Can anyone right now honestly say they are not fried to a shriveled cinder? 2021 is undeniably a year like none of us have ever experienced. 2020 brought unfathomed challenges in terms of safety and economic hardship, but many of us came into this year thinking, 2021 brought the promise of renewal and a return to normalcy. No. Unfortunately not. Even though vaccines delivered the beginning of our inevitable exit from the COVID-19 pandemic, we discovered the long tail problems that a shuttered economy and a society in perpetual panic stress would create. Money runs out. Businesses faltering. People being driven to absolute frustration and extreme, unwarranted choices. And there it was, as the year drags to its imminent conclusion, a feeling of utter exhaustion. Like a whole culture hours past their second and third winds collapsing simultaneously.
This was the year where we tried harder than ever to capture what was amazing in the world of music. A year where some unloaded their reserves that had been building up before the pandemic began, and others tried to continue the machine rolling making the best of their quarantines as fodder for creative output. Everywhere you looked, there it was–that societal frustration, that urge for a better life—smashed directly up against the crushing futility of reality. In the times before 2020, fiction seemed filled with dystopic fantasies. Whole worlds crafted out of the apocalyptic “what if?” fear of what could be. Little did we know that dystopia would arrive in our lifetimes, and instead of a Mad Max-style Thunderdome of violent carnage, there would be the error ability to live a life in peace and comfort. mxdwn’s album of the year selections for 2021 represent this discomforting duality. The desire for more and better, and that inescapable weight we can’t get out of from under. As always, the art plots a better path for us all, it’s just a question of when reality will catch up the vision and spirit the art has imagined.
50. Remi Wolf – Juno
Wolf’s energetic debut album is bursting with sonic colors, with quirky and engaging lyrics to match.
–Dana Alward
49. Snail Mail – Valentine
Snail Mail shows once again that emotional intelligence and clever songwriting can deliver the best music.
– Alison Alber
48. Torres – Thirstier
Torres hits the mark both lyrically and musically on this project, crafting a sound that is equally fresh and classic.
–Dana Alward
47. Flock of Dimes – Head of Roses
Flock of Dimes’ Head of Roses has an interesting mix of guitars with multiple effects combined with electronic beats behind harmonic vocals.
–Quynn Lubs
46. Anika – Change
Quiet, sparse and intimate, Change is another lo-fi, emotionally stark release from Anika, complete with her trademark cushy textures and dreamy melodies.
–Austin Woods
45. black midi – Cavalcade
black midi experiments with earworming guitar progressions and vocal deliveries, borrowing from a range of influences and establishing its own immersive world of musical madness.
– Bryan Wei Tran
44. Garbage – No Gods No Masters
Garbage’s project is an industrial rock journey into a balance of simmering rage and tranquility, with sharp production and a range of vocal deliveries, unapologetically eerie.
–Bryan Wei Tran
43. Me and That Man – New Man, New Songs, Same Shit
The darkness of the record is enchanting. It is beautifully written and put together, something to unwind to and just enjoy over and over.
– Alison Alber
42. Gift of Gab – Finding Inspiration Somehow
Gab’s final contribution to hip-hop is a collection of hope that everyone can find inspiration in anything.
– Jahniya Morris
41. Sleigh Bells – Texis
As clubs reopened this year, Sleigh Bells provided their soundtracks in their album Texis. The piece ranges from ‘80s-style pop to ‘90s rock, creating their own unique sound that appeals to fans of multiple genres.
–Skyler Graham
40. The Pretty Reckless – Death By Rock n Roll
The Pretty Reckless’ album Death By Rock and Roll is one of deep sentimental and artistic value. Each track aims to explore grief and heartache in the most heartfelt and considerate ways possible while maintaining the power and prestige of Taylor Momsen’s vocal performance.
– Skyy Rincon
39. Kat Von D – Love Made Me Do It
Love Made Me Do It shows how many layers Kat Von D really has. The album is enchanting with the dark-synth pop and the fantastic vocals of Von D.
–Alison Alber
38. Deafheaven – Infinite Granite
Deafheaven’s Infinite Granite presents washy, muted soundscapes and glitzy lead guitar phrasing. Songs like “Shellstar” and “Great Mass of Color” swing so far to the alt-pop aesthetic that listeners may liken the album to work from bands like Joy Division or Echo and The Bunnymen.
– Nick Ellis
37. Manchester Orchestra – The Million Masks of God
Manchester Orchestra’s album, The Million Masks of God, is stunning. It’s an album about life, love and God. Throughout the album is carried by consistently powerful instrumentals, from acoustic pickings to catchy bass riffs. Singer, Andy Hull, is game changing, singing from such a raw and personal place. This is album is sure to turn some heads.
-Audrey Herold
36. Cyberpunk 2077 Official Soundtrack
Cyberpunk 2077’s OST takes listeners on a journey through the night of a city riddled with crime and off-the-walls technological exploits. The music fits like a glove, as a hardcore, punkrock-influenced blend of electronic sound. It nears Machine Girl territory at points, disturbed but soothingly sharp and hitting electronic synths and drum kits.
–Bryan Wei Tran
35. King Woman – Celestial Blues
King Woman’s album, Celestial Blues, is exactly what the title describes. The album has a trance like rock element that makes it extremely enjoyable to get lost in. The album proves that hard hitting can complement otherworldly.
– Eve Pierpoint
34. Dark Mark vs Skeleton Joe – Dark Mark vs Skeleton Joe
This project is one for blasting on Halloween, for movements through nights of terror and suspense. These electronic synths are clinging and relentless, with vocal deliveries that flow as their own layer amongst the chaotically harmonious production.
– Bryan Wei Tran
33. Damon Albarn – The Nearer The Fountain, More Pure The Stream
With The Nearer The Fountain, More Pure The Stream, Damon Albarn proves his penchant for reinvention and experimentation hasn’t let up. Saxophones and drum machines lend themselves to hazy, jazz-inflected textures and cavernous atmospherics, and the lyrics are as bleak and agitated as ever. These tracks can be difficult, but they’re always rewarding.
–Austin Woods
32. Wolves in The Throne Room – Primordia Arcana
Wolves in The Throne Room proves they can still create their own style of black metal that is capable of dazzling listeners minds with Nathan Weaver’s authoritative voice and well played instrumentation.
-Caitlin Stoddard
31. Mogwai – As the Love Continues
In a year where post-rock was largely dominated by landmark records from The World is a Beautiful Place & I am No Longer Afraid to Die and Godspeed You! Black Emperor, a little band named Mogwai reminded us why they are eternally in the GOAT conversation. As the Love Continues brings back the powerful crescendos and contemplative valleys that Mogwai has long been known for, but does it with a renewed patience and deliberateness, that, while not as raw as their early material, is just as massive in scope and impact.
–Drew Pitt
30. Natalie Hemby – Pins and Needles
One of the most prolific songwriters working in country knocks it out of the park again with some of the most well-groomed, catchy, and tonally rich Lilith Fair country-rock of the year.
–Blake Michelle
29. Quicksand – Distant Populations
Distant Populations is a cleaner entry into Quicksand’s discography, with slick melodies and footstomping grooves in place of downtuned guitar chugs and blistering, screamed vocals. It’s still plenty energetic, with manic, driving tracks like “Inversion” and “Lightning Field.” This album is the best of both worlds, as the band serves up soft, accessible songs in the vein of radio-friendly grunge without losing any of the intensity that’s made them ubiquitous in hardcore circles.
–Austin Woods
28. Lingua Ignota – Sinner Get Ready
Lingua Ignota’s dominant and bold vocal performance creates her own madness while folk music shakes the background with hard emotions about how Ignota feels about her uneven relationship with Christianity.
– Caitlin Stoddard
27. Rhiannon Giddens – They’re Calling Me Home
Presenting one of the many faces of the musical Rubik’s cube that is Rhiannon Giddens, They’re Calling Me Home presents an authentically ancient yet modern sound, the soundtrack to walking through a decrepit castle in Europe or a vast American plain. It sounds just as serene as her first collaboration with Turrisi; every peer and producer should take note.
– Blake Michelle
26. St. Vincent – Daddy’s Home
An iconic addition to St. Vincent’s extensive career, Daddy’s Home is a tribute to 1970s rock-and-roll and all the glamor with it. Taking into her own life, the symbolic links throughout the album is absolutely a marvel to listen to. It is an incredibly personal look on patriarchy and incarceration that haunts.
– RaeAnn Quick
25. Darkside – Spiral
Darkside’s Spiral balances tranquility and roughness, gliding through smooth melodies and gentle percussion whilst grinding through deep, sharp synths and 808s. The album is unapologetically itself, spiraling into a world of chaos and wonder.
–Bryan Wei Tran
24. Every Time I Die – Radical
Every Time I Die has returned with a vengeance. The band’s 2021 release Radical pushed the boundaries of their style and genre, especially with their new staple “Thing With Feathers” which explores a slower, harmonic sound. Other tracks like “The Whip” and “We Go Together” display the strength and energy of their more traditional sound with powerful and evocative vocals from none other than Keith Buckley.
–Skyy Rincon
23. Poppy – Flux
If there is an album that blends pop, metal, and rock into a seamless mix, Poppy certainly has it. From her YouTube virality, Poppy has created one of the most interestingly textured albums of the year. With sharp production, biting humor, and solid songwriting, Flux solidifies Poppy’s talents as an artist.
–RaeAnn Quick
22. Marissa Nadler – The Path of the Clouds
Marissa Nadler shows her incredible voice yet again on her new album The Path of the Clouds. In this album, she picks up the piano which is an instrument she left behind when she started playing with bands. The mystical aesthetic of this album complements her voice flawlessly.
– Eve Pierpoint
21. Fucked Up – Year of The Horse
Fucked Up’s Year of The Horse begins with “Track I” — a slow piano melody. “Track I,” is followed by “Track II,” which distorts the piano melody as classic punk drums and guitars abruptly enter, followed by powerful hardcore vocals. Every song on the album smoothly transitions to the next, as though the album itself is one long story. The strong, loud vocals accompanied by heavy bass drum and guitar power chords creates the perfect punk album.
– Quynn Lubs
20. Alessandro Cortini – Scuro Chiaro
Alessandro Cortini — best known for his work as the keyboardist, guitarist and bassist of Nine Inch Nails — released his latest album, SCURO CHIARO, this year. The album was composed exclusively with the Strega, a modular synthesizer Cortini created with synthesizer company Make Noise. Each song feels like being transported through another galaxy.
–Quynn Lubs
19. Khemmis – Deceiver
Deceiver is a vivid album from the Denver doom metal group Khemmis, which pairs painstaking track composition with narrative lyrics that pull from dark, moody depths. The opening acoustic sequence is smacked down immediately by the blast beats and breakdowns in “Avernal Gate.” Evidenced in almost every track, the shimmering harmonic lead guitar solos on the album listen as tasteful, classic doom metal accompaniment. The vocal harmonies in songs like “Shroud of Lethe” are resonant, and counteract the scream effects on more visceral tracks like “House of Cadmus.” The album presents as a finished product, with control and musicianship at the forefront.
–Nick Ellis
18. Courtney Barnett – Things Take Time Take Time
This album, easily Barnett’s most introspective, creates a quiet, yet poignant portrait of the singer. Her third album is an intimate treat, one that takes a journey through life during the COVID-19 pandemic. It is a beautifully sharp album, with lyrics such as “time is money / and money is no man’s best friend” reflecting on the monotony of day-to-day life. But with songs such as “Write a List of Things to Look Forward To”, there is such a warm aura of wonder to go against the hopelessness we face today. It’s a beautiful album to reflect our time. It is as familiar as a friend giving words of advice.
–RaeAnn Quick
17. The Armed – Ultrapop
Oftentimes, punk albums perfect the art of organized chaos, as Detroit-based band The Armed does in this album. Between the heavy use of techno elements and riveting drum rhythms, the intense punk sound diverts completely from the album cover (and album name, of course). “It’s art, its chaos, it’s anarchy and yet it’s none of it,” writes Alison Alber. “It feels like these songs just kind of happened, that they aren’t written; they just made up on the spot, and nobody will ever be able to exactly do them like that ever again.”
–Skyler Graham
16. Lump – Animal
Singer Laura Marling and producer Mike Lindsay blend harmonies to form the duo Lump on their collaborative effort, Animal. The album is its own creature – a fluttering cascade of gentle piano strokes and synths, establishing a futuristic yet grounded take on the art pop genre. Unconventional synths and trickling beats twist and turn through Marling’s soothing vocals, cultivating a tracklist of wonder and abstraction. Lump’s Animal scratches an itch, an itch you didn’t even know existed.
–Bryan Wei Tran
15. Matt Sweeney and Bonnie Prince Billy – Superwolves
16 years removed from their last team-up, Sweeney and Billy recapture the cryptic grandeur and deftness of the underground classic Superwolf. Much like its predecessor, Superwolves defies easy classification, treading water between indie rock and folk with melodies equally jagged and fluid and singing bouncing between fragile and strained. Billy’s unnerving writing and Sweeney’s versatile and equally unsettling guitar synergize to create a powerful mediation on death likely inspired by Billy mother passing away after a long fight with Alzheimer’s. It’s as engrossing and potent as the original and will hopefully inspire further collaborations between these two that won’t take 16 years this time around.
– Blake Michelle
14. Kaada – Misinterpretations
On Misinterpretations, composer John Erik Kaada (known simply by the moniker “KAADA”) adapts a series of classical pieces on a piano prepared with an adhesive, glue-like substance called heftemasse. This results in an entirely new texture— at times, the piano sounds like plucked strings or a percussive instrument. Additionally, KAADA makes considerable use of space, including plenty of silence between each note, while also leaving in candid audio verité details, like audible breaths and sniffles. This level of intimacy, combined with his unique approach to texture, phrasing and dynamics, allows him to breathe new life into these old compositions and completely make them his own.
-Austin Woods
13. Turnstile – Glow On
Turnstile’s 2021 album Glow On highlights that the group is no stranger to genre bending and blending. The record explores multiple genres outside of the outfit’s quintessential alt-rock sound including but not limited to hip hop, dreampop and of course, punk. The group proves that they are one of the most versatile out there, producing songs to mosh to like “DON’T PLAY” and “HOLIDAY” while other tracks like “Alien Love Call” (which features the captivating Blood Orange) evoke the feeling of swaying rhythmically with your lighter or phone’s flashlight on at a concert. Whether you are looking to enjoy the hypnotic stylings of “MYSTERY” or the dreaminess of “UNDERWATER BOI,” any audiophile will find Turnstile’s talent undeniable.
– Skyy Rincon
12. Brandi Carlile – In These Silent Days
Brandi Carlile’s In These Silent Days was written during isolation in the pandemic, and the emotions Carlile experienced can be felt throughout the whole album. Her chilling voice is accompanied by a perfect mix of heartfelt piano with fast-paced drums and classic country guitar. Some songs on the album, like “Mama Werewolf,” are more upbeat with quick guitar plucking and rapid drum beats — yet the lyrics still describe Carlile’s fear and pain. Choir effects can be heard in songs like “Sinners, Saints and Fools,” which catch the listener by surprise. The album is relatable — Carlile’s intense emotions translate perfectly through the music.
– Quynn Lubs
11. Gary Numan – Intruder
10. Tyler, The Creator – Call Me If You Get Lost
By snagging a DJ Drama collaboration, Tyler, the Creator is looking at Grammy nominations for his most recent album, Call Me If You Get Lost. The 19-track project was formatted to resemble the mixtapes created in the 2000s. It’s execution is perfect, as if we were transported back, creating a strong sense of nostalgia. With the inclusion of DJ Drama’s comedic banter, Tyler gives us a look into what his life has been like since the release of Igor. We see his confidence, his humor and lovesick tendencies all at once. We’re reminded once again, that Tyler, the Creator, is one of the very few artists that are successfully able to grow and develop their sound and get better each time.
Highlight tracks include the gritty and sour, “LEMONHEAD” featuring 42 Dugg, the smooth and heartfelt “WUSYANAME” featuring YoungBoy Never Broke Again and Ty Dolla $ign and the love story behind “WILSHIRE.”
– Jahniya Morris
9. Wolf Alice – Blue Weekend
Wolf Alice are certainly a band that changed the musical landscape. The intelligent songwriting leaves space for interpretation. Many songs on the album like “The Beach II” or “Smile” show the variety of style the band uses throughout the record. The songs are so relatable no matter what point in life you are, it is hard not to love every single track on the album. Wanna dance? There is a song. Wanna cry? There is a song. Or maybe you just want to lay back and relax. Well, guess what, there is a song for that on Blue Weekend. The videos for each of the songs were also something that created a certain bond between the band and their audience. They kept the album visual and exciting. The sophisticated vocals are so hypnotizing, the songs will feel like they are passing by way too quickly. So it is certainly no shame to listen to the album over and over again.
– Alison Alber
8. Chvrches – Screen Vision
Chvrches ambitious album Screen Violence defied expectations, crafting an album which tackles themes of misogyny and the internet through a horror lens, all while maintaining the trio’s iconic synth-pop sound. Lyrically, Chvrches captures the nightmarish feelings and scenarios of the horror genre, but focusing instead on the- usually-underrepresented female characters and the misogyny they face atop already harrowing circumstances. Along with this, thickly orchestrated passages of gleaming, never-ending synths help capture some of the anxieties presented in the vocals. Despite the dark thematic material within the album, most of the tracks have a bright and energetic sonic palette. The duality between the lyrics and scoring create an interesting juxtaposition, almost commentating on the balance between consumerism and artistic vision. Additionally, each track is masterfully mixed, with high production value elevating the already strong album. Screen Violence is an exciting new direction for Chvrches, and emphasizes the rewards of taking risks.
– Dana Alward
7. Tomahawk – Tonic Immobility
Following an eight-year hiatus, many time mxdwn end of year champions Tomahawk returned with their latest album, Tonic Immobility. The long gap between their last outing Oddfellows and this new work is unsurprising, considering the band is an all-star roster of musicians, many of whom are in other bands simultaneously. John Stanier is one of the two remaining original members of Battles, Duane Denison is once again back active with The Jesus Lizard, Trevor Dunn plays with almost too many bands to list (Fantomas, Melvins Lite, Mr. Bungle to name a few) and singer Mike Patton is almost universally busy behind his numerous bands, not the least of which being last year’s reunion of Mr. Bungle. Thus the music of Tonic Immobility was largely recorded years ahead of its release until Patton was available to write and sing his parts. Unlike some of their previous outings such as Mit Gas which began to push the boundaries of their super alt country sound into other experimental heights, this outing is nearly all driving straight ahead twangy rock mixed with subtle atmospherics. The results are impressively captivating even without the more extravagant places they could have gone. “Predators and Scavengers,” “Doomsday Fatigue” (directly dealing with the state of our COVID-19-filled world) and “Sidewinder” to name a few all hit like a gut punch and make the best of the minimalist approach.
-Raymond Flotat
6. Lil Nas X – Montero
Lil Nas X’s new album, MONTERO, is one to be truly admired. The album as a whole flows so smoothly despite each song having its own personality. Listening to this album will definitely make you bop without even noticing. The beats and lyrics are perfectly matched with the messages that are put on display. Lil Nas X surely is a wordsmith that deserves an extreme amount of credit for this album. Lil Nas X shows his ability to not only do pop-rap, but also guitar based music and he is equally gifted at both. The album encompasses his life and his experiences in an extremely sonically pleasing masterpiece. The album is a sort of emotional journey. He has slow and gloomier songs alongside funky ones that both speak a lot about his talent. His ability to skip across genres is quite impressive and this album exhibits his amazing ability to write lyrics.
– Eve Pierpoint
5. Full of Hell – Garden of Burning Apparitions
As the eighth studio album (including their collaborative albums) from grindcore band Full of Hell, Garden of Burning Apparitions is aggressive and fast-paced from the beginning. From the first note of “Guided Blight,” the first track off the album, people are met with Dylan Walker’s extended scream and blaring riffs. Not even a minute long, this is a sharp/immediate start to an album that screams grindcore, death metal, noise and hardcore. Even with a short run time of just over 20 minutes in the span of 12 tracks, this album packs a punch. With tracks ranging from less than a minute to three and a half minutes max, each song picks up right where the last lead off in quick succession. While there is this movement, each track stands out on its own for different elements used by the band. “Derelict Satellite” exudes death metal and noise, as “Reeking Tunnels” takes a route closer to rock/post-hardcore. Full of Hell make each second on Garden of Burning Apparitions count; it’s chaotic from the first second to the last with no moment to rest. Every note, every noise on this album will keep people routed in place.
-Erin Winans
4. Little Simz – Sometimes I Might Be Introvert
As much as she loves to keep to herself, Little Simz opened up on her fourth full-length album. In such a regal fashion, she speaks about her personal life up until now, her journey since starting music as well as how talented she is. It’s refreshing to see her open up even more and to boast about her hard work and accomplishments. Her honesty about pain and hardships are relatable but it’s her hope for peace and growth that feels like everything is going to be fine for all of us. No matter how open she gets, Little Simz still has this mystery behind her that is fascinating to witness.
Highlight tracks include the calm and groovy, “Woman” featuring Cleo Sol. It’s like a call for the celebration of women. The upbeat trap-influenced “Rollin’ Stone” allows for Simz to let loose and boast about how great she is. It’s a nice breather after speaking on such heavy topics previously. The culture inspired, “Point and Kill,” features Obongjayar. Taking influences from their Nigerian origins, it’s a way to remind everyone that nobody is touching them talent-wise and going to stop their dreams. Whatever they want, they will get.
– Jahniya Morris
3. Converge – Blood Moon
After 30 years together and nine studio albums, it’s hard to imagine a way in which Converge could keep things fresh and exciting. One great way to accomplish that? Bring in some like minded collaborators, using their ideas and approaches along with the band’s classic style. The result of this collaboration is Bloodmoon I, a highlight in the Boston band’s long and illustrious discography.
While the origins of the album were post-rock, the final result is something much more sludgy and metallic, while retaining the sense of experimentation that launched this project. The album opens with the nearly eight-minute dirge of “Blood Moon,” mixing the haunting vocals of Wolfe with Kurt Ballou’s grimy guitar leads and doomy percussion. While Converge has always been known for their quieter, emotional tracks, “Coil” takes the band’s sound in a symphonic direction they’ve never explored before. Later in the album, “Lord of Liars” proves to be a major highlight of the album, a bit more of the traditional hardcore we’re used to from Converge. Wolfe is once again the highlight, trading clean vocal lines with Jacob Bannon’s otherworldly howls before descending into a tangled mess of guitar riffs courtesy of Ballou.
Once again Ballou’s production only impresses, a perfect mix of high fidelity and brutal dissonance. While traditional Converge records are always something to look forward to, let’s hope this new iteration of the band can continue to produce new music in the future.
2. Halsey – IF I CAN’T HAVE LOVE, I WANT POWER
On her fourth album, If I Can’t Have Love, I Want Power, Halsey came back with a vengeance and a vision. She famously asked Nine Inch Nails luminaries Trent Reznor and Atticus Ross if they would be willing to help produce her record. A few tests bloomed into a full production, and the rest as they say is history. The album plays from its opening notes like a wondrous sequel to Reznor and Ross’ genius soundtrack to the film The Social Network. Like the feminine take on a dystopic, digital nightmare. The album opens meditatively with Halsey ruminating on the trappings and failures of being an artist in the modern world. She sing in mantra like repetition, “Take what you want, take what you can / Take what you please, don’t give a damn / Ask for forgiveness, never permission / Take what you want, take what you can / Take what you please, don’t give a damn / It’s in the blood and this is tradition,” a fatalistic look at the duality of creation and how largely this is what it takes to create. The urgency continues on “Bells in Santa Fe” and builds until the full-on industrial metal explosion on “Easier Than Lying.” Things cool off on “Lilith” to allow for a fun, pitter-patter beat accompaniment. “You Asked For This” is more intriguing ethereal rock, and “Darling” is the closest thing to a conventional ballad here, Halsey singing softly only over little more than acoustic guitar. It’s all an unusual concoction between the production and Halsey’s vision, and it comes home like a deathblow on “I’m Not A Woman, I’m A God,” reverberating out this evocation of motherhood and pregnancy like a siren’s call from the heavens.
-Raymond Flotat
1. Emma Ruth Rundle – Engine of Hell
For the very first note of “Return” the listener knows, this album is something special. It is a combination of everything that makes an amazing work of art. There is personality, intelligence and pure passion in every song and every single second. Every song has a special note and character that makes it one of a kind of experience. Songs like “Blooms of Oblivion” take the listener on an intimate journey through Rundle’s life. The emotions throughout the record are something that we can seldom witness in such a raw form.
The vocals of Rundle show how much emotion can simmer through the music and it is almost like a spell she puts on one, captivating and oh so beautiful. Spending some time getting lost in the beautiful and yet so melancholy world of Rundle is always a time well spent. In a little more than 40 minutes, we go through so many emotions and a certain vulnerability with her, that is very much appreciated in a world that is often filled with dishonesty and fakeness. With Engine of Hell, Rundle shows how real music and art are made, and she certainly deserves the spot of album of the year here at MXDWN. There is a certain kind of pain in the songs that are just so personal and intimate, we can not find it in any other work this year.
So, maybe the pandemic made you a little emotionally numb (who isn’t?), but be prepared to feel all the feels when listening to Emma Ruth Rundle’s honest songwriting and overall amazing musical talent. So lean back and take it all in and just get lost for an hour or so in the melancholic and fantastic world of Emma Ruth Rundle’s soundscape, you won’t stay the same but you certainly won’t regret it one bit.
-Alison Alber
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