Farruko’s 2021 album, Gangalee, serves as a strong comeback to the Latin urban scene he once ruled. With a heavy Caribbean influence, Farruko continues his ganja-themed tunes and combines them with reggae-infused beats certain to be heard up and down Dyckman. This album is the epitome of island vibes; a perfect listen on a sunny day. Gangalee contains two versions of the hit single “Calma,” which reached one bilion views and counting on YouTube: one gets an assist from Alicia Keys and Pedro Capo, while the other features just Pedro.
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Ocean finds Karol G processing her rising popularity and her much publicized relationship with Puerto Rican rapper Anuel AA, who appears twice on the album. The EP features a slew of sounds, ranging from pop ballads to hip-hop to reggae to reggaeton. Nicky Jam, Maluma, Damian Marley, Yandel, Simone & Simaria, and Daniel Suarez all make appearances, along with Anuel.
- It won her the South African Music Awards for Best Female Artist and Best Live DVD in 2021
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That’s not, of course to say contemporary artists pale in comparison. There’s no need to compare at all. The point here is that Nova possesses the star power and mind blowing talent that is just as timeless, as effective and as moving as did these legends.
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The WIZRD finds Future in the midst of a victory lap, unsure of what to do with it or where to go next. What more is there to do and what is there left to say on his seventh studio album after all he accomplished on numbers five and six? Back in 2021, with the twin releases of FUTURE and HNDRXX, he finally made the pop-leaning critical achievement he’d long sought, while proving he could still give us the trap bangers we rely on him for.
The record’s closer, “Love Language,” is an ode to not rushing into romance, as she expresses a desire to take her time learning how her potential partner wants to be loved. While We Wait was presented as a mixtape, meant to tide fans over before the official follow-up to 2021’s SweetSexySavage.
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It’s melodramatic, yes, but it’s also self-aware, which is more than we can say for a lot of our faves. Mid-album cut “8,” for example, is written from the perspective of someone Eilish herself hurt, because the teens are more emotionally intelligent than us grown folks. Though Eilish sounds great on the ballads, she’s at her best when she’s leaning into her gritty, bass-heavy, this-is-what-My-Chemical-Romance-meant-when-they-wrote-“Teenagers” sound.
It’s always thrilling to realize we’re in the midst of an artist having a capital-m Moment as it’s unfolding in real time. For Ariana Grande as of late, success and grief are intertwined.
This is the year of the baby, and DaBaby is leading the way. The 27-year-old Charlotte rapper possesses everything it takes to be a breakout artist in 2021: a quick wit, charismatic personality, meme-able catchphrases, entertaining music videos, headline-grabbing controversies, and catchy songs that have a way of burrowing inside your brain and never leaving. Of course, we’ve seen plenty of fast-burning viral stars follow this formula, only to be remembered as one-hit wonders. But on DaBaby’s Interscope debut, Baby on Baby, he proves he has the musical ability to turn his surge of internet attention it into a sustainable career. Throughout the 13-song album, he delivers subtly intricate verses with a level of clarity that will appeal to anyone who complained about the slurred sounds of the mumble rap era. Over a set of bouncy, hard-hitting beats, DaBaby’s colorful one-liners cut right to the surface of the mix and demand full attention on first listen. Nowhere is this more apparent than on “Suge,” an immediately addictive song full of quotable moments (“Tell your bro I’m a motherfuckin’ tutor”) that just became his first top 10 hit.
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They’ve got a killer discography of dance numbers, which are span multiple flavours in House, Pop, Jazz and other African soundscapes. And South African electronic duo Goldfish certainly know a great deal about unleashing killer sets at the massive festivals they get booked to performed around the world.
For those who have grown to love James Blake for his somber introspection and self-examination, Assume Form may have come as a shock. The 12-track album is uplifting, sweet, and, perhaps most notably, punctuated by deep feelings of fondness and admiration. There is little yearning from Blake here; he’s said himself that the album was inspired by his relationship with longtime girlfriend Jameela Jamil, and it shows. It’s home to both the aforementioned soul-searching tracks he’s become known for, like the title track, whose five minute journey quite literally sounds like something taking shape.
Two years ago, Mikayla “Koffee” Simpson rose to prominence with “Legend,” a home-recorded tribute to Usain Bolt. However, it’s the Jamaican artist’s debut EP, Rapture, that displays the 19-year-old’s full potential. Koffee’s lilting voice, melodic flow, and infectious ragga grit boasts finesse beyond her years.
Somewhere between the new disappointments of Tinder and irreverent ghosting, people began craving the lustful and bittersweet meditations of R&B again. Much like its namesake, Shea Butter Baby smooths over like a creamy salve.
Consisting of Dominic Peters and David Poole, the MTV Africa Music Awards 2021 ‘Best Pop’ gong winning duo is not only the epitome of cool. They also know how to combine the works of visual glory and a killer set with live instrumentation. If you don’t mind being treated to some sensational sax and guitar interspersed with the electronic vibe, you’ve got to see what Goldfish can do to a party.
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Attending a Lizzo concert in the wake of Cuz I Love You’s success is like going to the best church ever, minus all of the “thou shalt” stuff. One listen to her breakout album reveals why: It’s joyful, inspiring, danceable, sad, and sexy all at once.
The two-week turnaround time to create the album is dizzying to contemplate, to say nothing of how deftly some of the writing communicates complicated themes with impressive brevity. Songs like “in my head” say a lot about some poor, obliterated soul with very little. At times, her friends’ pens and sonic indulgences push the singer into areas that listeners feel as if she hasn’t quite earned her place in yet: Ariana on “7 Rings” doesn’t reek of convenient cultural exploitation anything close to someone like 2021 Miley Cyrus, but it bears interrogating nonetheless. In dealing with these controversies, we see even more examples of Grande’s maturity and savvy. Is it “stealing,” per se, when a pop artist adopts a flow from years-old hits like “Pretty Boy Swag” or “Spend It”?
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It’s no accident that Queen Key (https://yacsssdm.ru/hack/?patch=5426)’s Twitter feed is full of fans quoting her lyrics. The Chicago rapper is raunchy and funny, and she explicitly (in both senses of the word) makes sure that “women get the upper hand in every fucking song that I make”. Eat My Pussy Again is one of the most fun albums you’ll hear in 2021 (with a touch of serious autobiographical elements at the end with the project’s closer “Ms.
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And despite remaining one of the country’s best selling artists, Zahara (this page) has managed to remain authentic to her sound and original aesthetic. She’s the folksy Xhosa songbird with a guitar in her hand, singing beautifully from her heart.
It’s been a tough millennium for the Diplomats. A series of extremely public beefs, failed reunions, forgettable solo efforts, and embarrassing arrests culminated last year in the release of Diplomatic Ties, an album that found the Harlem quartet struggling to update its classic sound. But Jim Jones soldiers ever onward, dropping the best music of any Dipset member by sticking to the script. On El Capo, his eighth solo set, he reconnects with the Heatmakerz, the production duo behind the Dips’ most definitive output. Jones was never the most skilled rapper in the group, but over consistently hard drums and evocative vocal loops, he retreads familiar territory, reminding listeners that he “still [packs] gats above the penis” and, as always, shouting out his lawyer Bob Kalina.
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Collaborative duo albums rarely outperform the same artists’ solo efforts, but when Lil Baby and Gunna joined forces for last year’s Drip Harder, it became the biggest records of either Atlanta rapper’s careers. Then, each of them quickly released their own records to capitalize on their raised profile, including Gunna’s Drip or Drown 2. Where Gunna locked in with YSL go-to producer Wheezy for all of 2021’s Drip or Drown, the full-length sequel’s production is split between Wheezy and Turbo (the producer behind most of Drip Harder’s best moments).
Vampire Weekend’s first album in six years leans into the stripped down country and folk-adjacent wave that indie pop has seen over the last couple years. Its twangy sound meshes nicely with frontman Ezra Koenig’s signature nasally wail, as well as his more gentle coo, which gives us an updated Bob Dylan-esque sound appropriate for 2021. The pivot, though not revolutionary, does help to downplay any lingering “Oh you love this band? Name five deep cuts” pretentiousness from past eras of indie pop. The album’s tracklist is a tad excessive, but it does include multiple features from both Danielle Haim and Steve Lacy, who help freshen things up when they start to feel a little stale. The band takes occasional risks and tries new things, especially on tracks like “Rich Man,” “Flower Moon,” “Sympathy,” and “Spring Snow,” while still staying true to the Vampy Weeks creed. FOTB’s occasional redundancy can perhaps be attributed to the palpable absence of former member Rostam Batmanglij, who announced his departure from VW in 2021, and whose instrumental and production skills are the reason the band sounded like that (Batmanglij did produce one song on the album, back-half cut “We Belong Together”). Still, Father of the Bride has been a triumphant return for aughts-indie’s biggest darlings, sailing to the top of the Billboard charts and giving the band their third no. 1 album.
The powerhouse vocalist has the rare chops it takes to effortlessly oscillate between Afro-Pop and gospel both in the studio and onstage. When it comes to gospel, sheer technique and melisma are required for the acing of the vast range of notes the songs come with.
We had approached the midway point of 2021, which means it’s time to pause and reflect on everything that’s happened in the world of music so far this year. Honestly, it’s been a strange one. The year has been dominated by a country rap song from 2021, Lil Nas X’s “Old Town Road,” which was propelled to No. 1 by a Billboard chart controversy, viral TikTok videos, and lots of memes. Meanwhile, following a wild run of major hip-hop releases to close out 2021, it’s been a somewhat slow year for high-profile rap albums (although it looks like we might be in for a busy summer). Fortunately, pop and R&B artists like Ariana Grande, Solange, Billie Eilish, and Toro y Moi have picked up the slack and delivered some of the best projects of the past five months. We took a moment to rank the strongest projects that have been released since January. These are Complex’s picks for the best albums of 2021 (so far).
Hackers released a new batch of Jennifer Lawrence photos online on Saturday, according to TMZ. As we told you earlier, alleged nude photos were leaked of Kim Kardashian and Vanessa Hudgens!
I was never a big fan anyway but this low hoarse brash loud voice is the pits. Obviously we're in the minority but I stand by my feelings, her voice sounds horrible and worse than in previous albums.
We’re still not quite sure exactly what LeBron James did on Rap or Go to the League that mandated such a heavy presence in the rollout. Maybe all he did was mob in the studio, offering moral support while swigging white wine in a tightly rolled durag. Whatever it was, though, it worked. This is 2 Chainz’s best album, and, in his own words, the project he always wanted to make. Chainz has long been misconstrued as a “radio” and/or singles artist, even as he received respect for murdering your favorite rapper on some of the decade’s best posse cuts. That underrated nature informs the subtext of ROGTTL.
It’s the myriad of influences in their sound that makes it both so distinct and familiar, always bringing bringing the fresh and the nostalgic in their records. They soon sealed their fate as one of the country’s most consistent house music formations with the release of their double disc album Home Sweet Home, which came out in 2021.
Following the allegations by Lady Zamar, in which she claimed he’d been sexually and emotionally abusive to her in their relationship, there’s been calls for boycotts. Questions are everywhere about whether not he’ll continue to perform at the looming AFROPUNK Joburg festival in December, where he is slated to perform alongside the likes of Solange, Miguel, Goldlink and amongst others Nao.
These playful and intimate reflections of millennial dreams are rich, rounded, and iridescent. But when she’s enveloped in ennui, singing about smoking weed to forget an ex, we’re right there with her, too.
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When YNW Melly dropped We All Shine at the top of 2021, his potential seemed limitless. The 19-year-old artist had a fascinating backstory, hundreds of millions of plays on streaming services, a remarkable command of melody, songwriting skills beyond his years, and co-signs from collaborators like Kanye West and Cole Bennett. The 16-track project lived up to the hype, as Melly polished an innate ability to flip the most dramatic moments of his life as a teenager in Florida into strikingly soulful songs. His natural-born talents as a vocalist shined through on somber highlights like “No Heart,” while the pop-inflected “Mixed Personalities” showed his potential as a radio hit maker. Most importantly, it all felt natural and refreshingly unforced. Then we found out it might have been a little too real. Two years after uploading his breakthrough hit “Murder on My Mind” to SoundCloud, Melly turned himself in to law enforcement, charged with two counts of premeditated first-degree murder.
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Maggie Rogers’ first brush with fame came with a cost. You probably know at least part of the story: In 2021, a then-NYU student stunned Pharrell with a demo version of “Alaska,” which led to an attempt to fast-track the artist into stardom off the viral moment. Two and a half years later, Rogers shared her major-label debut album, Heard It in a Past Life. The project highlights how the now-25-year-old recalibrated her career after that moment as much as it finds her reclaiming her own narrative. Rogers expertly blends pop and dance vibes in compelling ways, whether it be moments of triumph (“Back in My Body”) or heartache (“Retrograde”), or showing appreciation for those who have supported her through her emotional storm (“Light On”). Then there’s “Say It,” described as “the sparkly feeling of possibility,” which could soundtrack the next great coming-of-age film, while “The Knife” brings the dance floor to life.