best of HONESTLY, 2021. - finished!!

[TRF.]

 

 

 

 

BUY

#10. Mabe Fratti Será que ahora podremos entendernos Genre: Art Pop, Ambient Pop, Experimental Electroacoustic, Drone, Modern Classical, Chamber Folk, Progressive Electronic Label: Unheard of Hope || Country: Guatemala   I first encountered the music of Guatemalan singer, producer and cellist Mabe Fratti by chance, having my first listen of her album Pies sobre la tierra in a bus from London to Paris at night in 2019. That record was gorgeous, leaving some wonderful memories on me because of that experience but also because of its beautiful lyrics and Mabe’s singing as well as the atmospheres it painted – ending up as one of my favorite albums of that year. Será que ahora podremos entendernos, her second studio album is worthy follow-up of that debut, a lengthier, sonically diverse work that expands on every facet of Mabe’s artistry. Made in Mexico with an ensemble of musicians she happened to be quarantining with last year, it combines the ethereal sound of her debut, with some of her most accessible material to date in its first half, with heavy, almost-frightening cello-led drones verging on noise music starting from “Inicio vínculo Final”, maintaining a wonderful balance these two approaches in each track. While experimental cello music isn’t necessarily a new concept, this is an album that shows the best of an artist that sounds like no other not just in Latin America, but in the world period.   Highlights: “Mil formas de decirlo”, “Hacia el vacío” (feat. Claire Rousay), “En medio”, “Inicio vínculo Final”, “Aire”, “Cuerpo de agua”, “Un día cualquiera” RIYL: Oliver Coates, Julianna Barwick, Fennesz, Kelsey Lu

 

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#09. Juçara Marçal Delta Estació Blues Genre: Experimental Rock, Vanguarda paulista Glitch, Afoxé, Art Pop, Post-Industrial, Art Punk, Synth Punk Label: QTV || Country: Brazil   In 2014, Juçara Marçal released Encarnado, an album that contrasted her gorgeous voice with heavily distorted guitars. It was a very minimal album, a far call from her material with her more jazz-y band Metá Metá – aside from her voice and the guitars there really wasn’t much going on. And yet, it was extremely captivating – just like Delta Estació Blues, her first solo album in seven years, for both different and similar reasons. For instance, even though she brings frequent collaborators such as Kiko Danucci and Cadu Tenório to its orbit, Delta Estació Blues has a very different sound from its predecessor, heavily relying on electronics, synths, glitchy effects, samples and beats, while guitars and other instruments are more of an accompaniment than anything else. However, Juçara Marçal performances are as great as always, ranging from charming and delicate to intense and straight-up weird, with lyrics that touch on, among other things, Afro-Brazilian and Afro-diasporic culture and its experience – fitting with the rhythms and sounds of the record itself. Delta Estació Blues occupies a very special place in Juçara Marçal’s discography, one that doesn’t feel like a reinvention to her in particular but still feels completely innovative.   Highlights: “Vi de relance a coroa”, “Sem cais”, “Ladra”, “Crash”, “Baleia”, “La femme á barbe”, “Corpus Christi”, “Iyalode Mbé Mbé” RIYL: Elza Soares, Kiko Dinucci, Laurie Anderson, Xenia Rubinos

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#08. Little Simz Sometimes I Might Be Introvert Genre: UK Hip Hop, Conscious Hip Hop Neo-Soul, Jazz Rap, Orchestral, Funk Label: Age 101 || Country: UK   Islington-born rapper Simbi Ajiwako a.k.a. Little Simz’s “Introvert” opens with military marching, horns, violins, a grand orchestral arrangement. This can be a tough way to open any album, either setting it up for failure as it might be overly pretentious – but with Sometimes I Might Be Introvert she exceeds any expectation. In 2018, the rapper saw a breakthrough with her third album Grey Area, an intimate, dark album which touched upon many aspects of her life and of Black British youth in general. Sometimes I Might Be Introvert goes even deeper, tackling not only social unrest and racism, but also the struggles of success, her West African heritage and as the title implies, being an introvert in the limelight. Co-produced by frequent collaborator Inflo, it’s a massive sounding album, with influences from jazz, funk, soul, afrobeats, disco and golden age hip hop, with grandiose orchestral arrangements continuing the theme of its opening track with very theatrical interludes, stretching the album length to over an hour long. Can it be a bit much? Maybe, but there’s no doubt Simbi pulls it off.   Highlights: “Introvert”, “Woman” (feat. CleoSol), “I Love You, I Hate You”, “Little Q, Pt. 2”, “Speed”, “Standing Ovation”, “Rollin Stone”, “Protect My Energy”, “Point and Kill” (feat. Obongjayar), “Fear No Man”, “How Did You Get Here”, “Miss Understood” RIYL: Kanye West’s MBDTF, Lauryn Hill, Kae Tempest, SAULT

 

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#07. SPELLING The Turning Wheel Genre: Art Pop, Baroque Pop Progressive Pop, Darkwave, Psychedelic Soul, Neo-Psychedelia, Synthpop Label: Sacred Bones || Country: USA   In February 2020, singer/songwriter/producer Tia Cabral announced a Kickstarter for funding the recording of her second album on Sacred Bones as SPELLLING, The Turning Wheel, which would have a troupe of almost 20 musicians collaborating with it. The goal was met, with a release date initially set for September 2020. Then COVID-19 happened. It took a while for the record to see the light, which finally happened in June of this year. But it was surely worth it. Far from the great but very lo-fi, minimal sound of her 2019 album Mazy Fly, The Turning Wheel sounds legitimately immense, with 12 tracks that each has its own sound and personality, with Tia using her vocal range to its full potential complementing the excellent musicianship constantly displayed on the record. Taking very obvious sonic cues from greats in both avant-garde and pop music and from spiritual and mundane experiences, it’s not necessarily a very cohesive album in terms of narrative, but makes up for it with a very linear storytelling in terms of sounds, from the Heaven of the first side to the Hell of the second one – sounds phenomenal altogether.   Highlights: “Little Deer”, “Always”, “Turning Wheel”, “Awaken”, “Emperor with an Egg”, “Boys at School”, “Legacy”, “Queen of Wands”, “Revolution”, “Sweet Talk” RIYL: Minnie Riperton, Julia Holter, Kate Bush, Austra

 

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#06. Arca KicK iii + kiCK iiiii Genre: Deconstructed Club, Experimental Hip Hop, Glitch Hop || Ambient, Modern Classical IDM, Industrial Hip Hop, Latin Electronic || Ambient, Progressive Electronic, Post-Minimalism, Art Pop Label: XL || Country: Venezuela   Near the end of the year, Arca began releasing the four last installments in the Kick series which began in 2020 with the release of KiCk i. In each Kick, she showed a different side of her artistry, either twisted reggaetón, distorted dancefloor tracks or gorgeous, alien electronic ballads. One of the best Kicks was, in my opinion, KicK iii. A spiritual successor to her Stretch EP’s from 2012, it features this hybrid of avant-garde club production with experimental hip hop that would influence so many artists yet upgraded for the present day, with all the production chops Arca gained over the years. It’s some of the most intense music she’s ever done, sounds like a neverending party. kiCK iiiii, the last Kick album, is its complete opposite. Released almost as a surprise, it sounds delicate, melancholic and pretty in comparison, being basically a piano-led album with very little else getting in the way, aside of the hard-hitting closer of “Crown”, it’s almost entirely instrumental, with her voice appearing sporadically in a few tracks. These are two of the best releases in a discography that has given us so many masterpieces, and now that the Kick era has officially come to an end – maybe – it’ll be exciting to see what side Arca shows us next.   Highlights: “Bruja”, “Incendio”, “Morbo”, “Fiera”, “Skullqueen”, “Electra Rex”, “Ripples”, “Rubberneck”, “Intimate Flesh” || “Pu”, “Chiquito”, “Estrogen”, “Amrep”, “Sanctuary” (feat. Ryuichi Sakamoto), “Tierno”, “Músculos”, “La infinita”, “Crown” RIYL: every side of Arca

 

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#05. Maria Arnal i Marcel Bagés CLAMOR Genre: Art Pop, Glitch Pop Avant-Folk, Folktronica, IDM Label: Fina Estampa || Country: Spain   Catalan duo Maria Arnal i Marcel Bagés released their debut album in 2017, '45 cerebros y 1 corazón', to massive acclaim in Spanish music platforms, with a heavily guitar-based approach to local folk music inspired by post-rock, experimental pop and psychedelia, and lyrics dealing with political turmoil, fascism, francoism and the aftermath of the Spanish Civil War of 1936-1939 through a contemporary lens. Their second album, 'Clamor' sounds very different from the first, but maintains its otherworldly beauty. With an approach influenced by experimental electronic music as well as contemporary pop, featuring American artists like Holly Herndon or Kronos Quartet as fellow Catalan duo Tarta Relena being pulled into their orbit as well to wonderful results. Maria Arnal's voice sounds astounding as always and Marcel Bagés' approach to production remains immaculate. The social and political themes are more subtle but no less present, maintaining the heart of their debut, as you can kind of see it as a concept album about humans imagining an alternative future for themselves away from capitalist restraints, being interested in finding a solution for our problems, and although that question remains to be unanswered, it's interesting for a record to pose it at all, especially when it is as good as 'Clamor' is.   Highlights: "Ventura", "Fiera de mí", "Meteorit ferit", "Cant de la Sibil·la" (feat. Holly Herndon), "Tras de tí" (feat. Morphosis Ensemble), "Jaque" (feat. Kronos Quartet), "El gran silencio", "Hiperutopia" RIYL: Rosalía, Björk, Eartheater, Rodrigo Cuevas

 

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#04. Injury Reserve By the Time I Get to Phoenix Genre: Experimental Hip Hop, Glitch Hop, Experimental Experimental Rock, Neo-Psychedelia, Abstract Hip Hop, Glitch, Sound Collage Label: self-released || Country: USA   In 2020, Stepa J Groggs, member of experimental hip hop group Injury Reserve passed away suddenly. It’s difficult to talk about and I’m not going to talk about circumstances or anything, but months after his passing, remaining members Ritchie with a T and Parker Corey decided to complete the album they’ve been working on – remaining true to Groggs’ wish to name the album By the Time I Get to Phoenix and for the band to “make some weird shit”. And this is indeed some “weird shit”. With contributions from acts like Jam City, black midi or Body Meat – it feels like experimental hip hop that sound-wise pushes the limits of what’s considered hip hop in the first place, not even in a “post-rap” way or something like that, but something of its own entirely, not remotely sounding like anything in the genre. Although most of this album had been finished before his passing, the loss of Stepa J Groggs still feels present throughout the record, the grief remaining member Ritchie with a T and Parker Corey feels present not only in the lyrics of some tracks – “Top Picks for You” feels like a true encapsulation of dealing with someone’s death in the present day – but in its atmosphere, his presence is felt in every second. Whatever way you want to approach it – it’s not the easiest album to listen to. But if you’re a fan of “weird shit”, this record is a must regardless of situations.   Highlights: “Outside”, “Superman That”, “Footwork in a Forest Fire”, “Ground Zero”, “Smoke Don’t Clear”, “Top Picks for You”, “Wild Wild West”, “Knees”, “Bye Storm” RIYL: Earl Sweatshirt, Body Meat, Danny Brown, Standing on the Corner

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#03. Tinashe 333 Genre: Alternative R&B, Contemporary R&B Trap, Pop Rap, Dance-Pop, Downtempo Label: self-released || Country: USA   "Tinashe is so underrated", "Tinashe deserves so much better" are sentences I see on my Twitter feed at least two times a month, generally triggered by the release of a recent music video or single or something of the sort. It's something she herself is most likely tired of. And it is true, there is probably no one who combines modern R&B with pop, rap and avant-garde sensitivities as successfully as she does, while also maintaining her sound accessible enough with strong, catchy hooks. But after being screwed by a label that did not believe in the strength of her music, she decided to release it independently, starting with the excellent 2019 album Songs for You. While Songs for You proved everything she was capable of, 333 confirms the fact that she is one of the most creative figures in pop music of the past decade or so. While that might seem like too much praise, the sheer power of her voice on tracks like "The Chase" or the title track, her taste for excellent production that doesn't shy away from experimentation balanced with potent songwriting that could appeal the most listeners possible, feels like something uniquely hers. 333 is one of the best projects in an already strong discography, a culmination of everything Tinashe represents in music. It's fun, catchy, emotional, odd, and more. It doesn't matter whether you think Tinashe is underrated or not, she is a star on her own terms.   Highlights: "X" (feat. Jeremih), "Shy Guy", "Bouncin", "Unconditional" (feat. Kaytranada), "333" (feat. AB), "Undo" (feat. Wax Motif), "Let Me Down Slowly", "The Chase", "Small Reminders", "Bouncin Pt. 2" RIYL: FKA twigs, Dawn Richard, Ciara, Doja Cat

 

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#02. Erika de Casier Sensational Genre: Contemporary R&B Alternative R&B, Downtempo, UK Bass, 2-Step, Sophisti-Pop Label: 4AD || Country: Portugal/Denmark   One of the most surprising debuts of 2019 was Essentials by Erika de Casier. The album was a very genuine homage to late 90’s/early 00’s R&B and pop, not a deconstruction or anything like that, but it felt certainly modern. It was a sleeper hit, while initially released without much fanfare, it would progressively get more popular, I’d see it be talked about more and more as the months went by and even ended up being shouted out by Dua Lipa of all people! This ultimately culminated in Erika de Casier signing with 4AD for her sophomore album. If Essentials was a great introduction to the Copenhagen-based artist, Sensational confirms she’s here to stay. While Essentials felt a lot more romantic and sweeter, the ones in Sensational are a bit more pessimistic, dealing with the up-and-downs of a relationship, heartbreak and its aftermath, but with many tongue-in-cheek lines and performances that make it less hard to swallow. It doesn’t stay far from the R&B of its predecessor, but does feel a bit riskier in its choices: songs with no percussion whatsoever, other ones with rhythms inspired by UK garage, dancehall, jungle, 80’s adult contemporary and 00’s hip hop, yet it sounds very cohesive all throughout – in part thanks to Erika’s delicate, sweet and cozy-sounding vocals – without sounding repetitive. Sensational is a very consistent record with little-to-no misses that gets even better with each listen, a great evolution from an already strong debut.   Highlights: “Drama”, “Polite”, “Make My Day”, “Insult Me”, “No Butterflies, No Nothing”, “Better than That”, “Friendly”, “Busy”, “Call Me Anytime” RIYL: Sade, Jessy Lanza, Brandy, PinkPantheress

 

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#01. Magdalena Bay Mercurial World Genre: Synthpop, Dance-Pop Electropop, Contemporary R&B, House, Chillwave Label: Luminelle || Country: USA (+Argentina)   Magdalena Bay were always a group whose music was around and I kinda enjoyed but, self-admittedly, never really cared about a whole lot. But I did know they had a very strong online presence, particularly on TikTok, where they made skits, jokes and other types of videos including their music. In one of these, they were explaining how 2020 was going to be a very impressive break-out year, touring with Kero Kero Bonito and Yumi Zouma and putting out an EP… and then COVID happened, cancelling almost all their plans. Lead singer Mica said after explaining this, with a smile, “I’m still traumatized”. Mercurial World was in some way born out of the anxieties over the future in a post-Covid world, commencing the recording of it shortly after lockdown began. You can find a lot of it addressed in the lyrics, not directly, but present enough. Relationship problems, insecurities, dealing with growing up, the passing of time and not being able to achieve all you desired, the duo of Micaela Tenenbaum – who’s Argentinian, btw! Hermana! – and Matthew Levin captured all these complicated feelings into fantastic upbeat pop songs with brilliant production. Something this album also does, however, particularly in its second half, is focus on healing and hopefulness, ending the album in a very positive note amidst the drama, so to speak. The negative and the positive will always coexist, and this album feels like the work of people learning to deal with it – and that honesty feels refreshing too. Musically, the way they combine different pop sounds from different decades into something that feels so contemporary and fresh, from shoegaze to g-funk, from 90’s techno to (obviously) 80’s synthpop yet manage to make it all sounds so cohesive is extremely impressive too. It’s a shame I didn’t love Magdalena Bay from the beginning, but the professional sound of Mercurial World is exquisite, next level for them and for pop in general – and they’ve most likely earned a fan for life in me with it.   Highlights: “Mercurial World”, “Secrets (Your Fire)”, “You Lose!”, “Something for 2”, “Chaeri”, “Hysterical Us”, “Follow the Leader”, “Domino”, “Dreamcatching”, “The Beginning” RIYL: Rina Sawayama, Kero Kero Bonito, Kylie Minogue, Neon Indian

[TheWayWeWere]

333  this album deserved so much more  

[madonnas]

WOW that Erika/Tinashe/MagBay top 3

 

That was originally going to be my top 3 too in that order, but Poppy snuck, sorry.   Tried listening to #10 but I just couldn't get into it   But I love everything else that I heard and obviously kick iii is her strongest work yet. 

 

I never heard INjury Reserve, should I?  

[TRF.]

4 hours ago, madonnas said:

WOW that Erika/Tinashe/MagBay top 3

 

That was originally going to be my top 3 too in that order, but Poppy snuck, sorry.   Tried listening to #10 but I just couldn't get into it   But I love everything else that I heard and obviously kick iii is her strongest work yet. 

 

I never heard INjury Reserve, should I?  

Yeah I get that album can be a bit difficult  I do love us having the same #1. though!

 

And re:Injury Reserve, yeah! Check out their self-titled debut album first though! This new one is great obviously (my fav thing they've done tbh) but it can be a bit difficult/too experimental and whether you like it or not depends a lot on your mood or mindset lol.

[TRF.]

 

 

#10. Little Simz "Introvert" from Sometimes I Might Be Introvert (conscious hip hop)   When you open an album with a song like this, it could either mean you're taking yourself too seriously, you got your head up your ass or you truly know what you're doing. Little Simz clearly knows what she's doing. The orchestral arrangements are obviously great and make this sound truly massive (as well as CleoSol's backing vocals) but what really makes this work, just like with the rest of the album, is Little Simz's bars, which are some of the best on her entire album.

#09. Mdou Moctar "Afrique Victime" from Afrique Victime (tishoumaren/psych rock)   "I write in French to tell the French that I am not French" - Kateb Yacine, Algerian writer. The greatest track in Mdou Moctar's 2021 album, both in terms of length (the full version of the track is 7 minutes and a half long) and also in the way it's the statement track of the album, the one that gives is its title. It's a powerful cry against imperialism and foreign powers metaphorically and literally destroying the African continent. And it also rocks.

 

#08. Doss "Strawberry" from 4 New Hit Songs (alt dance/shoegaze)   Since her much-awaited comeback, Doss has released multiple great singles, but none of them come close to this one, in my opinion. Far from the house and trance inspired tracks of the rest of her EP, this song sounds more like it was specifically made for people whose favorite track on MBV's Loveless was "Soon". And that would be me so... yeah! It really is the music.

 

#07. Magdalena Bay "You Lose!" from Mercurial World (noise pop)   It's not the like other singles weren't good, they certainly were. But what convinced me Mercurial World was most likely going to be one of my favorite albums of the year was this song. Magdalena Bay showing such a different side of themselves, far from the catchy upbeat 80s-inspired synthpop, this sounds like Pavement-meets-early-Crystal Castles-meets-Avril Lavigne, sounds like a fucked up, distorted version of 00s pop rock that many tried to replicate this year for some reason, but no one as creatively as they did. With lyrics about "running out of time" and having shit luck in general, this song is not only relatable, but also a fucking banger.

 

#06. Lara91k "Pegaíta" from Como antes (reggaetón/alt r&b)   It kinda caught me by surprise how absolutely obsessed I was with this song this year, but it has almost everything that I love. With production that sounds as ethereal as something you'd hear someone like Ecco2k or Bladee do their thing on while still placing itself firmly in reggaetón, Argentinian vocalist and former member of duo Coral Casino, Lara91k raps and sings about queer love and sexual desire on the dancefloor, with some heavenly-sounding autotuned harmonies to back everything up. I didn't know how much I needed this, but it's exactly what I always have.

#05. SPELLLING "Boys at School" from The Turning Wheel (art pop/prog pop)   "Boys at School" is probably the biggest-sounding song SPELLLING has ever done. A 7-and-a-half-minutes long track, it's also a very accurate reflection of what it feels like being a perhaps overly dramatic introverted kid in high school who seeks refuge in music - hoo boy do I know about that. And that's great in and of itself, but what elevates is its grandiose, larger-than-life instrumentation and production, like the most heavenly prog-rock possible placed at the center of her album, it's just perfection.

 

#04. Cassandra Jenkins "Hard Drive" from An Overview on Phenomenal Nature (art pop/spoken word)   It takes a bit to sink in how absolutely perfect this song is. Spoken word in music can be very hit-or-miss, and Cassandra nails it, without sounding too pretentious, she narrates different life events and situations that for one reason or another we all can find relatable in the present day, like an American Jenny Hval of sorts, but very much her own. It's musically fantastic too, the jazzy instrumentation, the way the "hard drive" hook takes on a different meaning in each chorus. It's genuinely heartwarming.

 

#03. Bizarrap & L-Gante "BZRP Music Sessions #38" (cumbia/latin rap/"RKT")   One of the breakout stars of the year in Argentina was without a doubt was rapper L-Gante, and while he had one or two big songs, this single might have been what did it for him. With one of the best, weirdest beats Bizarrap has even done for one of his sessions, far from the typical "RKT" styles you can find, L-Gante dominates it with ease, delivery hook after hook, fantastic line after fantastic line. It's genuinely fun, definitely unignorable, to the point even Pitchfork shouted it out! Even though he's certainly become a mediatic figure at least down here rahter quickly, this song is a good reminder that he's earned that status by making true club bangers.

#02. SZA "Good Days" (alt r&b/neo-soul)   "Good Days" came in at the tail end of 2020, and left an impact that would carry on until today, it only makes sense for it to be this high. With some of the most celestial music SZA's ever sung on, the way this song reflects on the past, appreciating its little moments while looking forward for even better moments ahead in the future was something I definitely needed to hear this year. It's fantastic that this song was as big as it was, easily the best top 10 hit song of the year. Maybe I don't hate you after all Jacob Collier!

 

#01. Hikaru Utada "One Last Kiss" from BAD Mode/NGE Rebuild 3.0+1.0 Soundtrack (j-pop/dance-pop)   NGE spoilers ahead?   So, in this year I have become very obsessed with Neon Genesis Evangelion. As a person going through an edgy, depressed era... yeah, it felt like it spoke to me deeply. If you know you know. And while the series itself has a rather pessimistic end (particularly that of the End of Evangelion movie), the ending for the Rebuild (4 movies that work as a re-telling of the series), released this year, is very much optimistic, giving the characters a much-needed mature look on life. And the final scenes on the movie were soundtracked by this song. Not only does it work great in the context of the movie, but it genuinely feels touching and encouraging outside of it - thanks to Utada's adorable, captivating lyrics, but also to its production, crafted alongside A.G. Cook of all people! Far from a sappy ballad, it's a fantastic electronic-pop beauty I knew I could expect from such a great team-up. I knew I was destined to stan the moment I learned about it, but it became really meaningful to me with each listen.  I'm not an anime nerd let's get that clear though! But even if you aren't, this song is worth it.

 

   

[SLIME]

GOOD DAYS   

 

I'm surprised at the #1 but hey we love A. G. #10-#9-#8 yup yup yup. I mean amazing lists as always (duh).

[TRF.]

Thank you to everyone who has commented here  best of luck for this year for everyone!!!! we're gonna need it lol

[bestfiction]

One Last Kiss  

Lots of great albums here too, Erika, Maga Bay and 333

[Remmy]

33#3  A nice followup to SFY. Mag Bay AOTY oh yesss  Very deserved, they killed it! You Lose! also getting love on the singles list  That's actually one of the tracks that needed a tiny bit of time to grow on me. Dawning of the Season absent from your highlights hmmm what's that about... Didn't know a thing about Hard Drive until I took a peek after seeing it on the ATRL Best of 2021 today, it sounds cute!

 

Congrats on finishing  See ya back here later this year!

[Mr. Blue_Shirt]

Let me catch up a bit

 

IICHL, IWP, Stand for Myself, VICE VERSA, Play With the Changes, Bright Green Field, SINNER GET READY, SIMBI acclaim!  Also 333 & Sensationa being in the top 3 too! We love to see it!

--

Cashmere, How Not to Drown, Be Sweet, The Only Heartbreaker, Hot n Heavy, Wild Side, Thot ****, Bunny Is a Rider, Twerkulator, 24 Hours, Linda, Busy, Just for Me, Bouncin are all amazing 

On 1/3/2022 at 7:18 AM, TRF. said:

 

 

#10. Little Simz "Introvert" from Sometimes I Might Be Introvert (conscious hip hop)   When you open an album with a song like this, it could either mean you're taking yourself too seriously, you got your head up your ass or you truly know what you're doing. Little Simz clearly knows what she's doing. The orchestral arrangements are obviously great and make this sound truly massive (as well as CleoSol's backing vocals) but what really makes this work, just like with the rest of the album, is Little Simz's bars, which are some of the best on her entire album

 

 

#02. SZA "Good Days" (alt r&b/neo-soul)   "Good Days" came in at the tail end of 2020, and left an impact that would carry on until today, it only makes sense for it to be this high. With some of the most celestial music SZA's ever sung on, the way this song reflects on the past, appreciating its little moments while looking forward for even better moments ahead in the future was something I definitely needed to hear this year. It's fantastic that this song was as big as it was, easily the best top 10 hit song of the year. Maybe I don't hate you after all Jacob Collier!

 

#01. Hikaru Utada "One Last Kiss" from BAD Mode/NGE Rebuild 3.0+1.0 Soundtrack (j-pop/dance-pop)   NGE spoilers ahead?   So, in this year I have become very obsessed with Neon Genesis Evangelion. As a person going through an edgy, depressed era... yeah, it felt like it spoke to me deeply. If you know you know. And while the series itself has a rather pessimistic end (particularly that of the End of Evangelion movie), the ending for the Rebuild (4 movies that work as a re-telling of the series), released this year, is very much optimistic, giving the characters a much-needed mature look on life. And the final scenes on the movie were soundtracked by this song. Not only does it work great in the context of the movie, but it genuinely feels touching and encouraging outside of it - thanks to Utada's adorable, captivating lyrics, but also to its production, crafted alongside A.G. Cook of all people! Far from a sappy ballad, it's a fantastic electronic-pop beauty I knew I could expect from such a great team-up. I knew I was destined to stan the moment I learned about it, but it became really meaningful to me with each listen.  I'm not an anime nerd let's get that clear though! But even if you aren't, this song is worth it.

 

   

Truly the trinity of the top 10 oh wow 

[World Eater]

okay bestie I lied in the other reply but at least I checked everything I didn't know from your soty list the other day and  I dig your taste and love the fact that there's always something new I can discover bc of you; in conclusion vulni-core is a real thing and it slaps

[Polgg48]

One last kiss  top 3 album here is pure magnificent along with floating point "promises" ( the buildup to peak on movement 6 is next level)

 

on single, doss, normani cardi, caroline, shygirl slowthai, pinkpantheress all snapped