Compared to last year’s promises, much of the changes aren’t included in. Embarassingly so. It seems like I might decide to stick to using WordPress.com for now and shelve the rebranding effort for the time being. I would mostly just focus on building my portfolio for now as it’s at least less risky and it doesn’t require me to wear myself out in having to dabble in graphics design, full-on web redesign, and organising my finances on top of researching, finding, and drafting new albums to write about. It might not be the most professional I do admit, but I would try and take it slow especially due to a bit of a mental health bump that makes me skip writing for around three months.
At least, there is a bit of good news regarding the kind of music I have listened to for this year. I managed to check out more records that I feel is worth at least a capsule review so I am hoping to start 2023 off with an article which covers the rest of the albums that I managed to listen to. I will update this after the capsule review article is published to reflect the change so that you could all check it out. Aside from that, enjoy your New Year’s Day and here’s hoping that 2023 will pump out great music to listen to!
Best Album of 2021
Ants From Up There – Black Country, New Road
Simply put, the sophomore album by one of the most exciting British bands of last year not only meets its expectations. It also create new standards that leaves much of the scene in dust. Whatever comparison you could make between them and either Slint or Arcade Fire is all but superficial. the instrumentation basks in the very best of Godspeed You! Black Emperor, its harmonic high notes reminiscent of Pulp, a unique lyrical style that detracts from the endless comparisons made with Bob Dylan, and a surprising feeling of heart and authenticity that owes itself to Midwest Emo. Isaac Wood’s departure might leave a hole in the band after a monumental release, but what a treasure that the project must’ve been.
Honourable Mentions
Hellfire – Black Midi
Adamant in their beliefs that being avant-prog is not a phase, the three-piece rock band opts to embrace insanity in their third record. Cynically humorous as it is, Hellfire takes on murdering, prostitution, trauma, and overall human vices into a rollercoaster ride. The riffs soars high in their noisy distortion, Morgan Simpson’s drumming further adds credibility to his status as one of the best drummers of today, and the shifting vocal singing between Geordie Greep and Cameron Picton helps to add dimension in several songs. There is grandeur to be found here, but you must push through the mad house to see it – or lose your mind in the process.
King’s Disease III – Nas
Years of being seen as a lyrically gifted emcee with an inconsistent ear for beats has left the self-proclaimed Son of God hungry for acclaim. Despite being pushing near his fifties, Nasir Jones team up with reputable producer Hit-Boy to make a series of hits after hits. Now, King’s Disease III disproves former arch-rival Jay-Z’s claim that Nas could only make one hot album every ten years. Try out his driven flows or flexibility in beat selection, the East Coast veteran isn’t just gunning in on his long-sought fame, but he’s shown that he could adapt to new environments with such ease that you rarely see in rappers his age.
Wet Leg – Wet Leg
Honestly, I wish that I could’ve made up the time to write about this album a short while ago when it’s fresh out of the gate. If you feel like that indie music gets too pretentious, the rock duo’s debut is, to put it simply, fun. No poetry, no experimental flirtation, no unorthodox instruments. Just a boat-load of hits after hits after hits that tackle sex, relationships, and simple living in the most deadpan delivery possible. Who knows that boredom could offer something that’s this good to the ears? Never mind the production that gives room to all instruments, the nice post-punk guitar playing, the catchiness, the clear Britpop impression that vibrates all the way throughout the whole album…
There Will Be No Super-Slave – Ghais Guevara
If there is no better time to write a record that’s this passionate about the potential of one’s own race than now, then Ghais Guevara’s breakout album could be the one. Unforgiving in its portrayal of black empowerment, persevering against the whites, and post-colonial braggadocio, Guevara’s in-your-face confrontation revives a charm that is not felt since the golden days of Mobb Deep. Backing up the rapping is the production where, being inspired by the chipmunk soul style that’s popularised by Kanye West, leads to an amazing, distinctive music that you rarely hear anywhere else. It’s relentless, unapologetic, shamelessly talented in how the album showcases the emcee’s flows and themes throughout.
Best Song of 2021
‘Basketball Shoes’ – Black Country, New Road
To put it simply, I love ‘Basketball Shoes’ to a level that I rarely feel in a while since Arcade Fire’s ‘Neighborhood 1 (Tunnels)’ or the Wrens’ ‘Ex-Girl Collection’. Being preserved from the band’s early years which include being excluded from their debut record, the studio recording shines through even with what some would see as warts. A stream-of-conscious medley that looks into deep introspection and love, the shift from jazzy post-rock to what one would see as a parodic twee-ish verse into a climatic crescendo, it’s an experience that is hard to forget once it clicks. Let’s say that the last lines of Isaac Wood caps off the emotional and transcedental ending to the best album of this year, “Oh, your generous loan to me, your crippling interest.”
Shout-outs of 2022
Suburbia – Heavn
A low-key concept album that’s based around disintegrating teen infatuations, Heavn’s release for this year is a diamond in the rough. With its lo-fi productions, clear sentimentalities, and indietronic rock composition, Suburbia ends up becoming one of the biggest surprises I have stumbled upon for this year. If you’re going through a heartbreak session, then this album might be worth your attention. Do note that while it’s not revolutionary in the way that re-invents how our listening experience should feel like nor does it convey its themes to such a level that leaves many wanting for more, it at least does its job well enough in representing young adult love. Check it out if you’re a fan of genres like emo or pop punk.
SAINT ANGER – Rural Internet
From the creators of last year’s escape room, SAINT ANGER eschews hyperpop entertainment in favour of overt industrial commentary. With its bombastic beats, frantic themes of political dysfuctions, angst galore, and its use of featured artists, the left turn leaves a very divisive take among their fanbase. Personally, I find it to be a promising change of pace with a lot of potential that the trio could reach towards in the future. Without the context around the rap group’s previous discography, there’s a solid chance that a record like this would’ve gotten a lot more praise for its insanity and creative sampling rather than criticisms for detracting from what worked for them at first. I would recommend that you give this a go and see for yourself if it’s a good record on its own.
O’ dimness SOUL HOME – ooodisea
One of the handful of records that I wish I could’ve write about for this year, this album feels like a clear homage to Lingua Ignota for its ghastly take on classical instruments and folk influences. Its chilling vocal delivery, constant reverberations for production, and a primal atmosphere of loneliness leaves a deafening sense of dread. Its clear influences might come off as being too derivative for its own good and it’s a stance that I very much so agreed on. Nevertheless, its use of pianos for the sense of suspense would make for a worthwhile listen for fans of neoclassical darkwave. If you love listening to music that haunts your very spine, then O’ domness SOUL HOME might be the record that’s worth your attention – it nails that to the tee.
can opener’s notebook: fish whisperer – Vylet Pony
Long after the Brony phenomenon back in the early 2010s, one aspiring artist decides to find a time to create a concept album about a prodigal marine biologist with music aspirations. Being a bona-fide electronic pop record, much of the sound production is very pleasing with its synths and strong sense of hooks. The vocal performance is also a real treat to listen to with the gentle singing that doesn’t seek to be flashy in delivery. Simply put, it’s a good pop album and as much flack as My Little Pony receives for its older fanbase, the passion that is shown for their source material is worth the props that is needed.
I paint you, I paint you, I paint you – Goth Lipstick
Self-described as a ‘sixth-wave emo band’, this largely ethereal release is another underrated gem that might well be worth listening to. Inspired partly by lead singer/frontperson Francesca Fey’s feelings as a trans woman, it’s a personal, touching experience with its bout of glitchy production adding up well to the charm of the album. Not everyone might fully get what the themes and premise of the album is, but I do not blame those who find in it a treasure to keep until the very end. It’s beautiful in its own way for its indietronic beats and acoustic guitar strums. Much recommended if you are looking for a release from an LGBT+ artist with their own spin.
Mann beisst Hund – OG Keemo
Built around the Darwinian motif of the man/dog binary comparison, recent events have seen it OG Keemo’s release age like fine wine. Presenting life as an organised criminal as being anything but glamorous, the boom bap beats and hardcore impressions make for a record that is unwilling to step down its commentaries on society. Now, with how many social media stories and news suggesting that many would use world events either as means to satisfy their goals or at least to look out for themselves, Mann beisst Hund feels like a prophetic warning on how the human rance is self-serving. Be sure to either learn a bit of German or find an unofficial English translation because the lyrics is the main selling point in this album.
Perfect Light – 40 Watt Sun
Once a doom metal project of veteran guitarist-singer Patrick Walker, Perfect Light is a complete change in genre from maximalist heavy sounds to slowcore folk. As a result, it makes for an easily digestible type of singer-songwriter album for how you could easily hear Walker’s lyrics which pertain to companionship and the search for light. I might find the record to have unfortunately adopt a more dull side of slowcore, I do not disagree with those who find the album to be utterly beautiful. Podcasts like Jams & Tea considers it to be the most overlooked album of 2022 with a good argument. With a more vibrant array of chords and a vocal delivery and lyricism like Jason Molina, it’s a good display for Walker’s signature styles.
Tissues – Pan Daijing
It’s noisy, alien, operatic, and intense. Pan Daijing’s release for this year is clearly made as a definite art statement without an ounce of commercial appeal. Its synths that rings sullen and fierce with the apparition-like singing in the background leaves a long line of a record that sees virtually no distinction in its interlude. Tissues might not be an appropriate name as, however sparsely used the instrumentation is, it only provides a creepy feeling into your heart. It does however leave you in awe at how, despite how unlistenable it would be to have it on your playlist, it manages to keep your attention with all its sampling and subtle alterations.
GutterPutter 
Leave a comment