Rosy Overdrive’s Top 100 Albums of 2021 (25-1)

Hello, readers! This is it–the final twenty-five records in Rosy Overdrive’s 100 favorites of the year. More context can be found in the first post if needed, but let me just say: these albums are all phenomenal. I loved more records this year than any other in a long time, and these 25 I loved the most of all. Any of the top fifteen or so of these could’ve been a top-three album in most years, for me. So, without any further ado:

Here is a link to a playlist of the entire year-end list (minus two) on Spotify.

25. Matthew Milia – Keego Harbor

Release date: July 16^th
Record label: Sitcom Universe
Genre: Alt-country, singer-songwriter
Formats: Vinyl, CD, digital

Despite a substantial discography between his band Frontier Ruckus and a solo career, Keego Harbor was the first album of Detroit’s Matthew Milia I’d heard—but it will not be the last. The album is an exploration of suburban Michigan, specifically the titular small town where Milia grew up. Keego Harbor is a parade of hyper-specific scenes and relics which, of course, have their mirror images beyond the outskirts of the Detroit metropolitan area. Dairy Queen, Ford Tauruses, I-75, and Tim Allen’s Home Improvement, among others, all feature across Keego Harbor’s ten tracks. Keego Harbor is more than a simple collection of images from Milia’s past—they’re just one feature of this album’s charms. If one has a hard time picking up on how the Keego Harbor of which Milia sings is more than just “the third-smallest town in Michigan by area”, his description of a mid-thirties life adrift that recurs throughout the record resonates beyond his hometown. (Read more)

24. Low – Hey What

Release date: September 10^th
Record label: Sub Pop
Genre: Experimental rock, industrial
Formats: Vinyl, CD, cassette, digital

I suppose I’m in the right demographic to long for the slowcore Low of the 90s and the lush orchestral Low of the turn of the century, and to bellyache about how they lost me when they started using “loops and shit”. That hasn’t really happened though—I liked Double Negative, and with HEY WHAT, I’m genuinely excited at where the Duluth, Minnesota band is now and where they might be headed. Producer BJ Burton once again makes his mark on these songs, but rather than deconstructing them, it feels like his aural corruption is fighting against a more “traditional” Alan Sparhawk and Mimi Parker sound. Songs like opening track “White Horses”, lead single “Days Like These”, and massive closer “The Price You Pay (It Must Be Wearing Off)” find Parker/Sparhawk’s harmonies and icily divine melodies standing tall—at least before the storm comes.

23. ME REX – Megabear

Release date: June 18^th
Record label: Big Scary Monsters
Genre: Indie pop, folktronica
Formats: Vinyl, digital

So the thing about Megabear is it’s a fifty-two track, thirty-two minute album that’s made up of 30-60 second mini-songs that are designed to all bleed into each other and be listened to in any order. Shuffling Megabear via the streaming services on which most of you listen to music doesn’t quite capture what it’s supposed to sound like (they have a website where it works better), but it’s a compelling and successful risk taken for the London band. Lead singer Myles McCabe returns to a few lyrical motifs throughout Megabear, singing declarations like “I want a river to run through me / Carve out a valley, deep, deep, deep / Make me shallow, make me empty, make me clean,” over simple piano chords, or indie pop synths, or some combination of the two. I had heard and enjoyed some of ME REX’s pre-Megabear releases, but this is where they all take a step forward as a band, and already their “normal” songs sound like they’ve benefited from this as well.

22. Fishboy – Waitsgiving

Release date: April 2^nd
Record label: Lauren
Genre: Power pop, twee pop, folk rock
Formats: Vinyl, digital

Waitsgiving, the latest album from Denton, Texas’ Fishboy, is an intricate, detailed work of indie rock storytelling that weaves a cohesive and unique narrative across ten songs, forty years, and three generations of characters. Bandleader Eric Michener and the band gleefully marry their instrumentals (which sit somewhere between Elephant Six orchestral pop and folk punk) to a record-long narrative whose complexity and grandiosity is normally reserved for progressive rock operas. Taking all of Waitsgiving in at once, it’s refreshing to hear a band just go for it like Fishboy have done here—and it works both because Waitsgiving has the songs to back up their conceptual moon-shot, and because the album’s message of art for art’s sake rings true coming from the long-running band. If there’s anything to take from Waitsgiving, it’s that these songs would be just as valuable if we weren’t hearing them. (Read more)

21. Torment & Glory – We Left a Note with an Apology

Release date: August 27^th
Record label: Sargent House
Genre: Blown-out folk, singer-songwriter
Formats: Vinyl, digital

The first solo record from Brian Cook (he of sludge metal band SUMAC and mathcore legends Botch) originated from an experience he had hearing a dust-covered record player attempting to play a beat-up copy of Bruce Springsteen’s Nebraska, resulting in “a wall of fuzz distortion” with glimpses of The Boss’ sparsest moments peaking through the haze; the seed for We Left a Note with an Apology was subsequently planted. Distortion and feedback shade the record, but these are folk songs first and foremost, not drone pieces with incidental vocals. Cook’s songs are full of quiet triumphs, like the bittersweet power of the titular instrument in “The Kick Drum”, the bright future hidden in the shabby apartment of “Bolyston and Pike”, or the “petty victory” of shoplifting cigarettes in “No Big Crime”. (Read more)

20. Russel the Leaf – Then You’re Gunna Wanna

Release date: February 26^th
Record label: Self-released
Genre: Psychedelic pop, power pop
Formats: Cassette, digital

Russel the Leaf’s sole member Evan M. Marré is a Philadelphia-based producer who’s amassed an impressive list of credits, including albums from Remember Sports, Friendship, and Another Michael. On his own, Marré trades in the type of busily beautiful baroque pop that’s frequently associated with producer-musician studio rats. He invites Beach Boys comparisons right from the start with the nautical croon of “Sailin’ Away”, and the strings and vocal theatrics of “Skipping School” giddily continue them. Then You’re Gunna Wanna does anything but lose steam from then on, trotting out perfect pop songs like “Classic Like King Kong” and “Hey! (It’s Alright)” and indulging in full-on studio-bag-of-tricks mode with “California”. It’s an album that reveals even more of its charms with each listen. (Read more)

19. Tucker Riggleman & The Cheap Dates – Alive and Dying Fast

Release date: January 29^th
Record label: WarHen Records
Genre: Alt-country, roots rock
Formats: Vinyl, digital

Tucker Riggleman has been working the Appalachian DIY circuit for the past decade or so, playing in bands such as the fuzz-rockers Bishops and The Demon Beat, as well as making music under his own name. Alive and Dying Fast is the debut full-length of his new band The Cheap Dates, and they aren’t afraid to slow things down a bit in order to accentuate and compliment some of Riggleman’s strongest songwriting to date. Despite his evolved writing and under-the-belt experience, Riggleman paints himself as a man very much still in the middle of it all throughout the record. Over the course of Alive and Dying Fast, Riggleman chases his vitamins with beer, clings to his music idols (Paul Westerberg in “Void”, the obvious in “Robert Smith Tattoo”), swears to unnamed skeptics that he’s really an artist, shouts, and wonders when and if that “big break” is going to come—all we can do is experience it with him in the moment. (Read more)

18. Chime School – Chime School

Release date: November 5^th
Record label: Slumberland
Genre: Jangle pop
Formats: Vinyl, CD, digital

Chime School, the solo project of San Francisco’s Andy Pastalaniec, is certainly aptly named—the chiming sounds of classic jangly rock are all over his self-titled debut record. Chime School’s first record evokes the delicate balance of nostalgia and bittersweet emotions in which the best of the genre trades, and Pastalaniec (who had been mostly notable as a drummer up until now) does so while keeping his foot almost entirely on the gas. Chime School sports a driving tempo that puts it much closer to the “peppy” than “melancholic” end of the jangle pop spectrum. Exuberant melodic guitar riffs, brisk arpeggios, toe-tapping drumbeats—even the slower songs on Chime School feel upbeat. Pastalaniec references driving and motorcycles throughout the record, which is befitting for the what’s essentially the audio equivalent of feeling the wind through one’s hair. (Read more)

17. St. Lenox – Ten Songs of Worship and Praise for Our Tumultuous Times

Release date: June 11^th
Record label: Don Giovanni/Anyway
Genre: Indie pop
Formats: Vinyl, digital

St. Lenox’s fourth album, Ten Songs of Worship and Praise for Our Tumultuous Times, is a self-described “progressive, queer, spiritual record” made by a man who admits he is not particularly religious in several of its songs. Andrew Choi, the man behind St. Lenox, ends up creating an honest portrayal of religion and how we interact with it because of his more even-keeled perspective. Album opener “Deliverance” finds Choi confronting mortality in his middle age and admitting that he now may be open to these discussions—and the rest of the record is a headfirst dive into it all. Choi sympathizes with his Korean immigrant parents’ views on religion in “The Gospel of Hope”, traces his experience back to his childhood Lutheran church with “Bethesda”, and turns to both the galactic and molecular with “Superkamiokande”. An individual’s relationship with religion is never as static as some pretend; it’s influenced and altered by the people around them, society, and their own personal growth. Ten Songs of Worship and Praise… is a singular album that reflects this from Choi’s perspective. (Read more)

16. The Hold Steady – Open Door Policy

Release date: February 19^th
Record label: Positive Jams/Thirty Tigers
Genre: The Hold Steady
Formats: Vinyl, CD, digital

On the heels of the success of their half-album, half-singles-comp Thrashing Thru the Passion in 2019, Open Door Policy, is The Hold Steady’s first attempt to create an entire LP’s worth of songs that work together in seven years. The band’s eighth record noticeably contains a lower volume of unapologetic sing-along choruses than their mid-2000s work and Passion, but with Craig Finn and company sounding as sharp as ever, Open Door Policy comes off as a welcome convergence of Finn’s most recent and best solo album (2019’s I Need a New War) with the Hold Steady’s full band power. The run from “Lanyards” to “Heavy Covenant” rivals any stretch from the band’s “golden” period, and they do it by nailing left turns (“Unpleasant Breakfast”), very clear callbacks (“Family Farm”), and in-betweeners (“Heavy Covenant”) alike. Nearing two decades together, they’re still working with a similar roadmap, but aren’t afraid to annotate it and try some new routes. (Read more)

15. Palberta – Palberta5000

Release date: January 22^nd
Record label: Wharf Cat Records
Genre: Post-punk, experimental punk
Formats: Vinyl, CD, digital

After trading in deconstructed rock music for the majority of their relatively brief career, Palberta subsequently zagged with their most inviting collection of songs to date. Palberta5000 is a positively accessible album that doesn’t lose the base components of a Palberta—hearing the band spin their scrappy post-punk into winning hooks and pop gold is like watching Sully land on the Hudson a dozen times in a row. Palberta5000 is still a fairly topsy-turvey album, though—“Big Bad Want” rides a single line and riff for four minutes in some sort of bizarre endurance test, and they even flirt with some multi-suite prog-pop a la Guided by Voices in the last couple of songs on the record. Whether it’s those outer reaches or the more straightforward moments (like the 90-second “Summer Sun”), the songs on Palberta5000 aren’t easy to forget. (Read more)

14. Personal Space – A Lifetime of Leisure

Release date: March 19^th
Record label: Good Eye
Genre: Indie pop, chill math rock
Formats: Digital

Brooklyn’s Personal Space ask more of the listener than your average chill indie guitar rock band. A Lifetime of Leisure’s ten tracks are populated with character sketches that look at various archetypes through the band’s leftist activist lens. . “Ethical” media consumption, choices of wine, biting a Greek philosopher’s style—there’s nothing Personal Space can’t and won’t connect to the political. One doesn’t need to always be on the same ideological page as the band to enjoy A Lifetime of Leisure, however—the lyrics are just another ingredient in their languid guitar pop songs that triangulate the likes of XTC, Pinback, and the Dismemberment Plan. Despite its firm political convictions, A Lifetime of Leisure is less “exhausting” and more “commiseration and comfort for the exhausted”. As they say on one of the record’s best tracks: “It’s chill, man. I’m supine.” (Read more)

13. Rosali – No Medium

Release date: May 7^th
Record label: Spinster
Genre: Folk rock, country rock
Formats: Vinyl, CD, digital

The third album from Philadelphia’s Rosali Middleman is a Folk Rock record—in that it genuinely sounds like a rock band playing these songs, rather than a “roots” music group that just happens to utilize traditional rock instrumentation. The David Nance Group, her backing band for No Medium, ends up being a spirited choice, as they help turn the record into her sharpest yet. The album contains its share of rock-and-roll fireworks, such as the careening riff in “Bones” and Middleman’s lead guitar in “Pour Over Ice”, but the slower moments on No Medium are just as impactful—“Tender Heart” and “All This Lightning” capture very different moments in interpersonal relationships, but land their punches with equal weight. With No Medium, Middleman has made an album that grapples with some fairly universal themes in a confident and affirming way that works precisely because of how personally evocative she makes these songs. (Read more)

12. Mo Troper – Dilettante

Release date: October 15^th
Record label: Self-released/Bobo Integral
Genre: Power pop
Formats: Vinyl, CD, digital

With Dilettante, Portland, Oregon’s power pop czar Mo Troper has put together a 28-track, 50-minute marathon of an album that somehow feels like both the record that hews closest to Teenage Fanclub-inspired guitar pop and his most adventurous yet. Troper’s fourth record is almost entirely played and sung by himself alone, and it’s a little fuzzier compared to his last couple of proper records—it’s not, for instance, the tightly-controlled, polished venom of 2017’s Exposure and Response or the tribute to a more ornate era of guitar pop that was last year’s Natural Beauty. Still, Troper is a pop star above everything else, and Dilettante finds his songwriting as sharp as ever. Hooks abound in monsters like “The Expendables Ride Again”, “Better Than That”, and “Winged Commander”, and the smaller, in-the-cracks tracks have plenty to recommend as well (see “Sugar and Cream”, coming soon to a musical near you). (Read more)

11. Downhaul – PROOF

Release date: May 21^st
Record label: Refresh
Genre: Emo, alt-rock
Formats: Vinyl, digital

Downhaul’s PROOF is an album carefully crafted to give off a serious, smoldering listening experience for the entirety of its ten tracks. Lead vocalist Gordon Phillips’ baritone guitar leads an instrumental controlled burn that’s grounded by his own stoic drawl. The fifth overall release and second full-length from the Richmond band probes thematic depths from the harrowing seven-minute opening track “Bury”, and PROOF continues to decline to pull its punches from there. The specter of collapsed relationships, both romantic and otherwise, hovers over PROOF, like when Phillips laments his failures in holding onto friendships in “Circulation”. Closing track “About Leaving” is more clear-eyed, and the song’s music is the lone callback to the band’s earlier alt-country days, right up to its cathartic twangy guitar solo. It’s a suitable way to end a record that examines the power of personal baggage and the equally powerful pulling force of time. (Read more)

10. Idle Ray – Idle Ray

Release date: May 7^th
Record label: Life Like Tapes/Half-Broken Music
Genre: Power pop
Formats: Vinyl, digital

After a very good trilogy of albums released under his own name throughout the back half of the 2010s, Michigan’s Fred Thomas has been quietly releasing singles and demos as Idle Ray over the past two years. The payoff, the project’s self-titled debut, is a cohesive dozen songs that stand up against any of his past work. Even though Idle Ray comes under what’s ostensibly a band name, these songs were mostly recorded by Thomas alone on 4-track, and finds the songwriter embracing lo-fi pop rock that shades lyrics about isolation, fractured and fading friendships, and interpersonal interaction-triggered anxiety. Songs like “Polaroid” and “Coat of Many Colors” work out these emotions, perhaps exacerbated by the pandemic but coming from somewhere deeper within Thomas, with the aid of some of the most straightforward, catchy pop music I’ve enjoyed this year. (Read more)

9. Stoner Control – Sparkle Endlessly

Release date: March 19^th
Record label: Sound Judgement
Genre: Power pop, pop punk
Formats: CD,digital

Portland’s Stoner Control are a real power trio. Guitarist Charley Williams, bassist Sam Greenspan, and drummer Michael Cathcart all contribute vocals and songwriting to the hooky, shiny, and appropriately-titled Sparkle Endlessly, which sees the band confidently plows through ten remarkably well-written guitar pop songs in thirty minutes and change. No matter who’s on vocals or credited as penning the song, Sparkle Endlessly is stubbornly consistent—Greenspan’s carefree, aurally sunglasses-clad talk-singing in “Learning to Swim” is the record’s first “wow” moment, while Williams guides the title track through four minutes of power-pop-punk perfection. Stoner Control have the smart pop sensibilities of album co-producer and fellow year-end-list-maker Mo Troper, as well as the musical chops to flesh these songs out and find new ways to impress along the way. (Read more)

8. Guided by Voices – Earth Man Blues

Release date: April 30^th
Record label: GBV, Inc.
Genre: Power pop, post-punk
Formats: Vinyl, CD, digital

Guided by Voices have presented Earth Man Blues as a cohesive rock opera of sorts, which would seem to contradict the album’s initial description as a “collage of rejected songs”–but with an end result that’s this strong and hangs together this well, I don’t feel particularly inclined to question Robert Pollard and company. There are stretches on the album (like the one-two punch of “Margaret Middle School” into “I Bet Hippy”) where Pollard is clearly reaching for an overarching story, and it works as a catalyst for an exciting run of songs if nothing else. The album has a looseness to it that reminds me of my favorite of the recent Guided by Voices albums, August by Cake, but while that record’s grab-bag quality was a matter of its transitional circumstances, Earth Man Blues earns its dexterity by being the product of a band that’s only grown more comfortable and in tune with each other—disparate tracks like “Lights Out in Memphis (Egypt)” and “How Can a Plumb Be Perfected?” stand proudly side-by-side. (Read more)

7. Charlotte Cornfield – Highs in the Minuses

Release date: October 29^th
Record label: Double Double Whammy/Polyvinyl
Genre: Folk rock, indie folk
Formats: Vinyl, CD, digital

Just from a songwriting perspective, there’s very little from this year that I’d take above Highs in the Minuses. Charlotte Cornfield puts forward some of the best storytelling in music in 2021 throughout the new record’s eleven songs—the clear-eyed adolescent reminiscing in “Blame Myself”, a Canadian’s Brooklyn experience in “Out of the Country”, and the bleak and doomed relationship at the heart of “Drunk for You” are all distinctively memorable song narratives served well by Cornfield’s rollicking but pensive folk rock. Even the songs wherein Cornfield tackles more universal subjects—inescapable news stories in “Headlines”, debilitating anxiety in “Destroy Me”—are just as strong and subsequently potent (debilitating anxiety is a universal subject, right?).

6. Upper Wilds – Venus

Release date: July 23^th
Record label: Thrill Jockey
Genre: Space rock, noise rock, noise pop
Formats: Vinyl, digital

In 2018, New York’s Upper Wilds released the science fiction interplanetary colonialist concept album Mars, featuring a muscular, bombastic power-trio sound to match its galactic ambition. How to follow that up? If you’re guitarist/vocalist Dan Friel, it’s with a record of love songs named after the second planet from the sun and the Roman goddess of love. Friel, bassist Jason Binnick, and drummer Jeff Ottenbacher still find excuses to take the record into the cosmos—“Love Song #7” is about the secret marriage of two astronauts before a mission together, and “Love Song #6” centers around a couple who survived the Heaven’s Gate “UFO religion” cult—but Venus is just as likely to find inspiration in Friel’s immediate (“Love Song #3”) and extended (“Love Song #2”) family. All this in the context of Upper Wilds’ most musically straightforward record yet —it’s an album almost entirely comprised of giddy, in-the-red melodic rock songs. (Read more)

5. Yasmin Williams – Urban Driftwood

Release date: January 29^th
Record label: SPINSTER
Genre: Fingerstyle acoustic guitar
Formats: Vinyl, CD, digital

Despite being the only entirely instrumental album on this list, Yasmin Williams’ sophomore record is full of songs that communicate their ideas, themes, and throughlines just as well as any of the other records here do. Urban Driftwood is full of memorable moments—the quiet picking on opening track “Sunshowers” that gives way to an ecstatic riff, the arresting, tap-heavy main motif of “Swift Breeze”, Taryn Wood’s cello accompaniment in “Adrift”. Almost the entire album solely features Williams’ guitar playing; the few collaborations (Wood’s cello, Amadou Kouyate’s djembe and cadjembe in the title track) are wisely chosen and only serve to enhance what’s put forth by Williams, who plays like she knows she can carry the entire album herself. Urban Driftwood is the arrival of a talent whose next steps I’m more than ready to follow. (Read more)

4. Mister Goblin – Four People in an Elevator and One of Them Is the Devil

Release date: February 19^th
Record label: Exploding in Sound
Genre: Post-hardcore, indie folk pop
Formats: Cassette, digital

Mister Goblin—both on his own and as part of the cult post-hardcore band Two Inch Astronaut— has honed in on a recognizable sound, led by his clear melodic voice combined with thorny guitar and a punch evoking fellow D.C.-area bands like Shudder to Think. The first two Mister Goblin releases (2018’s Final Boy EP and 2019’s Is Path Warm?) found the Goblin probing depths beyond punk rock, and the excellent Four People in an Elevator and One of Them Is the Devil feels like the musician’s fullest realization yet of these new components. Lead single “Six Flags America” takes its trip to the amusement park acoustically, accompanied by tasteful cello playing, and “Cardboard Box” features a mortally wounded bird that ends its life on its own terms in the parking lot of a wildlife rescue over a mid-tempo drum machine beat. At 29 minutes, Four People in an Elevator… is a no-filler record by a songwriter who has quietly but surely become one of the most dependable in indie rock. (Read more)

3. Eleventh Dream Day – Since Grazed

Release date: April 2^nd(digital), August 7^th (physical)
Record label: Comedy Minus One
Genre: Indie goddamn rock
Formats: Vinyl, digital

Eleventh Dream Day have carried on through more than three decades of lineup shifts, label drama, and relocating from Louisville to their current home of Chicago. The band’s most recent records had suggested that they had finally settled into a lane of Crazy Horse-inspired guitar freakout rock and roll—but then Since Grazed happened. It’s a double album, clocking in at around an hour in length, making it the band’s longest album to date. It’s filled not with extended guitar soloing and garage rock jams, but with expansive, skyscraping, deliberately-sculpted songs like the sweeping title track and the immortal ballad “Just Got Home (In Time to Say Goodbye)”. It shouldn’t be a surprise that Eleventh Dream Day have turned in something as strong as Since Grazed after thirty years of musical vitality, but that they did it by expanding and reshaping their sound is remarkable in its own right. (Read more)

2. Remember Sports – Like a Stone

Release date: April 23^rd
Record label: Father/Daughter
Genre: Pop punk, indie punk, “emo-adjacent”
Formats: Vinyl, CD, cassette, digital

Like a Stone is a big leap forward from a band that was already good enough to not even need one to keep me interested. In one sense, it’s a world away from the sloppy indie punk that put them on my (and most of their fans’) radar, but on the other hand the traces are still there, whether they’re sharpening that sound to give it a stronger bite (“Pinky Ring”) or refining it into a slick, multi-part two minute pop song (“Like a Stone”). The songs that land the furthest from the band’s previous work are no less potent: “Materialistic” finds Remember Sports showing up all those Philly emo bands at their own game, the seven-minute indie pop shuffle of “Out Loud” is like nothing the band has done before but doesn’t feel out of place on the record at all, and closing Like a Stone with a country-rock singalong (“Odds Are”) somehow makes even more sense. Lead singer Carmen Perry and the band behind her both bring their best to the table of Like a Stone, one hell of a leveling-up record.

1. Telethon – Swim Out Past the Breakers

Release date: August 20^th
Record label: Take This to Heart
Genre: Power pop, pop punk
Formats: Vinyl, CD, digital

Swim Out Past the Breakers covers so much ground and stuffs so much into its 48 minutes that it’s easy to get lost in the indie rock star-studded, hook-heavy terrain. Seeing all the featured musicians on Telethon’s fifth album made me raise my eyebrows, but it all hangs together as a whole work made by one band—Telethon are the true stars of Swim Out Past the Breakers, and they more than deliver throughout the record’s sixteen songs. They play an all-out, earnest brand of power-pop-punk that calls up everything from Jeff Rosenstockian punk operas, beautiful mid-tempo heartland emo, and plenty of 90s alt-rock appreciation (I still stand by my Counting Crows comp to single “Positively Clark Street”). Vocalist and lyricist Kevin Tully reminds me more than a bit of a young, pop punk misfit John K. Samson, and much of the charm in Swim Out Past the Breakers comes from the way he can be everything to suave to insistent while still recognizably Tully. Everything comes together on this record—B- or C-string songs on Swim Out Past the Breakers would be the centerpiece on almost any other record from this year.

My favorite album of 2021 is titled after an Everclear lyric. God help us all. (Read more)

Honorable mentions:

Continue reading:
Part One (100-76)
Part Two (75-51)
Part Three (50-26)

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