The best albums of 2021
New Statesman staff choose their favourite records of the year.
ByAlbum reviews
Read all the latest album reviews from the New Statesman here.
There’s no denying it: Adele’s new album is a classic
These are songs that, whether you like them or not, do not tire or fade, and a voice that will…
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Lucy Dacus: “It’s dark when adults fantasise about being teens again”
The US indie singer-songwriter on diary-writing, home movies, and the pull of nostalgia.
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Hiatus Kaiyote’s jazz funk is pure musical sunshine
On their third album Mood Valiant, the Australian neo-soul group return with complex grooves that are always transcendent.
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Wolf Alice’s Blue Weekend is a masterpiece by a British band in their prime
On their third album, London rock band Wolf Alice confirm that they are one of the greats.
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On Cavalcade, Black Midi’s experimental guitar music sounds self-indulgent and disjointed
The band’s disinterest in comprehensible lyrics, melodic engagement or recognisable song structures makes for tiring listening.
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How Metronomy’s The English Riviera captured the British seaside through eccentric electronica
Ten years on, these ridiculously slick rhythms still hit just as hard.
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Who is St Vincent?
On her excellent sixth album Daddy’s Home, the guitarist lays out plenty of possibilities.
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Birdy’s Young Heart: intimate but homogeneous heartbreak folk
After a hiatus, "Skinny Love" singer Birdy returns with a record of Woodstock-inspired crooning.
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Dry Cleaning’s New Long Leg: brilliant and barmy observational post-punk
The south-London quartet’s debut record shows off Florence Shaw’s deadpan vocals and droll lyrics.
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serpentwithfeet’s Deacon is a sweet, powerful collection of love songs
On his wholesome, dreamy second album, the singer celebrates fulfilling and compassionate relationships between black men.
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Ringo Starr’s Zoom In is a paean to pre-lockdown partying
The former Beatle has released a distinctly 2020-flavoured EP.
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Paul Morley’s A Sound Mind is an intimidating history of classical music
This is a collage of Morley’s life as a long-time music journalist, slightly shorter-time classical music advocate, and conspicuously mortal…
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Israel Nash’s Topaz: sun-baked country rock in need of some frankness
On his sixth album, the Americana musician subtly queries his place in a genre long associated with conservatism.
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Zara Larsson’s Poster Girl: pounding, charismatic hits from a Swedish pop prodigy
On her third album, the Swedish singer-songwriter Zara Larsson digs deeper into her electro sound.
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Danny L Harle’s Harlecore is a celebration of the club
On his debut record, the British electronic producer conjures an environment many of his listeners will have been pining after for eleven…
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Slowthai’s TYRON is not quite an apology record
Apologies have come to define Slowthai’s recent career, but his latest record tries to have it both ways.
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Katy Kirby’s Cool Dry Place: soft but subversive folk-pop
Kirby’s sharp lyrics, layered melodies and complex manipulation of rhythm mark her out as an exciting and sophisticated songwriter.
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Virginia Wing’s Private Life: chaotic, dream-like pop
The brilliant, daring new album from the Manchester alt-pop outfit throbs with a contemporary sonic anxiety.
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“It was a meteorite in our worlds”: the Staves on surviving grief and returning to music
After the death of their mother in 2018, the three sisters took time away from making music. On their third album, Good…
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