Best EPs (*or Mini Albums) Of 2021
Best EPs (*or Mini Albums) Of 2021
We hope you’ve been enjoying our year-end coverage. So far we’ve revealed our “Best Cover Art Of 2021,” albums that “Slipped Through The Cracks,” and the “Best Music Videos Of 2021.”
Today we are very excited to share our favourite EPs of 2021. This list comes with an asterisk because we decided to allow mini-albums into the mix. It’s a strange differentiator but some sticklers out there may argue the designation of some of these releases according to a specific set of rules for EPs. (This is a crazy topic on its own as rules have changed over the years and sometimes different countries will even have different EP guidelines!)
Anyway, if you want to argue one of these releases not being an EP… it’s a mini-album, therefore allowed on this list!
Without further ado… please take the time to read about, and listen to our favourite EPs (and mini-albums) of 2021. Oh! also… It’s Bandcamp Friday! If you like what you’re hearing as you browse these EPs, please consider purchasing them through the embedded link as Bandcamp will be waiving their share on all music sales today (December 3rd).
#25 - Dark Time
Radiation // Independent
What a delightfully trippy, (and tough to pin down), sophomore effort from Cayley O’Neill (Self-Cut Bangs). There’s something inscrutable about this strange little gem, and when the time came to put together my end of year collection, this one stuck out as one of the more unique efforts to come from my hometown.
- Shaun Lee
#24 - PROPERTY
Think Electric! // Eternal Shore Records
With Think Electric!, Property embrace contradiction while maintaining an enthralling new wave strut. The EP’s songs are simultaneously minimal yet sophisticated, playful yet serious, groovy yet restrained, and buoyant yet melancholic. If these last couple years have bummed PROPERTY out, they sound relieved to put their feelings into song and give us something to dance to.
- Devon Dozlaw
#23 - Beat Sexü
Deuxième Chance // Self Released
French funk – It’s groovy, it’s got a lot of a bass, and the French lyrics add a lushness that stimulates my Anglophone ears in a manner tantamount to a cool breeze on a bare chest. The gorgeous vocal harmonies and disco inspired instrumentals contained in this four track EP create a quartet of songs most danceable.
- Brandon Kruze
#22 - Lovely Company
Lost at Sea // Self Released
A recurring band in my reviews, Lovely Company’s first (of seven!) release of 2021 takes their indicative blend of blues, funk, and psychedelia to form a six track EP designed as an auditory life preserver for those who feel, as the title suggests, Lost at Sea. Their mellow sound provides a solace from one's inner turmoil.
- Brandon Kruze
#21 - Denise Valle
EDGE // Self Released
On her debut EP EDGE (short for the mantra “Every Day Give Everything”), soul-pop songstress Denise Valle has crafted an easy-to-vibe-with collection of catchy throwback R&B, with earnest and heartfelt lyrics that deliver a message of enduring love and hope even in the midst of personal struggle and uncertain days. Check out high point “Circles”, a captivating collab with Wyatt C. Louis and BLSNG that’s packed with impressive vocal runs.
- Julie Maier
#20 - Soul Boner
Liliana's Divorce // Vain Mina
Described as “Vin Diesel” and “Brutalist” next to the tag for “Montreal,” that is all you need to know about Soul Boner. The duo’s debut Liliana’s Divorce emanates a ravaging noise pop punk sound which is unequivocally unique. With bratty vocals and saturated instrumental productions, Soul Boner is ridiculously entertaining.
- Simone A. Medina Polo
#19 - KICCC
AREA 27 // milo88
Vancouver-based musician KICCC returns with Area 27, a dynamic EP with tracks like “MRKMI,” “DEAD TO ME,” and “Kings and Princes” taking the soft spoken gentleness from his debut into the contemporary edge of hyperpop. KICCC is one of the staple artists from Vancouver’s Helm Studios.
- Simone A. Medina Polo
#18 - Cluttered
Accidents // Bloated Kat Records
The EP Accidents from Halifax-based punk band Cluttered is a spicy four course meal of badassery and ACAB attitude. While the songs lack length they exude strength and power with their pop structured style of punk reminiscent to the punk tunes of my childhood. It’s hard hitting and self-deprecating – a looking glass to our youth.
- Brandon Kruze
#17 - Land of Talk
Calming Night Partner // Dine Alone
With the release of their latest EP Calming Night Partner, Land of Talk left their guitars on their stands a little more often, pumped up the production, and offered a whole new range of textures. LOT didn't put away their guitars altogether, but they did toss some flour in the production gravy and they're better for it. Sounds reverberate against their jilted percussion with chaos, catharsis and cohesion that I can't help but compare to We Are The City. Not necessarily a new direction for LOT, but the logical next step.
- Clay Geddert
#16 - Clairmont The Second
no u don't / intres-ting / mi pce // Self Released
Back in March, Clairmont The Second dropped off a three-piece care package, written, produced, engineered, and arranged by himself.
Not only is it the most versatile hip-hop release I've heard so far from a Canadian artist, but it is also quite extraordinary. It's almost like you’re listening to the soundtrack of what it's like to be lost in your head. Clairmont's musical abilities on this EP remind me of the later work from the great Andre 3000. The melodic tones and song structures give me ‘Look Ma, No Hands’ vibes.
- Cameron Kilfoy
#15 - Magi Merlin
Drug Music // Self Released
Magi Merlin’s Drug Music is exactly that; music to get lost inside your mind to. Hailing from Montreal, this alternative R&B artist gives four tracks that are each more impressive than the last. With beats by Funkywhat, this EP is full of energy while staying calm, cool, and collected. And like the title suggests, this release is best enjoyed with a mind-altering substance
- Lana Winterhalt
#14 - PRETTYBOY
Darlene // MUST BE NICE RECORDS
While PRETTYBOY’S first EP of 2021, Becky, took no prisoners as the band blasted through five songs of ferocious punk rock in fourteen minutes flat, it’s their second EP of the year, Darlene, that shows the group’s range. Darlene balances the full throttle punk moments with sludgey goodness, which lets their attacks on misogyny, and their rallies for body positivity, sexual freedom and consent come through even clearer.
- Devon Dozlaw
#13 - Status/Non-Status
1, 2, 3, 4, 500 Years // You’e Changed Records
2021 was a year of reckoning for many in regard to the devastating effects of colonialism. Status/Non-Status focuses on this overdue awareness in their debut EP 1, 2, 3, 4, 500 Years. The EP is a short powderkeg of emotion touching on the complexity of identity, belonging and gut wrenching insight into truth and realization.
- Mo Lawrance
#12 - Yung Heazy
Quit your Job! // Unbelievably Spectacular
The tight knit, angelic harmonies contained here alone would qualify this EP as one of the year’s best, but throw in the stellar songwriting, off-kilter jazz guitar and disarming, lackadaisical humor and it becomes the kind of charm-dripping pop weirdo confection that makes for effortless repeat listening. Given the sharp upward momentum and artistic growth he’s shown since his fantastic debut LP, I think we can expect great things in the future.
- Shaun Lee
#11 - Century Egg
Little Piece of Hair // Forward Music Group
Little Piece of Hair was released in may of 2021 by Halifax-based basement-pop act, Century Egg. A blend of genres, this EP incorporates alternative, pop, rock, and the occasional touch of punk into their joyous sound. The title track, “Little Piece of Hair”, is an ode to a little piece of hair that has fallen out because it wants to explore. This is perhaps the best example of Century Egg’s vision - silly, contemplative, and engaging in equal measure.
- Devon Acuña
#10 - Anthony OKS
In The Garden // LHM Records
On Anthony OKS's second EP, In The Garden, he begins by taking you on a euphoric ride. “Clearly Now,” is not only a flavourful intro, it is what an intro should be. The song itself brings you somewhere else, you do feel like you’re about to watch a story unfold. The pockets he hits on the record show you the skill he possesses as an emcee. It sets you up for a true RAP album, then, Anthony OKS takes it in a very different direction.
It happens in a very good way, the second song switches to a melodic, Jamaican-inspired song. It isn’t what you expect but for some reason, it works. He gives you a hard-hitting verse right in the middle and, in my opinion, one of my favourite verses from the album. For the rest of the album, he continues to show his skills not only as a rapper but as a real musician.
The sounds and the overall vibes of tracks two through four, remind me of Chance the Rapper and The Social Experiment on Surf. These songs also give me more of a nostalgic feel, hearing instances and resemblance of The Internet’s, Purple Naked Ladies.
His efforts on this project are carried the whole way through the six tracks and he leaves you wanting more. For a second project (not even for an album at this length) to sound this professional, this authentic, and true, is something special.
Anthony OKS stands out to me as one of the more creative, innovative, and rare individuals in Canadian Hip-Hop. He is someone with real musical talent, he is a composer, and the future of his sound will be something very exciting to see in the years to come.
- Cameron Kilfoy
#9 - Blessed
iii // Flemish Eye
Blessed have built a reputation as one of Canada’s hardest working bands at their level. For several years leading up to Covid, the band’s tour schedule reached excessive levels. They were always up to something. To top that off the band's DIY approach has led to them doing a lot of their own booking, self-recording and even self-releasing much of their past work. So it was a delight to see they didn't let Covid slow them down, releasing iii early in 2021 marking their first release with Calgary’s Flemish Eye.
Though self-recorded, on iii, Blessed looked to an approach largely only seen in the hip hop game. For mixing duties the post-punk quartet sought out an all star cast of producers, each taking control of one song. The result is four sprawling tracks of technical, emotive post-punk showing off a cleaner range, ripe with the rhythmic precision dire to their sound.
The EP opens with the meandering “Sign.” Mixed by Purity Ring’s Corrin Roddick, melancholy verses are punctuated by spine-chilling synth shots bringing a darker element to the song. The John McEntire (Tortoise) mixed “Structure” follows, picking up the pace. The track is a gradual rise leading up to a bombastic extro. Album highlight “Centre” shows off the heavier side of Blessed more akin to their earlier releases. Mixed by Holy Fuck’s Graham Walsh, the track centers around a skipping rhythm as the band show off their technical flare around it. Album closer “Movement” is a gentle drop. Mixed by vocalist/guitarist Drew Reickman, the track's slower pace is adorned with lofi elements as Reickmans gentle melody fades.
iii’s cover art aptly represents Blessed’s approach towards the EP. Each member, each track, each collaboration representing a different shape, equally important to holding the structure as a whole. It’s a call to Blessed’s emphasis on community, reaching to your communities, and simultaneously contributing to them in your efforts to uplift it. A value the band has been vocal about in their music since the very beginning.
- Kennedy Pawluk
#8 - Lex Leosis
Terracotta // Distorted Muse
Are you tempted to purchase terracotta pots filled with bright houseplants in order to raise your energy during these dark winter months? If so, I recommend pressing play on Terracotta to receive a similar boosting effect. Leosis is a former member of the rap group The Sorority (split in 2019), and she released a solo album ,Mythologies, in March 2020. With the roll-out of Mythologies dampened by the pandemic, Leosis put her energy into crafting a new EP - working exclusively with producer Rainer Blanchaer (The Weeknd, Drake).
Terracotta opens with “Khrys’ (Intro)”, and effectively uses strings and piano to lull the listener into thinking they’ll be immersed in a collection of smooth R&B songs. Beginning with this soft launch allows track two to hit that much harder. As soon as the beat of “Won’t Wait” drops, it is clear that this EP was moulded to move you and Leosis maintains this momentum throughout the rest of the songs.
Leosis confidently spits in melodic ways that are sharply enunciated and playfully delivered. Her assertive lyrical style is juxtaposed with hints of jazzy piano and saxophone - a nod to her grandfather’s jazz record collection that she revisited in the early days of the pandemic. Each song delivers an abundance of quotable lines - like on the catchy, bass heavy “That Feel” where Leosis addresses her approach to relationships: “Do I got a man? Baby, that’s a kinda sorta / I don’t play by systematic versions of conforming / Ain’t nobody tell me how to love and that’s for sure hon / That don’t mean I don’t know how to make you feel important / You know that I got you, I bе over here supporting / And whеn you in the city you could hit in the morning”. As the song progresses, Leosis notes the importance of trust in relationships, “He got a girl back home and she stressing on the low / I got a girlfriend too but she always in the know / Open conversation plus honesty and trust / If you down to break the norms then maybe we could *gasps*”. On the more laid-back “Reality”, Leosis reflects on her artistic journey and recognizes the importance of the ups & downs: “You know that all that you are is all that you thought / And this journey gets hard, been off course and lost / I’d do it all again, take all hits and costs / I’m thankful for my life, and all that I got.”
Clearly inspired by late 90’s/early 00’s rappers, Leosis capitalizes on the culture’s current fascination with this time period, sounding like the protege of influential MCs Missy Elliott, Queen Latifah, Lauryn Hill, and Lisa “Left Eye” Lopes. With a hint of Fergalicious fun - Leosis is on fire with Terracotta.
- Gregory Torwalt
#7 - miesha & the spanks
Singles EP // Self-Released
A cover image of Calgary-based music duo miesha & the spanks Singles EP depicts them painted and dressed in gold standing in front of a red background. Their aesthetic – elegant yet chiseled – personifies their musical style, a catchy blend of garage rock and punk which forms a genre self-described as “proto-punk”. Released on digital and vinyl back in April, Singles EP has overdriven guitar and distorted vocals with a high fidelity polish.
This seven track EP opens with “Unstoppable”. With a catchy chord progression and a chorus that you can’t help but sing along too – this song fully displays their emotional lyricism and heavy instrumental delivery, peppered with hints of fuzz and feedback. The personal stories told through their songs, such as the third track “Mixed Blood Girls”, take an introspective and reflective approach towards emotion, with lyrics such as “Brown in the sun /And I’m brown in the shade / As a girl I’ve heard it all / “Too pretty” to be NDN”
Miesha & the spanks will be playing at the Big Winter Classic in Calgary on January 27th – great news for you southern Albertans out there, for to see the powerhouse that is miesha & the spanks must be quite the treat. Their tried-and-true instrumental methods, their heartfelt (and occasionally gore-y) lyricism, and their duality of rock n’ roll and royalty makes them a band worth watching at any chance you get, and I await the day they tour towards the central province, for it would be a crime to the ears missing a chance to see them.
Singles EP is a great set of rock songs that have all the dance-ability and grit that you’d expect. It’s a great album for those of you who just like to rock out. No strings attached, straight forward rocking out.
- Brandon Kruze
#6 - Julien's Daughter
The Static That Carries Over // House of Wonders Records
Coming in hot in the number six position of Best EPs of the year is Winnipeg's based alt-rock band Julien's Daughter. Their highly recommended debut EP, The Static That Carries Over, released earlier this year on January 15th will keep you warm through the winter days with its catchy indie rock energy and vocal melodies.
Julien's Daughter is bringing their best work to the table after being a band for only a year. In such a short amount of time, singer Emma Murphy, bassist Chelly Osuntade, guitarist Ian Tata and drummer Cody Kennerd were able to combine their musical influences and ideas to create six captivating songs that deliver a cohesive sound from beginning to end.
Not bad for four strangers that met through the musicians section on Kijiji, right? Well, Murphy is responsible for this accomplishment. One by one through posts online she found all the members and shortly after their first show they knew they were onto something good.
In The Static That Carries Over you can expect a dynamic musical energy that leaves space in between chords for listeners to get lost in the lyrics and paint a colourful picture in their minds. “These songs talk about confrontation, guilty consciences and strange human habits” says Murphy. Get a taste of it with the opening track “Coffee” and its hypnotic guitar riffs accompanied by Emma's expressive vocals that will get your attention shortly after pressing play. And if you feel like relaxing for a few minutes I suggested you do it while listening to their last track “Prince”, a lovely tune with a sweet melody that guarantees to get stuck in your head.
I'm sure that by now you are interested in what Julien's Daughter has to offer; and believe me, The Static That Carries Over will not disappoint you. Their music is available on all the platforms just waiting for you to check them out.
- Fel Gamarra
#5 - JayWood
Some Days // Royal Mountain Records
Winnipeg’s very own JayWood comes in HOT at the #5 position with his EP Some Days, his first major label release under Captured Tracks. JayWood’s tunes smash guitar grooves with forward vocals and slick production elements to give that sound that is distinctly bedroom pop meets garage band indie-rock. On top of it all, JayWood’s lyrics are poignant and honest, continuing to push the expectations of what garage rock might be. The title track “Some Days” introduces us to JayWood’s world; this is the kind of track that gets you going in the morning. Track two, “Creeps”, keeps the momentum chugging forward with an incredible layered composition; some could consider this a rock symphony, with rich layers of synths and organ, guitars and background vocals.
May I be so bold to say... we are not worthy of "Dreams"! We do not deserve this magic! JayWood incorporates gorgeous live strings played by Winnipeg's Jensen Fridfinnson (Yes We Mystic, Amos the Kid) and takes a contemplative step back, like a deep breath in the midst of a complex piece of art.
JayWood's ability to layer duelling guitars, synths, and bass lines is truly miraculous, filling the space in a way that is never muddy. We hear this again on "What You Do To Me" as the lead singer is joined by backup vocalist Vero Rey; the layers are thick, yet everything is perfectly recognizable. Production team House of Wonders (Adam Fuhr) deserves a standing ovation for his ability to carve out space for JayWood's musicality to shine.
While it was originally written in 2015, this music seems to hit even harder in 2021. The tracks are so fantastically composed it's as though you can hear the bones of each song as it was written in Haywood-Smith's bedroom, coming from a deeply quizzical and curious place. Now, six years later, the bones of the song are surrounded by a thick coating of honey, allowing each space to be completely filled with a sweetness that only time can provide.
- Lana Winterhalt
#4 - DACEY
SATIN PLAYGROUND // Self Released
SATIN PLAYGROUND is the debut release from fresh-faced neo-soul group DACEY, and should put them firmly on any serious list of “Canadian bands to watch” going in 2022. Skillfully blending elements of alt R&B, lo-fi instrumental hip-hop, jazz, and indie pop, while couching hard realizations and romantic ruminations in breezy melodies and chill vibes, the finished product comes together as a highly polished and eminently boppable old-meets-new take on Gen Z slacker-soul.
Tight and intricate live instrumentation — guitar, bass, keys, drums — and impeccable beats set the foundation of DACEY’s sound, crafting a warm organic base that’s evident even on the few tracks that employ more hip-hop production elements, such as layered samples and drum loops (see “SUMMERTIMEISDONE”). The group, which met and formed while they were music production students at Vancouver's Nimbus School of Recording and Media, fuses together a diverse set of musical influences and some clearly-seasoned musical chops. Their approach is completed by frontwoman Dacey Andrada, who delivers her lyrics with an ever-smooth lilt and an effortless flow, while she steps up to the mic with enough realness and raw vulnerability to really convince the listener that any heartbreaks revealed in the lyrics are genuine ("If I see you that’s when I turn to stone / I keep on reminiscing what we had that’s gone”). Then in the studio, Dacey’s vocals are layered up again and again to build up a plush and silky wall-to-wall sound that fills every empty space between your headphones.
While there is plenty of cloud-gazing nonchalance and hazy weed-puffing escapism on SATIN PLAYGROUND (case in point, give stoner anthem “Broccoli’s Keeper” a spin), the best moments on the EP showcase Andrada’s open-book songwriting. Baring both heart-aching confessions to another and moments of introspective honesty, the juxtaposition of DACEY’s sunny sounds shining onto some real bad-weather feelings (“I got hella shade / ‘Cause I got rainy days”) could give the listener plenty to contemplate. Then again, if you’re not in that kinda mood, DACEY promises that you won’t be waiting long before “here’s another song for you to bop with”.
- Julie Maier
#3 - Owen Davies & The Evangelists
Pasta on the Moon // Gatekeepers of Love
Owen Davies’ new EP Pasta on the Moon (with backing band the Evangelists) arrived a mere 6 years after it’s initial recording sessions were completed, a relative eternity in the life of an indie music project. When I talked to Owen this Summer about the EP, I asked him why 2021 was the right time to finally get this out in the world; he responded that the band was too good and the recording sessions just too much fun to be in the vault any longer. And indeed, we are all better off for it’s release; Pasta on the Moon is a smart and vibey throwback to the mid 70’s, with it’s chorused-out guitar tones, cavernous vocal sounds, and driving conga rhythms. The exception to the otherwise nostalgia soaked tracklisting is standout track “Duchovny Day”, which is a bit more modern in it’s production and lyrical frame of reference. The more playful nature of the lyric and of Davies’ performance on this track fit him like a tight pair of Levis on Fox Mulder circa 1993. This entire EP is at it’s best when the band is able to relax and sink into a groove while Owen slides into character and croons over top, and “Duchovny Day” nails it for nearly five minutes straight.
Pasta on the Moon is also the first release from Davies’ (and his cronies) new record label, Gatekeepers of Love. The stated goal is to continue to build a community around a group of friends and musicians, including Davies, that seem to work together more often than not. This EP marks a solid beginning to this new project, and I’m excited to see what Davies and crew cook up going into 2022.
- Sean Newton
#2 - Bria
Cuntry Covers Vol. 1 // Sub Pop
Smoky voices and smoky rooms create the mystic of Bria’s debut EP Cuntry Covers Vol. 1. A collection of handpicked country covers meaningful to lead singer Bria Salmena and accompanist Duncan Hay Jennings is a self-proclaimed labour of love, paying homage to a few Americana/country outlaws, heroes and heroines.
A couple of alt-country outlaws with a post-punk edge themselves, Salmena and Jennings not only make up part of Orville Peck’s band, they also represent half of Toronto post-punk four-piece FRIGS (*See the 2020 version of this list). The duo hone-in on the heartbreak and loneliness inherent in Americana and reimagine their chosen covers with their own vulnerability. The result is a six song EP of country gold, performed as paired down, soulful arrangements in Selmena’s sexy, husky voice.
The initial song at the top of the EP is “Green Rocky Road”, originally performed by Karen Dalton, which Bria arranges into an acoustic version with her sultry vocals and haunting style. The EP goes on to cover Waylon Jennings drug-fueled “Dreaming My Dreams With You”, John Cale’s “Buffalo Ballet”, “The Sun Ain’t Gonna Shine Anymore” by The Walker Brothers and “I Don’t Wanna Love Ya Now” as performed by Mary Afton.
Worthy of mention is Bria’s choice to include Lucinda Williams “Fruits Of My Labour” on the EP. The band notes that Lucinda’s album “World Without Tears”, in which the song is featured, was criticized for being too "bleak". Brea goes on to state that "this type of reflection of a female artist’s work is not only patronizing, it’s incredibly mashioninistic. The darkness is tolerated in bad boy tropes of cowboys and outlaws, but we expect hopefulness in a woman over the age of fifty. One critic said he missed Williams “wounded innocence”. It's complete shit.” Couldn’t agree more.
The interconnection of the song choices show a powerful woman embracing the vulnerability of heartbreak, showcased in a way that blends darkness and edge into sultry country crooning in a way that only Bria can. And it definitely doesn’t sound like ”wounded innocence”. It sounds like Cuntry.
- Mo Lawrance
#1 - The Faps
New Daft Punk // Transistor 66
In early 2021, Daft Punk officially broke up, adding another downer headline to a seemingly endless feed of depressing news. However, out of the ashes of the famous French duo’s farewell, came an exhilarating barn-burner of punk music that is alarmingly daft. No, New Daft Punk is not a swan song au revoir from that eponymous duo, but rather a better, faster, stronger high-octane reminder from The Faps that the local bands you love miss shows just as much as you, and they’ve had a lot of time to write and record killer new tracks recently.
On their bandcamp page, Saskatoon’s The Faps describe themselves as “two best friends making monstrous music and inducing confused laughter,” and while this definition lacks any real genre signifiers, it’s pretty damn accurate. If monstrous is used to describe things that are abnormal and twisted, then they’ve picked a fitting adjective. This EP is an abomination, and The Faps are its brilliant mad scientists. Even though the EP only burns for fourteen minutes, make no mistake, IT’S ALIVE! This EP sees The Faps stitching together body parts from corpses of various genres, and shocking their creations to life with their fearless drive to create music that is entirely unique to them. Sure, one can hear traces of a Keith Morris-esque snarl here and there, or even a fun dance-punky verse reminiscent of a band like Parquet Courts, but most reference points only last ten seconds before The Faps charter off in a different direction entirely. Like puppies at a squirrel parade, The Faps never stick with an idea for very long, and that is the only thing that remains consistent over the course of these four songs. Whether it’s a dreamy sax bit in “It’s Fucking Die Time” or the unintelligible vocal parts in “Death Grips” between messy jolts, The Faps know how to keep things fresh and interesting. The second part of their Bandcamp bio that predicts “confused laughter” rings true in “Bonez” when the listener is treated to a miniscule jig complete with fiddle playing from respectfulchild, followed by the hardest fifteen seconds of the EP as blast beats and a guttural roar beat the tar out of Apple Music’s genre classification system. Being capable of pulling off all these different styles is impressive enough, but making it feel fun and spontaneous is the true feat.
This is an incredibly intricate batch of songs that requires math rock precision to execute, but like punk rock descendants of Frank Zappa, they make it sound like they’re just taking a piss, and having a blast doing it. The best EPs are the ones that exhibit enough of that special something to feel as satisfying as albums that are three times their length. New Daft Punk has enough brilliant musical ideas to fill a forty minute album, but the fact that they decided to cram all these impulses into a four song feverish brute of an album, makes this the best EP of 2021.
- Devon Dozlaw
Expanded year-end coverage can be found here: “Best Cover Art Of 2021,” albums that “Slipped Through The Cracks,” and the “Best Music Videos Of 2021.”