It is estimated that around 150,000 albums are published each year. In times of practically unlimited supply, having a hand separating the wheat from the chaff can make the difference between staying connected to the present or missing the boat permanently. And that is exactly the purpose of this list, to select 10 of the most powerful albums released this year. But where to start? Freshness and quality are rewarded without losing sight of the relevance and expectations with which many of these works have been expected. There can only be 10 left! Let the puck games begin! And you? Which is your favorite?
Let's not fool ourselves. These Eurovision 2021 winners would not be the first band that comes to mind for the rock purist. Yes, of course there are electric guitars and aggressive drums but all the songs are enamelled with a precious patina typical of more commercial genres. In this 'RUSH!', the Italians once again follow the recipe that won them that first prize, but despite its rather artificial plating, there is good raw material and the flavor convinces. 17 cannonballs of rock-pop in the times of the “single”, which carefully entertain the listener, paying special attention to the chorus.
There is a certain positivity in Karol G that is not so common in the high peaks of Latin music. This album opens with neither more nor less than a memory of Bobby McFerrin, totem of global good vibes. But this spirit of rowing in favor does not hide a side B: there has been heartbreak, Karol G expresses being in a bad moment, and that is why it is not today but tomorrow when things will improve. 'Provenza', a song with great success also in the United States, is a good example of that disenchanted part. Perhaps the secret to the success of the Colombian, winner of the Latin Grammy for best album, is being able to connect with a sense of defeat accepted with dignity, instead of being in the constant confrontation and the appearance of being untouchable that similar figures have always exploited.
Lana del Rey's music is usually described as very “cinematic”, but given the broadness of the term, I think we are rather referring to a certain era, an elegant, precious and contemplative cinema, with characters watching the rain fall behind the glass or driving desperate after a breakup. This album particularly delves into this, dominated by that low-key, desaturated and melancholic cover, and without great singles or, of course, hits to dance to. The most important song, 'A & W', includes almost as a rarity synthesized percussion and a little more movement while telling without half measures how she experienced sexuality in her youth.
A rare bird on this list. Matt Berninger found at the end of the first two pages of Mary Shelley's classic the necessary stimulus to shake off the depression in which she had been mired in recent years and thus revitalize her increasingly intimate writing. The National still sounds like The National, as it has been doing in the latest releases, but isn't that a success in itself when this band has reached the levels of quality for which they are known? The album incorporates the voices of the very talented Phoebe Bridgers and Taylor Swift, a refreshing counterpoint to the reflective density of artists who carry the burden of having accustomed us to caviar.
Well, it is true that this album is preceded by the fame of another “Disney Channel girl”, but not all of them have enjoyed the avalanche of praise from critics and other renowned artists – in addition, it goes without saying, the massive success of public-. Musically, it pumps between heartfelt ballads ('Vampire') and cannonball rock ('Bad Idea, Right?'). And lyrically we have a twenty-year-old who, due to her media exposure, has already lived much longer than her generation—which she proudly represents—and is not intimidated by anyone, being more than aware of her capabilities. her.
A very inspired Xoel López returns to the fray with what is now his fifth studio album. It's a breakthrough album, there's no way around it, but considering that, let's say… one or two of those have already been made, managing to offer something fresh and original becomes a doubly commendable undertaking. Bravo for that, Xoel. 11 different angles, 11 looks to approach this private compartment of his life in an intimate but forceful and danceable way. Special mention for 'Albatros' which opens the LP and reminds us of that “what will they say?” of those who speak out about a relationship without knowing.
The expectation generated by a new Bad Bunny release is more than understandable. King of Latin music, with a very own profile, and a total trendsetter, Benito Antonio Martínez has released 'Nobody Knows What's Going to Happen Tomorrow', and it's nothing like 'A Summer Without You', the previous album , which had more vocation as a masterpiece. The exploration of the musical wealth of the continent disappears here: it is a rawer, more vengeful, more furious and much more trap album. The sounds become cold and it becomes clear to us everything that Bad Bunny hates. A negative mirror of the previous album, but still rich, complex and full of layers as always.
The triumph of the lack of expectations. If no one really expected anything new from the Stones, they have delivered a powerful album overflowing with energy, with great guest stars: the songs with Elton John and the hypervitamined 'Bite my head off' with Sir Paul McCartney on bass stand out. With this interactive game we celebrated the release of 'Hackney Diamonds' last October. A purely hard rock sound fills the entire album, showing that no one rests on their laurels here. And a note of beauty at the end: Richards and Jagger, hand in hand, playing the song that gave the group its name, Muddy Waters' 'Rolling Stone Blues', with a scent of farewell signed by the group that never says goodbye.
María José Llergo surprises with an “ultrabeautiful” new work full of contrasts. The sweetness and candidness of the singer from Córdoba could deceive some clueless listener who, however, will find nothing but compositional maturity in her new album. A filigree production surrounds a bunch of songs with suco and it is The Substance itself (in capital letters), which emanates from all four sides of this album. Although the marriage between flamenco and electronic music is no longer as disruptive as it was in the past, achieving this ligature without seeing the seams is still a notable skill and María José Llergo, without a doubt, has it.
Taylor's Version? What is this? The “Director's cut” but a musical version? It all comes from the legal soap opera that broke out when Scooter Brown bought Swift's discography for $300 million. Taylor claimed that she was not allowed to purchase her catalog and thus lost control of her music. Her compilations were published without her consent and she was prohibited from using her own music in her documentary. What did she come up with? Bing! The American singer remembered that she had composed and recorded those songs and that she could do it again. Here is born this “resurrection” of her old albums. The result? If it was already good then, it is the same now, but a little more. A more mature voice and more accomplished sounds. Ah! and five 'extra' songs as a gift.
Although the ten on the list are undeniably important and well-known, we did not want to fail to mention other gems that, in general with fewer means of promotion, we have loved. In fact, we may even like them more than those above, we'll leave it there.
Nationals:
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'Roneo Funk Club' (La Plazuela)
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'Supernova' (Ralphie Choo)
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'The best years' (Vera Fauna)
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'The Prince' (Tito Ramírez)
International:
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'Javelin' (Sufjan Stevens)
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'Everything Harmony' (The Lemon Twigs)
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'That! Feels Good!' (Jessie Ware)
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'My Back Was a Bridge for You to Cross' (Anohni and the Johnsons)
#essential #albums