene with fellow buzzy acts Black Midi and Jockstrap, the latter sharing band member Georgia Ellery. Their debut experimental rock record For The First Time covers an impressive range of musical territory in just 6 songs over 40 minutes, including post-punk, progrock, psychrock, spoken word, free-form, noise, and countless other dissonant elements. It is a thrilling, fascinating, and compelling listen.
Standout Tracks: Instrumental; Athens, France; Track X; Science Fair; Sunglasses
Cassandra Jenkins : An Overview on Phenomenal Nature
New York musician Cassandra Jenkins has been releasing music and playing in indie rock bands in relative obscurity for over a decade. With her latest fantastic record released in February, Jenkins will almost certainly deservedly raise her profile substantially.
An Overview on Phenomenal Nature is a beautiful collection of six delicate folk songs and one instrumental. The unquestioned highlight is the single Hard Drive, a stunning track melding spoken word, recorded dialogue from real-life interactions, and an instrumental buildup that culminates with a goosebump-inducing final two minutes that doesn’t lose any of its impact even after repeated listens.
This record features production and instrumental work by sought-after producer and musician Josh Kaufman. Kaufman is quickly gaining notoriety as one of the most influential producers in indie music. He was a bandmember and producer on strong 2020 records of TWO supergroups, Bonny Light Horseman and Muzz, and has played with Josh Ritter, The National, and The War on Drugs.
Standout Tracks: Hard Drive; Michelangelo; Crosshairs; Hailey; The Ramble
Dry Cleaning : New Long Leg
Dry Cleaning have forced their way into the forefront of the British indie music scene with their brilliant, brash new album New Long Leg. The debut record from this South London four-piece adds to an already strong year for British post-punk music with attitude and style. Dry Cleaning sets themselves apart with the seductive spoken word vocal style of lead singer Florence Shaw. American music critic Steven Hyden posted on twitter that “The Dry Cleaning record replicates an experience I’ve had many times – seeing a very hip and buzzy band live and having a very bored-sounding person behind me talking over them.” For me, Ms. Shaw’s vocal shtick is a charming, fun part of the Dry Cleaning appeal.
Standout Tracks: Scratchcard Lanyard; Strong Feelings; Unsmart Lady; New Long Leg; Leafy
Esther Rose : How Many Times
I don’t often find myself listening to records with prominent fiddle, yet this Esther Rose LP was in heavy rotation on my turntable upon its release this spring. How Many Times is the third album from this New Orleans-based artist, but the first one to come to my attention. Rose has a wonderful voice and, most importantly, has written a collection of undeniably strong, inviting tunes. A pleasant surprise of a stellar Americana record.
Standout Tracks: Keeps Me Running; How Many Times; My Bad Mood; When You Go; Mountaintop
Floating Points, Pharoah Sanders, and the London Symphony Orchestra : Promises
The strong early contender for 2021 Album of the Year for many critics is this collaboration between British indie electronic producer Sam Shepherd (aka Floating Points), jazz saxophone legend Pharoah Sanders, and the London Symphony Orchestra. The story goes that Sanders appreciated Floating Points’ early work and reached out to express an interest in working together. I can only imagine that Shepherd could not say ‘Yes’ fast enough.
The result is a subtle, gorgeous 46-minute, 9 movement composition that sounds like the background music of a hazy dream. Sanders’ saxophone is delicate, deliberate, and always welcome. When the London Symphony orchestra takes center stage in Movement 6, it is genuinely overwhelming and moving. Beneath it all is the gentle, beautiful electronic framework expertly crafted by Shepherd.
Definitely a record to best consume in one sitting, it is a career highlight for Floating Points and a worthy addition to the Sanders catalog. Although perhaps not an album likely to be revisited often, one can’t help but sincerely respect and appreciate the accomplishment of this monumental, worthwhile project.
Standout Tracks: Movement 6, Movement 1, Movement 5, Movement 9, Movement 4
Genesis Owusu : Smiling With No Teeth
There is a completely overwhelming amount of new music released each week. It is honestly impossible to keep it up with it all. There are typically around 8-10 new albums each week that I am interested in exploring to see if I will connect with it. And there are literally dozens more every week that I just don’t have time or energy to give a listen.
I inevitably make snap judgements when I see an album cover, artist name, or genre and write something off without checking it out—which I initially did with this brilliant album Smiling With No Teeth by Genesis Owusu. I made the decision to forgo listening based partially on seeing the album cover (I haven’t ever listened to a Post Malone, Lil Wayne, Lil Jon, any other Lil’s album for likely the same reason—maybe I should change that too!).
Thankfully, I research new and upcoming music through a variety of resources—Spotify and Apple Music Playlists, Sirius XM, Bandcamp, music websites and blogs, and great music magazines (like MOJO, Uncut, Record Collector, Record Culture Magazine, Rockin’ On, Under the Radar, etc.) and was exposed to enough positive buzz about this record that I added it to my priority listen list.
All it took was one listen to the tracks Don’t Need You and A Song About Fishing and I was won over. Genesis Owusu, born in Ghana but raised in Australia since he was a small boy, is an artist that is difficult to categorize by genre; it feels mostly hip-hop, but saying that feels like a betrayal to the diversity of the sound and scope of the record. Having now listened to the album several times through, I am reminded of bands and artists as diverse as Bloc Party, Young Fathers, Twin Shadow, Chance the Rapper, and Yves Tumor. Regardless, it is an irresistible collection of accessible, catchy songs featuring first-rate production and an extremely promising debut record from an intriguing new artist.
Standout Tracks: Don’t Need You; A Song About Fishing; The Other Black Dog; No Looking Back; Waitin’ on Ya
Gruff Rhys : Seeking New Gods
Another great record from an underappreciated British indie artist that truly deserves more attention and acclaim. It sometimes feels like casting pearls before swine (I’m joking…mostly), but I will persist in my self-appointed role of unapologetic evangelist for the unsung musical geniuses!
Gruff Rhys has built an extraordinary, fascinating music career and yet he is completely unknown to many fans of contemporary indie music. He began his career as a teenager in a band called Ffa Coffi Pawb that achieved notoriety in his home country of Wales. His next band Super Furry Animals signed to the famous indie label Creation Records right at the peak of Britpop in 1995. Their fantastic 1996 Creation debut Fuzzy Logic is their creative peak from this era. Right after the turn of the century, Super Furry Animals signed with mega-label Sony and released arguably their two best albums, Rings Around The World in 2001 and Phantom Power in 2003. Unfortunately, by their 2005 record Love Kraft, changing music tastes and a changing music business landscape led to their departure from Sony. Around this time Gruff started dabbling in some solo projects and in 2007 Rough Trade Records signed both Super Furry Animals and Rhys for his solo work. Always keeping busy, Rhys also formed an electropop side project called Neon Neon whose 2008 debut Stainless Style was nominated for the prestigious Mercury Prize for best British album of that year. As a solo artist, Gruff has released a total of 7 albums and five of them are excellent: Candylion (2007); Hotel Shampoo (2011); American Interior (2014); Babelsberg (2018); and now Seeking New Gods this year.
This new record Seeking New Gods displays the full arsenal of Rhys’ skills as a songwriter. The album’s first four tracks are all examples of textbook indie pop songcraft combining familiar and welcoming melody with clever lyrics. The brilliant guitars in Hiking in Lightning recall the greatest moments of Super Furry Animals Creation Records years in the 90s. Stunning album closer Distant Snowy Peaks is the tender ballad that burrows its way right into your soul. I don’t know how he manages to be so prolific, yet he has again put together an inspiring collection of effortless-seeming, upbeat, beautiful pop songs.
I got to see Gruff and his band play at the End of The Road music festival in England in 2018 as they were touring his fantastic solo record from that year, Babelsberg. I was also able to see the Super Furry Animals play a fun show a comeback tour of sorts in Portland OR several years back. I am convinced that Gruff Rhys is one of the most talented pop songwriters making music.
Standout Tracks: Can’t Carry On; Distant Snowy Peaks; Hiking In Lightning; Loan Your Loneliness; Seeking New Gods
Hildegard : Hildegard
Hildegard is the exciting project of promising Montreal-based indie artists Helena Deland and Ouri. Deland’s and Ouri’s respective skillsets and styles complement each other very well and the resulting product has to have exceeded their expectations going into the project. Their newly-released self-titled debut record is a thrilling, satisfying electronic tour de force.
Just last year, Helena Deland released the brilliant record Someone New under her own name. This record was apparently recorded over 8 days, with one track coming out of their sessions each day. Standout album opener Jour 1 expertly builds up to a frenetic, cathartic climax and then slowly cools back down to blend into the dreamy, midtempo lead single Jour 2. The rest of the record is an engaging blend of Deland’s inviting vocals and Ouri’s elite production.
Standout Tracks: Jour 1; Jour 2; Jour 3; Jour 8; Jour 4
Hiss Golden Messenger : Quietly Blowing It
Prolific North Carolina Americana band Hiss Golden Messenger released the strongest album of their career last month. Formed in 2007 by MC Taylor and Scott Hirsch, Hiss Golden Messenger has now released twelve records, with the last seven on famed indie label Merge Records. On this latest record Quietly Blowing It, band leader and chief songwriter Taylor paired his strongest collection of songs with a standout, warm vocal performance that feels comforting and inviting coming out of these challenging times. Standout advance single Sanctuary is one of my favorites songs so far this year.
MC Taylor runs in the same music circles as many of the busiest and best folk artists working today. Previously-mentioned in demand producer and guitarist Josh Kaufman contributed instrumentals to this record, and Taylor co-wrote another album highlight If It Comes In the Morning with Anais Mitchell, who was part of last year’s brilliant Bonny Light Horsemen folk project with Kaufman and Fruit Bats lead man Eric D. Johnson. This is music perfectly suited for a beautiful summer evening outdoor concert setting.
Standout Tracks: Sanctuary; Glory Strums (Loneliness of the Long-Distance Runner); If It Comes In The Morning; Hardlytown; Way Back In The Way Back
Japanese Breakfast : Jubilee
Jubilee is the newly released third record from Japanese Breakfast, the music project of Korean-American rising multimedia star Michelle Zauner. 2021 is a massive year for Zauner; in addition to the release of this fantastic record that will surely increase her profile further in both indie and mainstream music circles, she also released her debut book Crying in H Mart: A Memoir (now a NYT Best-seller), and she soundtracked the score for upcoming video game Sable set for debut in September.
Jubilee is an impressive leap forward from her solid 2017 sophomore record Soft Sounds From Another Planet. A massive increase in confidence is evident in the broader sonic palette, strong vocal performances, and evocative storytelling on display in these assertive, positive, dynamic songs. She collaborated with fellow indie music darling Jack Tatum of Wild Nothing on two of the best tracks on the record, lead single Be Sweet and Posing In Bondage. Second half album track Tactics is possibly the most gorgeous song I’ve heard this year. Opener Paprika and fellow album track highlights Slide Tackle and Kokomo, IN sound like a perfect marriage of Japanese pop and Camera Obscura.
We are very likely to see and hear (and read) more from Michelle Zauner in the coming years.
Standout Tracks: Be Sweet; Tactics; Posing In Bondage; Slide Tackle; Kokomo, IN
Julien Baker : Little Oblivions
Singer-songwriter Julien Baker released her third full-length album Little Oblivions in February. Just 25 years old, Baker has already established herself as one of the best singer-songwriters in indie music. Her first two records, Sprained Ankle and Turn out the Lights, both garnered impressive critical acclaim. Baker further strengthened her reputation through her excellent side project Boygenius, formed with fellow high-profile indie music talents Phoebe Bridgers and Lucy Dacus.
Little Oblivions sees Baker meld her typical strong, personal storytelling with more a full-band instrumental sound. Many of the tracks feature a noticeably more polished vocal performance that suits the material well, particularly on lead single Faith Healer.
Standout Tracks: Faith Healer; Hardline; Heatwave; Favor; Ringside
Lucy Dacus : Home Video
Acclaimed indie singer-songwriter Lucy Dacus released her long-awaited third album last month. Originally from the Richmond, Virginia area, Dacus is known for her personal narrative songwriting style. Highlight singles Hot and Heavy and VBS (Vacation Bible School) are textbook examples of her illustrative songcraft.
In addition to her excellent 2016 debut No Burden and the exceptional 2018 follow-up Historian, Dacus also released an EP (also in 2018) as of part of the aforementioned indie supergroup Boygenius with Phoebe Bridgers and Julien Baker.
Standout Tracks: Hot and Heavy; VBS; Brando; First Time; Going Going Gone
Madlib : Sound Ancestors
One of the most respected and prolific hip-hop artists ever, Madlib continues to churn out brilliant records. His latest, Sound Ancestors, was released on streaming in January with the vinyl arriving in shops in March. Produced by fellow genius music producer Kieran Hebden (Four Tet), this largely instrumental album has had the music nerds foaming at the month since it was announced late last year. Lead single Road Of The Lonely Ones will surely be one of the catchiest tracks released in 2021.
Madlib has arguably no match when it comes to his skill of turning an array of disparate music samples from his record collection into a new musical creation. The resulting career has provided some of the most groundbreaking hip-hop collaborations and projects of the last 30 years. In 2003, he released the record Shades of Blue, comprised almost entirely of remixed samples from the Blue Note catalog. The following year, he and MFDoom released the legendary album Madvillainy under the Madvillain name. More recently, he collaborated with rapper Freddie Gibbs on two strong albums, Pinata and Bandana. Revisiting the entire Madlib catalog is a worthwhile exercise for any music fan, not just hip-hop and rap aficianados. Sound Ancestors is an early contender for 2021 Album Of The Year.
Standout Tracks: Road Of The Lonely Ones; The Call; The New Normal; Hang Out (Phone Off); Theme De Crabtree
Sault : Nine
Mysterious London music collective Sault gave the music world a pleasant surprise when they announced yet another new album on just a couple of weeks notice. New record Nine became available late last month and will supposedly be available for streaming and for sale for only 99 days before disappearing forever (!). Gimmicky release aside, Nine is another equal parts catchy and thought-provoking collection of brilliant soul, R&B, and hip hop songs with themes related to the black experience across the world. Close on the heals of two great records released last year, Sault is proving to be one of the most prolific and influential music acts active today.
Standout Tracks: London Gangs; Trap Life; Bitter Streets; Light’s In Your Hands, You From London
Sons of Kemet : Black To The Future
The Shabaka Hutchings-led British jazz juggernaut Sons of Kemet released their fourth album, and second consecutive on legendary jazz label Impulse! (after monumental 2018 album Your Queen Is A Reptile), earlier this month. Sons of Kemet are fascinating to listen to for many reasons, but primarily because the band includes a tuba and two drummers along with Hutchings’ sax and clarinet. The result is a very Caribbean and African jazz sound, and an often very prominent role for Theon Cross’ tuba. An invigorating and thought-provoking modern jazz record.
Standout Tracks: Hustle; Pick Up The Burning Cross; Let The Circle Remain Unbroken; To Never Forget The Source; Think Of Home
St. Vincent : Daddy’s Home
Annie Clark (aka St. Vincent) is a bonafide rock star–surely among the most interesting, talented, and ground-breaking artists in music. She is an amalgamation of the brilliance of Madonna and Prince, but operating two decades too late to have the same cultural impact. Her fantastic new record Daddy’s Home, released earlier this month, deserves consideration as an Album Of The Year contender.
Clark, originally from Oklahoma and Texas, began her professional music career as a band member of Polyphonic Spree and then as part of Sufjan Stevens’ touring band. She released her debut LP Marry Me in 2007. Following two more solid full albums (Actor in 2009 and Strange Mercy in 2011), she embarked on a fruitful recording and touring collaboration with David Byrne. Her two highest-profile records, 2015’s self-titled record and MASSEDUCTION in 2017, transformed her into a prominent name in indie and mainstream music circles.
In recent years, Clark added film directing and music production to her resume. She produced the Sleater-Kinney record The Center Won’t Hold in 2018 and collaborated with super producer Jack Antonoff and Taylor Swift on a track in 2019. Clark joined Antonoff on production duties for this new St. Vincent record.
Given the artist/producer combination involved, Daddy’s Home features the impeccable production and rich, layered sound you’d expect. What feels different about this St. Vincent record is a casual, loose vibe that permeates every song and the deployment of warmer, softer instrumentation creating a comforting, luxuriant experience.
Filthy and delightful album opener and lead single Pay Your Way in Pain kicks the record off with carefree piano abruptly careening into sleazy synths. Elsewhere, including on highlight track The Melting of the Sun, we are treated to sitar guitar, funk guitar, pedal steel, organ, and more. At The Holiday Party winds the record down with gorgeous, soothing brass flourishes.
Pay no attention to any music critics calling this a disappointment or misfire. Daddy’s Home is a more than fitting addition the impressive catalog of a rock star operating at the top of her game.
I’ve seen St. Vincent play powerful shows in festival settings at Austin City Limits and the End of The Road Festival in England. I’m excited to see her play at the Gallivan Center later this year as part of the SLC Twilight Concert Series.
Standout Tracks: Pay Your Way in Pain; The Melting of The Sun; Down; Somebody Like Me; …At The Holiday Party
The Antlers : Green to Gold
One of my most anticipated albums of the year, Green to Gold by The Antlers finally arrived on both streaming and vinyl in late March. Originally started back in the ‘00s as a Peter Silberman solo project, The Antlers have been one of my favorite below the radar indie bands of the last 10+ years. Silberman joined with bandmates Michael Lerner and Darby Cicci to record their iconic 2009 album Hospice, considered one of the best indie albums of that ‘00s decade. They continued their solid work into the 2010s, releasing fantastic LPs Burst Apart (2011) and Familiars (2014) and the top quality Undersea EP. At their 2010s peak, The Antlers’ layered and challenging sound was reminiscent of Radiohead circa The Bends or Hail To The Thief.
On Green to Gold, Silberman and Lerner (Darby Cicci did not appear on the record) employ a more spacious, leisurely sound with some subtle, delicate jazz and classical elements. I doubt I will ever tire of the brass instrumentation on album highlight It Is What It Is. This record sounds absolutely amazing on vinyl—what a sublime pleasure it was to allow myself to be enveloped by this gorgeous music (at high volume!) on my home hi-fi setup.
I’ve seen The Antlers play live a few times over the years and I desperately hope they are able to tour this record and properly recreate these soothing sounds. This record is absolutely an album of the year contender for me.
Standout Tracks: It Is What It Is; Wheels Roll Home; Stubborn Man; Green to Gold; Solstice; Just One Sec
The Besnard Lakes : …Are The Last Of The Great Thunderstorm Warnings
One of my favorite records coming out of the winter doldrums was this satisfying throwback; an earnest, ambitious indie rock concept opus full of six minute (or longer!) songs meant to be consumed together in one sitting. This sixth album from the Montreal six-piece feels strangely nostalgiac and reassuring. An example of a record that both immediately draws one in on first listen as well as rewarding repeat listens, it is reminiscent of similar-scale work from Spiritualized, The Verve, and Band of Horses.
I appreciated the following quote from their website describing this new album: “In these scorched and pitted times, as the world smoulders, there might be nothing less trendy than an hourlong pyschrock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more. …The Last of the Great Thunderstorm Warnings is a bright-blazing requiem: nine tunes that are one song and six musicians that are one band—unleashed and unconstrained, piercing and technicolour. At the end of the golden day, The Besnard Lakes are right where they should be.”
Standout Tracks: Raindrops; New Revolution; Our Heads, Our Hearts on Fire Again; Feuds With Guns; The Last of The Great Thunderstorm Warnings
Valerie June : The Moon and Stars : Prescriptions for Dreamers
Earlier this year, I stumbled onto the advance singles for this album and was immediately won over by the incredible vocal talent of Valerie June. June has been making music for almost two decades, starting in her home state of Tennessee and eventually based in Brooklyn. Dan Auerbach of the Black Keys co-wrote and co-produced her breakthrough 2013 record Pushin’ Against a Stone. Her 2017 follow-up record The Order of Time gained her further critical acclaim, but her new record will likely propel her to a new career pinnacle. I dare you to listen and not to be enchanted by the delightful, distinctive voice of Valerie June.
Standout Tracks: Stay; Call Me A Fool (Featuring Carla Thomas); Why The Bright Stars Glow; You and I;
Wild Pink : A Billion Little Lights
Sometimes I seek out music that is going to challenge me and force me to wrap my mind around something unfamiliar and maybe a bit abstract. Other days I am in the mood for accessible comfort music that I can connect with immediately and enjoy without much expended mental effort. It might sound like I place greater value on the former, but that’s not true. I think the ability to write a catchy, accessible, well-crafted pop song with staying power is an extremely important and valuable skill, especially now that Top 40 radio no longer really exists.
Wild Pink’s latest record A Billion Little Lights sounded a little too safe and vanilla on my first listens, but I continued to find myself drawn to it, especially when I was in a state of mind where I just needed to hear something light and easy and comforting. This record is the third of NYC-based Wild Pink’s career and first on new label Rocky Mountain Records. Frontman John Ross has written and arranged a strong collection of rewarding indie folk and americana songs. The instrumentation and vocals are all top notch, especially the backing vocals of Julia Steiner of Chicago band Ratboys, who complements Ross’ lead vocals so well on several album highlights, including opener The Wind Was Like A Train and You Can Have It Back.
Standout Tracks: The Wind Was Like A Train; You Can Have It Back; Bigger Than Christmas; The Shining but Tropical; Amalfi; Oversharer’s Anonymous; Family Friends
Wolf Alice : Blue Weekend
Acclaimed London alt/indie rock band Wolf Alice returned last month with their highly-anticipated third record Blue Weekend. The band’s first two records, Mercury Prize-nominated My Love Is Cool in 2015 and Mercury Prize-winner (!) Visions of a Life in 2017, both mainly featured a 90s’ grunge guitar-centric alternative rock sound. This new album Blue Weekend shifts a bit more into shoegazey indie rock (or even dream pop) territory, though still obviously with designs on world domination. While there are not likely to be any singles on this record as immediately compelling as the phenomenal Don’t Delete The Kisses from the last LP, this latest record is almost certainly their most consistently strong record from top to bottom.
Wolf Alice set the tone for this album cycle when the announcement of the new record was accompanied by the release of incredibly ambitious, piano-driven lead single ballad The Last Man On Earth. Follow-up single Smile is the hardest rocker on the record and will calm any fan fears that Wolf Alice has gone too mellow. Still, most the remaining album high points are the more delicate, fragile, beautiful midtempo songs such as No Hard Feelings, How Can I Make It OK?, and Safe from Heartbreak (if you never fall in love) that reinforce the album’s breakup recovery narrative. Lead singer Ellie Rowsell is a bonifide rock star and it will not surprise if Blue Weekend expands the reach of Wolf Alice’s popularity further across the globe, perhaps even to America.
Standout Tracks: The Last Man On Earth; Lipstick On The Glass; No Hard Feelings; Safe From Heartbreak; How Can I Make It OK?; Smile; Teenage Headache Dreams
Yoshinori Hayashi : Pulse of Defiance
Speaking of music that can be challenging and abstract at times, I am really enjoying the latest record from Tokyo producer Yoshinori Hayashi. This album’s abrupt genre shifts can be a bit disorienting, bouncing from techno to free jazz to ambient. Part of the appeal of listening to this record is anticipating what unexpected direction Hayashi will go next, even sometimes several times within the same track! One of my favorite electronic music releases of the year so far, I appreciate the intricate production, unique sounds, and playful melodies.
Hayashi’s Bandcamp page includes the following quote about the artist and this latest record: “Pulse of Defiance is the latest and most fascinating step in Hayashi’s still-blooming career—a half-decade of fantastically quixotic output that’s established him as one of electronic music’s most fascinating aural conjurers.”
Standout Tracks: Touch; Go With Us; Flow; Luminescence; Gallop
