Eligibility:
Any album officially released during the calendar year that is not a compilation, rerelease, or expanded edition of a previous album.
There is no limit per artist.
50) Zac Brown Band- The Comeback
The greater part of the last decade in Zac Brown Band’s discography has seen the creative pendulum consistently swinging back and forth between bold sonic experimentation and rootsy returns to their origins. Since 2019’s The Owl proved be a far more polarizing swerve than 2015’s Jekyll + Hyde, it seems only fitting that 2021’s The Comeback is a far more assertive roots revival than 2017’s tepid Welcome Home. At the dawn of the 2010s, there was no musical act (outside of maybe Mumford & Sons) that I was legitimately more excited about than ZBB, and the thematic, musical and stylistic threads running through this album feel more invested and committed in their original artistic fabric and identity than they have since Uncaged. Tracks like the “Chicken Fried”-esque smash “Same Boat” and the Mellencamp-recalling “The Comeback” use music to inspire and unify during today’s anxious world, “Fun Having Fun” returns the group to their jam-band glory, while soulful collabs like “Stubborn Pride” with Marcus King and “Closer to Heaven” with Gregory Porter bring out the absolute best in Brown’s soothing voice. Home felt almost like an apology (and an unnecessary one) for branching out; The Comeback feels nothing of the sort. It’s a refreshing reminder than Brown and his boys still love crafting their classic hallmarks as much as they do spreading their wings.
49) Nick Jonas- Spaceman
I firmly stand by my assessment that Spaceman is one of the year’s most overlooked records, both in terms of potential smash pop singles, and overall artistic growth and ambition. It’s wholly worthy of long-term recognition as one of the pandemic era’s most rewarding pop moments. Between the pensive, solitary reflection of cuts like the title track and “Heights”, dreamy 80s callbacks to artists like Peter Gabriel and Huey Lewis, and the quintessential contagion and escapist nature of bopping bangers like “Delicious” and “This Is Heaven”, this album is overloaded with the qualities that have defined other blockbusters that became essential ingredients to any quarantine survival kit. This is the moment where Jonas proclaims that his stamina as an artist will endure, even if his stamina as a hitmaker is waning.
48) Ed Sheeran- =
A hiatus of any kind in the music industry is a dangerous notion, especially when at the peak of one’s commercial powers. When factoring in a 2019 duets album, Sheeran was really only absent for a period of two years, but plenty of superstars have lost their drawing power in less. The savvy hitmaker avoided any such fate with fifth album, =, thanks to his skill in navigating the popular landscape of the moment without ever losing the grounding provided by his singer-songwriter roots. The pulsing folk-rock of opener “Tides” is a swirling coming-of-age moment where his newfound fatherhood collides with his fame. Hooky moments like “Bad Habits”, “Overpass Graffiti”, and “Shivers” are just as durable and infectious as past smash singles. Finally, he remains as gifted as any current act in terms of capturing poignant, real-life intimacy and charm as evidenced by “First Times”, “The Joker and the Queen”, and the absolute beautiful devastation of “Visiting Hours”. Artists of his ilk far too often fall off the edge into cloying pandering, but that particular moment is raw, somber and powerfully inspiring in all the most authentic ways. = is a well-rounded, emotional pop winner.
47) Halsey- If I Can’t Have Love, I Want Power
The most ferociously surprising revelation of the year arrived when Halsey’s fourth long-player recast the heretofore pop darling into a grungy, take-no-prisoners alt-rock debutante. With Nine Inch Nails visionaries, Trent Reznor and Atticus Ross at the producer’s helm, it’s a no-holds-barred exercise in the most snarling, unforgiving aspects of the alternative music world, but it’s even more fearless conceptually, exploring the complicated emotional dichotomies a woman experiences as she progresses through pregnancy and into motherhood. It’s a harrowing, and at times, horrifying listening experience, but it’s a remarkable artistic achievement as well; certainly Halsey’s crowning moment both narratively and stylistically. The entire record is truly best described as a whole, but if I were to single out the most particularly biting and enticing moments, “Lilith” and “Whispers” are my picks every time.
46) Steve Earle- J.T.
The entire impetus for Steve Earle’s twentieth studio album is one that no parent should ever have to face, and certainly not one that that we as listeners would ever wish upon an artist we love. Nevertheless, J.T. is a stirring piece of art, a proud and faithful tribute from a father to his exceptionally talented and far too soon departed son. At its most basic musical core, it’s a fantastic performance, which should certainly come as no surprise. After all, Earle is one of the most revered country-rock mavericks and a legendary songwriter and interpreter. And his son, Justin Townes Earle, over the course of a prolific thirteen years that produced eight studio albums, proved to be one of the very best musical scribes of his generation. His father covers many of his brightest gems here, from “Far Away In Another Town” and “Ain’t Glad I’m Leaving” to “Harlem River Blues” and “The Saint of Lost Causes”. The true centerpiece however proves to be the sole original and closing track, “Last Words”, which plays as Earle’s final farewell to his troubled son. Their relationship may have been complicated, but music was always a binding common ground, and that fact is showcased powerfully throughout J.T.
45) Coldplay- Music of the Spheres
For the release of their ninth studio album, the rock giants placed plenty of pressure on themselves, hedging a number of high stakes and stylistic choices that, in the hands of a less capable collective, could have become their “jump-the-shark” moment rather than another cohesive, vibrant entry in their two-decade canon. The album finds Chris Martin and company setting themselves conceptually in a fictional solar system to deliver these stories, while looking to follow in the sonic footsteps of 2005’s space rock odyssey XY, the best-selling LP of that year and arguably the band’s most popular work. Additionally, they venture into the realm of teen-pop with collaborations featuring both Selena Gomez and K-pop dynamos BTS. Never once though do any of these factors result in a feeling of desperate call-backs to the past or misguided attempts at relevancy. Instead, they bestow upon the listeners not only their purest pop effort to date, but also one of their most immaculately engaging and soothing bodies of work. Jams like “Higher Power”, “My Universe” and “Humankind” surge with nods to everything from the cosmic wonders of The Who and the 80s synth of Journey to modern power pop, while a track like the Gomez duet, “Let Somebody Go” once again displays the tender power of Martin’s inimitable range. Like all the very best Coldplay moments, Music of the Spheres is a gorgeous and atmospheric gem.
44) Willie Nelson- That’s Life
Willie Nelson will forever be, first and foremost, a definitive country icon. Of course, his entire career has been marked with prominent detours into other musical styles, with his jazz outings ranking high above the rest. The man could have easily made a career as a straight up jazz crooner on his phrasing techniques alone if he had so desired, and That’s Life, a second collection of Frank Sintara tributes and sequel to 2018’s splendid My Way, illustrates that well-established fact once more. His gracefully ragged gravel sounds just as natural against the exquisite backdrop of a jazz quartet as it does a steel guitar, and the combination takes the listener to a magical and luminous headspace. With his tremendous song sense once again collecting some of Frank’s best moments, the highlights are bountiful, with the intimate “Cottage for Sale” and landmarks like “Luck Be A Lady”, “I’ve Got You Under My Skin and “In the Wee Small Hours of the Morning” towering at the top. Elsewhere, “I Won’t Dance” with jazz darling Diana Krall is enough to make one long for a full-on duets project between the two.
43) Jackson-Sellers- Breaking Point
One of 2021’s best kept secrets is this union between two of alt-country’s most intoxicating singer-songwriters. On their own projects, both Aubrie Sellers and Jade Jackson have crafted their own blistering brands of greasy garage country that hits its sweet spot when their angelic voices and lush harmonies juxtapose against devilishly sinister walls of guitar rock. That pulsating potion is elevated to the next level when they join forces on the delicious Breaking Point. Electrifyingly muddy romps like the ragged title track, the bluesy rocker “Waste Your Time, and first single and Julie Miller cover “The Devil Is An Angel” (a perfect fit and undeniable centerpiece) will get your blood racing, while devastatingly aching ballads like “As You Run” and “Hush” carry a haunting aura that will surely find you in your sleep. A truly winning set that will hopefully prove to be more than just a one-off.
42) Travis Tritt- Set In Stone
A long fourteen year gap separated Travis Tritt’s Set In Stone and its predecessor, but it’s clearly evident that this period of inactivity has done nothing to temper the passionate soul and authority that has always permeated through the country veteran’s recorded lexicon. Now three decades past his debut, Tritt has become an elder-statesman for the brand of bluesy, Southern Rock-fried country sound that he carried the flag for as a young artist in the 90s glory days of contemporary country. He can still rattle the rafters with bar-ready country-blues as showcased on opener “Stand Your Ground” and tracks like “Southern Man”, which recalls everything from Waylon Jennings to Marshall Tucker Band and Allman Brothers Band, just as his signature hits always have. Perhaps most rewardingly, he remains one of the very best balladeers in any genre: the tender guitar-based “Leave This World is among his best and could’ve easily appeared on a heyday Willie Nelson record, while the title track is a soulful and bittersweet appraisal of his well-established musical legacy.
41) Red Rum Club- How to Steal the World
On their third studio album, Red Rum Club once again proves that while they may hone a very specific stylistic palate, it’s one of deceivingly expansive sonic range and narrative depth. Throughout the twelve tracks of How to Steal the World, this impressive and dynamic sextet steal our imaginations with dramatic yet seamless segues through sing-along pop (“Love Me Like You Wanna Be Loved”), thumping disco (“Nightcalling”), silky cocktail-hour allure (“Drown”), steamy sexual escapades (“Vibrate”), and much more. Once again, the unifying thread throughout it all remains the one-two punch of Francis Doran’s expressively entertaining vocal character and the luminous trumpet tones of Joe Corby. This band has yet to break through to a truly national audience in either the US or the UK, but this is another solid outing that once again demonstrates how overdue such recognition is. It’s a dazzling pop-rock delight.
40) Walk the Moon- Heights
After expanding their once-plucky alt-pop sound into a decidedly heavier rock formula with impressive precision and aplomb on 2017’s What If Nothing, Walk the Moon settles back into brighter and cozier hook-laden territory on Heights, the band’s fifth LP and first since becoming a trio following the 2020 departure of bassist Kevin Ray. That’s not to suggest they haven’t carried forward any of the growth shown on their last outing, with those influences still bleeding through moments like the opening title track or the South African-leaning collaboration with Jesse and Johnny Clegg, “Fire In This House”. All in all however, the album’s very best moments are permeated with the ingredients that have been band calling cards since “Anna Sun”: a joyful combination of colorful bursts of pop power and Nicholas Petricca’s signature charisma. This is one of those records that feels like a certifiable hit-factory with “Can You Handle My Love”, “I’m Good”, “My Kids”, “DNA (The Keys)” and “Giants” all worthy of the cross-genre domination that they would achieve in a perfect world. Endlessly entertaining from start to finish, through countless repeat listens.
39) Kings of Leon- When You See Yourself
When Kings of Leon returned this year with a legitimate radio resurgence in “The Bandit”, it was a reminder to a widespread audience that, regardless of airplay status, this is a group that has remained one of the rock world’s most reliably strong and satisfying bands. For those that had the taste and good foresight to listen to the album that spawned “The Bandit”, they were were rewarded with a solid set of the thoughtfully contemplative songs and passionate performances that Leons loyalists have been accustomed to for the past decade and a half. Listeners clamoring for a mainstream rock world more in touch with its guitar-driven past will find plenty of tasty licks to devour, particularly on cuts like the breezy “Echoing” and “Stormy Weather”, while Caleb Followill’s resonant rasp remains powerful and raw, especially on moments like the gracefully cinematic “Golden Restless Age”, the emotionally conflicted title track, and “100,000 People”, a somber tale about Alzheimer’s Disease, inspired by his ailing father-in-law.
38) The Wallflowers- Exit Wounds
The inimitable guitar jangle of The Wallflowers’ signature sound and the gritty gravel of Jakob Dylan’s voice remain one of the most rejuvenating sounds in all of rock and popular music. With Exit Wounds, the venerable band’s seventh proper album and first in nearly a decade, we find all those glorious qualities vitally strong, while also continuing to unearth new vibrant textures and topics to explore within their sturdy and consistent repertoire. The most radiant such discovery proves to be the vocal support of alt-country darling Shelby Lynne, whose golden pipes provide an added layer of graceful soul to no less than forty percent of the setlist (Dylan himself proudly proclaimed her as honorary Wallflower). Her empathetic vocals only further elevates the overall sound of the band, particularly on some of Dylan’s most characteristically pensive moments like the enthralling, nervy “Move the River” and the politically and socially conscious “I’ll Let You Down (But Will Not Give You Up)”. Meanwhile, lead single and Americana smash, “Roots & Wings” finds the troop delivering one of their most insatiably captivating singles to date, a full quarter-century after “One Headlight” sent them into the stratosphere of rock royalty.
37) Morgan Wade- Reckless
The first debut record on this year’s list and Lord, is it a magnificent one. Her biting twang, country-rock sound, and brutally honest songwriting are all equally razor-sharp, and Reckless is a sprawling journey through all the messy emotions and challenges that dominate real life and relationships. You know? Sort of like the most iconic rock and country records always have. The delivery of each and every cutting lyric and line are unapologetically stained in Wade’s unmistakable voice, which sounds like a sonic cocktail laced with cigarettes, whiskey and unfiltered life experience. Lead single “Wilder Days” waxes bittersweet nostalgia about reckless youth and a period in a relationship that never truly existed while “Other Side” counteracts that with the reward in finding someone who accepts you unconditionally. Meanwhile, tracks like “Matches and Metaphors” and “Last Cigarette” properly classify doomed romances among life’s most taxing vices, while illustrating her gift for combining smart songwriting with accessible arrangements. Perhaps the most stunning showcase of Wade’s gifts as an all-around performance abounds with “Don’t Cry”, an urgent permission slip to herself to fall apart in life’s most crippling moments: “It’s a beautiful thing to fall apart.” Reckless is stunning proof of such a statement.
36) Jack Ingram, Miranda Lambert and Jon Randall- The Marfa Tapes
For all the outstanding and beautiful music that was born out of the world-stopping pandemic that launched the 2020s, The Marfa Tapes seems to truly be the most fitting to be birthed out of such a strange, confusing, and isolating era. Recorded at the height of worldwide quarantine and civilization shutdowns, the record is created in perhaps the most stripped-down, raw setting imaginable: literally performed around a campfire in the Texas desert. The beautiful intimacy resulting from the conversational, atmospheric and unpolished performances makes a bold statement in the midst of a world increasingly obsessed with perfection and technology. It’s easy to focus on the artistic triumph this is for a superstar on the level of Lambert, especially in the midst of a mainstream renaissance of sorts, but The Marfa Tapes is truly a collaborative achievement from three of Texas’ most gifted modern songwriters, with Ingram and Randall equally contributing their talents to the overall ambience and success of the record. The entire proceeding has a classic Flatlanders vibe to it, thanks in part to not only the gritty honesty of the performances but also due to the startlingly strong set of songs it anchors, with “Tin Man”, “In His Arms”, “Am I Right Or Amarillo”, “Ghost” and “Geraldene” to name just a few. One of the very best left-turn releases in many moons.
35) Leah Blevins- Leah Blevins
For the all-too-brief but splendid thirty five minute duration of Leah Blevins’ rich studio album bow, the young Appalachian native reveals herself as an impressively distinctive voice, both vocally and compositionally. Her piercing, buttery twang is a stunning instrument, and one whose power will joyously surprise and move you and at every turn. It drips with influences ranging from Dolly Parton and Lee Ann Womack to Neko Case and Elizabeth Cook, but takes on a velvet quality that is uniquely her own. It sounds just as naturally revelatory against the foreboding and bluesy rock edges of opener “Afraid” and the eerie reverb of “Fossils” as it does residing against the luscious countrypolitan strings of “Beautiful Disaster” or the gospel undertones of “Clutter” and “Believe”. And then there’s first single, “First Time Feeling”, a bright, clear-eyed account of the joys and pitfalls of an aging romance, a true track-stopping revelation upon first listen. Quite simply, few records charmed me this year as endlessly as Leah Blevins, and I feel confident in my inclination that this woman is just beginning to showcase the wondrous depths of her deceptively imposing voice.
34) Ryan Adams- Big Colors
The eighteenth(!) studio album of troubled but brilliant singer-songwriter Ryan Adams finds the alternative stalwart returning to a bigger and bolder rock sound after the more meditative folk sensibilities of Wednesdays, which preceded its release by six months. Much like the most prominent moments in his storied catalog, Big Colors occupies the more brazenly moody realm of Adams’ creative mind and sonic palate. It pairs the pensive reflections of a jaded, if not completely bitter, heart with tantalizing flourishes of brooding rock guitars and synthesizers, most satisfyingly illustrated by performances like the title track and haunting single, “Do Not Disturb”: “My heart is closed….my heart is all packed up and ready to go.” Such accessibly somber and solitary moments abound throughout with frank accounts of heartache like “Fuck the Rain” and “In It for the Pleasure”. The two cuts I seem to gravitate back toward most frequently prove to be the rollicking “I Surrender” and the almost breezy “It’s So Quiet, It’s Loud”. Like so many other moments in Adams’ career, these two tracks remind us what a natural rock radio staple his material would have been had it arrived in the early 90s. Present personal circumstances will condemn this to be one of his most overlooked albums, but don’t let that undermine the fact that it’s also one of his best.
33) Natalie Hemby- Pins and Needles
The sophomore release from acclaimed Nashville songwriter Natalie Hemby further solidifies her status as a modern artist completely in touch with the esteemed lyrical acumen and stylish sensibilities of the storied women that helped define peak singer-songwriter eras in both the 70s and 90s. On Pins and Needles, her hair-raising voice and biting pen expand further upon the folk-leaning qualities of her debut by exploring her rockier influences, with excellent singles like “Heroes” and the title track announcing her as competition to fellow-Highwomen, Maren Morris’ claim as this era’s Sheryl Crow; either of those cuts would have been at home nestled on any of Crow’s 90s releases. That’s not to suggest that Hemby has abandoned the twangier country tendencies that have made her a co-writer on dozens of mainstream country cuts: tracks like “Hardest Part of Business” and the Miranda Lambert co-write, “Banshee” would be worthy additions to the top forty country pantheon if programmers would pay her any overdue attention. Nevertheless, the fact remains: Natalie Hemby is one of today’s sharpest and most enticing tunesmiths to be found on the outskirts of any scene or genre.
32) Lil Nas X- Montero
Arriving three years after his genre-bending and record setting debut smash, “Old Town Road”, Montero was the long-awaited LP bow of Lil Nas X, a restlessly creative pop-rap scientist and fast rising cultural icon. Throughout the fifteen tracks it comprises, the record proves to be precisely the sonic and stylistic whiplash inducing thrill ride that all the prolonged buzz promised. Guests as diverse as Elton John and Megan Thee Stallion rub elbows in consecutive tracks. Pop, rap and occasional hints of country and folk converge without hesitation. And undeniably anthemic smash songs like the thumping “That’s What I Want”, the inescapable Jack Harlowe collab’ “Industry Baby”, and the ever-polarizing title track roar at you with rapid fire succession. Unifying all of these turbulent elements is of course the artist himself and his unapologetic commitment to self-love, self-expression and pride in all aspects of one’s identity, with the deeply powerful “Sun Goes Down” soaring as the record’s undeniable pillar. Montero is one of those albums that will not only prove to be a touchstone in an artist’s career, but it feels destined to become a cultural one as well.
31) Kacey Musgraves- Star-Crossed
Golden Hour this is not, nor should we have ever expected it to be. For one, should Kacey Musgraves have ever struck any of us as an artist that would shamelessly chase after the definitive cross-genre classic that 2018 project became? Secondly, Musgraves found herself in a completely different life stage when it came time to craft Star-Crossed– specifically the dissolution of the marriage that directly inspired so much of Hour. Throughout this poetic divorce record, the country trailblazer excavates every crevasse and corner of the pain, regret, reflection, and acceptance that define such an experience. The narrow electronica-fused folk palate throughout may seem a bit sterile or monotonous upon first listen, but as these songs grow within your consciousness–and this album is indeed the slowest burn of her career thus far–the listener soon realizes that production only intensifies the clarity of her emotive voice and the always, simultaneously soft-spoken but biting nature of her lyrics. This may prove to be a dark horse in her catalog, rather than a definitive entry. Nevertheless, Star-Crossed still offers some of her best moments to date, including surprising earworms like “Justified” and “Breadwinner”, and brutally honest meditations like “Camera Roll” and “Hookup Scene”.
30) Allison Russell- Allison Russell
After two decades of contributing her exquisite musical gifts to roots ensembles like Po’ Girl, Birds of Chicago, and most recently Our Native Daughters, Allison Russell finally unveiled her long-gestating solo debut. Soaked in Russell’s graceful, hair-raising vocals while also examining the darkest and most damaging corners of her life’s journey, it emphatically proclaims the woman as a modern-day musical treasure, and one that could prolifically define the Americana world for a generation to come. On the surface, Allison Russell may appear as a straight-forward showcase of a sensationally pure vocal talent. But make no bones about it: this is a gritty, unflinching, and ultimately cathartic, survivor’s record. Russell’s artistry is uniformly informed by her own history as victim of incest and assault. And she’s not afraid to tackle those horrifying atrocities head on, as she does on “4th Day Prayer”, quite possibly the most haunting but redemptive domestic abuse songs I’ve ever heard. But it’s the devastating truth and tragedy of Russell’s past that truly makes her angelic voice so resonant and inspiring. Her voice, and the album it delivers, doesn’t just soar out of undeniably natural talent, it does so out of survival, recovery and ultimately, redemption.
29) Lana Del Rey- Chemtrails Over the Country Club
With its deliciously morbid title and a body of songs soaked in the dismal and angelic pipes of Lana Del Rey and the expansively beautiful and twisted sonic trappings that have become the signature creations of hers and co-producer Jack Antonoff, Chemtrails reigns supreme as another morose masterpiece in the singer’s chilling catalog. It’s a tattered but inspiring travelogue through everything from turbulent romantic discourse and the comforting yet crippling simplicity of domestic suburbia to the absolutely viscous nature of fame and celebrity. The record’s most rewarding moments occur when Del Rey’s still restlessly stylistic inclinations abound and pivot her sound in intriguing new directions toward genres like folk and alt-country, all while retaining her core signatures. Those segues result in a pair of fantastic collaborative efforts, first with Nikki Lane on “Breaking Up Slowly”, a domestic tragedy inspired by the marriage of George Jones and Tammy Wynette, and then on a cover of Joni Mitchell’s “For Free, where she creates a hair-raising vocal blend with guests Zella Day and Weyes Blood. Del Rey remains one of those true artists who continues to find new ways to showcase both her talent and life experience, while remaining loyal to the mysteriously moody sound and identity that made her such a special presence in today’s music climate from the onset.
28) My Morning Jacket- My Morning Jacket
Silencing a long, eight-year drought between albums, My Morning Jacket’s eponymous ninth studio record reintroduces us to these stylishly profound alt-rockers and the magnetically majestic songs and arrangements that have made them one of their era’s most compelling bands. Perhaps more than any of their previously releases, this album strikes that sweet middle ground between their penchant for dramatic and ornate psychedelics and the loose roots sensibilities of their origins. The atmospheric soundscape of the record vibrantly tussles between the two extremes, best illustrated by inspired centerpieces like “In Color”, a stripped down, trippy country-rock outing that plays for seven-plus minutes, or the nine-minute opus, “Devil In the Details”, a Dylan-esque social commentary set against a backdrop of sonic hallucinogens. There are no boundaries that frontman Jim James won’t cross into with his voice, his band, or his writing. But it’s when they stick to the most emotionally primitive matters of the heart and soul, like on tracks such as the self-acceptance discovery of “Love, Love, Love” or the jangly appreciation of second chances and life itself in the Joe Cocker-recalling “Lucky to Be Alive” that the album finds its most resonant sense of pathos.
27) The War On Drugs- I Don’t Live Here Anymore
The year delivered another superb indie-rock triumph with the frequently delayed arrival of The War On Drugs’ fifth LP, a meticulously crafted body of work that finds bandleader Adam Granduciel and his impressive squad of musicians delivering a rich and fully-realized statement of heartwarming and soul-shaking rock. The simmering opener “Living Proof” sets the scene for a gorgeous wintry setting of reflective solitude, but the record quickly clarifies that it will not be limited to one season of life or musical flavor. Poetic singer-songwriter fare is backdropped against a widespread scope that touches upon rousing Heartland, thumping 80s synth and anthemic, full-throttled guitar rock. An exhilarating and glowing union with the endlessly collaborative Lucius, the title track would have dominated terrestrial radio three decades ago, while raw folk ruminations on topics like aging and life’s lost opportunities in “Old Skin” and “Rings Around My Father’s Eyes” are ominously beautiful and soul-shaking. Simply put, I Don’t Live Here Anymore is one of those enduring records that moves our bodies, minds and hearts in one fell swoop.
26) St. Vincent- Daddy’s Home
What an astonishingly bewildering trip the sixth studio album of alternative dynamo St. Vincent proves to be. Reuniting with co-producer Jack Antonoff (yes, him again!), the pair takes the intoxicating creative fabric that they created on 2017’s breakthrough Masseducation to staggering new heights. With a sonic framework informed by the creative abandon of 70s rock, funk, psychedelia and soul as well as a topical narrative informed by singer Annie Clark’s father’s prison release at the end of 2019, it combusts into a blazing fire of emotional and ravenous rock brilliance. The opening trifecta of “Pay Your Way In Pain”, “Down and Out Downtown” and “Daddy’s Home” leaves the listener in a dazzling, acid-laced state of nervy and hyperactive euphoria and then brings them back down with the spellbinding “Live In the Dream”, a lush and hypnotic wonder of psychedelia perfection that could have easily emanated from a late 60s Beatles recording session. It’s that damn good. The remainder of the record likewise continues on an intense roller coaster of wondrous, rock magic. It grooves, sizzles, shakes and will leave you positively breathless. A landmark achievement from a startlingly creative voice.
The 706 