[REPOST] The 50 Best Albums of 2022
What I thought were the best albums of 2022 at the time.
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 albums of 2022, first published on January 13th, 2023. As always, a link to every album 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 50 albums 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 50 favorite records that soundtracked one hell of a year.
Everything Was Beautiful may be the closest Jason Pierce ever gets to recapturing the spacial glory of Spiritualized’s magnum opus, Ladies & Gentlemen We Are Floating In Space. It’s got much of the same aura, from the emphasis on space sounds to the general structure of the songs. This time around, Pierce is much more thankful, a far cry from Ladies & Gentlemen’s heartbreak. After scares that led him to believe his life could be soon over, he’s outright happy on much of Everything Is Beautiful. Pierce’s uplifting performances are yet another example of how fighting and trying, through every sort of obstacle that can pop up, will put you in the right place in the end. LISTEN
An eclectic mix of everything in the pop sphere, Janky Star cements Grace Ives as a star to watch in the world of underground pop music. These songs are quick, like fleeting thoughts through the head of a person with ADHD. Grace’s voice ranges from light and calming (Isn’t It Lovely, Lullaby) to erratic (Loose, Angel Of Business). Each track is unique, collecting a menagerie of sounds to formulate catchy bursts of bedroom pop. At every turn this album brings interesting ideas to the table, and Grace will be one to watch as her profile continues to grow. LISTEN
Rosa Walton and Jenny Hollingworth approach synthpop with a knack for depth that most acts don’t have. They allow the synths to heal their grief, which is why the darkness of their music doesn’t show through at first. The songs on Two Ribbons are about nervous breakdowns (Levitation), broken friendships (Happy New Year) and the untimely passing of loved ones (In A Cemetery). But through these hardships, the duo have come out stronger than ever, as does their knack for shimmery pop music. LISTEN
The burgeoning world of cantopop is in need of a star, and FINGERGAP seems ready to fill that void. His debut record Shan Shan 160 is full of precise, 160-bpm dance songs that put the work in footwork. With nary a dull moment, the electronic flurry of songs like “Raining Moment” and “Would You Like To Dance With Me” are irresistibly catchy. As cantopop continues to spread in popularity, FINGERGAP’s music will undoubtedly lead the way. LISTEN
After a struggle with self-identity, the snarky attitude that defines Stella Donnelly’s music has become much more subdued. Sure, she’s still good for some classic zingers on Flood, like the opener “Lungs”, but these songs are much more introspective in nature. They’re slower and more melodic, allowing Stella to spill whatever’s on her mind. Her songwriting is still on point, and that’s ultimately what will keep me coming back to Flood for years to come. LISTEN
Father John Misty is squarely in his Pixar soundtrack phase. Each track on the vaudevillian Chloë and the Next 20th Century could fit into the accompanying album to movies like Toy Story or Ratatouille. What distinguishes it is the sadness in these stories, as these songs are a dour trot through happier times. Yet for being as innately sad as they are, the stories on Chloë always entertain, like a Golden Age Hollywood film in all of its black & white glory. LISTEN
The title of Special Interest’s breakout album is like a challenge. Can you last against the onslaught of industrial punk the band throws your way? Sure, there’s moments of reprieve (like the clubby “Midnight Legend”), but it’s a challenge not to get overwhelmed by the band’s take on no-wave punk. Ultimately it’s a gauntlet worth enduring, and Special Interest make themselves one of the most interesting underground indie acts in the modern world of music. LISTEN
In an ever-changing landscape of music, Hot Chip has become a sort of comfort food. Their brand of blissful electronica stays on brand with every album, and though Freakout/Release has plenty of ersatz moments, it’s just as enjoyably Hot Chip as any of their previous records. Influenced by lockdowns and a reopening world as many albums of late have, this record uses synths and drum patterns as catharsis. It’s impossible to not fall into the beauty of “Eleanor” or “Miss The Bliss”, and equally impossible to not jam out to “Down” or the title track. To again make a record that hits the high points like these shows just how automatic the London group is, and that automatic nature makes me keep coming back for more. LISTEN
As an elder statesman in the rap world, Pusha T could kick up his feet and relax. Many of his peers have taken this approach to middling effect, but thankfully Push is still pushing forward, creating an album in It’s Almost Dry that’s exciting and new but also comforting to longtime fans. The themes are similar and the beats are familiar, but Pusha’s dedication to his craft keeps the whole record interesting. It’s that desire to stay fresh that keeps Push towards the top of the game. LISTEN
After beginning her career in shoegaze, Hatchie saw fit to liven up that sound more, mixing in dream and dance pop to create Giving The World Away. It’s a winning sophomore effort, drawing on 80’s stalwarts like New Order and Tears For Fears on songs like “This Enchanted” and “Quicksand”. They’re songs big enough to fill a stadium, keeping with Hatchie’s idea to liven her music up and have it translate well to live shows. They’re sure to capture the wonder of many as Hatchie brings them on tour now and beyond. LISTEN
Is anything Harry Styles does on Harry’s House particularly new? No. But is it his most well-executed set of songs to date? Absolutely. He’s finally found his sweet spot, moving towards a style of synthpop that’s not overly complicated but is endlessly catchy. The rhythms of “Late Night Talking” and “Cinema” will stick in your head long after you first listen. Breezy tracks like “As It Was” and “Grapejuice” will pepper convenience stores for years to come. It’s all enjoyable stuff, even if nothing comes close to the wildly entertaining “Music For A Sushi Restaurant”. Harry continues to use food as euphemism for sex and love, but it’s refined enough on each song that it doesn’t grow stale. Anything Styles releases will be a smash hit, but for the first time in his career, he’s made an album worthy of the constant replays it will undoubtedly get. LISTEN
As off the wall as ever, Aldous Harding dons many hats on Warm Chris. Do you prefer the eccentric goth-folk she’s known for? Try on “Fever”. Need something a little more upbeat? Go for “Passion Babe”. Need something truly new? Try the high-pitched “Lawn”. Each little moment on Warm Chris stands out, but they’re all so singularly Aldous that they easily belong together. LISTEN
Two legends in the world of psychedelic pop teaming up for one record? Sign me up. The two artists are a natural pair, with Panda’s drone-y voice fitting perfectly with Sonic Boom’s looping electronic production. Each song is a hypnotic world unto its own, like the catchy refrains on “Edge of the Edge” or the swirling deluge of “Whirlpool”. The years of experience in this style of music makes Reset an easy task for the two, and a task I’m glad they finally came together to complete. LISTEN
The baroque pop stylings Cate Le Bon has dabbled in for years have never been stronger than they are on Pompeii. By mixing in a heavy dose of synths, these songs are delightfully weird. Le Bon has a mastery of this mix, and her voice acts as a strong guide through this baroque journey. There’s elements of city pop that appear through Pompeii as well, furthering the variety of one of the year’s best records. LISTEN
Traversing the world while maintaining their irreverent humor, Superorganism delivers in strong form on their sophomore LP. World Wide Pop isn’t as cohesive as their debut, but that’s kind of the point, wandering through every corner of synthpop to create magic. Songs like “On & On” and “Black Hole Baby” are standout efforts in Superorganism’s typical style, while “It’s Raining” and “Solar System” bring on guests for new twists. And for as all over as the musical styles are, it’s all still very Superorganism, and they’re still one of the most fun, refreshing bands in the wide world of pop. LISTEN
Rina’s voice is a magnificent thing. It’s the reason Hold The Girl soars, each song a showcase of how powerhouse her pipes are. She flies through the sky on “Hurricanes”, she parties in the fire on “This Hell”, and she begs to be fixed on “Frankenstein”. While the production this time around isn’t as dynamic as her previous work, Rina elevates the instrumentals by sheer force of will. She’s in a class of her own as a singer, and there’s no mountain her talents can’t conquer. LISTEN
If black midi’s previous record was a drama, then Hellfire is a full on action film. That’s how bandleader Geordie Greep described the album, and one listen confirms his statement. It’s a rip-roaring affair that pushes black midi’s ersatz brand of post-rock to fiery new heights. Let yourself descend alongside the band and you’re in for a hell of a time. LISTEN
The ride has ended, allegedly. The Family marks the end of the best boy band since One Direction, and what an ending it is. It’s quick, introspective, and as open in their struggle as BROCKHAMPTON has ever been. The self-titled epilogue song is one hell of a sendoff for an album that’s one hell of a sendoff, and if this truly is the end, then I must thank BROCKHAMPTON for their service. LISTEN
Much like the shows and movies he stars in, DECIDE sees Joe Keery playing quite the character. He’s equal parts confident stud (Gloom), lonesome doomer (On and On), and a shadowy figure in the distance (Slither). These many roles Djo takes on are buoyed by an array of dark synthpop beats that enhance the impression each track leaves. The varied takes on the genre never seem dissonant, thanks to Keery’s ability to mold himself perfectly into the character of each song. It’s an impressive sophomore effort from the best character from Stranger Things. LISTEN
Phoenix reached a sort-of indie nirvana in 2009 with Wolfgang Amadeus Phoenix, a pop record with little equal among its peers. Such heights would be impossible to follow up, so Thomas Mars and company zigged and zagged through thicker sounds and lighter fare in the following years. But in 2022 it was time to try and hit that nirvana again, and they came damn close. Alpha Zulu is refreshingly spry for an album made by 40-somethings, panging for a return of the simplicity of Wolfgang while exploring more new pop sounds. Mars proves how timeless his songwriting is with hook after hook that’ll get stuck in your head for weeks, like the bouncy “Season 2” or the jolted “After Midnight”. The band even got their indie colleague Ezra Koenig to hop on “Tonight”, the album’s crown jewel that’ll send you straight back to the indie craze of the late aughts. For a band close to its 30th anniversary, Phoenix sound as youthful as ever, and still as Phoenix as ever. LISTEN
The long delays this album endured only served to boost my interest in it, and now that it’s here, I can safely say the wait was worth it. Zella provides one dynamite performance after another, like on the fiery “Mushroom Punch” or the sublime “Dance For Love”. She’s at ease in her pop world, and the songs she’s given to the world here are a treat. LISTEN
In a world where the definition of rock is as nebulous as it is, it’s nice to hear a band like Romero get back the basics of shredding the guitar like there’s no tomorrow. Their debut record will scorch your ears with an approach to guitar rock that would make the Strokes smile. It’s raw yet fun, and Romero’s basically figuring out how to rock hard on the fly and killing it. Sometimes simplicity is your best friend, and the band's straightforward approach to rock music will rock your socks off. LISTEN
Any city pop fan will be familiar with Tatsuro Yamashita. He’s a legend of the genre, releasing countless hits that will pepper YouTube playlists til the end of time. Yet rather than coast off the amazing music he’s made already, Yamashita continues to amaze with Softly. It’s proof his pipes are truly golden, aging like a fine wine over instrumentals that match his voice perfectly. Whether it’s the modern, bouncy “LOVE’S ON FIRE” or the classic sounding “Mirai No Theme”, Yamashita has rarely sounded this on point throughout a whole record. Each song is unique but contributes to the overall sound of the record without going stale. With a stated goal to wrap listeners in during a turbulent time, Yamashita succeeds with flying colors. LISTEN
For the first time in their discography, The 1975 aren’t trying to be all things for all people. Being Funny In A Foreign Language narrows the band’s focus to a single topic, and that’s love, of course. But even though love isn’t a new topic to the boys from Manchester, the singular focus they put into it makes every song refreshing and unique in their discography. Matty Healy’s singular voice lends itself greatly to these simple desires for a partner in life. It’s almost like a solo album compared to the massive efforts they’ve put out, and yet it’s immediately quintessential listening for any fan of the band. LISTEN
If there’s an artist with a voice to blast away the restraint the pandemic forced upon us, it’s Florence + The Machine. Her massive pipes have long blown us away, and with a tilt towards festival anthems, Dance Fever dispels the memories of lockdowns with sheer power. Centered around the idea of choreomania, aka an uncontrollable sense of dance, and the variety of influences across the album will no doubt have you dancing along. From baroque pop to gothic folk to spoken-word sequences, Florence Welch’s voice matches them all, creating a truly monumental album that deserves to be heard at festival stages for years to come. LISTEN
I can’t think of many artists who can perfectly capture heart wrenching pain in song form like Julia Jacklin. It’s like a curse how elegantly she can portray it, and Pre Pleasure continues a remarkable streak of songwriting excellence. More about the impossibilities of communication than pure heartbreak, these songs sting in a different way than before while still staying true to Julia’s talents. It’s punchier than her previous work, and that punchiness is only surpassed by the gut-punches on songs like “End of a Friendship” or “Too in Love to Die”. Through such intensity is the shining light of Julia’s voice, like a beacon guiding us through trauma, one step at a time. LISTEN
Let Melt My Eyez See Your Future remind us that, though he has a posse of alter-egos, Denzel is still uniquely himself. This record has Curry spitting some of his most real feelings he’s ever shown, and he’s up to the task with some of his most impressive lyricism to date. He portrays these common feelings (depression, loneliness, emptiness) with impressive wit, showing he doesn’t need a persona to drop some of the best bars of the year. Instrumentally this record is as stellar as the vocals, combining for an electric set of tracks. As Denzel keeps walkin’ forward in his career, we’d be wise to follow along. LISTEN
For years, one of indie rock’s most celebrated acts has been lost at sea. Their last record was a misguided attempt at resistance, sacrificing substance for lazy lyricism about Donald Trump. Thankfully, with him out of office, the band returns to form with a much more hopeful record in WE. In finding self-worth through the struggles modern humanity faces, Arcade Fire found themselves again, creating some epic indie rock tunes comparable to their previous heights. “Age of Anxiety I”, “The Lightning II”, and others call back to their breakout record Funeral, but in a modern, more polished way. It’s a lovely return record for an all-time act, and hopefully the start of a second golden age for the band. LISTEN
By no means their best record, Once Twice Melody is instead a showcase of how Beach House is the master of their domain. It’s an hour and a half of mostly the same style of beautiful, melodic dream pop this duo has given us for nearly twenty years. Losing yourself among the sublime sounds of songs like “Superstar”, “Runaway”, “Only You Know” and “Hurts To Love” feels as good as it ever has with this band. Let yourself not be greedy for new things, and instead enjoy and respect the consistency Victoria Legrand and Alex Scally have bestowed upon us time in and time out. LISTEN
Released with no preceding singles so as to not spoil the listening experience, Sharon Van Etten’s latest sees the singer at her most widescreen. These songs are massive, towering over you with extravagant production the likes of which we’ve never heard Sharon sing over. But as one of the best voices working today, Van Etten makes them her own. The narrow emotions of the lyrics contrast well with the massive instrumentals, like the highlight “Mistakes”. It’s a glimpse into another world where Sharon dominates the charts with these massive but relatable tracks. In this world, she’s content to be one of indie music’s best working artists, and that’s more than apparent with this album. LISTEN
Inspired by thirteen (of course) sleepless nights and the intrusive thoughts that followed, Midnights is as lovingly crafted of a record as Taylor has ever produced. The bedroom pop beats are subtle but expertly crafted, fitting of the time of the night these stories emerged from. Taylor gives us more of the lovelorn lyricism she’s known for on "Maroon" and "Question...?" (and some classic Taylor cringe on "Vigilante Shit"), but the highlights are the unexpected stories. The role of misunderstood villain she embraces on “Anti-Hero” or the miscalculating string-drawer on “Mastermind” are unique tales only bettered by Taylor’s excellent writing. The more nuanced songwriting is something she couldn’t have written without years of experience. To see Taylor taking (calculated) risks this far into her career is a joy, and I can’t wait to hear what kind of late-night thoughts make it onto future records. LISTEN
A new Radiohead album brings massive expectations. A new record from The Smile brings an empty whiteboard to do whatever you want with. Thom Yorke and friends make the debut of their supergroup a winning one, crafting songs that could be good Radiohead songs but end up being great Smile songs instead. From the raucous “You Will Never Work In Television Again” to the melodic stylings of “The Smoke”, these songs take the best bits from each member’s best work, creating a greatest hits record on their first try. It’s easily the best album by a Radiohead side project. LISTEN
Doubling down on what made his first record great, Bartees Strange strikes gold on Farm to Table. It’s got more of the emotionally poignant lyricism that put him on the map, spitting on anything from lockdowns to the George Floyd protests to his relationship with his family with the penmanship of a writer years beyond his age. He backs up his strong writing with indie rock that borders anywhere from triumphant (Heavy Heart) to explosive (Escape This Circus) to truly leftfield (Cosigns). The variety of topics and production keeps the album exciting from beginning to end, and only two albums into his career, Bartees has cemented himself as a top indie act. LISTEN
The blandness that peppered previous Soccer Mommy albums is nowhere to be found on Sometimes, Forever. It’s easily her most varied and experimental album to date, floating anywhere from Pacific Northwest grunge on “Shotgun”, thrilling shoegaze on “Don’t Ask Me”, and industrial noise on “Unholy Affliction”. It’s an eclectic mix, but one that’s wrapped together by Daniel Lopatin’s magic touch and Sophie Allison’s confessional lyricism. This is a step up in all aspects for Allison, and a message to the indie world that she’s here to stay as a top act. LISTEN
Having spent years in the future of the genre, it’s fitting to see Charli return to the now with her learnings applied to a modern pop record. CRASH implements Charli’s forward-thinking ways of creating pop music with the stylings of the now and the past. She’s well-versed in the history and trends of pop music, and that knowledge lends itself well to some of the most instantly catchy songs of her career. Earworms like “Yuck” and “Good Ones” are deceptively simple, worthy of multiple returns to find all the layers. There’s a little something for everyone on CRASH, like a girl power hour (New Shapes), a sex-anthem for the ages (Baby), and a fan-favorite finally released in full (Twice). The love each song gets in terms of production and execution is apparent immediately, and it yet again proves just how far ahead of the game Charli is. No matter the era she mines from, Charli is the voice for pop music. LISTEN
The larger and larger Ghost get as a band, the scope and stylings of their music follow suit. IMPERA is the group’s most commercial sounding record yet, but don’t let that fool you into thinking they’ve sold out. From the opening shrieks of “Kaisarion” to the final musings of “Respite On The Spitalfields”, this is one of the most epic journeys Papa Emeritus and his Nameless Ghouls have taken us through. As empires rise and fall throughout, Ghost continue to show mastery of their ghoulish origins while also soaring through new styles of sound. The old school fans will gravitate to metal epics like “Call Me Little Sunshine” or “Watcher In The Sky”, but I can’t get enough of the ABBA-inspired “Spillways” or the supremely dramatic ballad of “Darkness At The Heart Of My Love”. Every new stab the band takes at a new sound is treated with the love and care that made Ghost such a beloved act to begin with, and it ensures there’s a little something for everyone. Without a doubt it’s one of the most fun listens of the year, and is yet another showcase of why Ghost is one of the best acts of any genre working today. LISTEN
Incredibly, the story of Black Country, New Road might already be over. With frontman and creative mastermind Isaac Wood leaving the band just ahead of Ants From Up There’s release, we might never see the group operating in this fashion again. And for as bittersweet of a reality as that is, we’ll always have this album, a testament to how creative and how stunningly beautiful modern post rock can be. At every turn Ants From Up There is magnificent, combining post rock with elements of chamber pop, baroque music and even klezmer music. The band’s attention to detail allows all these elements to flourish, resulting in slow burning epics that dazzle all over. Wood’s trembling voice guides us through moments of catharsis, euphoria and total collapse, an unlikely guide but one who knows these paths well. It all adds up to an astonishing accomplishment for a band wracked by change too soon, just as doomed to fail as the fantasies Wood sings about on each track. LISTEN
After All Mirrors took Angel Olsen to massive new heights, she saw fit to reinvent herself again. Big Time is about the subtler moments, drawing more from country music to paint vivid pictures of Angel’s changing life. The pianos, sitars and other instrumental additions bring these stories to life in vivid detail. Though the music is subtler than before, Angel’s voice is no smaller, filling the room with stories of her mother’s passing, her sexuality and more. As her life continues to change and she continues to bring her music in new directions, there’s no doubt Angel will find a way to mold it in her unique and amazing way. LISTEN
A return five years in the making, the expectations for Mr. Morale & The Big Steppers were so enormous it could’ve been doomed to fail. But Kendrick Lamar is the poet laureate of our generation, and with his steady hand, he created the best hip hop album of 2022. Mr. Morale is a gauntlet, a double album full of his most personal thoughts ever put to song. From therapy to childhood trauma to personal insecurities, no topic is off limits, and of course Kendrick is one to describe these delicate topics in a way that anyone can relate. He processes his innermost feelings over a sonic mixture that includes elements hip hop, jazz, baroque, and blues. It’s all another towering achievement for Lamar, and the long wait was more than worth it to hear Kung Fu Kenny back at it again. LISTEN
ConMan prove yet again they’re not only adept at making fun of mindless dance music, but they’re fantastic at making mindless dance music. They mine the sounds of 90’s clubs for every delicious beat on TILT, a record that dives even deeper into what makes the world of the club so much fun. From the most infectious grooves (Luvin U Is Easy, Push It Up) to the most over-the-top lyrics (Toy Boy, Angry Girl) to songs you’d hear on an aerobics workout tape (What I Like, Relieve The Pressure), Janet Planet and Sugar Bones take their influences and modernize them to create one hell of a party. TILT won’t just make you tilt; it’ll have you dancing full-throttle at every turn. LISTEN
Lucifer on the Sofa is like a prove-it record for a band that needs to prove nothing. Spoon “had” to prove they could still rock with the best of them after drifting away from their indie rock origins, and they more than delivered on Lucifer. They’ve still got excellent stories to tell (The Devil & Mr. Jones) and have plenty of juice left for some badass rock tracks (The Hardest Cut, Feels Alright). What it lacks in experimentation it makes up for in sheer excellence all around, and you won’t hear many tighter overall projects from 2022. The leftfield stuff isn’t completely left out to dry either, as “Astral Jacket” and “Satellite” go the spacier route (with some good rock stylings, of course). Even as Spoon has traveled down (and conquered) paths outside of rock music, they clearly haven’t lost a step from where they started. LISTEN
Perhaps the most amazing thing about Blue Rev is that despite how fuzzy the entire sound of the record is, every song is precise and clear. Whether it’s a song that hits close to home like “Belinda Says” or “Is It Easy On Your Own?”, or something goofier like “Very Online Guy” or “Pomeranian Spinster”, Alvvays put in the effort to every moment. This is one of the tightest made records of the year, blistering through highlight after highlight with reckless abandon. Molly Rankin’s dreamy voice peppers each song with its own sense of originality, ensuring no two songs can be mistaken for another. Indie albums of this variety are few and far between, and for as personal as things can get on Blue Rev, it’s an album anyone can put on and enjoy. LISTEN
Despite her near-godlike aura, Beyonce is much like the rest of us in that she’s been tired of this pandemic. RENAISSANCE is her escape, an album not concerned with being the voice for the people but rather having a good time for the sake of it. Bey and her producers hone in on the club in a way her music never has before, and they ensure that it’s not only respectful of dance music’s forefathers, but also paves the way for the genre’s future on a massive scale. These beats are immaculately produced, sampling the greatest hits of dance’s past (capped by the Donna Summer-sampling “SUMMER RENAISSANCE") to push us into an unstoppable frenzy of boogie. Every song glides into the next to keep the party going, ranging from CHIC-inspired groove (CUFF IT) to radio smashes (BREAK MY SOUL) to the dirtiest of drops (THIQUE). And don’t worry, there’s still time for Bey to make the ultimate boasts about her influence in “ALIEN SUPERSTAR”. As an artist with massive resources, it’s amazing to see no expense spared to make this one hell of a night at the club. As the record ends with the chants of “It’s so good, it’s so good, it’s so good…”, you can’t help but feel Bey is singing about the record she just made, and I’m inclined to agree with her. LISTEN
Omnium Gatherum roughly translates to “a miscellaneous gathering of people or things”, and that’s exactly what this album is. It’s the result of the members of KG&TLW recording in person together for the first time since before the pandemic, and it’s a creative explosion unlike anything else this year. Every style of music the band has ever tried shows up here, from their signature psychedelic rock (The Dripping Tap, Blame It On The Weather) to Butterly 3000’s synthpop (Kepler-22b, Magenta Mountain) to Infest the Rat’s Nest’s thrash metal (Gaia, Predator X). The boys even delve into hip hop on “Sadie Sorceress” and “The Grim Reaper”, and the attempts aren’t half-bad. For such a massive undertaking of style and sound to come together, you need a band that’ll give love to every chord on the record, and that’s just what King Gizzard does here. It’s a greatest hits album of completely new music, a testament to the band’s never-ending desire to come up with the next best thing (and often succeeding). LISTEN
After obsessing over 1980’s influences on After Hours, Abel Tesfaye perfects the sound on Dawn FM, a loose concept album about a radio station on the precipice of the afterlife. The record is filled with what you’d expect from a Weeknd album, with plenty of emotional turmoil over lovingly crafted pop beats. The instrumentals on tracks like “How Do I Make You Love Me” and “I Heard You’re Married” could’ve come straight from the 80’s, yet they’ve got enough modern stylings to work in any era. As usual, the Weeknd makes those beats his own with his signature lovelorn horniness. It’s just as easy for Tesfaye to croon for his lover to return (Out Of Time) as it is for him to have an affair one track later (Here We Go… Again). The radio station concept allows every song to freely flow into one another, like a stream of consciousness at the end of your life. The ghostly interludes from Jim Carrey of all people are a haunting but welcome addition. It’s crazy to think that after worldwide pop domination the Weeknd could outdo himself, but Dawn FM is absolutely a step up in every facet. It’s the most hands-on record he’s made yet, and as the light comes towards the end of “Phantom Regret By Jim”, we go towards it boldly to see where the superstar heads next. LISTEN
Much like the rest of us, Natalie Mering has been adrift in the world for much of the 21st century. She’s lost the knack for human connections as the world turns more and more digital. Yet unlike her last masterpiece Titanic Rising, her latest masterpiece sees the singer/songwriter coming to terms with the world she lives in. Described as her response to “being in the thick of it”, And In The Darkness, Hearts Aglow is as beautiful of a record as Mering has created as Weyes Blood and maybe her most melancholic. She’s finding solitude in the thought that everyone else is also fucked (It’s Not Just Me, It’s Everybody) while also wishing for solace from the world (God Turn Me Into A Flower). She’s backed by staggeringly beautiful arrangements, filled with soft coos, strong strings and some of the wisest musings on modern life you’ll hear on a record in 2022. For as masterful as her last record was, this new project is on equal footing, and the hopes for the final part of the trilogy that Titanic Rising began are sky high. Knowing Mering’s work, she’ll drift up there with ease. LISTEN
Like the flames of a warm campfire, the songs of Big Thief’s latest opus envelop you. Sure, it’s dark outside and a bit intimidating, as is the monolithic tracklist, but seconds into Dragon New Warm Mountain I Believe In You, you’ll know you’re in the right place. Kind of like the word soup title, the 20 songs here vary in style, but nothing was spared to ensure each song gets the love it deserves. From the opening slow burn of “Change” to the fiddle-heavy “Red Moon” to the swirling “Simulation Swarm” these tracks are disparate yet connected. Adrienne Lenker’s signature warbly voice remains tremendous, grabbing fleeting moments of memory and moments to paint vivid vignettes. The band’s trademark humor is as present as ever, keeping a 20-track record light and breezy. What other band could write a song that rhymes “finish” with “potato knish” (Spud Infinity) and have it be an album highlight? DNWMIBIY is everything a folk record should be in 2022: huge, funny, and an escape into the woods from a world that seemingly gets messier by the day. LISTEN
No band in the world is as good at feeling bad as PUP is, and nothing made them (and the rest of us) feel more bad than the pandemic. The worldwide lockdowns sent a creative jolt through the group, and the result is the best record of their career. Presented as an unraveling of the band, PUP present the feelings of depression and dread with an incredibly effective bluntness. “Totally Fine” has a chorus that literally says “Lately, I've started to feel like I'm slowly dyin'/And if I'm bein' real, I don't even mind”, yet it doesn’t come across as corny thanks to Stefan Babcock’s glorious vocals. He sells these simple and straightforward lyrics with singalong chorus after singalong chorus, backed by the most electric punk instrumentals of the year. Every guitar shred, every drum beat, and every vocal high note is pinpoint, and the way each song immediately jumps into the next keeps the plunge the band is on at a breakneck pace. As the band descends into doom, there’s moments of levity, like a robot learning how much love sucks “Robot Writes A Love Song”, or a plea from an old guitar to not forget about them “Matilda”. While sidesteps from the overall descent, they’re incredibly performed and ultimately important to the overall record. By the end of the record, the group is emotionally spent, but this supposed decline in morale is a facade for the magnificent album they’ve put together. You’ll never feel so good feeling so bad as you will unraveling with PUP. LISTEN
No matter how much is written about how impressive Dan Bejar’s chameleonic nature as a musician is, it’s impossible to truly comprehend unless you listen to his music. LABYRINTHITIS is the latest evolution for Bejar and his main act, and it’s his most exciting release in a long, long time. Where 2020’s Have We Met was a pause at the entrance of a new era, LABYRINTHITIS plunges head on into the labyrinth, weaving its way through ersatz synthesizers, wild guitars and drum patterns that come together in a number of fascinating ways. Whether it’s a spacier drift through the opener “It’s in Your Heart Now”, a dizzying sprint from death in “Tintoretto, It’s for You”, or a familiarly tongue-in-cheek song like “Eat the Wine, Drink the Bread”, everything feels perfectly off-kilter. Bejar is the master of the unexpected, and while wandering through this sonic maze, you’ll find one of the most beautiful ballads he’s ever created (All My Pretty Dresses) to a song that hints Destroyer could function as a chart-topping pop band (It Takes A Thief). The variety here is as widespread as any singular record put to the Destroyer name, making the entire trip a neverending treat on the ears. Just listen to the madcap lyricism on “June”, with lines like “You have to look at it from all angles/Says the cubist judge from cubist jail”, and tell me you can get masterstrokes like this from someone else. Nearly 30 years into his career Bejar has raised his standard, creating a musical carnival as splendid as he’ll probably ever make again. LISTEN
One of my favorite things about my favorite album of 2022 is how hard to describe it is. At its core, PAINLESS is an indie rock record, but that description doesn’t do it justice. “the dealer” and “shameless’ are fairly straightforward indie tracks, but as PAINLESS goes on it moves further into things like crunchy trip hop on “chase me” and jazzy synthpop on “the mystic”. Every song has a motion to it, with the rhythm ensuring there’s never a lull in the beat. This is no more apparent than on “stabilise”, where the punchy drums create a speedy beat, but one that doesn’t get away from the themes of the record. It’s an album that showcases the nebulous definition of rock in a stellar way, all wrapped together by Nilüfer’s hypnotic voice. She’s so malleable to the song she’s on, delving into thoughts as dark as she’s ever had in her music. You can feel the pain she experiences on “midnight sun” and her cries to get better on “try”. Though pain and heartbreak are essential to the album’s experience, closer “anotherlife” finds clarity in the confusion, and it ends the record on a emotional high note. The journey to get there is a challenging one, yet PAINLESS an album that leaves me in awe every time I return to it. There’s always something new to discover, and through the darkest parts of this world, Nilüfer Yanya emerges with the best album of the year. Words just can’t do it justice. Go listen to it! LISTEN
Check out more of my 2022 lists below!
Top 100 Songs Of 2022: https://cfreemon.substack.com/p/repost-the-best-100-songs-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