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The Best Albums Of 2021

November 29, 2021 by newhiphopnews

2021 saw the world starting to recover from 2020, and naturally, music played a major role in that. If last year gave artists more time to devote to finishing creative endeavors, then this year was our chance to hear those efforts. All in all, 2021 was kind to music fans in need of superb albums, whether or not their favorite release had pandemic origins.

Established artists added onto their legacies, up-and-comers staked their claim in the industry, and some acts already on our radars elevated themselves to a new level. While Uproxx’s previous year-end best album lists were presented as a ranking, this year, we’re going un-numbered, because you don’t have to quantify music to appreciate it. (And really, is there a noteworthy distinction between the year’s 41st-best album and the 44th?) Also, please note that albums released in December 2020 are eligible for this list.

So, find our list of 2021’s 50 best albums, presented in alphabetical order, below.

Arlo Parks — Collapsed In Sunbeams

Arlo Parks was like a therapist during the pandemic. Originally beginning as poems, her songs are gorgeous ruminations on the depressive states that are all too common with young people today, and became magnified as we lived our lives in a locked-down state for months. The way her warm-voiced presentation of lyrics like “It’s so cruel, what your mind can do for no reason” (on “Eugene”) struck a chord with the loneliness millions were feeling in 2021 and were a salve in dire times. Collapsed In Sunbeams won the Mercury Music Prize as the top album in the UK, and also garnered a Grammy Award nomination for Best Alternative Album. It illustrated the power of Parks’ universal songwriting and she’s maintained an unshakeable grace and charisma along the way. – Adrian Spinelli

The Armed — Ultrapop

The Armed is a real trip. For the unfamiliar, the experimental hardcore group has an ever-changing lineup that isn’t usually revealed. They did give a list of artists who performed on the new album Ultrapop (their first released through Sargent House), but given the group’s history of misdirection, who knows whether or not that should be taken at face value. Things only get more confusing when you listen to the new album, but in a good way, as it features the group pumping out everything from post-hardcore to power-pop, doing it all in ways that make the band’s many mysteries all the more engaging. – Derrick Rossignol

Big Red Machine — How Long Do You Think It’s Gonna Last?

What’s interesting about the second Big Red Machine album is how unexperimental it sounds. Whereas the first Big Red Machine record consisted of esoteric sketches that felt like excerpts from long, heady jam sessions, How Long Do You Think It’s Gonna Last? includes some of the most approachable and pop-oriented material that Aaron Dessner or Justin Vernon have ever produced. This can partly be attributed, of course, to the involvement of Taylor Swift, who along with suggesting the album title appears on the album’s most immediate track, “Renegades.” But the rest of the record is similarly melodic and warm, evincing little of the electro-indie dissonance of the recent output by The National and Bon Iver. – Steven Hyden

Billie Eilish — Happier Than Ever

For a brand new artist, pushing past the massive surge of a super successful debut can be a challenge. But not for Billie Eilish. Barely taking a breath between accepting a record number of Grammys for When We All Fall Asleep Where Do We Go? and releasing new singles, Eilish weathered the pandemic by slowly trickling out songs like “Everything I Wanted” and “Therefore I Am” to set up her next phase. Happier Than Ever was a jazzy, downtempo left turn after her trippy gothic debut, and more proof than Eilish will be doing whatever she wants from here on out. When the vocals sound this good, genre becomes irrelevant. – Caitlin White

Clairo — Sling

After the breakout success of her debut album Immunity, all eyes were on Clairo when she released her sophomore album Sling. But rather leaning into the bedroom pop that first popularized her name, Clairo instead took Sling in a different, more reflective direction. The album is jam-packed with quiet and tender piano songs that draw inspiration from doleful-yet-warm acoustic sounds of ’70s ballads. The notable shift is attributed in part by her simply getting older and growing into herself and her sound. But Clairo also noted that, while writing the album, she had much time to reflect on the domesticity that come with caring for her rescue dog. – Carolyn Droke

D Smoke — War & Wonders

The follow-up to D Smoke’s excellent 2020 debut, Black Habits, is far less insular and self-centered; whereas its predecessor focused on telling the story of the Inglewood native’s family and upbringing, War & Wonders is instead concerned with the impact D Smoke looks to have on the world around him. He warns of the dangers of gang life on “Crossover,” admonishes listeners to make the most of their opportunities on “Stay True,” and sets lofty goals on “Better Half.” Employing hard-hitting production and a percussive vocal delivery to make his points, each word lands like a blow on the heavy bag at the boxing gym he recently opened in his hometown. – Aaron Williams

DDG — Die 4 Respect

DDG’s 2021 mixtape Die 4 Respect with the Grammy Award-nominated producer OG Parker of Quality Control is everything the project’s title implies. “I really feel passionate about it to the point where I’d die about this shit like you gonna respect me at the end of this,” the Pontiac, Michigan raised artist told us earlier this year in reference to his transition from being a bonafide YouTube star to a full-fledged artist. In turn, DDG saw several hits off Die 4 Respect. Among them is the platinum-selling hit “Moonwalking In Calabasas” featuring Blueface, “Impatient” featuring Coi Leray, and “Money Long” with 42 Dugg. His heartfelt opener, “Hood Melody” with Youngboy Never Broke Again, tells the story of how he lost his brother to gun violence and is a true display of his abilities as a lyrical storyteller. OG Parker and our July 2021 cover star came through with a project that was both cohesive and offered music that was clearly set out to prove the mixtape’s Die 4 Respect title. – Cherise Johnson

Dijon — Absolutely

The incredibly evocative singer helped redefine traditional notions of R&B on Absolutely. The album is as stunning for the way Dijon delivers his vocals as it is for the music that backs him. Guitars and strings are an ever-present character motif, like the city of New York in a Spike Lee joint, and the surrounding cast of musicians (led by guitarist Mk. Gee) provide a glorious canvas for Dijon’s vocal tour de force. “Many Times” is a riveting number that’s controllably frenetic in the best way possible. Same goes for “Bike Mike’s,” with its slide guitar popping in from one angle, bass from another, and Dijon floating in congruence with drums and guitar as he pines for a mythical woman. – A.S.

Doja Cat — Planet Her

Ladies and gentlemen, Doja Cat has arrived. After two albums of fun, frothy, somewhat inconsequential stabs at pop-laden hip-hop and R&B, Amala stuck her nose hard to the grindstone to turn up a much more focused, slicker slice of her world. She still wields the same wicked sense of humor that got her national attention with “Mooo!” in 2018, but now it’s a scalpel instead of a hammer (“Get Into It“). Her pop sensibilities have sharpened as well, allowing her to trade in glimmering dancefloor anthems (“Kiss Me More“) and stargazing kickback staples (“Need To Know“). – A.W.

Don Toliver — Life Of A Don

Don Toliver’s Life Of A Don deserves to be played in its entirety starting from the project’s glowing opener “Xscape” to its buoyant closer “Bogus.” Though the loving “What You Need” and “Drugs N Hella Melodies” were the album’s supporting singles, even more desirable songs await for anyone who takes a dive into the full collection of 16. If you have never been to Houston before, “Double Standards” takes you right to the center of the city and its follow-up “Swangin On Westheimer” keeps you there. It’s one of the most beautiful transitions that serenely introduces a side of the H that is palpable for anyone who has never been. “Outerspace” featuring Baby Keem is another standout track off Life Of A Don (more Don and Keem collabs please) and “You” with Travis Scott is a sleeper for sure. H-Town OG Mike Dean’s presence is all over this as well as help from Hit-Boy, Sonny Digital, Mustard and Metro Boomin — yet it all still sounds like it came from the same planet. Donny is devotedly opening a new paradigm for melodic rap and what it means to be an artist with Life Of A Don, it’s just up for the rest of the world to catch up. – C.J.

Faye Webster — I Know I’m Funny haha

For Atlanta die-hard Faye Webster, I Know I’m Funny haha represents the fully-formed vision of her folk and country for the well-rounded mind. “Got you a bass last year on your birthday / The same one the guy from Linkin Park plays / But you look better with it anyways,” she sings over a sultry pedal steel on the title track. Then, she pours it on for Atlanta Braves star Ronald Acuña Jr with “I saw you last night in my dream / That’s still the closest you and I have been,” as a saxophone bellows alongside her on “A Dream About A Baseball Player.” Webster’s ability to enact the impeccable Americana vintage sound from the nuanced perspective of a 20-something is what will keep her firmly entrenched as a torchbearer of the Southern music tradition. – A.S.

Guapdad 4000 — 1176

There were many, many projects that were bigger than Guapdad’s collaborative effort with Illmind this year. None of them were as personal, as vulnerable, or as real as 1176, which is all of the things hip-hop is supposed to be. As he exorcises his demons, Guapdad showcases his storytelling skills (“Uncle Ricky”), his devilish sense of humor (“She Wanna”), tender regard for his Filipino roots (“Chicken Adobo“), and a gift for personal exegesis (“Stoop Kid”), all while Illmind stretches his sonic palette in unexpected ways (the Alice Deejay flip on “How Many” is a favorite). Guapdad 4000 may be known as a scammer but in 1176, he’s as authentic as it gets. – A.W.

H.E.R. — Back Of My Mind

It’s odd to think of Back Of My Mind as H.E.R.’s debut album. After all, it’s so fully formed, sashaying easily between sweeping power ballads (“We Made It“) to mournful reflection (“Damage“) to warm weather bops (“Slide“). H.E.R.’s pen is like a surgeon’s tool, cutting to the bone of such subjects as heartbreak, self-realization, and the stirrings of new love. Her instrumentation is even more impressive. Perhaps it’s owed to the decade-plus of behind-the-scenes work she’s done as she strove toward this moment. After the year she’s had, though, she won’t be in the back of anyone’s mind ever again, because she’s earned her spot at the forefront of the pop-culture consciousness. – A.W.

Halsey — If I Can’t Have Love, I Want Power

Working with your idols can be daunting, even devastating in some cases. But every once in a while, game recognize game and everything flows into the ideal collab. That’s what happened when Trent Reznor and Atticus Ross started helping Halsey retool their sound for the spectacular If I Can’t Have Love, I Want Power. Dark, chaotic, and much more rock-centric than her last album, Manic, this fourth album is as good as a magnum opus for the alt-pop star. Wading through pregnancy, misogyny, historical sexism, and so much more, this record crystallizes her sound in unexpectedly moving ways. – C.W.

IDK — USEE4YOURSELF

For IDK, following up his excellent debut album, the existentially inquisitive Is He Real?, presented something of a challenge. After all, once you’ve set the bar that high, it’s hard to clear it — and even if you do, there will be plenty of naysayers who will almost certainly dispute the results. However, in not succumbing to the pressure to cater to those naysayers by sticking to emotionally and sonically safe material, IDK manages to not only clear the bar he set but raise it as well. Eclectic and wide-ranging both conceptually and musically, IDK bares his flaws, insecurities, and epiphanies with rare panache. – A.W.

Indigo De Souza — Any Shape You Take

With her sophomore album, Any Shape You Take, Indigo DeSouza tackled her songwriting with a kind of vibrancy and open-mindedness that was hard to find in her tiny North Carolina hometown. The songs on her album resist fitting any specific genre category, moving fluidly between sparkling pop anthems and somber suburban emo power ballads. Though it can’t be defined by labels, DeSouza’s music tackles love in all forms while flexing her range of intimate songwriting abilities. The shimmering song “Hold U” is a pumped-up track that describes the importance of platonic love, while other songs like “Pretty Pictures” and “Kill Me” detail the aftermath of a life-altering breakup. – C.D

Isaiah Rashad — The House Is Burning

If you’re going to take a damn-near five-year hiatus between albums to get your life right, your return project has to justify that wait for ravenous (and fickle) fans, or you may as well have retired. Fortunately for the TDE hotshot, his comeback feels every bit as electric as his debut. It’s more weathered and in some places, he sounds weary (“Darkseid,” “THIB“), but he also sounds revitalized and recentered (“From The Garden,” “Wat U Sed“), issuing hard-won observations and heavy-hearted moments of clarity. – A.W.

J. Cole — The Off-Season

J. Cole has received a lot of flak over the years for a lot of reasons, but one thing no one can take away from him: The boy can rap his all-American ass off. By restricting the aims of his latest album to simply proving that, he accomplished the unlikely goal of turning all the “J. Cole is boring” doubters into believers. That makes The Off-Season a triumph, a testament to the benefits of hard work, practice, and stubborn dedication. – A.W.

Japanese Breakfast — Jubilee

Michelle Zauner had a momentous 2021. In April, her first book, a memoir about her complicated relationship with her late mother called Crying In H Mart, debuted at No. 2 on the New York Times bestseller list. Then she made the best Japanese Breakfast record of her career. While Japanese Breakfast’s early material was often classified as lo-fi, Jubilee represents her grandest music yet, nodding to the sonically rich and expansive indie albums of the ’90s and ’00s by artists such as Bjork and Joanna Newsom. In terms of lyrics, Zauner has turned her eye to character studies that are delivered with cinematic flair. – S.H.

Jazmine Sullivan — Heaux Tales

Jazmine Sullivan returned to the music world after an almost six-year absence with her Heaux Tales EP. Through 11 songs with help from Ari Lennox, Anderson .Paak, and HER, Jazmine sings about the experiences through love and intimacy that she and other women go through. There are moments of passion and moments of regrets, but the vulnerability to tell it all and stay true to herself, along with help from other female voices, helped to make Heaux Tales a flawless project. – Wongo Okon

Julien Baker — Little Oblivions

With each album, Julien Baker widens her scope a little bit. Where Sprained Ankle was a very sparse affair focused mostly on lyrics, Turn Out The Lights introduced a few more instruments and depth into the mix, and now Little Oblivions is what Steven Hyden calls “the most musically inviting album that Baker has made yet, with extra heft added to the guitars and rhythm section nudging her closer to a full-on rock record. But the emotional brutality of the lyrics somehow melds with the uplifting beauty of the music, perhaps giving Baker some peace in the process.” – Zac Gelfand

Kacey Musgraves — Star-Crossed

One of two excellent divorce albums by divas this year, Kacey Musgraves definitely dived a little bit deeper into the psychedelic nature of love, connection, and separation than anyone else in 2021. Star-Crossed is perhaps the only album that could’ve followed up its glowing, critically-acclaimed predecessor, Golden Hour. Sure, sometimes the perfect, golden love fades, but going through the wilderness to find yourself again is all part of the journey. No matter what, the risk was all worth it, and this woozy record of self-reclamation is another ode to all the magic of this beautiful, twisted life. – C.W.

The Killers — Pressure Machine

In interviews about the latest Killers LP, Brandon Flowers likened Pressure Machine to Achtung Baby. Incredibly, he’s sort of correct. For one thing, both albums were the seventh releases for the respective arena-rock institutions. But the similarities go deeper than just discography placement. Just as Achtung Baby was a reboot for U2, Pressure Machine is a bold reinvention for The Killers, setting Flowers’ most evocative narrative lyrics ever to dusty, downscaled versions of his band’s hybrid of anglophilia and heartland rock. It’s one of 2021’s most surprising comebacks. – S.H.

Lana Del Rey — Chemtrails Over The Country Club

While she may not be navigating the treacherous waters of social media with the most grace, Lana does best when she leans into her songwriter side and leaves Instagram be. That’s exactly what Chemtrails Over The Country Club is all about, as Del Rey descends into psych-folk smashes like “White Dress” and “Tulsa Jesus Freak.” Folksy ballads like “Wild At Heart” and “Not All Who Wander Are Lost” showcase Lana when she’s stripped back, free and easy, and completely offline. – C.W.

Lil Durk and Lil Baby — The Voice Of The Heroes

Each year, some corner of the music world grants us collaborative projects between artists who were able to fine-tune their chemistry for a full-length project. In 2021, that came about through Lil Baby and Lil Durk’s Voice Of The Heroes. The project came through the rappers’, and their respective fan bases, realization that their vision and artistry fell in line enough for a full body of work. Propelled by highlights like “2040” and “That’s Facts,” Durk and Baby delivered on expectations for the project that flaunts what two of today’s best hip-hop acts have to offer. – W.O.

Lil Nas X — Montero

The quintessential pop star for 2021, Lil Nas X’s Montero is the ultimate wink and a smile to anyone who doubted him as an industry one-hit-wonder. On “Dead Right Now,” he sings: “Left school, then my dad and I had a face-to-face in Atlanta / He said, ‘It’s one in a million chance, son,’ I told him, ‘Daddy, I am that one.’” It’s pensive moments like this tucked within an album of tongue-in-cheek mega-hits like “Industry Baby” and “Montero (Call Me By Your Name)” that flash true dynamic artistry across pop and hip-hop. When the dust settles, this will go down as the year of Lil Nas X, after all, who else can claim that they gave Satan a lap-dance, had a track with Elton John on their album (“One Of Me”), and was named The Trevor Project’s Suicide Prevention Advocate of the Year? – A.S.

Little Simz — Sometimes I Might Be Introvert

Talk about a breakthrough album. London’s Little Simz emerged as one of the best newly established voices in hip-hop on the Inflo-produced Sometimes I Am Introvert. She tackles the album in complete fashion, showing that no subject is too difficult for her to master as a songwriter. She extols the mind and presence of Black women on “Woman,” flaunts her panache with fellow British-Nigerian Obongjayar on “Point And Kill,” and unapologetically opens up about the toll her relationship with her estranged father has taken on her in “I Love You, I Hate You.” In the latter, she rises above the pain, emerging triumphantly as a person and an artist, flawlessly sliding in between every note of the beat and leaving a lasting mark in the process. – A.S.

Lucy Dacus — Home Video

Though she’s been operating in the the indie sphere for half a decade at this point, Lucy Dacus‘ third album Home Video marks her strongest effort yet. Now in her mid-twenties, Dacus is far enough away from her youth to reflect on her childhood. With a sense of humor, nostalgia, and a bit of incredulity, Dacus examines her bible study days on Home Video. With catchy refrains, inviting vocals, and heart-tugging lyrics, Dacus walks listeners through the highs and lows of first-times, youthful relationships, and self-discovery. Armed with her current wisdom, Dacus’ music gives honest advice in the form of poetic ballads, urging both her former self and her friends to see their self-worth in the face of potentially harmful relationships through songs like “VMB” and “Christine.” – C.D

Mdou Moctor — Afrique Victime

Afrique Victime is loaded with moments where the great Nigerian guitarist Mdou Moctar steps out of the song in order to ram his guitar directly into your guts. He does this for emotional effect, bending and blurring notes with the furious energy that defines one of his most obvious influences, Jimi Hendrix. But you suspect that Moctar also believes that ripping off a sick solo is extremely dope, which on this record it absolutely is. It might even make you ask: Why don’t we hear guitar solos more often these days? As it is, the concept of the guitar hero remains alive and well thanks to this six-string genius. – S.H.

Nick Cave/Warren Ellis — Carnage

Decades into his career and as prolific as ever, Carnage stands among the best work of Nick Cave’s career. In song after song, surprising moments sweep the listener off their feet, from the nightmarish repetition of the titular phrase on opener “Hand Of God” to the best Spiritualized refrain that they didn’t write on “White Elephant.” Collaborator Warren Ellis makes his mark on each, turning an album that’s often spare into a headphones-needed exercise in nuance. There might not be more beautiful moments on tape this year as the title track or the plaintive “Albuquerque.” – Philip Cosores

Olivia Rodrigo — Sour

You’d be hard-pressed to find someone who’s had a bigger 2021 than Olivia Rodrigo. In time between sharing her debut single “Drivers License” in January and releasing her No. 1 album Sour in May, Rodrigo went from Disney Channel fan-favorite to one of the most talked about musicians across the globe. She raked in award nominations, dominated streaming services, and smashed charting records held by the musical greats. Throughout the 11 tracks on Sour, Rodrigo positioned herself as an ever-talented songwriter capable of crafting both touching heartbreak ballads and roaring pop-punk anthems. The album captivated audiences of all generations with relatable lyrics and effervescent instrumentation while simultaneously rewriting the persona of the typical pop star. – C.D.

Petey — Lean Into Life

It’s likely you’ve seen Petey on TikTok (where he’s known as @peteyusa), as his off-kilter and hilarious videos routinely rack up millions of views. Learning that he also makes music might seem like you’re finding out about a frivolous spin-off endeavor that influencers do to expand their brands, but that couldn’t be further from the truth. His TikTok fame actually came after his record deal and the music really is something to behold. His comedic traits can be seen in the music, but his songs, which are diverse and constitute some of the year’s most gripping indie-rock, are no joke. – D.R.

Playboi Carti — Whole Lotta Red

For many Playboi Carti fans, the wait for Whole Lotta Red was a grueling one. However, to their delight, the project arrived beside their holiday presents on Christmas in 2020. Carti’s entire brand is unharnessed energy, and while Whole Lotta Red attempts to reel in that that energy, unintentional room for that to thrive appears in various pockets of the album. Through 24 songs and contributions from Ye, Future, and Kid Cudi, Whole Lotta Red adds another chapter to Carti’s thrilling story as one of hip-hop’s biggest rockstars. – W.O.

Polo G — Hall Of Fame

With every project that Chicago rapper Polo G releases, his stock in the rap game increases. His debut Die A Legend made him a young name in hip-hop worth paying attention to. His sophomore effort The GOAT solidified his presence in music for years to come. Now, his third album Hall Of Fame presents a rapper who can stick to his roots and present himself as a top-selling rap product. Through 20 songs, Polo G not only shows that his pen has improved but also his awareness towards records that will pop and bring a bigger spotlight to him. – W.O.

Rico Nasty — Nightmare Vacation

When Rico Nasty first roared onto the SoundCloud rap scene in 2016, her rawness was part of the appeal. Now, five years, seven mixtapes, and a debut studio album later, she’s one of mainstream hip-hop’s most interesting figures, as much — more — of an innovator than any of her punk-rock-influenced peers. On Nightmare Vacation, she justifies every ounce of hype while utilizing every tool on her belt. There are her signature yell-rap anthems (“STFU,” “Smack A Bitch Remix”), hyperpop experiments (“iPhone”), and dreamy trap bangers (“Don’t Like Me”), all utterly saturated in her uniquely rebellious spirit. – A.W.

Sega Bodega — Romeo

Sega Bodega may not yet be on your playlists, but that’s just due to lack of exposure. The Irish artist only just released his first album last year but already has major co-signs under his belt: Rihanna has used his music in Fenty ads and Arca makes an appearance on this year’s Romeo, featuring on “Cicada.” That song is one of many from the new album that shows off Sega Bodega’s versatility: While “Cicada” comes across like warped ethereal Reggaeton, the album features everything from dreamy electronica (“Only Seeing God When I Come”) to straightforward pop ballads (“I Need Nothing From You”). – D.R.

Silk Sonic — An Evening With Silk Sonic

From the very moment that Bruno Mars and Anderson .Paak made their newly-formed Silk Sonic duo official with the release of “Leave The Door Open” earlier this year, their promised debut album was one of the most sought-for releases in 2021. Would the duo live up to the hype? Would the album perhaps be unbalanced? A multitude of questions arrived at Bruno and .Paak’s doorstep, all of which were answered with the brilliant An Evening With Silk Sonic. The duo met all expectations and did it through an excellent display of showmanship. There’s no telling how long Silk Sonic will last, but their current presence is something to be thankful for. – W.O.

Skyzoo — All The Brilliant Things

Being independent in the rap game is both a supreme gift and a withering curse. Take, for instance, Skyzoo’s latest album. Untethered to the limits of the major-label system, Sky was able to craft one of the most inspiring and intricately-constructed rap albums of the year. However, without those major-label resources, it went largely overlooked — which is a shame, because there were few projects this year as consistently… well, brilliant as this one, on which tracks like “I Was Supposed To Be A Trap Rapper” turn staid hip-hop tropes on their ears and “Bodega Flowers” implores us all to salute our greats before they’re pushing up daisies. Well, salute, Skyzoo, one of the best out today. – A.W.

Snoh Aalegra — Temporary Highs In The Violet Skies

While many excel in relaying their experiences with love, Snoh Aalegra does a beautiful job of showing her wavering feelings in romance through her music. Her third album Temporary Highs In The Violet Skies is another example of that. Its 14 tracks present a woman who chooses to focus and highlight the best moments in love, even if they last shorter than expected. This task is accomplished beautifully thanks to help from Tyler The Creator, James Fauntleroy, Pharrell Williams, The Neptunes, and more. – W.O.

Summer Walker — Still Over It

Summer Walker achieved some groundbreaking feats with her 2021 sophomore album Still Over It. First of all, she got “Ciara’s Prayer” from thee Ciara Harris-Wilson. Lord knows how long the ladies have been asking Cici herself for the prayer and Ms. Walker was able to get that and was generous enough to share it with her listeners. Second of all, Still Over It is the highest-charting album from a female R&B artist since Beyoncé’s 2016 Lemonade and is likely to continue towards an upward trend. Regardless, Summer Walker uses Still Over It to air out her grievances a la Usher’s Confessions, except she’s naming names and calling out her baby daddy-ex London On Da Track, his mother, and the other women in his life. She does this over perfectly curated production by the same man she’s going in on. London and Summer made magic on Over It, so if it ain’t broke, don’t fix it. On the other hand, Pharrell and Summer on “Dat Right There” sounds like a win for the future of music. Most of all, Summer’s adept songwriting skills, inimitable vocals, and ability to dig into the souls of her listeners through song puts her on another level, to the point that whatever shenanigans she’s on The Shade Room for makes the music worth it. – C.J.

Taylor Swift — Evermore

If there was anyone who was going to spend the pandemic creating not one but two perfect albums, it was always Taylor Swift. Even as the ripples of Folklore were just beginning to dissipate, Taylor gently sent a second album out into the world. This one is a little bit darker, a little more country, and just as satisfying as the first. Between her epic murder ballad collaboration with Haim and features from Bon Iver and The National, Evermore is still distinctly Taylor: Sharp, funny, sometimes scathing, and eternally devoted, despite it all. – C.W.

Tinashe — 333

If you needed proof that independence is what’s best for Tinashe, her fifth album 333 is undeniable proof of that. The album is arguably one of, if not the strongest showcase of her versatility as she bends the R&B genre in a number of ways, something she’s proven capable of doing time and time again. 333 is also a testament towards trusting the process, and if you know what it took Tinashe to get here, you’ll have an added dose of appreciation towards her current position. – W.O.

Topaz Jones — Don’t Go Tellin Your Momma

It’s not every day that one of the best albums of the year also picks up a short film jury award for non-fiction at Sundance Film Festival but that’s what Topaz’s latest managed at the top of the year. A stunningly executed concept album in its own right, Don’t Go Tellin’ is an incredible rap genealogy project, following the Montclair, New Jersey native as he explores his family’s history, then shares it with the world. Awash in the influences of funk mainstays such as Sly And The Family Stone, peppered with jazz intonations and marked by Jones’ deft recollections, Don’t Go Tellin’ shows what a refined version of the artform can look like when crafted with care. – A.W.

Turnstile — Glow On

Just an insanely fun record that has unwittingly inspired a revival of one of the biggest bummer music conversations: What makes a hardcore band a hardcore band? Specifically, can a band that kind of sounds like 311 and ’80s Rush (seriously!) really be considered hardcore? Fortunately, Turnstile themselves don’t seem to care all that much about semantics. Yes, they play shows with the manic energy of a hardcore gig. But their songs have so many hooks that Glow On ends up being one of 2021’s most inviting and inclusive records. – S.H.

Tyler The Creator — Call Me When You Get Lost

Tyler The Creator Call Me If You Get Lost — Columbia

Pound for pound, one of the most impressive studio releases of the year, Call Me When You Get Lost finds rebellious Tyler taking a nostalgic step back to redeem the blog era credit from which he was either barred or that he himself spurned (depending on which version of him you ask). Tapping mixtape maestro DJ Drama and emblazoning his latest with the Gangsta Grillz label is deceptive, though; as much as he revels in the sheer art of rhyme (“Lumberjack,” “Juggernaut“), he also finally gets more vulnerable and expansive than he’s ever been (“Massa,” “Manifesto”), pushing the series beyond mere mixtapes into something richer and much more vital. – A.W.

Vince Staples — Vince Staples

Call me biased (Long Beach, stand up), but I don’t think a single rap project this year came close to touching Vince Staples’ eponymous fourth studio album. Clocking in at just ten tracks — as many of the great albums do — Vince’s new approach strips away bells, whistles, and several layers of anything resembling varnish to expose the gritty truths he bares throughout its harrowing narratives. Trading in his frantic yelps for a laconic, resigned incantation, Vince invites listeners to not just watch the movie but inhabit his point of view. If you don’t get it, that’s on you. – A.W.

Wale — Folarin II

For years, Wale has not only believed his own hype but also been its main proponent. While he’s never exactly labored in obscurity, he’s unfortunately been regarded as something less than what he actually is by hip-hop fans at large, which is one of the best bar-for-bar rappers the game has ever seen. He came by that assessment honestly too, via a deep, abiding, and near-obsessive love for the art form. Here, he displays that love, culling samples from across the breadth of the genre (Q-Tip on “Poke It Out“). As a result, it looks like that love is finally being reciprocated as fans learn to appreciate just what he brings to the game. – A.W.

The War On Drugs — I Don’t Live Here Anymore

After four long years, The War On Drugs finally returned in November with a reward for our patience. Musically, I Don’t Live Here Anymore is a refinement of the craft the band explored on 2017’s A Deeper Understanding, which itself was a refinement of 2014’s Lost In The Dream. It’s evidence of a band that is always adapting and evolving for an LP that is without a doubt their most accessible material to date. It packs in catchy hooks, driving rhythms, and emotionally cathartic instrumental arrangements anchored guitar solos that will remind you why guitar solos are, in fact, awesome. – Z.G.

Wild Pink — A Billion Little Lights

The latest Wild Pink release, A Billion Little Lights, feels like a culminating moment for songwriter John Ross. What originally began as a vision for a massive double-album exploring the history of the American West was eventually trimmed down to a more conventional release, with Ross refocusing his efforts instead on creating the most beautiful and enveloping soundscapes that he could. A Billion Little Lights is what Steven Hyden called the project’s “most ambitious and overall best work, infused with deep lyrical craft and impeccable melodies that set Wild Pink apart from the indie-dude pack.” – Z.G.

Young Thug — Punk

Young Thug’s career is filled with individual eras. There are the rapper’s red-haired and blonde eras as well as that for Slime Season and Jeffery. Thug’s second album Punk issues another chapter for the rapper’s extremely unique career. Falling on the opposite side of the spectrum from his debut So Much Fun, Punk finds Thug going against the grain of his own career and the expectations of his fans. Vulnerability, honesty, and a story to tell all stand at the forefront of Punk. However, just like Thug’s previous projects, it serves as another example of the rapper doing what he wants. – W.O.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Megan Thee Stallion, BTS, Olivia Rodrigo, And More Will Perform At The 2021 American Music Awards

November 8, 2021 by newhiphopnews

The list of nominees for this year’s American Music Awards was unveiled last month. It’s a star-studded list, and so far, the list of artists set to perform at the Cardi B-hosted ceremony (which airs on November 21 on ABC) packs a punch, too. Organizers announced its first batch of performers this morning and the list includes Megan Thee Stallion, BTS, Olivia Rodrigo, and Bad Bunny.

Megan and BTS will be performing together to give their “Butter” remix its television debut. It’s not clear what song(s) Rodrigo will deliver for her AMAs debut, but Bad Bunny is set to perform “Lo Siento BB:/.”

More performers are expected to be announced soon, but one who won’t make the cut is Morgan Wallen. He’s up for two awards due to his performance on the charts, but AMAs organizers noted last month, “Morgan Wallen is a nominee this year based on charting. As his conduct does not align with our core values, we will not be including him on the show in any capacity (performing, presenting, accepting). We plan to evaluate his progress in doing meaningful work as an ally to the Black community and will consider his participation in future shows.”

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The Best Vinyl Releases Of August 2021

August 31, 2021 by newhiphopnews

Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.

Whatever you might be into, each August brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of August below.

Billie Eilish — Happier Than Ever

Billie Eilish had a lot riding on her second album, and so far, she has delivered. It has spent multiple weeks at No. 1, spawned hit singles like “Therefore I Am” and “My Future,” and has otherwise kept Eilish in the conversation as one of music’s finest. The vinyl edition of the album is one you can feel environmentally good about owning, too, as it’s pressed on 100-percent recycled vinyl.

Get it here.

The Beach Boys — Feel Flows: The Sunflower And Surf’s Up Sessions 1969-1971

The Beach Boys’ defining output came in the mid-’60s, but now they’re honoring a pair of their also-excellent early-’70s albums, Sunflower and Surf’s Up, with a giant new box set. There are 135 tracks in total, with 108 of them being previously unreleased tracks, live recordings, demos, alternate versions/mixes, instrumentals, and a capella tracks.

Get it here.

Foxing — Draw Down The Moon

Draw Down The Moon marked a change in direction for Foxing, who embrace genres like pop and rock like they never really have before in their mostly emo-leaning discography. Now, one of the year’s finer rock albums is available pressed on lovely yellow, blue, and green vinyl, which also comes with a 24-inch by 36-inch poster.

Get it here.

The Knife — Deep Cuts (20th Anniversary Reissue)

The Knife enjoyed a tremendous run as a beloved electronic act in the 200)s, and while they broke up in 2014, they’re celebrating their 2001 sophomore album Deep Cuts. As the record turns 20 years old, it has gotten a limited edition reissue pressed on magenta vinyl, which pairs gorgeously with the colorful album art.

Get it here.

Olivia Rodrigo — Sour

Earlier this month, Rodrigo shared a video of herself in awe as she examined the vinyl edition of Sour for the first time. It turns out that’s an experience a lot of her fans replicated, as Sour had not just the biggest vinyl sales week of 2021 so far, but the second-largest of the past 30 years. So, if you don’t already have this one, the market has shown that it’s worth picking up.

Get it here.

Various Artists — Another Side Of John Coltrane

John Coltrane is a headlining act without question, but throughout his career, he also played a supporting role on works by fellow jazz greats like Miles Davis, Thelonious Monk, and Sonny Rollins. Now some of those collaborations have been compiled on Another Side Of John Coltrane, which is available digitally. The 2-LP set, though, has the whole package, as it includes two vinyl-exclusive songs: “Nutty” (from Thelonious Monk with John Coltrane) and “Birks’ Works” (from Soul Junction by the Red Garland Quintet featuring Coltrane and Donald Byrd).

Get it here.

LCD Soundsystem — The Long Goodbye: LCD Soundsystem Live At Madison Square Garden (10th Anniversary Reissue)

It’s hard to believe it’s been ten years since LCD Soundsystem’s “farewell” show (which of course preceded the band’s reunion). Now the soundtrack album is back in print as an expansive vinyl edition, made up of five LPs, a print of the original concert poster, and a 10.5-inch by 7-inch full-bleed risograph photo print by longtime band photographer Ruvan Wijesooriya.

Get it here.

Wu-Tang Clan — Enter The Wu-Tang (36 Chambers) (Reissue)

Enter The Wu-Tang has gone down as one of hip-hop’s most important and influential albums, and now it has gotten a shiny new reissue via the fine record purveyors at Vinyl Me, Please. Pressed on “gold galaxy”-colored vinyl, this edition comes accompanied by an art print as well as a listening notes booklet.

Get it here.

Public Enemy — Fear Of A Black Planet (Reissue)

Vinyl Me, Please was on fire this month, especially in the hip-hop department. They’ve also dropped a new edition of the Public Enemy classic Fear Of A Black Planet, and this version of the group’s biggest release comes pressed on sharp-looking blue and brown vinyl — or “Us and the Damned”-colored, as VMP puts it.

Get it here.

Big Red Machine — How Long Do You Think It’s Gonna Last?

Big Red Machine is built on collaboration, as the core of the project is the coming together of Bon Iver’s Justin Vernon and The National’s Aaron Dessner. On top of that, the duo’s latest album also brings into the fold Taylor Swift, Fleet Foxes, Sharon Van Etten, and a host of others, and now they’re all available together on vinyl.

Get it here.

Spice Girls — Wannabe25

Spice Girls know what you want (what you really, really want): They’re celebrating the 25th anniversary of their hit single “Wannabe” with a new limited-edition EP, Wannabe25. Aside from the original 1996 single, this vinyl release also includes a remix of the song by Junior Vasquez (which was originally a bonus track on the 1996 “2 Become 1” CD single), the original demo of the song, and a demo of a previously unreleased track called “Feed Your Love.”

Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Lil Nas X, Olivia Rodrigo, Lorde, Machine Gun Kelly, And More Are Performing At The 2021 VMAs

August 18, 2021 by newhiphopnews

MTV has announced the first run of performers coming to the 2021 VMAs. On your screen this year will be Lil Nas X, Olivia Rodrigo, Lorde, Machine Gun Kelly, and Camila Cabello, with more likely to be announced in the weeks ahead. This will be Rodrigo’s debut VMAs performance after snagging five nominations this year. Meanwhile, Lil Nas X last performed at the VMAs in 2019, performing “Panini.”

Lorde, meanwhile, will do a world-premiere performance from her upcoming album Solar Power, and Machine Gun Kelly will give his new single “Papercuts” its live debut. Cabello will reportedly perform her single “Don’t Go Yet.”

The news comes just days after the network released this year’s nominees for the 2021 VMAs, with Justin Bieber and Megan Thee Stallion leading the pack. Thanks to his successful Justice release, Bieber holds seven nominations, including nods for Video Of The Year, Artist Of The Year, and Best Pop. Megan follows behind him with six nominations for categories like Video Of The Year and Song Of The Year. This year’s MTV VMAs is set to return to Barclays Center in Brooklyn for the first time since 2013. It kicks off September 12 and organizers expect to invite musicians and fans to join the event in-person.

Check out the full nominees list here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Olivia Rodrigo’s ‘Sour’ Is Now Spotify’s Most-Streamed Album Of 2021

July 4, 2021 by newhiphopnews

Between “Drivers License” and her official debut album, Sour, Olivia Rodrigo has seen a large amount of success in 2021. The young singer earned the respect of her newfound music industry peers like Taylor Swift, Kelly Clarkson, and Cardi B, but that’s not all. The singer also became extremely beloved by her fans and her latest accolade is proof of that.

A little over a month after releasing Sour, Rodrigo’s debut officially become Spotify’s most-streamed album of 2021 according to Pop Crave. The project posted 2.69 billion streams on the streaming platform, surpassing Justin Bieber’s Justice for the top spot this year to date.

‘SOUR’ by @Olivia_Rodrigo has surpassed ‘Justice’ by @JustinBieber and is now the most streamed album released in 2021 on Spotify with 2.69 BILLION streams. pic.twitter.com/5kQDyjK9Am

— Pop Crave (@PopCrave) July 3, 2021

The achievement comes after Sour spent its second nonconsecutive week atop the Billboard albums chart last week. After posting a total of 105,000 units sold, Rodrigo’s debut joined Morgan Wallen’s Dangerous: The Double Album as the only projects in 2021 to sell more than 100,000 units in each of its first five weeks on the Billboard 200.

On a more recent note, Sour becoming 2021’s most-streamed album on Spotify comes days after the singer released her Sour Prom concert film. The artsy visual captured the singer preparing for an elegant prom night with friends as records from Sour, which includes “Deja Vu” and “Good 4 U,” play at different points in the film.

You can revisit our review of Sour here. Sour is out now via Geffen. Get it here.

Olivia Rodrigo’s ‘Sour’ Returns To No. 1 On The ‘Billboard’ Albums Chart

June 27, 2021 by newhiphopnews

There are many arguments to be had about which artist is having the best year so far. One possibility is Olivia Rodrigo. The pop star earned her breakout moment at the beginning of the year thanks to her debut single, “Drivers License,” which smashed Spotify records and spent ample time atop the Billboard album charts. Her success continued with the release of additional singles, such as “Good 4 U” and “Deja Vu,” as well as the arrival of her debut album, Sour, which debuted at No. 1. Now, a little over a month after it dropped, it’s back at the top.

In the last week, Sour tallied a total of 105,000 album units. As a result, it joins Morgan Wallen’s Dangerous: The Double Album as the only full-length efforts in 2021 to sell more than 100,000 units in each of its first five weeks on the chart. Sour made its debut last month on the Billboard 200 with 295,000 albums units sold. That number was comprised of 218,000 streaming equivalent album units that came from 300.73 million on-demand streams of the album’s songs. It made for the largest overall week for an album in 2021 and the second-largest streaming week ever by a female artist behind Ariana Grande’s 2018 album Thank U, Next.

Revisit our review of Sour here.

The Best Songs Of 2021 So Far

June 3, 2021 by newhiphopnews

Things are starting to look up for all of us. As we venture out of our homes and (hopefully) to shows for the first time in almost 18 months, we’re reminded of the ways that music served, perhaps more than ever before, as a lifeboat during this extended time of unease. Stuck at home like the rest of us, with very few creative distractions, many artists had time to really focus on their craft and deliver some of their best music to date.

Sure, albums are great – but an album is nothing without its songs. And 2021 has been nothing if not full of great songs. From Olivia Rodrigo’s mega-smash “Drivers License” to Taylor Swift’s continued pivot to indie-folk, these songs inspired hope, they felt our pain, or they helped us transport to a different place entirely. Presented below in alphabetical order, here are the best songs of 2021 so far. Please note that songs released in December 2020 are eligible to be included here, as they came out too late for our 2020 lists.

Beabadoobee – “Last Day On Earth”

UK songwriter Beabadoobee has been credited with reacquainting Gen Z with the flannel-loving aesthetics of ‘90s grunge music. Her debut album Fake It Flowers was inspired by feel-good rom coms but with her track “Last Night On Earth,” the singer issued a more nostalgic ode. The song was released as the lead single to the 1975-produced EP Our Extended Play and features pop-leaning hooks that imagine all the things the singer would have done differently if she had known her life was about to be put on pause for over a year due to the pandemic. – Carolyn Droke

Bebe Rexha – “Die For A Man” Feat. Lil Uzi Vert

Don’t overlook Bebe Rexha’s freaky, eclectic second album, Better Mistakes. Anchored by singles like “Die For A Man,” which is basically the exact inverse of most heartfelt feminine songs about breakups, this misandrist assertion of self-worth is a spooky trap-pop statement. Bebe basically says no matter how in love she is, the breakup will never kill her. When Lil Uzi Vert comes through for a smooth verse of Autotuned braggadocio, that’s just the cherry on top. It’s a refreshingly tough alternative to some of the more vulnerable themes that have been tearing up the charts lately. But Bebe has always been marching to the beat of her own drum, and that’s why we love her. – Caitlin White

BIA – “Whole Lotta Money”

Massachusetts-bred Bia has finally arrived after spending the last half-decade paying dues as a cast member of the Oxygen reality television show Sisterhood Of Hip Hop and a string of underground mixtapes and EPs. “Whole Lotta Money” is her first Billboard-charting solo track, buoyed by a viral trend blowing up — where else — on TikTok. With its flossy boast about putting on all her jewelry for a bodega run, the burgeoning hit has backed videos of lip-syncing users mugging the camera, twerking, and showing off their own swaggering displays of confidence. – Aaron Williams

BTS – “Butter”

Every time it doesn’t seem possible that BTS can top themselves again. And every time, they manage to. Following up the record-breaking heat of “Dynamite,” their new single “Butter” stays in the same incredibly upbeat, joy-inducing range, but comes in even smoother. “I’ve got the superstar glow” goes the pre-chorus, only to be followed up with an even better gem: “Let me show you ‘cuz talk is cheap.” It’s a dance anthem for a world ready to shake off its malaise, a declaration of love sans any fear or hesitation. It’s smooth like butter, like we all want to be. A BTS mood has officially become the aspirational peak, all summer long. – C.W.

Burial – “Dark Gethsemane”

Despite Burial’s last album, Untrue, arriving in 2007, the reclusive UK producer has actually remained pretty active, as they’ve released a bunch of EPs over the past decade. On one of the most recent, they teamed up for with Blackdown this year for the Shock Power Of Love EP, a split project to which both artists contributed a pair of tracks. The beefiest one of the lot is Burial’s 10-minute “Dark Gethsemane,” which starts as a kinetic dancefloor banger before shifting into more experimental territory halfway through. – Derrick Rossignol

Cardi B – “Up”

Cardi’s first new single since “WAP”-ageddon not only kept her streak of smash hits alive, but it also drew more than its share of controversy, just like her prior table shakers. Once again, she was accused of copyright infringement over its Crime Mob-homaging hook, and this time, she even took flak over the track’s TikTok popularity as critics sniped at the dance craze that popped up seemingly overnight. None of that prevented the song from becoming Cardi’s fifth No. 1 Hot 100 hit or from becoming one of the most talked-about performances of the 63rd Annual Grammy Awards in March. – A.W.

Cassandra Jenkins – “Michelangelo”

Cassandra Jenkins wrote her sophomore album An Overview On Phenomenal Nature during a time of grief. She was reeling from the death of David Berman, who she was set to tour with just days later. Much of the serene album is Jenkins telling the story of others, like a museum security guard or a bookkeeper. But her breezy album opener “Michelangelo” instead directs her attention inward, creating a space to murmur meditative reflections about the process of healing over folksy instrumentals. – C.D.

Coi Leray – “No More Parties”

“No More Parties” has ruffled its fair share of feathers, but if you’re one of those detractors who think it’s Coi Leray’s only noteworthy work to date, you haven’t been paying attention. If anything, it’s a coronation, the culmination of the Jersey-bred rapper’s past three years of hustle, which included appearances on the Spider-Verse soundtrack, a pair of impressive mixtapes, and cultivating a massive social media following with her counterintuitively catchy twerking videos — a legitimate marketing technique in a post-Megan Thee Stallion connected rap universe. It follows, then, that the song’s warm reception — including multiple remixes and freestyles from peers and predecessors and a late-night debut on The Tonight Show — is a confirmation that it’s all coming together. – A.W.

Darkside – “The Limit”

Nicolás Jaar and Dave Harrington haven’t done much with Darkside a near-decade after releasing their sole album, 2013’s Psychic. That is, until recently, as they announced they will bless this summer with a new full-length album, Spiral. They’ve offered some early tastes of the record, and “The Limit” stands out. The hypnotic and rhythmic track shows the two artists haven’t become musical strangers during their extended time apart, as only two partners who are completely locked in could make something this compelling. – D.R.

Doja Cat & SZA – “Kiss Me More”

This long-awaited collaboration between SZA and Doja Cat did not disappoint. “Kiss Me More” scales back from the raunchier aspects of modern music and delves into an old-fashioned kind of intimacy that’s punctuated by both women alternating between rapping and singing. While we wait for both of these superstars to drop their albums, “Kiss Me More” is another reminder that these two are as versatile as artists come. Both of them refuse to be put in a box when it comes to pop, R&B, and hip-hop, and that ambiguity has only made their work in all three genres better. Let the insistent, funky beat sink into your skin, and get ready for a very physical summer. – C.W.

Drake – “What’s Next”

Drake knows what kind of global rap superstar powerhouse he is and he reminds everyone of this with a message on his rambunctious Scary Hours 2 hit song “What’s Next.” Produced by Supah Mario, The Boy takes us on a ride to share what he’s been up to since Certified Lover Boy’s release date got pushed back. “Well, summer, all I did was rest, okay? / And New Year’s, all I did was stretch, okay? / And Valentine’s Day, I had sex, okay? / We’ll see what’s ’bout to happen next,” he reveals. And it’s fine, Aubrey can take as much time as he needs to get CLB right, but boy are we thankful we have “What’s Next” to hold us over until then. It’s not like he’s missing out on being on top of the “Hot one hundo, numero uno,” he puts it. Afterall, “What’s Next” did land at No. 1 on the Hot 100 charts upon its release, dethroning bubbling pop sensation Olivia Rodrigo’s “Driver’s License,” with the rest of the Scary Hour 2 tracks falling right behind at No. 2 and No. 3 (and it didn’t even come with a bundle). “What’s Next” is the lyrical embodiment of Drizzy’s cultural dominance. No matter when or where he chooses to release new music, it always gets a little scary when a Drake release is near. – Cherise Johnson

Dua Lipa – “If It Ain’t Me”

Robbed of what would’ve been a gigantic, glittery tour around her epic sophomore album, Future Nostalgia, Dua Lipa did what all great pop stars do when faced with a challenge — pivot. Instead of a tour, she poured her creativity into the Future Nostalgia remixes, and followed that up in early 2021 with the Moonlight Edition. “If It Ain’t Me” is one of the new songs off that version, a song about being happily in love and wondering what it would be like to lose that feeling. It’s more glitchy, disco-pop from the new queen of the dancefloor, dancing her heart out even as the fear creeps in. – C.W.

Foxing – “Go Down Together”

Foxing just officially announced their follow-up to 2018’s art-emo masterpiece Nearer, My God, though they have begun teasing music from their forthcoming fourth LP for a few months. “Go Down Together” finds the St. Louis outfit leaning more into their pop sensibilities than the emo-tinged roots they built a career upon. It’s an interesting pivot for the band, but also makes for what Derrick Rossignol called for Uproxx “the band’s most accessible work so far.” – Zac Gelfand

Griff – “Black Hole”

Griff is going to be one of the next big things in pop, so keep an eye on her for the back half of 2021. Right now she’s blowing up off the strength of “Black Hole,” a bouncy, funk-flecked song about missing someone so much it annihilates your heart. The London-based songwriter channels heartbreak into sleek synth-pop just like Julia Michaels — and has the voice to back it up, too. Olivia isn’t the only one writing epic breakup songs in 2021, this is a pop subgenre that just keeps on giving, and Griff is on the cusp of being another breakout star. – C.W.

IDK and Offset – “Shoot My Shot”

The hope is that DMV rapper IDK is just a few months away from sharing his sophomore album, U See 4 Yourself, the sequel to his debut effort, Is He Real?. While it remains to be seen what his second album will sound like, IDK might have delivered a preview of it with “Shoot Your Shot” featuring Offset. The charismatic banger is laced with the duo’s impenetrable confidence as they compare themselves to basketball players like Steph Curry while shooting some shots of their own. – Wongo Okon

Isaiah Rashad – “Lay Wit Ya” Feat. Duke Deauce

The nearly five years without music from Isaiah Rashad finally came to an end with the TDE rapper’s single, “Lay Wit Ya” with Duke Deuce. The effort found a balance between mainstream assimilation and a continued display of Rashad’s artistry that we love. The added contribution from Deuce also provided a jolt of raucous energy to the track. With The House Is Burning on the way, “Lay Wit Ya” promises more great music that’s set to come from Rashad. – W.O.

Japanese Breakfast – “Be Sweet”

Japanese Breakfast’s first two albums were Michelle Zauner’s synth-infused reflections on the feeling of grief. But with her new project Jubilee, Zauner takes inspiration from unbridled joy. “Be Sweet” mirrors the same kind of euphoria. Zauner belts optimistic lyrics about the prospects of love underscored by a groovy bass guitar and buoyant keys, and the catchy tune is exactly the bop we wanted from Japanese Breakfast’s new album cycle. – C.D.

Jazmine Sullivan – “Pick Up Your Feelings”

After years of undeniably great songs and albums, Jazmine Sullivan kicked off 2021 with yet another excellent project thanks to Heaux Tales. Her most popular track at the moment, “Pick Up Your Feelings,” can be found on that record as the song once again puts her roaring vocals on display as she asks her ex-lover to pack up their affection and physical belongings, which may or may not be in the box to the left, before exiting her life. – W.O.

Koreless – “Joy Squad”

For about a decade now, Koreless (Welsh producer Lewis Roberts) has been building up clout with both fans and his peers; He got a track of his own on Perfume Genius’ remix album from last year. Now, he’s finally putting out a debut album, and alongside that announcement from May came “Joy Squad.” The track might send anybody who grew up on AM radio running for the hilliest of hills, but it’s a complex and lush three minutes of music, filled with sounds that could be described as unsettling, catchy, harsh, and other seemingly disparate adjectives that play nice together under the tutelage of Koreless. – D.R.

Lana Del Rey – “White Dress”

Even if a latent annoyance over Lana’s willfully obtuse commentary about herself, certain other women, and their place in the music industry might be lingering, “White Dress” is self-reflective enough to show another side of Del Rey. As she looks back on her early days as a nobody, male-dominated music industry looming over her idyllic time as a waitress, the song’s nostalgia and mystical glow take over any logic. “White Dress” is pure feeling, and nobody captures that like Lana. – C.W.

Lil Baby – “Real As It Gets” Feat. EST Gee

Lil Baby and EST Gee revel in their rap star lifestyles on their menacing ATL Jacob-produced song “Real As It Gets.” Two street dudes who happen to rap, on a song together, just makes sense and it was an inevitable collab that was waiting to happen. Lil Baby’s signature hyper-flow is tempered by Gee’s suave mode of lyrical delivery, giving us a reason to want to hear this duo more often. In the song, Baby takes the opportunity to explain how it all started for him: “To the streets, I’m the voice, I’m an advocate / Ask the plug, this the most he done ever sent,” before Gee shares his own story of he came into the rap game. “All this sh*t started off in the kitchen / Showed me once and I was payin’ attention / Ask the trenches, they gon’ say I’m the realest,” the rising Louisville rapper spits. Between Baby and Gee’s hood star power and the track’s ominous production, “Real As It Gets” is everything the song implies. – C.J.

Lil Nas X – “Montero (Call Me By Your Name)”

“Montero (Call Me By Your Name)” has transcended its two minutes and 17 seconds of audio and become a cultural moment. The song and its controversial, hell-set video pissed some people off, aroused others, and elevated Lil Nas X beyond a one-hit-wonder status. That said, none of this could have happened if “Montero” wasn’t a great song, and it genuinely is. It proves that “Old Town Road” wasn’t a one-time fluke and that Lil Nas X is a master of catchy hooks, packaging them for the masses, and dealing with the attention that generates. – D.R.

Mac Ayres – “Nothing Else”

An R&B act you should absolutely get familiar with is Mac Ayres. The New York native shared his latest project, Magic 8Ball, back in January. While it’s an effort that went under the radar, the EP’s eight songs, in combination, made for one of 2021’s best R&B projects and “Nothing Else” is one of its brightest moments. Backed by hypnotizing keys and stuttering drums, Ayres promises to work out the problems with his lover rather than run from them like he used to. – W.O.

Olivia Rodrigo – “Drivers License”

Arguably the most influential song of the first half of 2021, “Drivers License” struck a nerve with a bunch of cooped up kids who were feeling the pain of losing a whole year — and potentially losing relationships in the wake. But “Drivers License” is about so much more than a breakup, it spans the whole gamut of grief, from the everyday minutia to the broken dreams of future plans, to the specific kind of loneliness that only hits when you’re driving past a place that used to feel like home. To be able to get all that into a song at the tender age of 17, well, that’s a phenomenal feat by a songwriter just beginning her journey. – C.W.

Polo G – “Rapstar”

Ever since Polo G popped up on the scene, the Chicago rapper has been nothing short of himself and his No. 1 hit song “Rapstar” is a great representation of that. “Rapstar” is actually Polo’s first solo Hot 100 No. 1 and he didn’t even have to switch up his sound to make it happen. Always introspective, Polo spits, “Every day a battle, I’m exhausted and I’m weary / Make sure I smile in public, when alone, my eyes teary / I fought through it all, but that shit hurt me severely,” while also showing gratitude towards all the luxurious things that his lifestyle brings. The track also features Einer Bankz on the ukelele and was in great anticipation among his legion of fans after they teased the song back in 2020. Polo stayed consistent, stayed true and landed a huge hit that will no doubt see his star rise even higher once his third studio album Hall Of Fame is unleashed on June 11. – C.J.

Pooh Sheisty – “Back In Blood” Feat. Lil Durk

Whew. There have been few straight-up trap records that have been as well-received and explosive as “Back In Blood.” A propulsive, gritty, straight-from-the-gut banger, Pooh Shiesty’s breakout hit received a huge boost from the efforts of Lil Durk, who was in the middle of an incendiary comeback of his own thanks to Drake and “Laugh Now Cry Later,” among other works. The sheer amount of goodwill the song’s engendered led to the duo making an appearance on The Late Show and Pooh Shiesty becoming one of the most exciting new voices in street rap today. – A.W.

Saweetie – “Best Friend” Feat. Doja Cat

At this point, hating on Saweetie is like fighting the tide. It was one thing when her formula almost solely included hijacking 2000s hits. But “Best Friend” is all original, a succinct, saccharine summation of everything the Bay Area artist represents with her Icy image. Doja Cat’s verse — misinterpreted though it may have been — is the icing on the Icy cake, lending one of pop-rap’s most enervating presences to a song high on energy and nearly impossible to nitpick. – A.W.

Sharon Van Etten & Angel Olsen – “Like I Used To”

It’s hard to believe that indie legends Sharon Van Etten and Angel Olsen haven’t collaborated on music until now. The duo’s first-ever joint release, “Like I Used To,” channels the best of both veteran songwriters into what Derrick Rossignol called for Uproxx a “bold Americana” track. – Z.G.

Silk Sonic – “Leave The Door Open”

Anderson .Paak and Bruno Mars first formed Silk Sonic one drunken night after touring Europe together in 2017. They kept the project under wraps since, but their debut single “Leave The Door Open” was worth the wait. Leaning on each musician’s strengths, .Paak delivers playful percussion (he even recorded the drums in one take), while Mars croons soulful harmonies about wooing a significant other. The song has already topped the Billboard Hot 100 chart a couple times, so it’s safe to say the project’s forthcoming debut album will be just as enticing. – C.D.

Syd – “Missing Out”

As far as R&B goes, Syd always delivers and she casually does it once again with “Missing Out.” It’s an expectation at this point. “Missing Out” is Syd’s first release since 2017’s Fin, which was incredible. Her futuristic handling of R&B has become signature and her soft voice flows perfectly throughout the song’s heavenly production, making it more than a listening experience by turning it into a poetic feeling experience. “Hope you finding what you need or what you seek ’cause now I’m free / And maybe in another life, you’d be mine,” she sings. “But you’re missing out.” More of this superb music-making is expected from Syd in 2021. – C.J.

Taylor Swift – “Mr. Perfectly Fine”

Leave it to Taylor to tack on one of her greatest cutting room floor songs onto the already near-perfect Fearless tracklist. “Mr. Perfectly Fine” mirrors some of Taylor’s other best songs about being jilted by a careless boy, the “casually cruel” line she later reuses to even greater effect in “All Too Well,” the golden-crush key final chorus, the ability to make a song about the worst feelings still seem dreamy and slightly upbeat. The best part about “Mr. Perfectly Fine,” though, is how space has shaped her own relationship to it — there’s no more pain or pettiness in delivery. That’s perfect. – C.W.

The Weather Station – “Tried To Tell You”

The Weather Station have been making music for over a decade. The band, fronted by Toronto songwriter Tamara Lindeman, had been a mostly acoustic project but their 2021 LP Ignorance took their sound in a new direction. Its standout single, “Tried To Tell You,” showcases the sonic shift, trading in wistful acoustic guitar for skittering snares and dance-ready rhythms. The song’s theme juxtaposes its optimistic instrumentation by detailing the importance of reaching out to a friend in need. – C.D.

Vic Mensa – “Shelter” Feat. Wyclef Jean, Chance The Rapper

Vic Mensa is back. Technically, that happened last year, with the confessional V Tape EP he released that saw him return to his pre-punk rock makeover lyrical form. Still, though, there was always a lingering doubt, the sense that it might all be temporary. Then, he reunited with his school friend and brother-in-arms Chance The Rapper for one of the most heartfelt tracks either have released in literally years (Chance’s wife-doting notwithstanding). “Shelter” feels like a reset for both its principal artists, a moment they recaptured the public’s interest and buying enough credit for us to eagerly look forward to their next move. – A.W.

Young Dolph and Key Glock – Penguins

Young Dolph and Key Glock have done an excellent job of leading Memphis’ recent hip-hop resurgence over the last few years. The protege and mentor combination delivered strong collaborations in the past, with one of their best being their recent joint album, Dum & Dummer 2. Throughout its 20 tracks, the duo show their chemistry has only improved over the years and “Penguins” is a prime example of this. The icy track captures the Memphis duo once again celebrating their well-earned success with diamonds and other jewels colder than the most brisk wind. – W.O.

Young Thug and Gunna – “Ski”

At this point, Gunna and Young Thug’s chemistry is nearly unmatched by any other pairing in rap. Recapturing the magic of their So Much Fun collaboration “Surf” on the YSL Records compilation Slime Language 2, they prove that it shouldn’t take much to make an unimpeachable rap banger. Bass, loop, snares, and the two rappers’ complementary verses all combine into a slickly versatile musical gumbo — one that also inspired a viral TikTok dance, boosting its popularity and proving that there is still plenty of fun to be had. – A.W.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The Best Albums Of 2021 So Far

June 1, 2021 by newhiphopnews

If 2020 was a year of scary and uncertain darkness, 2021 is so far a tentative sunrise. The world is getting vaccinated, people are making plans to do things outside of the house again, and overall, it’s starting to look like our planet and its inhabitants might just be okay.

While pointing out the good parts of a historically devastating pandemic isn’t the most obvious or even appropriate thing to do, it should be noted that 2020 at least delivered a ton of great music. Also during that time, artists had a year off from live shows and have been able (whether they liked it or not) to either write new material or finish stuff they hadn’t had the chance to properly wrap up. So, 2021 has brought and will presumably continue to deliver a new wave of exemplary music.

Some of these sounds reflect on the tough year that preceded them, others try to help us all sport smiles and move forward, and others yet check different boxes. Whatever the case, there’s been a lot of music to be grateful for so far this year. That’s as important now as it’s been during any other time in recent memory, so let’s go through the best albums of 2021 so far, presented below in alphabetical order. Please note that December 2020 albums are eligible to be included here, as they came out too late for our 2020 lists.

Another Michael – New Music And Big Pop

It takes a mere 31 seconds for the opening track of Another Michael’s debut album to capture your full attention, when frontman Michael Doherty hits a falsetto so striking it is impossible to ignore. Across its ten tracks, New Music And Big Pop is imbued with a sense of liberation and raw talent that feels rare in 2021, a breath of fresh air that creates a unique lane and a promising future for the indie-folk trio. – Zac Gelfand

Arlo Parks – Collapsed In Sunbeams

With her poetic lyrics and vulnerable songwriting, UK singer Arlo Parks won over hearts with her debut album Collapsed In Sunbeams. The singer has earned co-signs by the likes of Michelle Obama and Dua Lipa, and it’s no secret as to why. Over shimmering harmonies, Parks is able to share catchy-yet-moving songs that resonate, exploring subject matters like queerness, teenage depression, and anxiety, and offers earworms about why it’s important to never lose hope. – Carolyn Droke

The Armed – Ultrapop

Are they called The Armed because the band members always look so jacked? Are these even really the band members? There’s so much mystery to this enigmatic noise-rock outfit, but what’s obvious is how much fun Ultrapop is. Chaotic soundscapes abound as always but there’s more melody and hooks to be had here than on previous records. It’s like if The Go! Team did crank for three days and then made a record. – Steven Hyden

Caleborate – Light Hit My Skin

Bay Area native Caleborate is one of few stalwarts of the indie rap scene who deserves placement here, mostly because Light Hit My Skin is the perfect showcase for what feats of creativity artists can be capable of away from the commercial expectations of the major-label system. In spots, it dazzles. It also asks listeners to think — about the world around, about the art they consume, and about themselves. Plus, it sounds lush, a true accomplishment when compared to the repetitive, bare-mininum production that often defines bigger-budget releases. – Aaron Williams

Claud – Super Monster

As the first artist to officially be signed to Phoebe Bridgers’ fêted Dead Oceans imprint, Sad Factory, (now featuring the queer trio Muna as well) Claud’s sparkling sad-pop anthems are a fitting foil to Bridgers’ own terrifically depressing tunes. Super Monster is 21-year-old Claud Mintz’s first official album, but it’s by no means their initial foray into music. The artist formerly known as toast has been making delightfully left-field pop songs for the past two years or so, and they’ve honed in on that sound with confidence on this surprising, gentle debut record. – Caitlin White

DDG – Die 4 Respect

DDG’s imminent path to rap stardom is found on his mixtape Die 4 Respect. Helmed by production from the Grammy Award-nominated and legend OG Parker, a sound is developed as DDG establishes his own style of rap. Though the current star of the show is the pop-based TikTok track “Impatient” with Coi Leray, Die 4 Respect is loaded with so many hidden smashes outside of the previously released “Rule #1” featuring Lil Yachty, “Money Long” with 42 Dugg and of course, the platinum-certified “Moonwalking In Calabasas.” The melodic “Hakuna Matata” is a storytelling number about what it took to get out of his hometown of Pontiac, Michigan and “Let em Go” is the tale of how it goes when fame hits. At this point, it’s hard to deny DDG’s artistry. If you’re reading this, it’s probably not too late to give Die 4 Respect a spin. – Cherise Johnson

Girl In Red – If I Could Make It Go Quiet

Girl In Red may have gotten her start writing gentle pop songs in her bedroom, but with her debut album If I Could Make It Go Quiet, the Norwegian songwriter positions herself as a major indie pop contender. Altering between heartbreak and horniness, the album boasts smoldering hooks and towering choruses that sometimes veer into pop-punk territory. Her cutting-edge alt-pop songs about queer relationships have even made the question “Do you listen to girl in red?” become a discrete way to find out if a crush is gay. – C.D.

Guapdad 4000 – 1176

From its opening track’s clever Alice Deejay rework to its closer’s raw, gut-wrenching storytelling, the Oakland native’s latest release is 100 percent authentic to who he is. Though he’s primarily known as a comedic figure, here, he gets tender, delivering heartwarming odes to the flavors of his youth (“Chicken Adobo“) and poignant plugs to partnerships ruined by split attentions (“PlayStation“). And still, despite his commitment to peeling back the layers and hailing his Filipino heritage, he’s wiling to remain a little goofy on tracks like “She Wanna” with fellow Bay Arean P-Lo. – A.W.

Jazmine Sullivan – Heaux Tales

It’s been so long since the R&B game heard a full project from Jazmine Sullivan and Heaux Tales satisfyingly came through at the top of 2021. The words Jazmine sings are relatable hymns found out through time and wisdom, are what make this collection of songs inspired by stories from the women in her life truly special. “This process and making the project helped me to do that by listening to the tales of other women, my girlfriends, and older women,” she told Uproxx in an exclusive interview. “Bodies (Intro)” alone is a moment that many women may have found themselves in at one point in time when it comes to making sure sexual needs are met after a cocktail or two. “Pick Up Your Feelings” reiterates a classy new mindset of what it means to have a hot girl summer. – C.J.

Joyce Wrice – Overgrown

Joyce Wrice is without a doubt one of this year’s brightest and most promising newcomers in the R&B world. The LA native shared her debut album, Overgrown, at the beginning of the year and while it flaunted her youthful spirit and cheery vocals, Wrice also injected enough maturity and wisdom in the project’s 14 songs to deliver her intended message without error: Indecision and false hope are two things she won’t deal with in love. – Wongo Okon

Julien Baker – Little Oblivions

The contradiction of Little Oblivions is that it’s the most musically inviting album that Julien Baker has yet made, and also her most lyrically devastating, observing a period of personal upheaval. The extra heft added to the guitars and rhythm section nudges her closer to a full-on rock record. Somehow, the emotional brutality of the words melds with the uplifting beauty of the music, perhaps giving Baker some peace in the process. – S.H.

Kota The Friend – To Kill A Sunrise

It’d be easy to write off Kota The Friend and Statik Selektah’s collaborative effort To Kill A Sunrise as “just another backpack rap album,” if not for the laser focus of its execution, the earnestness of Kota’s rhymes, and the intensity that emanates from each of its 10 tracks. It’s a vibe that says it’s cool to just, like, enjoy the process. Unlike J. Cole’s The Off-Season, Kota raps with nothing to prove, and the lightness and enjoyment with which he does is infectious. – A.W.

Lana Del Rey – Chemtrails Over The Country Club

Confounding, canceled, and always coquettish, Lana Del Rey managed to drop an album that can stand up to the best of her career while even long-term fans were rolling their eyes at her endless social media gaffes and tone-deaf “rebuttals.” But maybe Lana does best when she’s under pressure, managing to turn in the breezy and beautiful Chemtrails Over The Country Club despite all the noise. With the finest take on folk-pop since music critics started scorning the Laurel Canyon vibes, Del Rey comes out on top again. It’s not a statement record like Norman F*cking Rockwell but a gentle, whispering one, the kind Jackson Browne and her own beloved Joni used to deliver. – C.W.

Lil Tjay – Destined 2 Win

Of all the 20-something New York rappers utilizing the singsong flow pioneered in large part by A Boogie Wit Da Hoodie, Bronx rapper Lil Tjay is perhaps the most versatile. He illustrates as much on the wide-ranging Destined 2 Win (shout out to the power of manifestation), where he contemplates heartbreak on “Love Hurts” and turns up on the jaunty “Oh Well.” He even displays a penchant for broader ranging, tough guy taunts on “Headshot” with his longtime partner-in-rhyme Polo G. – A.W.

Manchester Orchestra – The Million Masks Of God

Manchester Orchestra have spent the better part of the last two decades as one of the biggest emo bands on the planet, known for their emotive and volatile brand of post-hardcore. The Atlanta band’s latest album, The Million Masks Of God, features the their grandest vision to date, delivering a collection of what Steven Hyden called for Uproxx “expansive and philosophical indie rock” tracks inspired by the death of guitarist Robert McDowell’s father. – Z.G.

Mdou Moctar – Afrique Victime

Afrique Victime is loaded with moments where this Nigerian phenom steps out of the song in order to ram his guitar directly into your guts. He does this for emotional effect, bending and blurring notes with the furious energy that defines one of his most obvious influences, Jimi Hendrix. But you suspect that Moctar also believes that ripping off a sick solo is extremely dope, which on this record it absolutely is. – S.H.

Moneybagg Yo – A Gangsta’s Pain

While A Gangsta’s Pain is only Moneybagg Yo’s fourth album, the project is a part of more than 15 projects he’s released since 2012. Known for his braggadocious bars and nonchalant approach to seemingly anything that doesn’t benefit him, A Gangsta’s Pain, which saw help from Polo G, Jhene Aiko, and more, found the Memphis rapper effectively tap into his emotions and how the pains of yesterday affected him. It’s an illuminating look at what created the rapper and man he is today. – W.O.

Nick Cave / Warren Ellis – Carnage

Nick Cave has proven to be hard to predict: Just since March, he’s voiced a “virtual midsummer forest” in an online theater production and released two songs inspired by a letter from a fan. So, it shouldn’t have been a tremendous shock when he released Carnage, an album made alongside Warren Ellis that Cave says was made with risk-taking and “an accelerated process of intense creativity.” It’s one of the finest offerings of his already incredible career. – Derrick Rossignol

Olivia Rodrigo – Sour

Olivia, what’s left to say? Dominating 2021 from the jump with her darkly sad, magnificently constructed “Drivers License,” Rodrigo proved she wasn’t a one-trick-pony ten times over on the simple, eleven-track Sour. Veering from pop-punk to delicate electronic-laced anthems, to even folk-infused harmonies on one of the album’s sleeper cuts, “Favorite Crime,” Rodrigo proved that she has the range — and it only took her 34 minutes. All this quick, efficient pop record did was make fans want another one. And another one. And another one. – C.W.

Origami Angel – Gami Gang

The sophomore album from Washington, DC duo Origami Angel is a sprawling double LP that transcends the traditional boundaries of emo and puts on full display the band’s knack for catchy and undeniable songwriting. With tracks ranging from borderline metalcore to intimate folk punk, Gami Gang feels like nothing short of a modern punk masterpiece, fraught with intricate guitar insanity and impressive vocal hooks that show the band won’t be stopping anytime soon on their way to the big leagues. – Z.G.

Pink Sweats – Pink Planet

Unlike most, Philly singer Pink Sweats endured an extended wait between his breakout moment, his debut single “Honesty,” and the arrival of his debut album, Pink Planet. The latter appeared nearly three years after the former and while it was certainly a long wait for those who got acquainted with the singer early, Pink Planet proved to be an excellent display of Pink’s artistry as it honed in on the qualities listeners were familiar and introduced new ones that made his music more enjoyable. – W.O.

Pooh Shiesty – Shiesty Season

Pooh Shiesty’s highly-anticipated debut album Shiesty Season came with evergreen hits in the chamber. He put his hometown of Memphis on full display through his lyrics and let everyone know what time he’s on over beats crafted by eerie beats. “Back In Blood” featuring Lil Durk stars one of the most prominent lines used to assert allegiance: “Pooh Shiesty that’s my dog, but Pooh you know I’m really shiesty.” Songs such as “Neighbors” with Big30, “Ugly” featuring 1017 general Gucci Mane, and “Box Of Churches” with 21 Savage offer a peek into what can become of Pooh Shiesty musically since he’s just getting started. Though Pooh’s rise happened during the pandemic, nothing is stopping Shiesty Season from its inevitable reign. – C.J.

Rico Nasty – Nightmare Vacation

Coming in hot at the end of 2020, Rico Nasty’s long-awaited debut turned out to be everything longtime fans could have hoped for from the eclectic DMV native. With forays into the thrash-rap that helped make her name on “OH FR?” and “STFU,” floaty, cotton-candy trap on “Own It” and “Don’t Like Me,” and splashy hyperpop on “iPhone,” Rico deftly displays every facet of her weird-girl style, delivering a debut that truly has something for everyone. – A.W.

Rod Wave – Soul Fly

Rod Wave’s latest had something of a bumpy road to its release but once that road cleared, the Florida native easily coasted to an impressive chart debut, buttressed by his velvet vocals on tracks like “Richer,” “Street Runner,” and “Tombstone.” Even for fans who can’t relate to his traumatized tales of hood survival, his voice transmits every emotion needed to tap in and zone out. SoulFly is as soulful as trap music has ever been. – A.W.

Shelley FKA Dram – Shelley FKA DRAM

Three and a half years went by since Shelley (fka DRAM) dropped his debut album, Big Baby DRAM. At long last, he returned in April with his sophomore effort, Shelley FKA DRAM. It saw the Virginia native embrace the sultry love-driven ballads that appeared infrequently throughout his discography before this album. All in all, it made for an elegant and unblemished body of work that detailed the beauty behind a fearless love. – W.O.

Slowthai – Tyron

Casual American audiences might know Slowthai best from his raucous Tonight Show performance from early 2020. That uniquely high energy level can be found all over his sophomore album Tyron as well, although the UK rapper proves his versatility and also excels in tender moments, like on the James Blake-featuring “Feel Away.” – D.R.

St. Vincent – Daddy’s Home

A departure from the futuristic sounds heard on St. Vincent’s previous albums, Daddy’s Home takes a trip through the past. Trading in electrifying guitars for woozy sitars, the album leans heavily on iconography from the ‘70s in order to revisit her own complicated history. Her most personal album yet, Daddy’s Home vaguely sheds light on St. Vincent’s private life with dizzying production, dreamy chords, sultry back-up vocals, and her acerbic sense of humor to explore what it truly means to be a struggling artist. – C.D.

Sun June – Somewhere

Sun June previously told Uproxx that their second album, Somewhere, takes place at “a futuristic prom set in Albuquerque in a time where global warming has lapsed to a point of climate cooling.” Indeed, on Somewhere, there are handfuls of tender and hypnotic moments suited for a swaying embrace, the sort of calming blanket that can make any apocalypse more bearable, whether the world’s actually ending or it just feels like it. – D.R.

Taylor Swift – Evermore

Since the ever-prolific T. Swift managed to file her second album of 2020 after all the year-end lists had already been ranked, published, and debated, we have little choice but to take Evermore as a 2021 record. And since the project’s excellent bonus tracks “Right Where You Left Me” and “It’s Time To Go” were added to this year’s deluxe edition, we did technically already have new Taylor songs in 2021. Like the rest of this thick, folkish album, the songs hew close to Swift’s signature storytelling style, sprinkling in banjo twang and elevated strings that bring her closer to her best self than ever before. – C.W.

Topaz Jones – Don’t Go Tellin Your Momma

When Topaz Jones stepped away from the limelight in the wake of viral single “Tropicana,” it wasn’t just because he didn’t want to be stuck rhyming about fruit juice. Instead, he examined himself both as an artist and as a man and came back with the introspective, observational, and terrifically musical Don’t Go Tellin’ Your Mama. Like Kendrick Lamar with To Pimp A Butterfly, Jones threw out what had worked in the past, opting for something smart, experimental, and deeply personal. Tell a friend. – A.W.

Wild Pink – A Billion Little Lights

On previous Wild Pink albums, John Ross wrote sensitive story songs about millennial ennui set to surging synth-based rock, producing a rich, stirring sound that evoked a cross between Death Cab For Cutie and Lost In The Dream. For Wild Pink’s latest, Ross pursues a big, lush sonic canvas that integrates Americana instrumentation like pedal-steel guitar and fiddle into his usual heartland rock mix. – S.H.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

What Are The 2021 Song Of The Summer Contenders?

May 26, 2021 by newhiphopnews

Now that the world is eagerly rushing a return to normalcy after over a year of shutdowns, cancellations, and rigid social distancing rules, the need for music to keep everyone’s spirits up is more integral than ever.

Since music serves as a snapshot of our life experiences, the Song Of The Summer plays a huge role in remembering and cherishing those moments. (I’ll never forget the summer before eighth grade thanks to Rihanna’s “Pon De Replay.”) If 2021 is as massive in real life as it is in theory, this year’s summer hit could be etched in our memories forever.

While we have the power to christen our own Song Of The Summer, there is often one song that the mainstream unofficially dictates as “the one.” This song is inescapable, often catchy, gives you the feeling of being carefree, and sometimes, it’s incredibly danceable. What better way to kick things off than with a prediction of what that coveted track will be?

Here’s a list of 10 potential “songs of the summer.”

Justin Bieber – “Peaches” Feat. Daniel Caesar and Giveon

The sweet and tangy vibe of the Billboard chart-topper basically oozes fun in the sun, so this pick should be a given. Its continent-trotting chorus — where Biebs mentions hitting up Georgia, California, and his Canadian home up-north — also provides inspiration for listeners’ safe, CDC-regulated summer travel plans.

Dua Lipa – “Levitating” Feat. DaBaby

Lockdown didn’t allow Dua Lipa to have the summer anthem she deserved in 2020 after releasing the Grammy-winning album Future Nostalgia last spring. However, the rap remix to her hit “Levitating” continues to sit pretty on the 2021 charts, so there’s a chance her reign will finally hit. (Better late than never!) The song’s disco-heavy energy also capitalizes on the country’s collective yearning for better, simpler times.

Doja Cat – “Kiss Me More” Feat. SZA

Doja Cat owned summer last year with her ‘70s inspired “Say So,” so another hit for the singer/rapper during the sunny season would be most apropos. As with “Levitating,” “Kiss Me More” has old-school club vibes (with an interpolation of Olivia Newton-John’s “Physical”) that brings throwback themes to the forefront, while Doja’s slick-tongued rap and SZA’s laid back swagger modernize the tune.

Kali Uchis – “Talepatía”

In a sea of chart-topping anthems, this is somewhat a dark horse in the competition. However, given the song’s theme about a long-distance lover, it works perfectly given our socially-distanced circumstances. The TikTok-favorite found on Uchis’ sophomore album, “Talepatía” also comes equipped with production befitting of her Colombian heritage, which provides a different sound for those cross-country, top-down road trips.

Olivia Rodrigo – “Good 4 U”

Unlike other Song Of The Summer selections which utilize the disco/R&B sound, the pop-punk style is strong with “Good 4 U.” With Hayley Williams-levels of enthusiastic aggression overlaying the entire track, Rodrigo shows her range as a performer. Plus, if she rules the summer, it’s proof that the *future* Grammys Best New Artist nominee is a singer for all seasons. (Remember, she had winter on lock with “Drivers License.”)

Silk Sonic – “Leave The Door Open”

The soulful, smooth, and silky song evokes vintage vibes (do we see a pattern here?), which is perfect for ditching our collective present-day COVID-19 nerves for a few minutes. The inviting, sensual lyrics could provide listeners with the courage to begin a potential summer fling, or to have a chill evening with that special someone…

“Twerkulator,” City Girls

…but if you’re trying to live out #VaxxedGirlSummer or #ShotGirlSummer to the fullest, look no further than “Twerkulator.” Thanks to long-awaited sample clearance (it uses Afrika Bambaataa and Soulsonic Force’s “Planet Rock”), the Miami rap mainstays released their highly-anticipated song just in time for Memorial Day Weekend. It certainly may be time for the twerkulator, so shake what ya mama gave ya.

Nicki Minaj – “Itty Bitty Piggy”

If you’re looking to be on your boss b*tch tip this summer, allow Nicki Minaj to give you the anthem. Now that the streets are opening back up, Onika’s enduring hit from her now-streamable mixtape Beam Me Up Scotty is a perfect contender for the coveted Song Of The Summer honor, especially since it continues to “go awf” 12 years after its initial release. The Queen of Rap could still be on top.

BTS – “Butter”

With synthy, ‘80s-drenched production, the Bangtan Boys’ latest dance-pop anthem (released May 21) hit DSPs just in time for the change in temperature, and is sure to keep things “hot like summer” for both their diehard fans and casual listeners.

Natasha Bedingfield – “Unwritten”

Though it was released in 2004, the English singer’s euphoric pop track was given new life thanks to a trap-friendly TikTok remix (“Like Yhop” by Esco featuring Shawn P). The original musical breath of fresh air has been heavily praised since the dance challenge popped off. Many hope that Summer 2021 is a reintroduction to freedom, and we’re ready to (safely) “feel the rain on [our] skin” again.

Honorable Mention: Whatever Drake Drops

Drake had the summer season in his clutches at least two times in the past. 2016 was the year of “One Dance,” and 2018 gave us “In My Feelings.” Given what he teased fans with his March EP Scary Hours 2, we don’t have any doubts that Certified Lover Boy will provide some sort of summer anthem whenever it drops. Kudos to you, Drake, for keeping us on our toes.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Lil Nas X And Olivia Rodrigo Are Set To Close Out ‘SNL’s 46th Season This Month

May 3, 2021 by newhiphopnews

May 22 will mark the finale of Saturday Night Live‘s 46th season and in the final two weeks, the show’s musical guests will be two of 2021’s most successful, chart-topping young stars. May 15, “Driver’s License” singer Olivia Rodrigo will perform in an episode hosted by The Prom‘s Keegan-Michael Key, while the season finale will feature Ana Taylor-Joy of The Queen’s Gambit and “Montero (Call Me By Your Name)” rabble-rouser Lil Nas X.

Your final guests of Season 46! pic.twitter.com/f5Mu3urQSO

— Saturday Night Live – SNL (@nbcsnl) May 3, 2021

Incidentally, each of the young music stars’ No. 1 hits have been the subjects of sketches on previous episodes of SNL. In February, guest host Regé-Jean Page and cast regulars Alex Moffat, Beck Bennett, Bowen Yang, Kenan Thompson, Mikey Day, and Pete Davidson participated in a tongue-in-cheek analysis of “Driver’s License” from the ironic perspective of the all-male denizens of a pool hall unexpectedly relating to the song’s teenage emotions. Rodrigo called the sketch “the best birthday present ever” in a tweet expressing her approval.

Meanwhile, the conservative establishment-trolling video for “Montero” was lightly lampooned in an early-April sketch that saw Chris Redd stand in as Lil Nas to address the kerfuffle over the video and its tie-in “Satan shoes” from MSCHF. The sketch saw Redd-as-Nas perform a lap dance on “God” to balance out the bad vibes from his similar moves on the devil in the “Montero” video, minus the neck-snapping at the end. Nas’ reply was equally cheeky, as he joked “SNL going to hell.”

In addition, Nas responded to SNL’s announcement, revealing that he’d be performing a new song in addition to “Montero.”

Saturday Night Live
MONTERO + NEW SONG
5/22 pic.twitter.com/DZwaWq4cWN

— nope (@LilNasX) May 3, 2021