I didn’t intend for this to be my first post. I wanted to write a grand, sweeping review of an impossibly huge album, one of my favorites of all time. That review quickly twisted inside and outside of itself, growing too large for me to properly manage. So instead, here we are: beginning with an ending.
That’s right: 2022 is coming to an end, so of course I gotta get in on that list action. Here’s all I have to say about 2022: it’s been one of the best years of my life and it’s been one of the worst years of my life. The word for that is “overwhelming,” I think. Like always, I listened to a lot of music, including a lot of new music. These are the 25 new songs and 25 new albums that defined my 2022.
Top 25 Songs - 2022
25 - “Prester John” - Animal Collective
AnCo releasing their best album in 13 years was not something I expected from 2022. That new album’s lead single, “Prester John,” should be a mainstay in any fan’s playlists.
24 - “Kepler 22-b” - King Gizzard and the Lizard Wizard
KGLW had a busy year - totaling 5 albums plus a collaboration EP with Tropical Fuck Storm, their musical output for 2022 clocks in at a cool 262 minutes. “Kepler-22b” is my favorite song of all of that - super-slick bass grooves, ethereal piano, and astronomical theming: you can’t go wrong here.
23 - “Eye in the Wall” - Perfume Genius
Perfume Genius’ latest, Ugly Season, is a prime example of Hadreas’ unwillingness to sacrifice his artistic vision for commercial appeal. Its longest track, “Eye in the Wall,” serves an extended undeniable groove and atmosphere, as well as a reminder of why he is always worth following into the deep end.
22 - “River’s Bed” - Florist
Depressive self-examination performed in the language of nature. “It’s always the darkest things I keep inside my thoughts” - heartbreaking, beautiful stuff.
21 - “Pods” - Two Shell
An ever-oscillating beat you can’t help but groove to, capped off with some fun synth guitar work. Even manages to sample Portal’s turrets and pull it off.
20 - “Man on the Moon” - Brockhampton
Brockhampton and their music were divisive this year, to say the least. However, “Man on the Moon,” an unapologetically queer dance-pop banger, is certainly a triumph.
19 - “Geronimo” - Young Fathers
A strange choice of lead single, for sure - a slow, weird build to a life-affirming finish. If this and the other two singles are anything to go off of, upcoming record Heavy Heavy should be one of your most anticipated albums of 2023.
18 - “The 1975” (2022) - The 1975
Knowingly lifting the minimalist piano part from LCD Soundsystem’s “All My Friends,” Matty Healy reflects on the current state of the world through the lens of his twenties and of today’s youth. “I’m sorry if you’re living and you’re seventeen,” too - you probably deserve better.
17 - “Describe You” - Oso Oso
A hooky emo anthem complete with bright sun-ray guitars and orchestral swells. Of course it was one of my most listened to songs this year.
16 - “Johnny P’s Caddy” - Benny the Butcher feat. J. Cole
That beat is everything. Addictive flows and an insanely good J. Cole verse are the cherry on top.
15 - “Spiritual Level of Gang Shit” - Soul Glo feat. McKinley Dixon & Lojii
My favorite song from Soul Glo’s latest is also probably the most atypical. What starts as a cool rap rock cut evolves into something much more, a climax complete with screamo vocals, an amazing brass section and soaring stadium-ready guitars.
14 - “Messe de E-102” - death’s dynamic shroud
Vaporwave legends turned glitch pop savants death’s dynamic shroud return with one of their best tracks yet. The dizzying, cinematic production of “Messe de E-102” will always leave you guessing where it heads next - and you’ll likely be wrong.
13 - “Zatoichi” - Denzel Curry feat. Slowthai
In those verses, you’re floating, spacewalking. In those hooks, you’re flung into some FTL travel shit.
12 - “Virgo’s Groove” - Beyoncé
Probably my new favorite Beyoncé song. Gorgeous, brilliant, forward-thinking funky house that isn’t just hopping on some throwback trend.
11 - “The Dealer” - Nilüfer Yanya
Smartly produced and drum-forward, “The Dealer” is easy to spin over and over and over again. Hell of a bassline, too.
10 - “The Last One” - Daniel Rossen
Ironically, “The Last One” is the penultimate track of Daniel Rossen’s first solo album, but serves as a fitting climax nonetheless. That last line cuts like a knife.
09 - “Free in the Knowledge” - The Smile
Another stunning addition for your Yorke/Greenwood songwriting collection, but don’t discount Godrich’s production and Skinner’s brief but vital contributions. Simply beautiful.
08 - “Father Time” - Kendrick Lamar feat. Sampha
It was tough to choose between this and “United in Grief,” to be honest. Both feature all-time great beats and poignant self-reflection from the modern master of rap, but it’s Sampha’s gorgeous chorus that pushes this over the top.
07 - “Underwater” - Sun’s Signature
Liz Fraser’s still got it, Jesus Christ. If that name means nothing to you, this should fix that after one listen.
06 - “Jackie Down the Line” - Fontaines D.C.
The perfect distillation of everything that makes these Dublin rockers great. A magnificent display of detached bitterness; their best song to date.
05 - “Concrete Over Water” - Jockstrap
Bubblegum/hyperpop producers: I want more of this, please. That one line - “truth is God, and God is light” - is a showstopper.
04 - “Chaos Space Marine” - Black Country, New Road
A little unfair that two projects involving Georgia Ellery are back to back on this list, sure. What is essentially the overture to BC,NR’s masterwork deserves no less than this, though.
03 - “Alaska” - Pinegrove
For 2 minutes and 5 seconds, everything comes together for Pinegrove. I will forever cherish the memory of screaming along to this while driving down a western Icelandic highway.
02 - “Welcome to Hell” - black midi
A pummeling criticism of war’s toll on the human psyche, told from the perspective of a deranged commander. The second best song of the year happens to come with the best music video of the year, too.
01 - “Simulation Swarm” - Big Thief
Further proof of Adrianne Lenker’s talent as a generational songwriter, and of Big Thief’s talent as a generational band. The poetry here is absolutely masterful: shrouded in cryptic phrasings and outlandish imagery, yet delivered in a way that makes it immediately understandable and relatable.
Honorable Mentions - 2022
Albums that didn’t make the cut, as well as excellent soundtracks and EPs. Listed in alphabetical order, by artist.
Time Skiffs - Animal Collective
Hostile Architecture - Ashenspire
Tana Talk 4 - Benny the Butcher
The Forever Story - J.I.D
Tunic (Original Game Soundtrack) - Lifeformed & Janice Kwan
Free LSD - OFF!
Mondays at the Enfield Tennis Academy - Jeff Parker ETA IVtet
Baby - Petrol Girls
Sun’s Signature (EP) - Sun’s Signature
Icons (EP) - Two Shell
Hiss - Wormrot
Top 25 Albums - 2022
Genres and album times taken from RYM as of December 2022.
25 - Everything Was Beautiful - Spiritualized
Space Rock Revival - 44:00
Spiritualized sound completely in their element doing what they do best on Everything Was Beautiful. It’s gorgeous, spacy, and groovy, and probably their best work in a decade, if not two.
24 - Most Normal - Gilla Band
Noise Rock, Industrial Rock, Experimental Rock - 36:38
Reductive as it may be, it might be easiest to describe this pummeling madness from Ireland’s Gilla Band as “dance-punk from hell.” Outside of the tinnitus-inducing “The Weirds” (that noise was an objectively awful idea - why does this exist?), this is one of the most exhilarating loud rock releases of the year, thanks in no small part to the mind-bending production job.
23 - Melt My Eyez See Your Future - Denzel Curry
Conscious Hip Hop, Southern Hip Hop - 45:12
One of the best title-cover-music pairings this year. An often-psychedelic journey into Denzel’s psyche (is that redundant?); a standout rap release for 2022.
22 - And in the Darkness, Hearts Aglow - Weyes Blood
Baroque Pop, Singer-Songwriter - 46:29
It’s essentially Titanic Rising 2, which is to say it’s very good. Some of the most lush music released this year, even if not all of it sticks as much as the album that precedes it.
21 - Blue Rev - Alvvays
Indie Pop, Shoegaze, Noise Pop - 38:57
You can always count on Alvvays for a good tune or ten. This time around they’re louder, noisier, a bit gazier, but for the most part Blue Rev is their same brand of consistent, hooky songwriting that has brought them their absolutely deserved acclaim.
20 - The Ruby Cord - Richard Dawson
Progressive Folk, Avant-Folk - 80:49
“At the end, I didn’t really comprehend that I was saying goodbye”
- Richard Dawson, “Thicker Than Water”
I absolutely fell in love with Richard Dawson’s work this year - Peasant, an album with stories set 500 years in the past, has retroactively become my album of the year for 2017, and 2020, a record with similar stories set in the present day, has similarly climbed near the top of my favorite albums of 2019. The Ruby Cord positions itself among these two excellent albums, telling stories set approximately 500 years in the future in a world where the lines between VR, AR, and “real” reality have become grossly obscured. It is often as poignant as Dawson’s best work, but also often much more abstract, and that is where it tends to lose me a bit. If it’s anything like Dawson’s previous work, it will take several months for me to feel like I have a solid grasp on The Ruby Cord, maybe longer what with the 41-minute opening track. As it stands now, though, I don’t quite love it as much as its companion albums, but I wholeheartedly recommend The Ruby Cord and the rest of Dawson’s unconventional, progressive work - he is one of the most exciting, affective, and underrated songwriters active today.
19 - Omnium Gatherum - King Gizzard & the Lizard Wizard
Psychedelic Rock, Psychedelic Pop - 80:11
While wading through 3 new King Gizzard albums in the month of October alone (totaling 5 on the year!), I found myself wishing they’d have just released a single disc of their best songs across various styles instead of dropping as much as they did. I’m grateful for the music, of course, but it’s easy to question the consistency of KGLW’s music when you’re scrambling to keep up with new releases (I say this as a big fan of theirs!). April’s Omnium Gatherum is the closest thing to my ideal of a KGLW album we’ve gotten in recent years: a double album but with high variety and high consistency. A must-listen for anyone interested in the psychedelic sides of indie rock and pop.
18 - De todas las flores - Natalia Lafourcade
Singer-Songwriter, Chamber Folk, Vocal Jazz - 66:36
To be honest, this one had to grow on me, but I understand now why it was so immediate for so many. Consistently good compositions, excellent orchestration, beautiful vocals - what else could I really ask for?
17 - A Light for Attracting Attention - The Smile
Art Rock - 53:18
“I talk to the face in the mirror, but he can’t get through
Turns out we’re in this together, both me and you”
- The Smile, “Free in the Knowledge”
Calling The Smile “Radiohead-lite” seems rather reductive, but the new collaborative effort between Radiohead’s Jonny Greenwood and Thom Yorke with Sons of Kemet’s Tom Skinner is a welcome addition for any fans. The outfit’s debut album has a lot of those irresistible surreal, dreamy Radiohead vibes, but also cuts rockier than anything Radiohead has put out in years.
16 - Skinty Fia - Fontaines D.C.
Gothic Rock, Post-Punk - 44:52
“And I'm heading for the cokeys, I will tell 'em 'bout it all;
About the gall of Fine Gael and the fail of Fianna Fáil”
- Fontaines D.C., “I Love You”
There’s a lot of bitterness present on Skinty Fia - both towards the experience of living as an Irishman in London and towards Ireland itself. Fontaines D.C.’s third album is easily their darkest yet, just as consistent as A Hero’s Death but with higher quality and better songwriting across the board - proof that the best band out of Ireland is only getting better.
15 - I Love You Jennifer B - Jockstrap
Art Pop, Glitch Pop - 44:13
“So dazzlingly dark because of its bright, and truth is God and God is light”
- Jockstrap, “Concrete Over Water”
I was ready to declare this one of the best albums of the year on first listen, but unfortunately I cannot deny its inconsistency. But its highs rank among the best music released in 2022 (especially “Neon,” “Greatest Hits,” and “Concrete Over Water”), painting Georgia Ellery and Taylor Skye’s shared vision of a future for pop music - noisy yet ethereal, aggressive yet beautiful, analog but digital; in other words, brilliant.
14 - Mr. Morale & The Big Steppers - Kendrick Lamar
Conscious Hip Hop, West Coast Hip Hop - 73:05
A larger-than-life figure in the history of hip hop returns with a double album where he examines himself, his failings, and his place in the world around him, rather than solely examining that world. While it contains some missteps, such as Kendrick’s most controversial writing in “Auntie Diaries” (sure, it demonstrates growth, but is his approach the only or best way to accomplish that?) and questionable decision making (the prominent inclusion of Kodak Black), on the whole it is a strong, solid addition to his legendary discography.
13 - King’s Disease III - Nas
East Coast Hip Hop, Boom Bap, Conscious Hip Hop - 51:42
“They argue KD1, KD2, and Magic, what’s harder when…KD3 go harder than all of them.”
- Nas, “Ghetto Reporter”
Every new album Nas drops with now-regular collaborator and producer Hit-Boy is a reason to get excited. Each one has been better than the last, with smoother flows, smarter bars, and more fun beats, and King’s Disease III is no exception - it’s their best yet. Nas’ unlikely career revival has been incredible to witness, and the guy’s only getting better as he approaches 50.
12 - Gold - Alabaster dePlume
Jazz Poetry, Spiritual Jazz, Chamber Jazz - 67:33
“I will not be safe; love is not safe; courage is not safe.”
- Alabaster dePlume, “I Will Not Be Safe”
Warm and comforting, Alabaster dePlume’s latest record lies at a superb crossroads between spiritual jazz, ambient pop, and positive affirmations delivered as if they were recorded at a beat poetry night. In theory, this should not work; in practice, this is free therapy.
11 - Cheat Codes - Danger Mouse & Black Thought
East Coast Hip Hop, Conscious Hip Hop - 38:14
Veteran MC and veteran producer in top form: instant classic results. Danger Mouse’s beats are colorful, filled with string samples and heavy drums, and Black Thought continues to be one of the greatest voices in rap as he pushes 50 (getting déjà vu here).
10 - NO THANK YOU - Little Simz
UK Hip Hop, Conscious Hip Hop - 49:52
Basically a victory lap after last year’s Sometimes I Might Be Introvert, but when you’re one of the best rappers in the game and your producer and longtime collaborator makes some of the best beats in the game, even your victory laps are noteworthy. Inflo’s beats are smooth, slick, and a little more focused than they were on SIMBI, while keeping some of the familiar orchestral flair from that record. Little Simz is as magnetic of an MC as ever; as always, her flows are addictive and her bars are laced with clever internal rhymes. This is an excellent project front to back from one of the dominant forces in rap right now - don’t miss this.
09 - Renaissance - Beyoncé
Dance-Pop, House, Contemporary R&B - 62:13
“Release ya anger, release ya mind!”
- Big Freedia, “Explode” (sampled on Beyoncé’s “Break My Soul”)
The best Beyoncé album. This is not an homage to classic disco and house, nor is this a misguided attempt to recapture that energy. No, this is a genuine adoption of those styles, with real spirit and true invention in the sound. Renaissance plays as a continuous dance mix, a soundtrack to an unbelievable, incredible, empowering night out. This album absolutely succeeds in its fusion of the classic house sound with modern R&B and hip hop touches, like with the atmospheric rap of cuts like “Alien Superstar” or “Energy,” or the slightly industrial hints on “Thique.” The more traditional house cuts are easy highlights as well - “Break My Soul” is immediately joyous and freeing, and “Virgo’s Groove” (likely the best song here) is an unbelievably slick piece of forward-thinking funky house. Honestly, just let go and enjoy the ride - these motherfuckers ain’t stoppin’ Queen Bey.
08 - Painless - Nilüfer Yanya
Indie Rock - 46:32
This one made me feel pretty dumb for not listening to Miss Universe back in 2019. Launching straight from the excellent opening drum fill of “The Dealer,” Painless is an awesome collection of hooks and perfect atmospheric production. The drums are so crisp and clear (check out “The Dealer,” “Stabilise,” “Chase Me,” or “The Mystic”) and the guitar tones across the record are spacy and complement Yanya’s voice wonderfully. And it’s all just so catchy! Feels like it can fit any mood, any time. One of my go-to listens this year, endlessly replayable, effortlessly cool.
07 - Florist - Florist
Indie Folk, Singer-Songwriter - 57:45
“You’re not what I have, but what I love”
- Florist, “Sci-Fi Silence”
Florist’s new self-titled album seemed to rub some people the wrong way - I’ve seen plenty of praise for the excellent indie folk cuts on the record (I love them too!) but also plenty of derision towards the ambient tracks folks have deemed “interludes.” Here’s some news for the crowd: not every instrumental track a songwriter makes is an “interlude.” Florist is dotted with legitimate ambient pieces that are not meant to stitch songs together but rather stand on their own. This is not strictly a folk album, it is an ambient folk album. Some of these ambient works are some of my favorite tracks on the record: “Duet for 2 Eyes” is mesmerizing in its simplicity; each of the “Bells” trilogy are playful, fairylike, wrung with static; the excellent “June 9th Nighttime” is a melancholy wind-down on a summer night perfectly cast in audio, and arguably my favorite piece on the entire album, folk songs included. That’s not to say the songs on the record aren’t excellent either, though; make sure to check out the devastating one-two punch of “River’s Bed” and “Sci-Fi Silence.” Brilliant songwriting, gorgeous ambience - Florist succeeds on every front here.
06 - Diaspora Problems - Soul Glo
Hardcore Punk - 39:10
Soul Glo’s 2020 EP, Songs to Yeet at the Sun, did little to sell me on their punk prowess, but Diaspora Problems is on another level. Front to back, this shit is raw, pummeling, invigorating, and inventive. Unconventional instrumentation (saxophones!) and genre fusions (rap!) come together with classic hardcore, and it’s executed flawlessly. The energy, the feeling I get from listening to this brings to mind the feelings I get from listening to Dead Kennedys or Bad Brains - comparing any hardcore band to them is just about the highest praise I can give. Highlights all over on this one: the unfiltered energy of “Gold Chain Punk (whogonbeatmyass?),” the classic screamo of “Jump!! (Or Get Jumped!!)((By the Future)),” the industrial hip hop of “Driponomics,” and the rap-rock cherry on top “Spiritual Level of Gang Shit.” A must-listen for anyone that digs hardcore or loud music in general.
05 - Hellfire - black midi
Avant-Prog, Brutal Prog - 38:54
“Is a sin committed every moment of every day?”
- black midi, “27 Questions”
Hellfire is the best album yet from what is likely the most exciting rock band active on the scene today. Geordie Greep is a brilliant guitarist and a charismatic performer. Cameron Picton matches Greep’s instrumental skill, and has shown considerable growth over the last three years as a songwriter and co-frontman. Morgan Simpson is simply the best drummer in rock right now; this is self-evident, just watch him play. The way they feed off of each other, allow each other to stand as equals in their craft, and operate in exact lockstep 100% of the time makes for a band that sounds like no other, whether playing live or in the studio. Their third album depicts the band’s shared vision of hell as dark comedy, filled with outlandish, cartoonish characters just begging to be simultaneously horrified by and laughed at. The chaotic observational circus of black midi’s hell is a reminder that technically impressive music can and should be fun (or at least not boring), and perhaps a bleak satire on the circus we may live in ourselves.
04 - Marchita - Silvana Estrada
Chamber Folk, Singer-Songwriter - 37:04
It’s just so beautiful. Beautiful vocals, beautiful songwriting, beautiful guitar work, beautiful orchestration. I returned to this album often throughout the year and found more to love each time: the twinkling pianos of “La Corriente,” the vocal runs of “Sabré Olvidar,” the gradual build of “Tristeza.” Track after track, I’m blown away; song after song, I’m enchanted. It’s hard for me to say anything else about this; it’s just so obviously good. Listen to it - that’s all I got.
03 - You Belong There - Daniel Rossen
Progressive Folk, Chamber Folk - 44:20
“Ten years gone, was it worth it? Is the answer clear?”
- Daniel Rossen, “Unpeopled Space”
Daniel Rossen is perhaps best known for his work with Grizzly Bear; thinking about how the lush, folky soundscapes of this record came from one of the minds behind the bright, poppy “Two Weeks” may be puzzling at first, but makes complete sense in retrospect. His work with Grizzly Bear is often just as layered and lush, but on You Belong There the chamber orchestration provides a new forested direction for Rossen to tread. The execution is nothing short of marvelous: tracks such as “It’s A Passage,” “Unpeopled Space,” “I’ll Wait for Your Visit,” and especially “The Last One” rank among the best songs I’ve heard this year. With its hypnotic fingerpicking and harmonies, swirling freeform soundscapes, and touching lyrics centered on regret and acceptance, getting lost in this album couldn’t be easier. A true achievement and a beautiful experience.
02 - Dragon New Warm Mountain I Believe in You - Big Thief
Indie Folk, Folk Rock - 80:13
“I’d fly to you tomorrow, I’m not fighting in this war”
- Big Thief, “Simulation Swarm”
I guessed this would basically be their White Album (the best Beatles album, not that that has anything to do with anything) before this came out, and I was right. A double album and a true folk rock smorgasbord, Dragon New Warm Mountain I Believe in You is Big Thief’s greatest statement as a band yet. Across 20 songs (all of them at least good!), Big Thief spin the genre wheel and find all sorts of interesting results: rock, folk, singer-songwriter psychedelia, country, and even trip hop find a place among the tracklist. Highlights dot the record, but include the jaw harp-backed “Spud Infinity” (philosophy via potatoes), the dreamy comfort of the title track (“it’s a little bit magic…”), the dizzying guitars and percussive hits of “Little Things,” the aforementioned unexpected trip hop turn of “Blurred View,” and “Simulation Swarm.” What more to even say about “Simulation Swarm,” my favorite song of the year? It is Big Thief realized; a song about family, longing, office spaces, and energy shields; endlessly replayable for both catchiness and lyrical and musical depth. It is instantly touching yet endlessly rewarding, much like the album as a whole. I mostly spin this one like a playlist these days - on shuffle, a few songs at a time. DNWMIBIY is still as it was on my first listen: comforting, thought-provoking, nourishing. While Songs remains my favorite Adrianne Lenker-penned outing, DNWMIBIY solidifies Big Thief’s place as generational talents.
01 - Ants From Up There - Black Country, New Road
Art Rock, Post-Rock, Chamber Pop - 58:46
“I’ll bury the axe here, between the window and the kingdom of men, OH!”
- Black Country, New Road; “Chaos Space Marine”
That moment there happens about 2 minutes and 30 seconds into the stunning new album from Black Country, New Road. It is the best moment of popular music this year. It’s just a simple trick - the landing and collapsing of the entire band’s weight on beat 2 instead of beat 1, only to carry on as if it were completely natural - but it is indicative of BC,NR’s total mastery of pop songwriting, composition, and emotional gravity. Of course it is a concept album. Of course it is a breakup album. It might as well be the breakup concept album. On the first half of this record, BC,NR twist the pop song into 5 unforgettable forms - the bombastic overture of “Intro” and “Chaos Space Marine,” the dramatic relationship scene-setter “Concorde,” the slow airy build and unforgettable metaphors of “Bread Song,” the attempt to waltz through normal life in “Good Will Hunting,” and the stark minimalist dirge of “Haldern.” Each of these is more devastating than the last. Isaac’s vocal style is as dramatic as ever, but the new singular lyrical focus provides greater clarity and weight to his words (gone is the pretension of “and with frail hands, [mother] grips the NutriBullet…” from debut single “Sunglasses”).
The greatest praise I have, however, is for the band. The playing is tighter than ever before, the compositions more lush and adventurous, the beauty and intensity of their playing more pronounced. In other words, this album is technically impressive, but it is also gorgeous. The second half of this album demonstrates this wonderfully as the band takes a turn for elongated post-rock structures following the instrumental of “Mark’s Theme.” “The Place Where He Inserted the Blade” is often cited as the emotional centerpiece of the record, but don’t let that distract you from the insane build and legendary drum solo of “Snow Globes,” or the monstrous 12-minute closer “Basketball Shoes.” I wrote earlier that “Chaos Space Marine” contains the best musical moment of 2022, but I don’t think it’s even the best song on this album - that honor belongs to “Basketball Shoes,” a track too long for my year-end list. This song contains a supremely good post-rock build and what is likely the best lyric written this year, in which Isaac Wood describes the failed relationship as “your generous loan to me, your crippling interest.” This song simply demands your appreciation; it is undeniably incredible.
Each of these songs probably deserves an entire paragraph written about them, but this is already running long for my tastes, so let’s get to the point. The real brilliance of this album lies in my failure to find an obvious flaw with any of it. It is a devastatingly beautiful breakup album, and probably the best sendoff Isaac Wood could have from Black Country, New Road. Of the three big Windmill bands (black midi; Black Country, New Road; Squid), BC,NR were initially the band I was least interested in - yet here they stand with what is easily the best album to come out of that exciting scene. Ants From Up There is a masterpiece and the best album of 2022.
