End of 2021 lists
(Annual disclaimer: it’s gonna get wordy. List-making, for me, combines my abysmal journaling habits with my love of lists and pop culture, as well as a dash of defiantly yelping into the gaping piehole of the void, and just a sliver of hope that maybe somebody discovers something they love here, as I consistently do from the year-end lists I read. Some kind of exchange of recommendations is the hope, at least. And, if that fails to happen, at least I documented a shred of my existence?)
So, with Season 2 of Coronavirus all wrapped up and Season 3 breathing (coughing? ventilating? what-about-ing?) down our necks, let’s cut straight to the chase.
THE ALBUMS I LOVED THAT CAME OUT IN 2021.
(Mostly unranked with songs I loved from each of the dozen-ish albums in parentheses AND italics for your browsing convenience.)
Arlo Parks—Collapsed In Sunbeams
Not gonna lie: when I heard buzz about this album early on in the year and then put it on my headphones and the first track was just…spoken word poetry? I was capital-S skeptical. Maybe even capital-K, capital-E, capital-P….but it turns out that leading out with an earnest bit of poetry over fingerpicking and new age keyboards was actually, bravely appropriate for an album as honest and heart-on-sleeve and empathic and, yes, earnest as this one. (I still skip the track, to continue not lying to you, but I think that has far more to do with my own insecurities and cringiness; I respect its heart and guts and the fact that Parks saw it as the album’s mission statement.)
Back to the earnestness and empathy and sensitivity, in “Black Dog” Parks reaches out to friend suffering from deep depression:
Let’s go to the corner store and buy some fruit
I would do anything to get you out your room
Just take your medicine and eat some food
I would do anything to get you out your room
It’s so cruel what your mind can do for no reason
Or trying to rally around another friend on “Hurt”:
I know you can't let go, of anything at the moment
Just know it won't hurt so, won’t hurt so much forever
Or addressing self-acceptance as a queer woman in “Green Eyes”:
Of course I know why we lasted two months
Could not hold my hand in public
Felt their eyes judgin’ our love and bayin’ for blood
I could never blame you, darlin’
Some of these folks wanna make you cry
But you gotta trust how you feel inside
Oh, and underlying all that lyrical heart, empathy, guts, comfort, sensitivity, and honesty? Undeniable groove and melody. I saw Arlo and her crack band at Kilby Court in October, fully bracing myself for a letdown, as I love the production on this record and was doubtful they could match its vibe in a live setting. But, man, they came through and then some. They aced the “see them live touring on the album you love” test which puts this record—which I bought twice—squarely at #1 this year. No asterisk.
(Hurt, Caroline, Black Dog, Too Good, Eugene, Hope….all of it)
Olivia Rodrigo —Sour
Yes, I’m 1000% the cliche Gen-X-er who loved this album. I refuse to apologize for liking great pop songwriting that harvests the endlessly abundant fields of young heartbreak. I’m actually a little surprised by how many “Oh, but it sounds like (other song here)” complaints I’ve seen around the internet, as if this is the first time songs have sounded similar (ever heard Led Zeppelin or Coldplay or Nirvana or literally any of the barely differentiating songs on the radio?). The songs are just really good pop songs and Olivia can really sing. How will she fare with the “see them live touring on the album you love” test when I take my 11-year old daughter and her friend (who I road-tripped with last July wherein we listened to this albumendlessly) to see Rodrigo in April? Who knows, but—to borrow from Adam Duritz—I am not worried; I am not overly concerned.
(brutal, driver’s license, traitor, jealousy jealousy)
Low—HEY WHAT
Card-carrying fanboy here. IMHO, Low has the most consistently great and consistently-pushing-themselves catalog of the past 20+ years. This album pushes them even farther. I have to admit that I can’t listen to it a lot—sonically, it is punishing to my ears (read this interview with the album’s producer BJ Burton for some insight into why that might be). But I love its ambition, its melodies, and the fact that Alan and Mimi are stretching the borders of their comfort zones and cranking out fantastic music from their little house in Minnesota. In the midst of the innovation, like lasers through the fog, are the classic Low melodies and harmonies.
(White Horses, Don’t Walk Away, Days Like These)
Wild Pink— A Billion Little Lights
This album feels a bit like heartland Americana—yearning and sprawling and dappled in pining pedal steel—but with synths and without all the demonstrative fedoras and cowboy boots and put-on accents. It has some elements of early 00s indie rock, but one of the things I like most about it is that it doesn’t fit cleanly in any single box.
(Bigger Than Christmas, The Wind Was Like A Train, Family Friends)
Big Red Machine — How Long Do You Think It’s Gonna Last?
This one is pure Paul catnip: Aaron Dessner (The National) + Justin Vernon (Bon Iver) + Anais Mitchell with a sprinkling of Fleet Foxes, Taylor Swift, Sharon Van Etten, and other fantastic voices. What? Were Paul McCartney and Jonny Greenwood unavailable? “Latter Days” is one of my favorite songs in recent memory. If I ever wrote a line as good as “talkin’ back to an act of God”, well, I think I could call it a day:
How long do you think it’s gonna last?
You at the corner store
You were stocking up before the storm
Stacked yourself against the odds
Talkin’ back to an act of God
You and your clever mouth
You were laughing when the lights went out
(Latter Days, Phoenix, Mimi, New Auburn, 8:22am)
Fruit Bats — Pet Parade
Speaking of Anais Mitchell collaborations, how about her Bonny Light Horseman bandmate Eric D. Johnson’s latest? The lift on the title track’s chorus is reason enough.
(The Pet Parade, The Balcony, Discovering)
Mdou Moctar — Afrique Victime
Jams to spare. I’d never heard guitar-playing like Tuareg wizard Mdou Moctar before. Unbelievable player, fantastic band. I had this on full-blast one Saturday while I was cleaning the kitchen and my mother-in-law asked me if I was trying to get her to leave. I suppose its energy — psychedelic and flammable and loud and frenetic and loose — isn’t for everyone. The noise makes sense when heard through the lens (cochlea?) of Moctar’s homeland of Niger and the atrocities happening there about which Moctar has said, “If we stay silent, it will be the end of us.” So he’s making his noise.
(Chismiten, Afrique Victime)
Middle Kids — Today We’re The Greatest
This Australian trio reminds me a bit of the heyday of 90s alt-rock, when bands made albums that pinged from aggressive guitar-driven songs to lovelorn ballads to more experimental stuff. They for sure could’ve played a killer 3:15pm slot between Dinosaur Jr and Siouxie & The Banshees on the Lollapalooza tour.
(Bad Neighbours, Cellophane [Brain], Golden Star, Summer Hill, Today We’re The Greatest)
Weather Station — Ignorance
I really like this record, recommended to me by my friend Jon Lee, but have been surprised to see how often it’s popped up on critics’ end-of-year lists. It seems, I dunno, too patient, too nuanced, too….unfussy? to get the attention it’s received. Tamara Lindeman’s understated vocals are magnetic without being showy. The album’s arrangements are ambitious, stepping—no, leaping—from her previous, more-folky style.
(Atlantic, Robber)
Lord Huron — Long Lost
Just go listen to “Not Dead Yet” and “I Lied.”
(Not Dead Yet, I Lied, Mine Forever, Long Lost)
Hand Habits—Fun House
Artists…who will ever understand them? Like Meg Duffy and their latest album Fun House, which is great really, but doesn’t include two of my favorite songs of 2021: “4th of july” and their Neil Young cover “i believe in you.” How do you leave those off of the album?
(4th of July, i believe in you, Just To Hear You, Clean Air)
SAULT — nine
With two albums on last year’s list, it’s no wonder SAULT keeps riding their creative streak here. Add to that the fact that this album was only up for streaming for 99 days and then disappeared. That’s gutsy self-belief. (Yes, I ordered one to have at home because I still buy a good amount of music.) I think you can probably dig it up on YouTube or the dark webz, but why not support art and keep the artists going? With the way things are going for SAULT, we definitely don’t want them stopping.
(London Gangs, Bitter Streets)
OTHER QUALIFYING ALBUMS THAT HAD A GENUINE MOMENT WITH ME AND MERIT MENTION
Pharaoh Sanders—Promises (put it on and let it wash over you)
Celeste—Not Your Muse (“Strange” was easily one of my favorite songs of the year)
The Killers — Pressure Machine (surprise! I like an album with storytelling and stripped back production and a guest turn from Phoebe Bridgers)
Aimee Mann—Queens of the Summer Hotel
The Hold Steady — Open Door Policy
The Staves — Good Woman (hard to live up to my abiding love for Blood I Bled, but this was still good)
Adam Melchor—Summer Camp
Felice Brothers—From Dreams To Dust (“Jazz on the Autobahn” is perfect.)
Halsey—If I Can’t Have Love, I Want Power (unsettling and dissonant for a supposedly “pop” artist, Halsey created a real mood—and it’s not a happy one—with co-producers Atticus Ross and Trent Reznor. Good, but heavy.)
St. Vincent—Daddy’s Home (this one suffered at the hands of its press cycle, but is quite good)
Billie Eilish—Happier Than Ever
SOME SONGS I LIKED AN AWFUL LOT THIS YEAR THAT AREN’T ON THE ALBUMS LISTED ABOVE
Go Easy Kid—Monica Martin (this and the Madi Diaz song below were two of my 2021 favorites)
New Person, Old Place— Madi Diaz
These Kids We Knew— Rostam
On Your Way Now/Like I Used To— Sharon Van Etten
Chemtrails Over the Country Club— Lana Del Rey
Sanctuary/Hardlytown/Painting Houses— Hiss Golden Messenger
Chinatown — Bleachers + Bruce Springsteen
Forever (Sailing) —Snail Mail
Favor/Song in E—Julien Baker
Summer’s End/Kyoto (Spotify singles)/That Funny Feeling—Phoebe Bridgers
Ceiling Granny—Mogwai
Bad girl/Seasons—Sun June
Take Away The Ache—Half Waif
Paprika—Japanese Breakfast
Lonely Weekend—NNAMDI
The Barrel—Aldous Harding (the video will scar you permanently)
Brando—Lucy Dacus
Heart and Soul/Laughing Gas—David Gray (I know! David Gray! In 2021! But good songs are good songs and these two got me, man. “Wonder shining in my eyes like I’m three years old” is a great line.)
Spin It Faster—Ben Harper & Ziggy Marley
Scream—Lindsey Buckingham
Boomerang—Yebba
Love Is A Lonely Thing—Kings of Convenience & Feist
Song of the Seasons—Neil Young & Crazy Horse
Pulk/Pull-True Love Waits Version—Radiohead
The Beachland Ballroom—IDLES
Change/Time Escaping/Little Things—Big Thief (look out, 2022)
Go Away From My Window—Myriam Gendron (this song is a time machine)
Unison—Gang of Youths
Just For Today—Clairo
Cool Dry Place—Katy Kirby
Here’s a Spotify playlist of these songs and more: spotify:playlist:1KhRw8LO3GweRTWNEZjhQ6
OLD SONGS/ALBUMS THAT BECAME NEW TO ME IN 2019
Blue—Joni Mitchell (I had a spiritual experience in June, reading all of the 50th anniversary retrospectives and ingesting—once again—the brilliance of her lyrical style and musicality. Conversational and poetic. Simple and ambitious. Confessional and universal. Timeless and a time capsule all at once. Corey Fox even convinced me to take a stab at covering her “River” for my song in Velour’s Annual Christmas concerts. I’m no Joni by any stretch, but it was fun and an honor to sing it.)
Let It Be— The Beatles (obviously)
Overpass Boy—Reverend Baron
All Things Must Pass—George Harrison
The Slider—T Rex/Iggy Pop in general (I’d whiffed on these two artists in my musical education—wrongly dismissing them as Bowie Lite—and loved getting acquainted with their work this year)
Autonomy—Stephanie Lambring (This album’s not that old since it’s from 2020, but I haven’t heard a lyricist that knocked me out like this in a long time. Her honesty has teeth and tears. Heaviness—dealing with eating disorders and bullying and disappointment and more—but greatness in her courage to put it down in song.)
BOOKS (favorites in bold)
Congratulations, By The Way-George Saunders
Trick Mirror-Jia Tolentino
Mystery Train-Greil Marcus
Men We Reaped-Jesmyn Ward
Prisoner of Azkaban-JK Rowling
Goblet of Fire-JK Rowling
Anna & Soren-a beautiful history my dad wrote about his grandparents
A Swim in the Pond In the Rain -George Saunders
The Warmth of Other Suns- Isabel Wilkerson
Mysteries of Pittsburgh-Michael Chabon
Order of the Phoenix-JK Rowling
How The Other Half Banks-Mehrsa Baradaran
The Wizard of Oz-Frank Baum
The Weirdies-Michael Buckley (twice)
The Nickel Boys-Colson Whitehead
Fablehaven 1&2-Brandon Mull
Gilead-Marilynne Robinson
MOVIES
Another year that wasn’t so hot for seeing movies in the theater. I really enjoyed the new Spider-Man with my kids and thought Dune was really impressive, but saw my two favorite movies on a plane: Minari and Nomadland, both of which were just achingly beautiful and patient films. Frances McDormand is a gift mirror through which we get to see humanity.
TELEVISION
Here are some things I watched this year (favorites in bold)
GET BACK (I have no words.)
Hacks was probably my favorite new show of 2021. Jean Smart is on one heck of a streak with Fargo, Watchmen, and Hacks. Funny and real and smart. Succession season 3 kinda lost me, but I attribute it to the fact that it’s too much like reality: the rich, powerful corrupt jerk never gets comeuppance. The White Lotus left me similarly queasy in class warfare and ickiness. Squid Game was nuts. Wandavision and Loki were more ambitious than I could have hoped for; the tv sitcom trope in Wandavision was executed masterfully. Mare of Eastown was pretty good, but I didn’t need the 17 twist endings.
TRIED BUT DIDN’T LAST: Bloodline, Falcon & The Soldier, Hanna
REWATCHED: Community, ATL season 1, Friday Night Lights season 1
CONCERTS
For a brief window, I got to see shows and it was so needed:
Madison Cunningham at The State Room and Arlo Parks at Kilby Court, each in their own way, revived my belief in the power of a live show. Cunningham’s show may have been the most mellow face-melting I’ve ever been part of. I wonder if she’s our generation’s Joni Mitchell combined with our generation’s Lindsey Buckingham (or other crazy-underrated virtuosic guitarist). I also saw great shows from Sylvan Esso, Primus (doing a whole Rush album, no less), Neon Trees, and Jonatha Brooke.
OTHER STUFF
The last week of January, after a phone call with my friend Brian Thurber, I started a little songwriting group with some friends, anchored to one simple mandate: every month, everyone posts a new song (or parts of a new song) to the group Dropbox folder by midnight on the last night of the month. When I woke up on February 1, I listened to eight new songs by my friends and immediately felt better about the world. It meant getting closer to 11 new songs over the course of 2021 for me, which anyone who knows me knows is a big deal for this snail-paced writer.
I played at my friend Seth’s funeral last week—officially “Just Breathe” by Eddie Vedder (you might know the Willie Nelson version) and then a full prelude of Grateful Dead covers. I’ve known Seth since high school and his sweet wife Shannon even longer, since first grade. Seth and I were in a band for maybe 5–6 years together and, if I remember correctly, we only played ONE show. And, at the time, we never once thought that was an issue. Seth was a great example, way past when we played songs in his attic, of just creating for creation’s sake. It wasn’t about impressing anyone or getting girls—Seth just wanted to create music. And we did, for hours on end. I miss that and I’ll miss my friend. As the Dead song goes, “fare thee well, I love you more than words can tell.”
I experienced real bona fide back trouble in 2021 that made me grateful for the days when it feels fine. To those of you dealing with daily debilitations, my hats—every last smelly one of them—are all off to you.
I followed a really fun Jazz team, going to a few games with my kids as well as Game 1 of round 2 versus the Clippers with two longtime high school friends. They won a fun game that went right down to the wire and, after that, well, we don’t really talk about how the series ended because…ugh. But joy in the journey, right?
I went to Mexico with some dear friends and did absolutely nothing and I can’t recommend it highly enough.
I watched my daughters dance in ways that my side of their genetic code should never allow. I got teary every time.
I played a duet of “Up On The Housetop” with my 7 year-old son—me on the guitar, him on the violin. And he killed it. Truthfully, I was the weak link.
I hung out with my 13 year-old like friends—talking movies and music and comic books and whatever. That will never be lost on me, especially remembering how much I pushed away from my parents at that age and knowing that it could happen any minute.
I saw my sister-in-law get remarried in South Carolina. She deserved some happiness and watching her get it after the flaming hell she’s been through? That was something else.
I took another new job. And, in a good way, it reminded me to make sure you work with people who “get” you and put you in the position to do what you do best.
I really enjoyed Rob Harvila’s podcast “60 Songs That Explain the 90s” because I am a 90s kid and I love music and Rob’s way of looking at it raelly speaks to me. The episodes on “Say It Ain’t So” and “Hunger Strike” and “Creep” and “The Distance” were particularly good.
We’re in the middle of a remodel, which has been really fun as lumber prices were rivaling bitcoin and Tesla stock. #firstworldproblems
I got to record some music with our little (ok, not-so-little) collective The Lower Lights, some of which you’ll hopefully hear on a new album in 2022, but also film some videos, one of which is my friend Dominic Moore and I singing “Happy Xmas (War Is Over)” by John Lennon. It’s always a thrill to get to sing with Dominic, whether in gusty garages in Provo or dive bars in Chelsea or, in this case, June Audio Recording Studio. You can hear it right here:
https://www.youtube.com/watch?v=hemXzhFy1Xo
Here’s to 2022. Let’s hope it’s a good one…