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Little Simz is writer, director and star, is in full control, never lacks focus, has incredible flow, and sticks the landing. Working once again with producer and SAULT svengali Inflo (as well as regular collaborator Cleo Sol and Obongjayar), this isn't an album, it's a globe-trotting epic full of sweep and swagger, orchestrated battle royales, intimate character moments, showstopping choreographed set-pieces and joyous bacchanals. Even if you didn't look at Sometimes I Might Be Introvert's 65-minute runtime or 19-song tracklist, it only takes about 10 seconds of the title track / opening cut to realize the scope, ambition, confidence and sheer talent at play here. Clearly, she was not one of those, and now that album feels like just an appetizer for this. Having released one of the best albums of 2019, some may have wondered how Little Simz would follow up GREY Area. Little Simz - Sometimes I Might Be Introvert (Age 101 Music) The effect, the voices and music, can be overwhelming, but also cathartic if you let Low's beautiful noise wash over you.Р”В«asement cut: 'White Horses' - behold the power and the glory of Low in 2021.Р”Сћ. But then come Sparhawk and Parker's voices, searing through the maelstrom like a beam of pure light even when what they're singing is as heavy as the music: 'When you think you've seen everything, you find yourself living in days like these.' We can all relate. Instrumentation is distorted to the point where you're not sure if what you're hearing are guitars, keyboards, or slowed-down recordings of garbage trucks. HEY WHAT is a record where you may wonder if your stereo is malfunctioning, if your wifi is on the fritz, or if someone slipped something in your drink. Working again with producer BJ Burton, Alan Sparhawk and Mimi Parker take blowtorches, bandsaws, and ball-pin hammers to their signature, sublime brand of slowcore, and then melt it down into liquid metal. How do you follow up a game-changer of a record? If you're Minnesota duo Low, whose 2018 album Double Negative ripped apart their sound while keeping their soul intact, you push things even further. Sweeney's playing, aided by Mdou Moctar on a few tracks but more often than not unadorned, is quietly spectacular, finger-picked and intricate but not flashy, leaving plenty of room for Oldham's wondrous voice, whether it's whispering in your ear or howlin' at the moon.Р”В«asement cut: 'Make Worry for Me' is a helluva opener, all foreboding mood, with Oldham growling 'I've got monsters inside me that must be born, let me shut up my mouth and blow this horn' as Sweeney lets rip a smoldering solo. It was worth the wait and Superwolves is a subtle beast that shows its true stripes on repeated listens. It's been 15 years since they made cult classic Superwolf and they've spent the last five working on this one, often apart, as Will sent lyrics via postcard while Matt worked to find just the right melody. Matt Sweeney and Will Oldham (Bonnie 'Prince' Billy) bring out the best in each other, even if it takes some time to do so. Matt Sweeney & Bonnie Prince Billy - Superwolves (Drag City) As always, the Indie Basement list is not any sort of definitive survey of 2021's best records, just one nerdy dude's opinion.Р”РЋ1. A bunch of records I gave 'Album of the Week' to didn't make the list (of course some weeks I had three Albums of the Week) and there were a few that didn't get that status, or I didn't review at all before, that rose up in the ranks. There were some surprises, even forР’В this senior staffer who is pretty set in his ways. There wasn't a clear #1Р’В for, the way say Destroyer's Kaputt or the Purple Mountains albumР’В were in their respective years, but there were lots of contenders. In any case, 2021 was a good year for music. Maybe it was just the environment they were released into. Many of my favorites of this year were made during all of it - Covid, Black Lives Matter, the wild presidential election - and yet 2020's albums, which were largely made pre-pandemic, felt angrier and darker. Concerts may have stopped but music did not, and lockdown inspired records that may not have happened otherwise. In a good way, but I stillР’В wadded some cocktail napkins in my ears. The first show I went to I forgot to bring earplugs, and the sheer volume of guitars plugged into amps felt like a shock. After a year of basically no live music, shows started to happen again. Twenty Twenty-One was another one for the books, that also zoomed by as we tried to get back to normal after the first wave of Covid, and normal fought back and we now seem to be right back where the year started.