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Mike Bennett writesCHIRP Radio Best of 2021: Mike Bennett
Throughout December, CHIRP Radio presents its volunteers’ top albums of 2021. Our next list is from DJ and Board Member Emeritus Mike Bennett.
You know how sometimes a bad movie will get a sequel because it did well in the international market? And that sequel will be as bad or even worse? Well in 2020 was marred by the international pandemic, and 2021, despite glimmers of hope, came off more like an uninspired sequel.
All was not lost, as at least going to concerts became viable. And, yet again, so many musicians came through with inspired tunes that moved us in different ways and made cutting through the confusion, ennui, and depression, a little bit easier.
Being stuck at home meant I listened to over 150 albums in full (at least once, some many times). I guess I consider these the best, if "best" and "favorite" are totally interchangeable. That being said, there were many more fine albums I enjoyed not on this list.
#1 Wink by CHAI (Sub Pop)
It was CHAI’s distinctive approach to post-punk that drew me into their debut album. But as the band evolved, poppier influences steered their music. The pandemic forced the quartet to change how it made music, and they fell into songs that featured more electronics (since they weren’t playing together in one room) and were often more R & B-influenced.
And yet again, CHAI shows a great ability to meld styles and influences into something familiar yet distinct, infused with their personality, reflected in their sweet, positive lyrics. I knew I liked it when I first heard it, and then found myself listening to it all the time.
#2 Stand for Myself by Yola (Easy Eye Sound)
As impressive as Yolanda Claire Quartey’s debut album was, she really took a giant step forward on her sophomore effort. Working again with sympathetic producer Dan Auerbach of The Black Keys, Yola expanded the range of her music. Her debut was tagged as “country soul,” and this album goes far beyond that, steeped in classic R & B sounds of the ‘60s and ‘70s.
Yola really shows off her songwriting skill, with songs that have strong melodies and indelible choruses. And her singing is powerful when needed, and more nuanced than one might expect.
#3 Ignorance by The Weather Station (Fat Possum)
The fifth album from singer-songwriter Tamara Lindeman is a rumination on the climate crisis, which could yield a dry, didactic song cycle. But Lindeman instead created a warm, inviting set of guitar-based songs, on par with contemporaries like Nadia Reid and Squirrel Flower.
The arrangements have the sophistication of the best of the ‘70s, with every little guitar fill and keyboard embellishment appearing organically where it has to be, while Lindeman singing with utter engagement and empathy.
#4 THE PUFFY by Puffy (Warner Music Japan)
While not gone as long as ABBA (at least as an album act), the Japanese pop duo’s comeback was exciting and rewarding. Ami and Yumi (yes, this is the Puffy Amiyumi from Cartoon Network, who had to take on that name because of Sean Puffy Combs) can pull off just about any form of pop music, and they do so here.
There’s a Beatles pastiche, power pop, dance music, a ballad or two, and everyone of them is fizzy and fresh, as Puffy has enough energy to power Tokyo for weeks on end.
#5 Drunk Tank Pink by shame (Dead Oceans)
A potent punch of contemporary post-punk from these Brits whose songs are full of jagged edges and piss and vigor. The drums clatter, the guitars slice, the singer declaims (at times with some fairly personal lyrics), and hooks sometimes come out of nowhere. There is a decadent vibe that reminds me a bit of Suede, but the music comes more from folks raised on Wire and Gang of Four, with the band managing to sound intense but playful at the same time.
#6 Skin by Joy Crookes (Sony/Insanity/Speakerbox)
Crookes is an R & B singer of Irish and Bangladeshi descent who was raised on classic jazz and soul, and she conjures up a more singer-songwriter-ish variation on Amy Winehouse. So rather than lacerating and dramatic, these soulful retro-pop tunes are sensitive, with Crookes’ penning some wise observational lyrics. The album has a really nice variety of sounds and approaches, all heightened by Crookes’s terrific singing.
#7 Prioritise Pleasure by Self Esteem (Universal)
Rebecca Taylor was half of the indie-rock duo Slow Club, before executing a solo left turn into the pop-oriented Self Esteem. This sophomore album is a triumph, with bright, buoyant musical settings for Taylor’s whip smart lyrics that have the wit of Lily Allen and some of the literary aspirations of Mike (The Streets) Skinner. Taylor’s insights are about what a woman goes through in the world today, with Taylor exuding both confidence and vulnerability, which is making her, deservedly, a star.
#8 At the Bottom of a Canyon in the Branches of a Tree by Steve Dawson (Pravda)
This is simply a terrific singer-songwriter record from the frontman of Dolly Varden (featuring a guest appearance from Dolly Varden frontwoman and Dawson’s spouse, Dianne Christensen). While many of these songs would probably be gems if performed by his band, on this solo record, there are some songs that have a bit of an AM Gold vibe or an R & B undercurrent that distinguish the solo work.
And some of these songs are so intimate and beautiful, with sparer accompaniment that works so well. This album touches on a lot of feelings and, unsurprisingly, the songs are sung superbly by Dawson.
#9 The Turning Wheel by Spellling (Sacred Bones)
I liked the second album from Chrystia Cabral enough to fork over some cash for this one. I was expecting more arty electronic R & B, but was pleasantly surprised by this major artistic leap. Cabral works with orchestration to create a really intoxicating blend of Kate Bush whimsy and melodic pop without abandoning her R & B foundations.
Moreover, the more ambitious music (and don’t get me wrong, her earlier music was also ambitious) demanded she up her singing game, and she definitely lived up to this great material. A joyous, wonderful LP.
#10 Black to the Future by Sons of Kemet (Impulse)
On their third album, the unique saxophone-tuba-double drummer British quartet works more with rappers and singers, adding words to their socially conscious jazz. This touches on free jazz, rock, spiritual jazz, hip hop, reggae, and funk, and shows off the dexterity of the combo.
Where the prior Sons of Kemet album was mostly in your face and declamatory, this has a wider variety of sounds and moods. So they definitely aren’t repeating themselves, and the music is as captivating as ever.
Honorable Mentions
Here are my next 10:
11. Jon Batiste - We Are (Verve)
12. Allison Russell - Outside Child (Fantasy)
13. The Chills – Scatterbrain (Fire)
14. Lady Blackbird - Black Acid Soul (Foundation/BMG)
15. The Mysteries of Life - Blue Jay (self-released)
16. Laura Mvula - Pink Noise (Atlantic)
17. Hushdrops - The Static (Pravda)
18. Jason Ringenberg - Rhinestoned (Courageous Chicken)
19. Liam Kazar - Due North (Woodsist/Mare)
20. Lucy Dacus - Home Video (Matador)
Looking forward to more great music in 2022 -- and maybe a better year overall.
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