[REPOST] The 100 Best Songs of 2022
The cream of the crop from 2022's song choices.
Before I started this music blog, I created a website each year for my favorite songs, albums, EPs, and other things from each year, complete with original graphics and complete descriptions for each piece of music. I figured it was time to move all of those lists and such to this website now that I use it much more frequently. This was my original list of my favorite songs of 2022, first published on January 13th, 2023. As always, a link to every track is included with each entry.
Check out the original website here!
ORIGINAL FOREWARD: For me, 2022 was a year of quantity and quality. Every week it seemed like there were multiple great albums to check out, a never ending deluge of amazing new music. It made choosing only 100 songs for this list a Herculean task. But for you, dear reader, I did just that. Below are the best of the best from 2022, my favorite tracks
Mitski is still the queen of melodrama, and “Stay Soft” is a soap opera about an unhealthy sexual relationship. The dance beat invites you into this mysterious (and harmful) affair. Through the pain of this relationship, Mitski hardens her emotions to protect herself, whisking us through this journey in a way only she can take us. LISTEN
Sometimes, a pop song doesn’t need to be anything more than what it is at face value. “Mirror” is about self affirmation in the most direct way possible, but Sigrid’s massive voice makes it all a worthy message. The highly danceable beat will have you grooving in your own mirror, showering yourself with positive thoughts you deserve to hear. LISTEN
Lili Trifilio has said “Scream” was the hardest song to complete on Emotional Creature, and it’s easy to hear why. The stronger synth elements and relatively slower approach to indie rock make it one of Beach Bunny’s most unique songs yet, and in my opinion, one of their best. Trifilio’s typical earnest voice rings true as ever, and the song’s climax is epic. I’d love to see Beach Bunny continue to experiment in ideas past their standard indie rock sound, and this is a first great step. LISTEN
Sometimes you can’t control the cards life deals you. You deal with the hand the world gives you every day, and “The Way It Shatters” is an ode to the randomness of life. RBCF maintain a fun energy throughout, with rollicking guitars and drums pacing the good luck and bad fortune they sing about. LISTEN
As my coworker Lucious put it, “One Night” is a vibe. It’s the sunset on a long day, a glitzy trip back through the stylings of 1980’s pop. The Danger Mouse-produced instrumental keeps you grooving as James Mercer takes a trip through a dangerous world of heartbreak and pain. When this duo is at their height, the hitmaking possibilities are endless. LISTEN
For years, Foals have trended more and more to the club-inspired dance pop of their peers, and “The Sound” is the culmination of that journey. It’s defined by the dancefloor, with Yannis Phillippakis delivering shards of lyrics over the most energetic beat Foals has ever made. One could say “The Sound” is one of Foals’ best sounds. LISTEN
Björk’s earthy new record isn’t for everyone, but at its height, it’s as if she is in complete control of the world around her. “Ancestress” is one of those peaks, and this tribute to Björk’s mother is like an earth goddess forming the world around her. There’s so many moving pieces to this song it’s hard to describe, but listening to it will soothe your soul and frighten you at the same time. LISTEN
The most violent song of the year, “Antagonist” is a fuck-you to anyone in the way of the Nova Twins. The grungy industrial instrumental only adds fuel to the fire, raging along as the Twins boast and beat you down. This song was the result of a jam session after months of lockdown, and the pent up frustration is unleashed in fantastic form. LISTEN
The fans who railed against LCD’s last album for being too “different” than their older material will no doubt be satisfied with “new body rhumba”. It’s got everything involved in a classic LCD sound, from a jangly beat with a strong guitar, James Murphy singing with reckless abandon, Nancy Whang with the great backing vocals, and lyrics that evoke memories of the band’s height in the mid 2000’s. What more could one want? Maybe an album full of these. LISTEN
Sarah Bonito’s work outside of Kero Kero Bonito is decidedly less poppy, but similar in themes. “Labyrinth” is about escaping the maze, matching harsh electronic beats with Sarah’s childlike voice. It’s different, but a good kind of different. LISTEN
“June” is the thesis statement of LABYRINTHITIS, a sprawling epic by Destroyer standards that features spoken word, rapping, singing, and some of the best Bejar-isms in years. Some of my favorites include “You have to look at it from all angles, says the cubist judge from cubist jail” and “A snow angel’s a fucking idiot somebody made/A fucking idiot someone made in the snow”. Throw in the band’s typical excellence in sophistipop sound and you’ve got a recipe for yet another amazing Destroyer track. But this is only the 3rd best song on the album, as you’ll soon see… LISTEN
Even if her latest album was a bit of a flop, Lizzo can still write a damn good pop song. “About Damn Time” was everywhere in 2022, topping the Billboard Top 100 for several weeks and repeated on pop stations the second it came out. And all that praise was rightfully placed, as the feel-good nature of Lizzo’s best songs is on full display. It’s catchy, good-spirited and an overall jam, and not corny enough to turn you away from it. Hopefully her future work stays this bright. LISTEN
Few bands can build a track quite like Spiritualized has been able to do over the last 30ish years, and “The Mainline Song” is up there in the canon of slow growers. It’s like you’re on the train you hear in the track, hurtling towards an epic climax you have to hear to believe. LISTEN
Few artists can write a song about being unendingly optimistic about falling in love as Joe Mount. He’s done it again on “Right on time”, a simple song about enjoying the sunshine while it lasts. Mount has said at this point in his career he’s almost done writing songs like this, so for now we better all enjoy the sunshine too. LISTEN
Only a group like PUP could make an entire song about an old guitar being sad and make it work. “Matilda” makes you feel for the titular guitar, overcoming the corny concept to come through with some truly emotional songwriting. I mean, how does something like “Thought I was everything you need/I thought at least you’d wanna see it through” not just pierce your soul? If this isn’t proof Stefan Babcock can sing about anything and make you feel something, I don’t know what is. We love you Matilda. LISTEN
We’re all right on the precipice of madness as the world around us is filled with disease, corruption and more. It’s a sort of dread that musicians aren’t immune from, and for their return after an 8-year wait, Yeah Yeah Yeahs seem content to scream into the void like the rest of us. “Spitting Off the Edge of the World” is as drone-y as they’ve ever been, but no less hypnotizing than any of their poppier offerings. With an assist from Perfume Genius, the trio screams at the top of their lungs and provides a voice for the rest of us. LISTEN
Few artists are better students of pop music than Charli, and her wide knowledge of the genre make her best songs seem effortless. “Yuck” is endlessly catchy, a simple ode to an overly-aggressive love interest that, despite her pleas for him to leave her alone, Charli can’t help but hold some interest in. One of the slicker beats on CRASH, “Yuck” barely lasts over two minutes, but like the best of them, it’s two minutes you’ll endlessly return to. LISTEN
What’s your best kind of lullaby? For Grace Ives, it’s movies, pictures of real estate and her neighbors singing SZA songs. It’s a mess of things, but a lovely mess, and a mess that anyone who’s had trouble falling asleep has felt before. You become hyperfocused on everything around you, locked in on everything but sleeping. This little indie bop is insight into Grace’s late night’s, and it’s a vivid picture of a dream before her actual dreams. LISTEN
Originally released for an anime project’s OP, “Sayonara Plastic World” ends up as a fantastic closer on Perfume’s latest album. The trio has been making J-pop for over 20 years now, but Perfume and their producers constantly find ways to keep their brand fresh, like on this track. It’s as breezy as some of their best cuts, and though I haven’t seen the anime project it’s originally attached to, I bet this song fits it like a glove. LISTEN
The first inkling that Beyoncé was about to dominate the dancefloor was “BREAK MY SOUL”, and what an inkling it was. Bey’s desire to break free and forget the stresses of the modern world translates into a palette cleanser for all of us, and the Robin S. sample featured heavily throughout keeps the beat bumping. The welcome addition of Big Freedia in the background serves to keep things moving, and it’s a great single and important cog in the overall work of RENAISSANCE. LISTEN
A tasteful approach to enjoying your surroundings while harm is abound, “Mulholland Dr” showcases Bartees Strange’s excellent ability to shift between rap and rock. His time in LA is both beautiful and problematic, and he can’t decide whether he loves the city for its beauty or hates it for its numerous problems like homelessness, pollution and corruption. The dichotomy between good and bad drives Bartees, and the twinkly instrumental keeps you locked in. LISTEN
The more famous collab 21 Savage had in 2022 was with Drake, but let’s forget that disappointment and focus on his superior collab with Pharrell and Tyler, the Creator. “Cash In Cash Out” has a fat, well-produced beat you’d expect from Pharrell, and it focuses on how the opposite styles of 21 and Tyler combine well, Their verses are connected in focus but not in flow, as 21’s raps are more standard than Tyler’s usual mixture of flows. But they do work well together, and it’s one of the better rap collabs of 2022. LISTEN
The obligatory k-pop song on the list, it's almost a tradition at this point to make that song one by WJSN. But the group continues to excel, and "Done" is the best of their latest batch of high-energy bops. LISTEN
With visuals invoking cults and diabolical echo chambers, the next Gorillaz project is sure to be a doozy. The album’s title track certainly is, a funky and chunky electropop track with a welcome feature by Thundercat. His famous bass guitar is the song’s backbone as 2-D (aka Damon Albarn) sets the stage for the cult at the heart of the titular Cracker Island. It’s an island full of mystery, evil and catchy tunes. LISTEN
For as much as I love Killer Mike’s work with Run The Jewels, I’ve secretly been hoping for him to drop some solo material for years, and 2022 delivered. “Run” is a great comeback single, continuing his themes of escaping racial oppression through excellent rap music. He even got the recently incarcerated Young Thug to jump on the track to deliver a great feature. If this is just a taste of a forthcoming solo album, we’re in for more Killer Mike fire. LISTEN
Muse is an incredibly divisive act, but their approach to apocalypse through humongous rock numbers is something I’ve always enjoyed. Their new album is more of the same, but the title track is one song from the record I can’t get out of my head. It turns the beat from Marilyn Manson’s “The Beautiful People” into a doom-rock epic. The track never lets up, keeping a ridiculous energy as Matt Bellamy belts out his lyrics. It’s not for everyone, but it’s certainly for me. LISTEN
One of my favorite things about Taylor Swift is the unending amount of rumors and lore her fans have created around her. One of those rumors is that the follow up to 1989 was to be titled Karma, and be centered around her feud with Kanye West. Obviously that didn’t happen, but years later we get this song with that title on Midnights. Even if it doesn’t approach any sort of direct drama, it addresses people in her past and how karma will come for them even if she doesn’t. It’s one of the slicker pop songs in Taylor’s recent catalog, and its approach to the concept of karma is mature in a way younger Taylor wouldn't have been able to pull off. I do love Taylor Swift drama, but I think I love her great songs like this more. LISTEN
Something about Emily Kempf’s husky voice makes all Dehd songs endearing, and the most endearing of their new record is “Bad Love”. It hits all the highmarks of a Dehd song, from Kempf’s great voice, the plucky guitars and punchy drums. The song hits quickly and ends before you know it, but before you know it you’ll come back for more. LISTEN
Much of Big Thief’s massive new album is like sitting around a campfire singing songs, and “Red Moon” is the best example of that concept. Backed by a healthy amount of fiddles and banjos, Adrienne Lenker & company sing about their time in the country with some highly clever rhymes. It’s variety like this that keeps Big Thief so interesting. And shoutout to Adrienne’s grandma! LISTEN
While Win Butler is the leader of Arcade Fire, the band’s best songs tend to be when Regine Chassagne is the lead singer. That choice makes “Unconditional II (Race and Religion)” the same as what “Sprawl II (Mountains Beyond Mountains)” is to their respective records, aka a widescreen highlight. Her cries for a world united in love (with an assist from Peter Gabriel) are impassioned, and it’s a welcome return to normalcy for Arcade Fire after years in the wilderness. LISTEN
Finally, AnCo has returned to taking musical risks that pay off. Just listen to “Strung with Everything” to hear why thighs is their freshest album in years. The glorious vocal harmonies are back, coupled with a MPP-esque instrumental that twists and turns at every point. Though they may be years past their prime, Animal Collective are still capable of producing magic moments, and it’s great to hear the indie legends back at it again like this. LISTEN
IMPERA kicks off with a legendary explosion in the form of “Kaisarion”. Combining the best of Ghost, Guns & Roses and more, the track sees the beginning of the end for a crumbling empire. Papa Emeritus IV sings of a woman who was killed for allegations of heresy as starstruck guitars light up the stage surrounding him. Though the tale is tragic, the energy of “Kaisarion” is maxed out, and it’s a sign of the 80’s glam rock Ghost comes to capture on the rest of the record. LISTEN
It’s kind of funny how the loose tracks Future Islands have dropped since their last record are actually superior to most of the songs on that record. “King of Sweden” checks off every box of a classic Future Islands song, from the globetrotting imagery Sam Herring induces, the loneliness these places can bring, and the undying belief that love will heal all. Throw in an electric instrumental with a typically great bass guitar and you’ve got a single a great album can be built around. LISTEN
Through the vaudeville thrills of Chloë and the Next 21st Century, Father John Misty gets his heart broken time and time again. The most memorable heartbreak is “Only A Fool”, an easy on the ears track filled with big brass instruments that shimmy as FJM regales better times. He’s like a downtrodden hero in a classic Hollywood film, and no matter how much he gets put down, we’ll keep watching. LISTEN
Though Sharon’s latest album was released without any preceding singles, she did drop a couple of extra songs ahead of its release. The best of those songs is “Used To It”, a slow burner that showcases how Sharon’s massive voice can build a song. She utilizes a sparse set of lyrics, but they’re enough to have you start questioning your own dedications and passions, if they’re worth it to you. It being unattached to Sharon’s album allows “Used To It” to stand alone as a unique song in her catalog. LISTEN
Stella has always been known for biting social commentary, and “Lungs” is no different. It’s about yet another shitty lover, and the disjointed verse structure keeps the tale of this dunderhead interesting. Stella puts up with a lot of shit for her music it seems, and I respect her for it. LISTEN
Two of the biggest pop superstars teaming up for a banger? Sign me up. Even if it doesn’t hit as hard as their solo material, “Sweetest Pie” still slaps, and the duo of Megan and Dua do enough to ensure some endless radio replay. LISTEN
We live in a world where mass shootings have become all too common. It’s never an easy thing to talk about, so instead of dancing around this reality, Viagra Boys confront the topic with blunt force on “Troglodyte”. It lampoons how small-minded mass shooters are, and how they’re lucky they weren’t born in the age of apes, because their stupidity would’ve gotten them killed long before they could do any harm. With its rampant Devo references across its punky instrumental, it’s a great take on a topic few can eloquently tackle. LISTEN
The best thing about The Smile project is it hits all the highs of various Radiohead albums, and “The Smoke” covers the downtempo rock of an album like In Rainbows. That bass line is so insanely catchy it begs to get stuck in your head for days, and Thom Yorke’s voice hangs over the track like a ghost. Horns and strings build into the instrumental as the track goes on, but by the time the song ends, all that’s left is that excellent bass guitar, and that’s all we really need. LISTEN
"Neapolitan" scratches a grungy itch that most modern rock doesn't. It’s so energetic and fuzzy, like a forgotten Strokes song recently rediscovered. Alanna Oliver’s has a sticky voice that fills the room, wailing along about ice cream and drama queens while the band rages on in the back. It’s the musical equivalent of throwing a tantrum, a wild and messy affair that’s undoubtedly a memorable one. LISTEN
One of my favorite ways to open an album is with a bang, and to begin a long-delayed album like Sunday In Heaven, “Mushroom Punch” is the perfect remedy. It’s truly a shot in the arm, a punch to the face full of sizzling indie production and blistering vocals from Zella. Her voice is electric, singing about the pains of being the provider for her partner. Though her struggles are apparent, they make for an excellent opener for one of the year’s best indie records. LISTEN
Over some crashing drums and some lush synths, Kendrick delivers one of his most impressive statements on love on “Purple Hearts”. With excellent features from rising star Summer Walker and living legend Ghostface Killah, Kendrick spits on forgiveness, patience and letting love guide you, sometimes in the most blunt of terms. Ghostface in particular is amazing, sounding truly desperate to preach this gospel of love. On a long and challenging listen, “Purple Hearts” is a notable highlight in Kendrick’s long awaited return. LISTEN
The older Alex Turner & co. get, the more moving their work becomes. “There’d Better Be A Mirrorball” keeps in theme with the heartbreak and lost love of their earlier work, but in a much more sophisticated manner. Over a lounge-y instrumental not dissimilar from the stylings of their last album, Turner laments a relationship that was doomed to fail in a way that only he can. He truly doesn’t say a whole lot, but what he does is as thoughtfully sad as Arctic Monkeys have ever been. Make sure this man has a mirrorball, please. LISTEN
Self-described as her opus, Carly recreates her own nirvana by returning to an ex-lover on the title track to her latest set of jams. Her idol Rufus Wainwright proves to be a perfect partner in describing all the reasons why Carly and her ex have to get back together, all backed by a collection of synths, strings and heavenly backing vocals. As always, Carly’s delivery is breezy and free-spirited, yet the determination to return to that previous love makes this one a real standout. LISTEN
An album called World Wide Pop rightfully goes through a number of musical styles, and its best offering operates at a pace more energetic than anything Superorganism has done before. “Flying” is like a never ending trip through hyperspace from Star Wars, a jittery jam with one of Superorganism’s signature catchy choruses. Originally intended for an unnamed movie, it instead became the theme song for the band’s excellent sophomore effort. LISTEN
To feel true love is a feeling so unimaginable to those who have never felt it, it must be akin to flying high in the sky. Foxes does her best to capture the emotion on “Sky Love”, a soaring highlight from her latest record. Always one of the more underrated pop acts around, “Sky Love” is a perfect showcase for why to love Foxes’ music. It’s slick and catchy, punctuated by Foxes’ voice that perfectly fits the dreams of a real love. Regardless of your feelings of love, “Sky Love” will send you blasting off into your happy place. LISTEN
Defined by the punchy drums that ring throughout, “midnight sun” shows just how good Nilüfer is at describing heartbreak. It descends into feelings of spite and anger in a delicate way, like in the bridge (Love is raised by common thieves/Hiding diamonds up their sleeves/Always I did it for you). The influences of In Rainbows-era Radiohead are impossible to miss. This relationship may be over, but the feelings will last forever, and the midnight sun this person provided for Nilüfer will never be forgotten. LISTEN
Putting on his best David Byrne impression, Joe Keery slinks through club bathrooms and dark alleyways on “Gloom”. He puts on a tough guy act while being completely hopeless on the inside (Your girlfriend scares me/She’s got bad breath). The disjointed couplets invoke the best of Talking Heads mixed with the stylings of Devo, a mixture of sound that Keery fits with well. It’s the song equivalent of putting on sunglasses to hide your insecurities. LISTEN
Dan Snaith is a man with many monikers, and his Daphni project excels at simple but catchy club music. “Cloudy” is a highlight from his latest album Cherry, a hypnotic affair that’ll entrance you for the entire 6+ minutes it runs. Much like a refreshing beverage, it’s light and crisp, easy to sip from as you bob your head along. LISTEN
Who knew Hell could be so fun? The Hell that black midi raises on “Welcome To Hell” fit right in with their frenetic style of indie rock. The guitars are disjointed and pointy, Geordie Greep’s voice is as froggy as ever, and the song’s story of a soldier suffering from PTSD is suitably wild. As they continue on in their career, black midi get better and better at controlling the chaos their music creates, and “Welcome To Hell” is the best of the bunch from their newest set of cacophonies. LISTEN
Whereas Confidence Man is great at lampooning dance music, they’re equally great at just making great dance music itself. “Luvin U Is Easy” has all the hallmarks of a great dancefloor bop, from the groovy beat to the sticky chorus to the overall song’s vibe. It’s almost too easy for Confidence Man to get us off our butts and dance along. LISTEN
Beach House has captured every emotion of love across their long discography, but even when they retread the idea of the pain of love, it comes across as a winner. “Hurts To Love” is as straightforward as the title, and the instrumental is as straightforward in Beach House’s dream pop style as ever. Yet the duo of Victoria Legrande and Alex Scally have a way of continuing to entrance, and across a record as massive as Once Twice Melody, “Hurts To Love” stands a modern highlight for a band nearing their 20th anniversary. LISTEN
“Lately I’ve started to feel/ like I’m slowly dying/And if I’m being real I don’t even mind” is perhaps the most blatant expression of nihlism ever put to recording. If not ever, it’s the most dramatic from 2022, and that bluntness is what PUP does best. “Totally Fine” is the beginning of their end in the record’s narrative, where everything is working out great for them yet they can’t shake the sadness. The guitars and drums punch you in the face out of frustration with their feelings, and they culminate in a yell-along climax as epic as PUP has ever made. If this is PUP at their worst, consider it the best. LISTEN
As The 1975 hone in on a singular topic (love), their instrumental work hones in on a specific style of synthpop. It’s a kind that’s jangly and upbeat, and it’s no better done than on “Happiness”. It’s very 80’s in sound, but very modern in the fact that there’s very little structure. The track jangles on and on as Matty Healy croons about love, happiness and appreciation. It’s of course got that specific writing style, the style that makes the 1975 so endearing. It’s a banger start to the 1975’s most cohesive works to date. LISTEN
The best word I’ve found for Fever Ray’s music is “foreboding”. Every pulsing synth acts as a warning for the apocalyptic visions they sing of, and “What They Call Us” is one of the most haunting warnings yet. Karin Dreijer’s cries are still as haunting as any of their work with The Knife, and this latest gem furthers the legend of one of Scandinavia’s acts while hurtling towards a dark, uncertain future. LISTEN
With years of work creating drone-y pop music, it’s no wonder this duo’s creations are psychedelic bliss. “Edge of the Edge” is the best of the bunch, and those rising “do do do do”’s are infectious. Panda Bear’s lyrics about addiction ring a little dark for how pleasant the melody is, but they don’t distract from the overall vibe. It’s like drifting along in an endless sea, enjoying every moment of the float. LISTEN
In the midst of the latest trip through Dan Bejar’s psyche, he finds the time to drop one of the most gorgeous songs he’s ever produced. As Bejar laments the ending of a relationship, the dance-inspired instrumental trips and trembles to a spectacular climax. It’s impossible to not feel the sadness Bejar is feeling, and though lyrically sparse, his words are as impactful as any of his most wordy tracks. It’s impossibly sad yet unendingly beautiful, a dichotomy only a mind like Bejar’s could master. LISTEN
What other indie act in 2022 pulled from a 1950’s essay about the problems with conquering the moon to create a great track? Yeah, I’ll wait. “Moderation” draws on an unlikely source for its greatness, but Cate Le Bon proves a master of the unorthodox, as everything on the track feels a little uneven (in a good way). She folds the aforementioned essay into a metaphor for modern moderation, a feat no other artist I can think of has accomplished. LISTEN
While the most popular song from this year with “running” in the title was ineligible for my list this year (sorry Kate Bush!), Camp Cope dropped the best new song with “running”. “Running With The Hurricane” is a rollicking indie rock anthem about rolling with the punches, not letting the bad get in the way of the great. With a spirited vocal performance and a great instrumental to boot, it’s instantly in the pantheon of great songs with “running” in the title. All two of them. LISTEN
Who else could take an 18-year old instrumental and turn it into one of the most fire songs of 2022? Pusha T, that’s who. “Diet Coke” (aka a code for crack cocaine) is more of the same from Push about drug dealing and being the best at it, yet somehow it doesn’t get old. His rhymes are as good as ever, and the aforementioned older instrumental seems timeless with Pusha T’s guidance. Push is an elder statesman of the game, but he still runs it with the best of them. LISTEN
Always one of the more enigmatic figures in indie rock, Aldous Harding’s tribute to love on “Fever” is suitably out-there. Her songwriting is plain but never expected, continually engaging the reasons this unlikely duo came together in the first place. The horns and pianos drift along, much like Harding seems to do in the lyrics. Life is a maze, and the maze of “Fever” is one to get lost in. LISTEN
As epic of a song as she’s ever made, “Children of the Empire” sees Natalie Mering confronting the mistakes of humanity’s past in an effort to move forward. It’s a daunting task, yet Mering takes it on with ease with her titanic voice. The baroque instrumentation swiftly carries you through this journey, and the range Mering shows on this track alone is worth the price of admission. As the song climaxes, one can’t help but wonder how Mering captures the imagination time and time again with such ease. LISTEN
Of all the late night musings that inspired the songs of Midnights, none carry the emotional weight of love quite like “Sweet Nothing”. It’s Taylor’s ode to her boyfriend, her outlet for the overwhelming demands of being a worldwide celebrity. When everyone tries to pull her seven different ways, she can always turn back to the innocent sweet nothings of her relationship to calm her fears. The dainty instrumental is a perfect backdrop for these mushy feelings, and Taylor’s songwriting has rarely been this dazzlingly sweet. There’s a maturity to “Sweet Nothing” that sets it apart, and it’s a real highlight among some of Taylor’s best to date. LISTEN
Julia Jacklin is an expert at writing songs about the end of a relationship, but “End Of A Friendship” marks a different direction. It’s (obviously) about the end of a friendship, a different kind of relationship that ends, but one that Julia renders no less devastating than her previous work. No matter how many drinks she downs or trips she takes her friend on, the friendship just isn’t working, and even the beautifully lush indie instrumental can’t save it. A chorus like “All my love is spinning round the room/If only it would land on something soon” is heartbreaking in a way that only Julia is capable of writing, and no matter how many tears this song may bring, it’s so worth coming back for more. LISTEN
In what’s sure to be a festival stunner for years to come, “My Love” is a force to be reckoned with. Florence Welch’s titanic voice is turned up to 11, bellowing lines about wanting to escape the lockdowns that held us captive for the last few years. The energy of the song is palpable, and it’s hard to believe it was originally written for an acoustic track. In its final form, it’s one of Florence’s most epic songs ever, worthy of filling the festival stages it’s bound to dominate. LISTEN
It’s kind of incredible how little The Weeknd changes his modus operandi. “Out Of Time” is as Weeknd as it gets, but the lush instrumental (a straight rip of Tomoko Aran’s “Midnight Pretenders”) provides the perfect backdrop for his latest pleas for his lover to forgive his misgivings. This is as silky smooth as The Weeknd’s music has ever been, and a showcase of how one man’s dedication to his craft can yield unending bangers. LISTEN
Have you ever stumbled out of a club at 2am, wondering what you’re doing with your life? If so, Special Interest is here to celebrate you on “Midnight Legend”. It’s an ode to those who club because they don’t know what else to do to feel close to others. This banger continues the party long after you exit the club with a disco-rock instrumental for the ages. Alli Logout sounds like an old-school bar singer as she compliments your eyes and your swagger. “All you need to say you say with those eyes”, while all Special Interest needs to say is everything on this track. LISTEN
With one of the best choruses of the year, Hatchie invites us to sink into the quicksand of life on “Quicksand”. It’s about avoiding the pitfalls and trappings that seem to pop up when everything in your life is going great. “If I had everything I wanted would I want more?/Would I keep fighting if there’s nothing left to fight for?” she sings, a feeling she’s gotten after achieving international success with her music career. The shimmery instrumental always keeps me coming back for more. The realization is that you’ll never be satisfied with your life unless you keep pushing forward, and that’s led Hatchie to create excellent tunes like this. LISTEN
When one hears “Harry Styles”, they think of smooth but palatable pop music. “Music For A Sushi Restaurant” is just that, until it isn’t. It leads on innocently enough, with Harry’s usual food-themed euphemisms leading the way. Then, the song smacks you in the face with a horn section so bold I didn’t think Harry had it in him. It’s an epic start to his best album yet, and it’s one of the best mainstream pop tracks of 2022. LISTEN
Nothing like a good ole back to basics rock ‘n’ roll track to get the blood pumping! “The Devil & Mister Jones” tells the tale of a swindler named Mister Jones, one who’ll sell your mother on false dreams and steal a man’s sight for fun. Britt Daniel’s voice is on point as always, and the move away from Spoon’s recent use of synthesizers takes the band back to their rock-oriented 90’s origins. The mixture of horns is a nice touch too. For as dastardly as Mister Jones seems to be, his anthem is one I’ll return to time and time again to hear of his exploits. LISTEN
Donny Benét makes his living on being a suave motherfucker, and “Le Piano” emphasizes this without a single spoken word. The instrumental takes muzak to a whole other level, slinking through multiple synthesizers like a single man walking through a hotel pool full of attractive women. It’s the kind of song that deserves to be listened to with a cold drink in hand, sunglasses over your eyes, and a bad suntan on your skin. LISTEN
As Hot Chip singer Alexis Taylor put it, “Eleanor” is “a bag full of hooks”. Every good idea the band has ever had is put into this song, and as such it’s as easy on the ears as any of their many, many highlights. Taylor guides us into the electronic bliss like only he and Hot Chip can, a bliss I myself could happily stay in forever. LISTEN
You know that dude who’s in the comments section of every tweet, YouTube video, or Facebook post? “Very Online Guy” lampoons that type of individual over one of the year’s fuzziest (and best) indie instrumentals. “He’s only one filter away” sings Molly Rankin, but what is he one filter away from? The meaning of life? Actually having a life? It remains to be seen, but this strange little opus to those dudes is a ridiculously catchy and memorable offering from Alvvays. LISTEN
One of the shiftiest projects in indie pop returns with a shifty single about… New York real estate? Yes, “So Typically Now”’s subject is one that I can’t personally relate to, but Meg Remy’s usual magnetic voice makes this another winner in U.S. Girls’ catalog. The strong percussion stands out over the wailing backing vocals, mixing in some wonky synths to make a uniquely U.S. Girls-type of comeback song. Whatever Remy sings about on the next LP, it’s sure to be just as enthralling as this. LISTEN
The worlds that Caroline Polachek continues to build get more and more complex with each successive song. While last year’s excellent “Bunny Is A Rider” was a fleeting synthpop number, “Billions” suffocates you with its massive intentions. The swirling synths build and build, incorporating a litany of little noises one could liken to an electronic forest. As Caroline sings of “sexting sonnets” and “headless angels”, a heavenly choir begins to back her, another layer of this magnificent synthesized world. It’s perhaps the best example of what one of the best singers working today can do at the peak of her powers. LISTEN
While Gorillaz has always had a story involved with its cartoon characters, it’s been told through the band’s music videos. “Skinny Ape” is a departure from that style of storytelling, as it’s seemingly from the perspective of virtual bandleader 2-D. He’s put up with years of abuse from bandmate Mudroc Niccals, but here he comforts fans who may be worried for him (“I’m a cartoon G”). A track like this may be for the bigger fans of the band, but with an instrumental as electric as this, it’s hard not to be drawn into their cartoon world. The song’s peak is a frenzy unlike any song Gorillaz has made before. Though it took years of (digital) abuse to get to this moment, this is a landmark highpoint in the long career of the digital supergroup. LISTEN
Fire is something that’s normally seen as an obstacle, but for Angel Olsen, it’s the path forward in an ever changing world. On “Through The Fires”, the crown jewel of Big Time, Olsen’s smoky voice pairs perfectly with an instrumental that evokes the past she’s trying to escape. Her words waste no space among the song, dwindling down to the repetition of “Walk through the fire” as the song swells to a climax. The fire is the challenges life continually throws at you, but despite the pain and the suffering it can cause, the only way forward for Angel is through those flames. It’s a tough path, but a path that Olsen paints a hauntingly beautiful picture of. LISTEN
As Beyonce’s masterclass in modern dance music comes to a close, she fittingly samples one of the prognosticators of the genre. “SUMMER RENAISSANCE” makes excellent use of Donna Summer’s “I Feel Love”, using the iconic track to create an irresistibly catchy invitation to lose your mind and trust your soul. Beyonce’s ready to have a great time, and by the end of “SUMMER RENAISSANCE”, you will be too. LISTEN
Sharon Van Etten's latest found her creating some of her biggest songs yet, and none were bigger than "Mistakes". It's got a chorus that could fill a stadium, and Sharon’s vocals match the song’s titanic stature. It’s about shaking off the intense feelings, accepting it’s better to screw up than stagnate. And stagnate Sharon has not, with “Mistakes” rendering itself as one of the best from one of the best singer/songwriters working today. LISTEN
While the guttural guitars bring to mind Nirvana’s pained anthems, “Shotgun” continues Soccer Mommy’s confessional form of songwriting. It’s easy to get swallowed up in the worlds she creates as her lyrical style celebrates all the little moments that make up a relationship. No matter how murky this track may be, the highs of a relationship keep you tethered to the real meanings of the track. The instrumental is killer, and it’s one of Soccer Mommy’s strongest, most memorable tunes to date. LISTEN
Jessie Ware is stepping into her new era, and she does so with some thunder. This is as volcanic as Ware has ever been, and every facet of “Free Yourself” is brimming with kinetic dance energy. The chants of “free yourself” are almost like a command, as if the pulsing synths and burning pianos demand you give in and give it all to the dance floor. Ware’s voice emulates that of a floor general, and the orders to free yourself are easy to follow when the song is this catchy. Let her new era be as rich in vim and vigor as this lead single is. LISTEN
Two of the foremost experts on the late 2000’s indie craze team up to throw us back to the era of jangly pop tunes. Thomas Mars remains his playful self, inviting us out to a party even though he knows he’s well past the age for that. It’d be a lament for times past if it wasn’t so damn fun. The addition of Vampire Weekend’s Ezra Koenig only heightens the dedication to that style of indie pop. It’s time to party like it’s 2009. LISTEN
This is Charli at her most sexual, her most predatory. Over a beat that Britney Spears would be proud of, Charli sings about how she’s gonna make you hers, how she has no problem doing it all for you. Could it be against your will? Maybe. But her croons are irresistible, and “Baby” stands out as one of her strongest vocal performances ever. Basically, she’s gonna fuck you up and you’re gonna like it. I know I do. LISTEN
The most ridiculously exuberant song a ridiculous band has ever produced, “Feels Like A Different Thing” belongs in so many places. It belongs in a 90’s discotheque to sweat your ass off. It belongs on a VHS aerobics tape that backs a spandex-laden instructor. It belongs on any party playlist you’d make of music from this year. And most importantly, it belongs in your ears as you lose your mind to the bouncy synths and Janet Planet’s dancefloor demands. LISTEN
“Walkin” is a stroll through the thoughts of one of rap’s finest voices. Denzel’s typically gruff delivery provides a barrier from the issues that seek to keep him down, and in his own words, he’s “gotta keep walkin’”. The stream of consciousness nature of the track intrigues from beginning to end, and the light instrumental allows Denzel’s voice to shine through. It’s tracks like this that show why Denzel keeps walkin’ towards the top of the rap world. LISTEN
The lyrics of “Simulation Swarm” contain enough cryptic allusions and imagery to fill an entire album, but Adrienne Lenker wraps all the memories up into a single tidy track. It’s inspired by a number of disparate events, from her childhood to her family to COVID lockdowns, but Lenker’s wispy voice is arresting over a folksy instrumental. There’s melancholy in her voice, as if these memories will never feel complete. That melancholy is what brings me back to this track time and time again, happily sinking myself into another world Big Thief has created. LISTEN
It’s difficult to separate Thom Yorke’s work with Radiohead from anything he does outside the band, but The Smile’s “You Will Never Work In Television” is unlike anything his main band has done in a long time. It’s vibrantly active unlike Radiohead’s more melodic recent work, with a ripping guitar accompanied by clangorous drums and Yorke’s typical falsetto croons. It’s lyrically as sharp as any of Thom’s latest tweets skewering British politics, and the raging instrumental only serves to heighten the stress. The song culminates with some of Yorke’s most pointed rage ever put to recording, and it’s a stamp of greatness for his best side project. LISTEN
The song that spurred a year's worth of Gizz-verse music, "The Dripping Tap" is years worth of pent-up pandemic energy. The lads of King Gizz were finally able to record in the same space again, and the energy that comes with that is truly electrifying. At no point across this 18 minute rager will you be bored. The jam sesh for "The Dripping Tap" also inspired the recording styles used for the band's three October records, making it not only amazing on its own but a real trailblazer. In a canon filled with great tracks, this one stands near the top. LISTEN
If the world is going to put you down (which it is), why not have some fun on the way? "This Hell" is an anthem for the unheard and ignored, a raucous track that'll almost make you forget the basic human rights being stripped away across the world. Rina's golden pipes deliver wry jab after jab at the people in power while simultaneously raising up her LQBT community. But no matter your sexuality or affiliation, it's impossible to resist joining the party thrown here. LISTEN
The existential dread of Natalie Mering’s music has only become more immediate since her last record, thanks to COVID, election denials and more mass shootings. Despite this, the highlight of her latest record “It’s Not Just Me, It’s Everybody” takes a slightly hopeful approach, albeit one of near nihilism. It’s a realization that you’re not the only one adrift in this thing we call life, and taking solace in the fact that we’re all suffering in our own ways. Mering’s voice is a soothing guide through this abyss, as is the gorgeous collection of pianos, harps and more that define her music. The slight tweaks in the theming of her music only serve to make it more relatable than ever that yeah, we’re f’d, but at least her soundtrack to the doom is amazing. LISTEN
In the midst of PUP's latest set of anthems for the depressed, a robot learns what love is, and he hates it. While it is a bit of a left turn on the rest of the record, "Robot Writes A Love Song" sees the Toronto band operating at their absolute peak. The pure emotion in the chorus (The first time I saw you I confess/you nearly put me into cardiac arrest) is among the most memorable lines of the year. Though it’s the biggest detour on a record that details the band’s implosion, it’s uniqueness makes it the best song on the record. LISTEN
There's a weird and wonderful world out there where Destroyer is a chart-topping act, and in that world, "It Takes A Thief" is on constant repeat on every radio station. It's such a wonderful detour from Destroyer's usual excellence, a jaunty pop song that, while unique in the project’s catalog, still fits in with what you’d expect from Dan Bejar. He’s still lyrically cryptic and hilarious “I touch roses/and go where the wind goes/not on shitty vacations”, providing the perfect compliment to the energetic guitars and drums. I find it impossible to not want to dance to “It Takes A Thief”, a sentence I’ve never written about Destroyer yet one I hope to write again. LISTEN
For as memed on as BCNR are (Arcade Fire for incels, anyone?), their sophomore effort produced some truly moving post-rock. The most memorable of their long ballads is “The Place Where He Inserted The Blade”, a winding piano-driven epic that stretches the limits of what the collective is capable of. Isaac Wood’s trembly voice narrates the pain of losing one’s first love, and it’s backed by gentle pianos, warm guitars and a chorus of backing vocals from the rest of the band. Wood can’t even make lunch without thinking of whoever they are, and the metaphors of lunch and love are some of the most poetic words BCNR has put out to date. You can’t help but recall your own first love and helplessly romanticize it as Wood does here. As the band shifts into a new stage with Wood’s departure, this will remain the pinnacle of that first era. LISTEN
As Caroline invites us into her world on “Welcome To My Island”, she presents us with some of her purest intentions ever. Her desire is to turn into just that, the feeling of wanting and longing for that perfect relationship. The swelling “hey’s” and a magnificent bridge of uncertainty flood this island with wondrous musical color in a way unlike the previous teases of her new record. If never satisfied or always with a pang of sadness, Caroline’s island is never one for boredom. LISTEN
The feeling of pain in Nilüfer Yanya’s voice is her calling card, and the sensation is never stronger than on “shameless”, the peak of a record full of peaks. It’s a stunning portrait of the aftermath of a relationship’s end, and every piercing lyric is only heightened by Yanya’s celestial delivery. The electric guitars and pianos as the song crescendos make for a perfect backdrop to these feelings of despair, a feeling Nilüfer can portray better than almost any artist living today. LISTEN
In his quest to find the perfect mixture of rap and rock, “Heavy Heart” is Bartees Strange’s current crown jewel. It’s his mechanism to cope with the loss he experienced as the world descended into the pandemic, right as his career was peaking. As he lets go of his heavy heart, he swaps between rapping and singing with ease over one of the more triumphant instrumentals of the year. The song peaks with an epic horn section, like the final cavalry arriving to push the heroes to victory. It’s a gleaming achievement, one spurned by dark times that brushes them away with beams of light. LISTEN
The new year is meant for new beginnings, and for Let’s Eat Grandma, that meant a new beginning to their friendship. Written among hardships in their relationship, “Happy New Year” provides suitable fireworks from one of synthpop’s rising stars. The rekindling of Jenny & Rosa’s friendship through their memories is beautiful and heartfelt, a hallmark of the duo’s songwriting. The nostalgia is elevated by an instrumental that’s among the year’s best, a truly magnificent set of synth explosions. It’s as big of a sound as the duo has produced, and showcases their massive talent for big time pop songs. “Happy New Year” is a double whammy, a return to normalcy for some best friends and a career highlight. May it welcome in many new years to come. LISTEN
The more Ghost gives in to their pop ambitions, the higher they fly. No band combines occult worship with Top 40 stylings better than they do, and “Spillways'' instantly stands as one of their finest. It’s an impeccably catchy banger about the darkness within only they could make, with a chorus so sticky it’ll never escape the spillways of your soul. Papa Emeritus IV’s typically ghoulish vocals are backed by some truly epic choruses, and the singalong lyrics only get better and better the more replays the song gets. This is like if ABBA became a metal band, and all I can say now is I need more. “Through the spillwaaaaaaays!” LISTEN
When Kendrick speaks, we listen. His latest album is full of the grandiose statements we expect from one of rap’s foremost poets, but his strongest statement this year was the preceding single. “The Heart Part 5” is as exhilarating of a song as Kendrick has ever made, a masterclass in both wordplay and production. In five and a half minutes, Kenny goes through his thoughts on the pandemic, the continued struggle of African Americans in the US, the death of his close friend Nipsey Hussle and more with the cutting lyricism he’s known for. His tone streams through panic, aggression, and forgiveness seamlessly as he breaks down “the culture”. It’s almost suffocating in a way, as Kendrick’s bars come rapid fire as the flawless instrumental fills in with drums, pianos, a gaudy bassline and more. That suffocating feeling mirrors the trials and tribulations he speaks of, and it culminates with his heartfelt tribute to Nipsey, placing himself into the shoes of his slain friend. Each listen puts me in awe of a different portion of the track, not to mention the iconic, deepfake-filled music video. It seems no matter how much time Kendrick spends away from us, he comes back stronger than ever. LISTEN
Perhaps the most 2022 thing that happened in 2022 was that a song called “Doritos & Fritos” ended up as my favorite song of the year. In a world that seemingly makes less sense by the day, why not lose yourself in a track that’s as empty in calories as the chips it’s named after? 100 gecs’ sense of irreverence in the internet era has never been sharper, packing punch after punch from a fist full of Cheeto dust. What other duo is bonkers enough to combine glitched-up hyperpop and ska? As the obnoxiously funky bass guitar slaps you in the face, Laura Les’ delivers nonsensical lines that progressively get more manic. Her pre-chorus is perhaps the catchiest of the year, but Dylan Brady steals the show with his hilarious deadpans. “I’m joining the circus/I’m going bezerkus” is up there with best bars of the year. Trying to find meaning in “Doritos & Fritos” might be meaningless. Could it be about information overload? Is it a rage-induced outcry into a bleak world (I’m hard to please/I punched the referee)? Is it a song about eating chips and watching TV? You decide while I keep listening to my favorite song of 2022. LISTEN
Check out more of my 2022 lists below!
Top 50 Albums Of 2022: https://cfreemon.substack.com/p/repost-the-best-50-albums-of-2022
2022 Honorable Mentions: https://cfreemon.substack.com/p/repost-2022-honorable-mentions-songs
Top 5 EPs Of 2022: https://cfreemon.substack.com/p/repost-the-best-5-eps-of-2022
Worst Music Of 2022: https://cfreemon.substack.com/p/repost-the-worst-songs-and-albums