Album Reviews 2022
Preamble
End of year lists are ridiculous. Even aggregated decisions made by committee tend towards inescapable group biases. Just check out the top 4 entries of Pitchfork readersâ top 200 albums of the past 25 years:
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Iâve met a few Radiohead fans. Some of them can be fanatical, sure. But Iâve never met anyone with this level of dedication to the band, and I am extremely skeptical of the idea that Thom Yorke and his merry band made three of the four best albums of the past 25 years.
Itâs not just a Pitchfork problem (though their base, like Radioheadâs, certainly skews millennial-gay-depressed). Publishing the âbest albumsâ of a given year requires a significant degree of presumptive egotism. The term carries some weird implications with it:
- The writer listened to every album that came out in a year.
- The writer formed opinions on each of these albums.
- These opinions were organized so precisely that they were easily numerated into a digestible ranking of the yearâs art.
- Ranking art with the term âbestâ imbues the writer with quite an authority.
This article is not a comprehensive survey of everything that came out this year. Itâs not a list of everything I loved from 2022. Itâs not a collection of the yearâs best albums, but it is a list of something a little more subjective: my favorites.
Itâs also not a thinkpiece on the nature of album reviews â Iâll save that for another day. Instead, consider this preamble a disclaimer: the opinions expressed within are my own and, if you disagree with them, I hope you understand that you are completely alone in this belief. I asked everyone else and they said I pretty much nailed it.
One last thing: if youâd like a soundtrack to accompany you, may I humbly suggest my 2022 playlist? I put a little bit of effort into making sure it flows cohesively from song to song, so no need to turn on shuffle (unless you want! Iâm not God or your father or your boss!)
Alright, without further ado, letâs get started.
20. Wet Leg - Wet Leg
Would you like us to assign someone to worry your mother?
When Wet Leg was nominated for a Grammy this year, I saw a lot of people on Twitter confused â âwho are these people?â This surprised me â my peers and I have spoken frequently and highly of the duoâs debut. I got to see them this summer, and was blown away by their energy, one that is captured even on a studio album. Just check âUr Mumâ for a famously long, loud scream if you donât believe me.
The group is unflappably and confidently dynamic, embracing well-worn, grungy guitars and drums wherever they can. âOh Noâ is perfect in this regard, with its drums materializing to amp up the songâs heart rate. In a way, the albumâs consistency in this regard really does encapsulate the Zen referenced in this track.
Wet Leg is not locked into a punk-adjacent rock mindset. On âLoving You,â they get a little bedroom, singing âI donât want to meet your girlfriendâ like Sophie Allisonâs voice was just stolen right from her. âChaise Longueâ is much surfier, while âConvincingâ feels like a chilled-out Hole track.
Lyrically, Wet Leg is selling whatâs in the window at the store: what you see is what you get. It is unsurprising that their music brims with meditations on the feminine, reviewing relationships with kicks and strums. In âWet Dream,â we see an omniscient narrator who sees beyond the veil of dreaming, seeking to understand her own characterization in the minds of others. The low male voice in the background of the verses is a very nice touch here, as are the synths and cymbals that lurk menacingly beneath the track.
Favorite Song: âBeing In Loveâ
19. Alpha Zulu - Phoenix
Idolized, canonized.
This is the yearâs best Weezer album. At least, thatâs how Iâve taken to describing it. Itâs dripping with clichĂŠ moments punctuated by annoying vocal decisions, and yet I can't help listening to it constantly.
The thing is, the heart of Weezer's appeal is their boundless desire to make albums. Phoenix does not have the same output as Weezer â but at least they put out a good album. The âWoo ha / singing Hallelujahâ couplet in âAlpha Zuluâ makes me cringe every time, sure â but the break into âWhy choose your body over time?â is terrific, tickling the same guilty pleasure.
I donât believe in guilty pleasures, though â a cowardâs idea. Youâll see plenty of albums on here that donât deserve to be on a Best Of, but thatâs not what this is. So if spacey vocals, slick basslines, and popping guitars arenât your thing, Iâd steer clear of this album â itâs loaded up with those.
Me? I love the old-school cheese. Thomas Mars knows this, loopily singing about indulgence on âSeason 2â before painting a picture of the hole left by nostalgia on âArtefact.â This whiplash makes Alpha Zulu reminiscent of The New Abnormal, albeit in a Bizarro world kind of way. But the falsettos land, the synths are synthing, and the perspective is clear.
Favorite Song: âIdenticalâ
Edit: Writing for the Harvard Crimson, Clara Nguyen calls the album a âsoaring rebirthâ for the band. Iâm furious with myself for not coming up with that one!
18. Ants From Up There - Black Country, New Road
Iâm leaving this body and Iâm never coming home again.
Itâs always exciting to see a group of young people get together to build a brilliant project. That happened in 2021, when I heard BC,NRâs debut, For the first time. The concise, noisy project was feverish and hectic, filled with horns, strings, guitars, and a voice thatâs gotta be the result of typical English chain smoking.
On their new album, the band sprawls out much further, turning maximalism from a style into a paradigm, giving us a birds eye view of their lives and music. The album is longer, bigger, and bolder, punching through the âIntroâ into âChaos Space Marine,â a ticking time bomb of the inhuman: metal hands, worms, and what must be a reference to either Halo or Doom.
The band paints with a broad brush, coating most of their songs in a stretched palette. âGood Will Huntingâ starts with a wiry transmission before its big drums hammer in. The saxophone on âHaldernâ is expansive, generously providing space for piano in between its deep breaths.
I donât like Ants as much as the bands debut, but itâs still a terrific follow-up from an inspiring, intriguing group. While singer Isaac Woodâs departure is a shame, itâs written all over this album, and Iâm optimistic about the bandâs ability to plan and work around his absence going forward.
Favorite Song: âThe Place Where He Inserted the Bladeâ
17. rainbow music - ghost orchard
Show you what I find.
I mean, this thing was just made for me. Itâs got the voice pitching and production quality of underscores with the looping guitar and languid vocals of Phil Elverumâs work. Glitchy trips of acoustic guitar and warbled piano spin across Postal Service drumbeats, and the attention paid to production is entrancing.
Thatâs all I really have to say about this one. Loved it.
Favorite Song: âbruiseâ
16. Bronco - Orville Peck
Something âbout a horse and a man and a Cadillac.
What can I say? Iâm a sucker for a cowboyâs dulcet tones. Orville Peckâs work has always examined masculinity through a hyperfocused lens, a Marlboro Man outlook on relationships and destiny. This lens, of course, comes through a deconstructed myriad of different country sounds.
Of course, thereâs the unavoidable steel guitar on âCâmon Baby, Cry,â the banjo picking on âHexie Mountainsâ and the trumpet on âIris Rose.â The hollow stadium sound of âTrample Out the Daysâ and the rowdy guitar of âBroncoâ and âAny Turnâ draw an image of a lonely man rubbing racetrack dust between his fingers one last time. To serve this emotional angle, Peck sprinkles in some beautiful ballads, such as the piano and string-driven âLet Me Drown,â a track whose orchestral backing lends to its cinematic tragedy.
As good as the instrumentals may be, Bronco is fundamentally driven by Peckâs out-of-this-world vocal performances. He maintains a seductive baritone throughout the album, entrancing the listener with a husky whisper on âThe Curse of the Blackened Eyeâ and âLafayette.â His greatest moments, however, are a rejection of this stoic cowboy drawl, which he juxtaposes with his fearlessly emotional bursts into his higher vocal registers. Those moments are all over the album â âKalahari Downâ features a terrific one, as does âThe Curse of the Blackened Eye.â
The imagery Peck conjures with his voice and instruments would be more than enough for any album, but it wonât quite do for his purposes. Instead, he doles out scenery through a commanding approach to writing, spinning stories of widows, racing, and a West thatâs far from won.
Favorite Song: âKalahari Downâ
15. Please Have a Seat - NNAMDĂ
Iâve gone back and forth on this album a lot. My biggest problem is that I donât have a lot of creative thoughts on it â NNAMDĂ is a divine producer, spinning drums out like wayward comets, and a clever wordsmith with a penchant for emotion and imagery.
The album is a testament to the interlocking pieces behind a piece of music â the genre, the lyrics, and the way songs interact with one another. To serve this, the albumâs last song âSome Daysâ ends with the same refrain as âReady to Run,â its first. This connective tissue is present throughout Please Have a Seat, fluidly binding songs together.
That doesnât mean songs are undetachable from one another, or that they canât be cyclical in their own right. âI Donât Really Wanna Be Famousâ and âDedicationâ both slowly build to catchy vocal riffs overlayed on top of themselves repeatedly, deepening the listenerâs connection with the words being sung.
Armed with a stunning olio of drums, NNAMDĂ steps from genre to genre with ease. Sunny guitars and earworms make up a majority of the landscape, but there are occasional changes. The digital âGroundedâ sounds like itâs being sung by GLADOS, only brought back to earth by one of the albumâs bookend skits, advertisements for a furniture company that allude to the albumâs title. âANXIOUS EATERâ moves between a slow-snapping flow to a psychedelic slap, adeptly imparting a rollercoasterâs whiplash.
Favorite Song: âBenchedâ
14. Crash - Charli XCX
Overloading when Iâm looking in the mirror.
A high octane, blisteringly sexy album, Crash has out of this world production, a perfect capsule of the virtues of the contemporary pop scene. Synths dominate the landscape, overwhelming only where itâs appropriate.
Charli XCX has always made hot girl music â 2020âs how iâm feeling now was a frustrated mantra of a woman trapped inside. Now that sheâs out, we canât stop her! But Crash feels more nonbinary than her previous work, perfect for beast modes and bad bitches alike. Itâs a series of winking stories, vacillating between flirtation and anguish with ease.
Thereâs something about her delivery. On âMove Me,â she is howling into an abyss, a destructive force unable to change her own nature. Drawn in by the strings of âBaby,â she is seductive and fun as her voice sits atop an âMmâ refrain thatâs on constant repeat. (Had to). And the bubbly âUsed To Know Meâ would be perfect for a K-pop girl group, with plenty of space for a variety of voices. Despite this, the artist is tragically alone for the albumâs duration.
Well, thatâs not technically true. Charli chooses her collaborators excellently, but doesnât have much company on Crash. While she knows her velocity, she has nobody to share in the joyride with her, always a point of difficulty for the brilliant artist.
Iâll speak more about one of her collaborators later â another artist who put out a cataclysmically fun record this year. Perhaps, caught in the maw of loneliness, a turn towards mainstream pop can be a reassuring one. It worked for me.
Favorite Track: âMove Meâ
13. The Man from Waco - Charley Crockett
Say what you will about country music, but if you donât go looking for the good stuff, youâll never find it. That seems to be Charley Crockettâs philosophy, at least: his new album is a string of stories about explorers, lost souls, and the rolling world of southern Texas.
His Americana stylings are in the sphere of similar folk stars, and his guitar playing is just immaculate. âThe Man from Wacoâ has an irresistibly familiar bass line, and the three songs about the Man from Waco soundtrack a classic, imaginary spaghetti western. Listening to âTime of the Cottonwood Trees,â Iâm impressed and disappointed that it came out so recently. Really, it has all the makings of an age-old classic, precise and emotional. The âaw, shucksâ aspect of the pickup truck and the humility of the songwriting are endearing and as sweet as honey.
Other country staples are in here: a vaudeville depression is cast over the album on âIâm Just a Clown,â which is a paradoxically jaunty and exciting song, particularly when Crockett sings âIâm so lonesome I should charge a fee.â Pagliacci would be jealous, Iâll say that much.
The album is punctuated with natural imagery, such as on âTrinity River,â a zesty joint thatâs begging you to hop out of your chair and dance along. âHorse Thief Mesaâ sees our formless protagonist heading into a canyon, with an unknown fate before him. If youâre a fan of Johnny Cash or Marty Robbins, youâll love Crockettâs latest.
Favorite Song: âIâm Just a Clownâ
12. The Family - Brockhampton
Donât ask me if the crew is still talking.
After a brilliant, genre shifting trilogy, a narcissist, together with his posse of collaborators, spends years clawing at the spotlight, bogged down in his persistent self-mythologizing. His social media is erratic, and his broken promises of new releases are viewed with increasing disdain.
Kevin Abstract hasnât done the Full Ye (at least, not yet), but I think itâs appropriate that The Family arrives at a decisive downturn for Westâs career, showing us that our influences never truly disappear, for better or for worse.
Brockhampton met on a West forum â the story is well-known by now and I doubt it bears repeating. Their sincerity, enthusiasm, and shared appreciation for a man who had centered his career around the relationship between art and artist were seen by many as an invitation into the boy bandâs Van Nuys residence. âParasocialâ is thrown around a lot, but Abstract directly addresses Brockhamptonâs relationship with their fans on âBasement,â where he notes that familiarity with songs and videos is not the foundation of a family.
No, the albumâs title is meant to cut out the listeners, the labels, and even the music from the scenery. The Family is about a very specific group of people, told through the eyes of a single member.
Itâs very telling that Abstract spends a majority of the album, which essentially functions as a solo project, focused on trials and tribulations within the group. Brockhampton has always been very transparent about its decisions, from signing with RCA to the expulsion of Ameer Vann. But Abstract reconsiders this transparency, affirming that his desire to turn trauma into content was a big part of the bandâs downfall. Perhaps the mythologizing is too much â better to focus on the music.
What music it is. The personnel on the album is a stripped-back subset of Brockhamptonâs members, but thereâs still a great variety of tracks. The drifting âAny Way You Want Meâ wrenches at the listener with its slow guitar and echoing vocals, a glass of whiskey at the side of the hearth. âAll Thatâ is a classic boy band staple, and the album has several songs that sound like jubilant finales, such as âGood Time,â on which Abstract declares âthe show is over,â and the trumpeting âThe Ending,â which still makes me tear up.
And, of course, the chipmunk soul of âTake It Backâ and the gritty gospel of âGold Teethâ are Ye all over â yet another reminder that Abstract may have a more difficult time separating himself from his musical past. As he says, âyou canât become unfamous.â
Favorite Song: âAny Way You Wantâ
11. Blue Skies - Dehd
Memories were good, now theyâre gone.
I struggle to define Blue Skies. Itâs definitely indie, but that doesnât really help at all. Its songs are so varied, and yet they still cleanly move between one another, and theyâre all terrific in their own ways.
Some of them are outright bops, like⌠oh, yeah, itâs just called âBop.â The group really called it with that one, building a song with a silly little chorus thatâs just teeming with fun. âEmpty in My Mindâ is similar, shouting at you over undulating rhythms and a staid guitar pattern.
The best songs are the emotional ones. The gimmick on âWaterfallâ â the exhalations before âwaterfallsâ â pulls you closer with every breath. The simple sincerity of âHoldâ bleeds love, a Magnetic Fields B-side with a prickly guitar.
Favorite Song: âBad Loveâ
10. Fair Exchange, No Robbery - Nicholas Craven, Boldy James
Real hustler, I can sell a vampire blood.
Effortlessly mellow. Suitably calm. Lyrically violent. The world of Nicholas Craven and Boldy James is a world in conflict with itself, one where intricately told stories of flipping pills are juxtaposed against masterfully flipped samples.
Cravenâs production on this is the setting. It is a rainy day, a snowstorm, a placid lake nearly frozen over. His choice of samples is a concentrated bundle of the 70s, distilled into a tall, cool beverage. The loop of âand I never would be missedâ on âTown & Countryâ makes the song a hazy room. âDesigner Drugsâ features an extremely clean brass, and even though I canât tell whatâs being said, I canât imagine âYou Ainât No Menaceâ having the same impact without its warbled vocal sample.
But if Cravenâs production is a still lake, James has a pocketful of rocks to skip. He demonstrates remarkable diversity without straying too far from the source, walking around the shore and tossing stones strategically. On âYou Ainât No Menace,â his delivery of âWork white as a golf ball, I could kick it or punt it, tip it or bunt pit, dump it off, hit it or touch itâ is the kind of flow I consistently run back to relisten to.
Their collaboration also results in some terrific storytelling. The western wake-up trumpet and tense loops of âMonterey Jackâ provide an appropriate backdrop to Jamesâ cowboy lawlessness. âStuck in Trafficâ traps listeners in its walls, with James rapping about inescapable situations over an unavoidable refrain.
Occasionally, the two switch roles. On â0 Tre Nine,â the chipmunk soul sample energetically allows James and guest Gue Wop to bounce off one another, kept afloat by the songâs persistent piano. And they really switch up the formula with âScrabble,â a beat that bobs up and down around Jamesâ even delivery.
Iâd recommend a glass of whiskey to accompany you through Fair Exchange, No Robbery. Itâs cool, goes down easy, and invites you to be at least a little buzzed â in an empty landscape, what else are you gonna do?
Favorite Song: âTown & Countryâ
9. CHAOS NOW* - Jean Dawson
---- y'all looking at?
This year, I was lucky to finally listen to Pixel Bath, Jean Dawsonâs spellbinding 2020 release. I was also lucky enough to see Dawson in concert, and the energy he brings to his projects is all real, baby. Heâs a lightning rod, and when I listened to CHAOS NOW*, I was shocked by the consistency he brings to his music.
His newest album, appropriately, is less focused than the text-based adventure of Pixel Bath. As soon as â*â punches into âTHREE HEADS*,â you know youâre in for a wave of banger after banger. But Dawson knows how to control an albumâs energy, and brings an acoustic guitar into the fold for the cathartic âGLORY*.â Only he could make me smile with tears in my eyes at lines about being so drunk he canât stand.
The conflict between thrashing and acoustic guitars all over this album are the perfect backdrop to Dawsonâs bipolar vocal performance, where he screams and croons with aplomb. He has the unwavering ability to keep me invested, and Iâm greedily surprised when, for example, he brings back the guitar lick from âClear Bonesâ to feature on âPORN ACTING*.â
I donât call this approach a bipolar one lightly: the haunting, glitched up âPOSITIVE ONE NEGATIVE ONE*â is about a metaphorical man in the attic, a description of Dawsonâs internal conflict as âhalf [his] body is hanging out the window.â The dual perspectives of upstairs and downstairs, positive and negative, strike me as Dawsonâs assessment of his mental health and songwriting process.
CHAOS NOW*, like Pixel Bath, is a work of beautified catharsis, a digital dose of adderall that keeps the listener engaged throughout with its addictive assortment, all the way up to âSICK OF IT*,â a final, brilliant bop before the introspective, explosive closure of âPIRATE RADIO*â
Favorite Song: âGLORY*â
8. World Wide Pop - Superorganism
Earth people need to get along.
Know this now: Superorganism is annoying. Theyâve been annoying since their 2018 debut, and four years later, theyâre even worse. Luckily, I love this fact about them: theyâre fun, fearless, and seem to be driven by a desire to unite humanity into an organic singularity.
This annoying nature comes from a few different avenues. First off, songs are a plunderphonic circus, samples and sounds whizzing by. Phones ring, bubbles pop, radios seep into tracks. âFlyingâ sounds like a spaceship tearing through hyperspace. Theyâve got acoustic guitar, synth, and probably a thousand different tracks on whatever DAW theyâre running.
Superorganism is also obsessed with the strength of a collective, equipped with a desire to bring the world together for some fun dance tunes â and a greater social necessity. This is best represented on songs like âPut Down Your Phoneâ and âDonât Let The Colony Collapse,â which speak to social isolation and a need for interconnectivity, two subjects I think are on everyoneâs minds these days.
Donât get me wrong â the album is incredible. The annoying part of it, I think, is a huge part of that. You canât be catchy without being a little grating, but Superorganism avoids repetitive hooks by injecting a coterie of sound effects into each song. I find it difficult choosing my favorite moment, but itâs either the sneezeplosion at the start of âEverything Falls Apartâ or Nardwaurâs âkeep on rocking in the free world,â a directive of which Superorganism have become champions.
Favorite Song: âOh Come Onâ
7. Surrender - Maggie Rogers
I got a friend â and sheâs got a friend, too.
From the very beginning of Surrender, I knew it was going to be something different. Until now, Rogers has never been quite able to enchant me. But as soon as âOverdriveâ comes into focus, a spell is cast and my ass is sat.
Sheâs playing with production in a way she hasnât before. Her voice is soaring like it never has. What is going on here? Is this what happens when you complete a masterâs thesis? You just suddenly get your ---- --> together?
Of course not, and Rogers would be the first to admit that. Surrender is fraught with the difficulty of âgetting it together.â Rogers is seen dealing with a depressed partner on the touching âAnywhere With You,â crashing into insecurity with question after question: âWould you tell me if I ever started holding you back? Would you talk me off the guardrail of my panic attack?â
The omnipresence of a fog that follows us around â the depression that is wherever we are â is a quality Rogers is keenly interested in. On âBegging for Rain,â she croons âI feel it all and I canât stop itâ as she desperate cries about navigating her turbulent emotions and their dismissal by those around her.
In her despondent confessions, she makes for a relatable heroine, a soothing voice to guide us through tough times. The simple guitar of âIâve Got a Friendâ provides a tear-inducing backdrop to Rogersâ assurances of friendship, love and understanding.
Every song on here has a moment of catharsis, so Iâll try to stick to my favorites. âWant Wantâ dials into a sleek choir before letting its guitars rip like Beyblades. The drums on âHoneyâ over the dripping vocals repeating the songâs title are sweet as youâd expect. Donât forget âShatterâ â I weep every time she sings that Bowie line.
These explosions of emotion pepper Surrender, and Rogers manages and navigates them skillfully, never giving into them completely but never dismissing them outright. Her balance is commendable â as are her pipes!
Favorite Song: âShatterâ
6. Mr. Morale and the Big Steppers - Kendrick Lamar
I care too much, wanna share too much.
Kendrick Lamar has always been a spokesman of the times, a town crier for collective anxieties, traumas and conflicts. Some of the songs on Mr. Morale say this directly in their titles: âUnited in Griefâ and âWe Cry Together,â songs about abuse, pandemic, and Both of these songs appear in the albumâs first half, which is direct in its presentation, laying out broad themes like rabbit traps. On the other hand, the albumâs second half has more reflection on Lamarâs own artistry and experience, springing into snares on paths established earlier on the record.
This two-handed approach serves to divide the art from the artist, something Kendrick has been better at than most of his contemporaries. But he plays with this division as well. He presents his own cousin both lyrically and vocally, both writing about Baby Keem and featuring him on the album. He explores the obstruction of masks, making observations that would be banal in another context but are amply supported by the albumâs themes.
As always, Lamar is presenting a very clean array of vocal performances â his voice strains, pops, growls, and sways. And his guests are fantastic â Taylour Paige, Sampha, and Kodak Black are just a few of the great performances on a record full of memorable moments. With his vocals and guestlist, Kendrick focuses on the association between music and artist, deepening his own actualization without the navel-gazing self-obsession so many artists in similar positions engage in.
Lamarâs ultimate examination of the line between himself and his work is the self-reflective âMirror,â on which he prefers to sustain himself and his own health over the music he creates. His apology in âI choose me, Iâm sorryâ is a gentle but firm confirmation to the audience. And yet, despite this, I donât think weâve seen the last of old Mr. Morale.
Favorite Song: âMirrorâ (or âThe Heart Part 5,â if youâll allow it)
5. Omnium Gatherum - King Gizzard & the Lizard Wizard
Oh, baby, I got persistence â I hold the pole position.
Thatâs not a lie: halfway through the year, when I took stock of the yearâs albums up to that point, this sat at number one on my list. Obviously, thatâs changed, but it did force me to grapple with an unpleasant fact.
King Gizzard and the Lizard Wizard are my Grateful Dead. I hate it as much as the next guy, but the Australian groupâs electrifying jams and ridiculous output have made it very easy to be a fan. The variety of that output is evident in their releases from this October â a three-album run of classic Gizz weirdness.
However, nothing is more Gizz Classic than Omnium Gatherum, a behemoth of an album that marks the groupâs return to studio sessions. Theyâre clearly happy to be back, as they rush through ideas in a precisely wound frenzy, incorporating a variety of delicacies along the way.
Theyâre addressing the same themes theyâve been covering throughout their career. On âGaia,â we get an omniscient understanding of the role Earth plays in the Gizz mythology, and on âEvilest Man,â we get a pretty direct repudiation of one of the bandâs most infamous countrymen. And I canât listen to âAmbergrisâ without connecting it to the ecological MacGuffin at the heart of Avatar 2 â but I wonât take up time talking about that.
Musically speaking, there are the psychedelic guitars, of course, best manifested on the thousand solos on the albumâs epic introductory track, âThe Dripping Tap,â which also includes the classic âWoo!â fans have become used to it. The band revisits Fishing for Fishies on the whimsical âThe Garden Goblin,â and gets back to the digital Butterfly 3000 on âEvilest Man.â In fact, Iâm sure you could draw a one-to-one connection between individual tracks on this omnibus and their past releases, though Iâm not sure Iâm the right person for the job.
Their variety has long been impressive, and they have all the reasons in the world to hop in the studio and run back the same old songs (in fact, I think this is sort of what happened throughout Gizztober). However, Gizz is not only running through the old classics â they hilariously introduce a Beastie Boys side to their music on tracks like âSadie Sorceressâ and âThe Grim Reaper,â two magical rap tracks. These new styles, demonstrating Gizzâs willingness and excitement to adapt, are the reason theyâre one of the most exciting acts to follow right now: thereâs a little something for everyone, but without sacrificing the bandâs uniqueness and ingenuity.
Favorite Song: âMagenta Mountainâ
4. Hold the Girl - Rina Sawayama
Iâm not the girl I tried to be yesterday.
While I enjoyed Sawayamaâs 2020 self-titled album, I found its rock-heavy aspects to drag the compositions down with the unnecessary weight of thrashing guitars crowding out her natural charm. Fortunately, her new album is anything but a drag â it is elation itself.
On âMinor Feelings,â the first track on her 2022 release, she declares âAll my life Iâve been out of place,â letting the guitar drop out and the bass vocals drop in. In this moment, the listener ascends into Hold the Girl, a triumphant record that harkens back to the pop music of a decade ago.
In a way, Sawayama is much like Gaga, whose influence can be heard all over Hold the Girl: in charge of her voice, her audience, her image and her craft. Even the thumping beat on âThis Hellâ is reminiscent of the persistence of âBorn this Wayâ â appropriate, considering the similarity of the songsâ subject matter. Her selection of tracks is also reminiscent of Germanottaâs flexibility with genre, and she messes with convention on both the flashy âFrankensteinâ and the somber âSend My Love to John.â (A quick aside: does anyone else insert the âstere-ere-ere-ereoâ from âPump It Upâ into âFrankensteinâ? Just me?)
Throughout the album, Sawayama dotes on the listener with these electrifying indulgences: the soda can on âThis Hell,â her vocal key changes on âHurricane.â On the eponymous track, she slides into the final chorus on a thudding drum, stacking her vocals higher and higher.
The song, like so many on the album, feels like a Jenga tower unfalling. Its musical pieces slot into place, revealing their initial position â a position that was always baked into the song but held from the listener, who was always going to be eager for more.
Favorite Song: âHurricanesâ
3. God Save the Animals - Alex G
My teacher is a child with a big smile â no bitterness.
Folks, heâs done it again. After 2019âs blisteringly good House of Sugar, I sort of wrote Alex G off. Neither Rocket nor Trick landed with me, and I assumed Sugar was a rare lightning strike.
Turns out lightningâs actually more likely to strike in places where itâs already hit. And for Alex G, the atmospheric conditions seem to be calling for more and more thunderstorms.
The music of God Save the Animals is anything but thunderous. Instead, it is contemplative and tranquil, reliant on the acutely presented guitars and lofi drums weâve come to expect from Alex G. The piano on âRunnerâ invites you to consider the feats of your heroes, but on âMission,â it turns the question around, asking what youâll do.
The album leans into quirked up vocal mixing, such as on the âyeahâ-laden âCross the Sea,â a message of devotion in a bottle, tossed from shore years ago. âMiraclesâ is similarly silver and sweet â the unconditional love behind âGod help me, I love you, I agreeâ is terrifying and beautiful.
There are also gritty tracks like âBlessing,â a walk through a valley of mud and the naively self-assuring âMission.â Honestly, Iâd like to go on, but just trying to write this review, I find myself desperate to relisten â again and again.
Favorite Song: âRunnerâ
2. Feather River Canyon Blues - Pigeon Pit
I got some chicken soup for your fascist soul!
It seems that there are some genres that will just suck you in and hold you down. For me, folk punk is easily one of those. With Pigeon Pitâs new album, I feel as though Iâve been transported right back to my high school days, loudly and nasally singing along to songs about socialism, heartbreak, and being a grimy little goblin.
I donât know if thereâs anything quite as folk punk that came out this year. On âSoup for My Family,â the band takes the humor and sharp social criticism of folk music and combines it with punkâs signature middle fingers. Both genres, however, speak to a working class whimsy, buoyed by steel guitar and exuberant fiddle.
The relatability of the album is a huge boon. The stories told throughout are simple acts of love and community, such as the âworld worth living inâ of âMilk Cratesâ and the âsilent promisesâ of âEmptiesâ. These stories are also delightfully short, allowing the album to come in at a cool 30 minutes.
The music is terrific, but I also want to draw special attention to the chorus of vocals present throughout the album. My personal favorite vocal moments are the final verses on âEmptiesâ and âMilk Crates,â where voices coalesce in a messy, inspiring harmony.
River Canyon Feather Blues is, naturally, sharply political. âTether,â a track that starts with a pretty direct metaphor about nationalismâs conflict with joy, also spends time describing the unnecessary things we tie ourselves to. The narrator here is a satisficer rather than a maximizer â as long as she gets a place to rest and food to eat, sheâll be happy. Itâs a bohemian but sweet song that marks the albumâs final act, closed out with the slow build of âSunbleachedâ and the epilogue of âFeather River Canyon Blues.â
The album is perfectly represented by its cover, which depicts the sun going down on a river and a road that seem to be happily directionless. A beautiful piece of acoustic work that Iâm pleased to have had at my side this year. Plus, I think it wins the award for âMost Uses of âTrestleâ,â at least this year.
Favorite Song: âTetherâ
1. Formentera - Metric
How were we to know the river ever would bend?
Who among us isnât freaked out right now? Reading through this list, youâve likely noticed that many of my favorite albums deal with societyâs maladies, a list of anxieties, fears, and problems that seems to never end. Many of us have spent time obsessing over these ails, and Metric addresses this obsession on Formenteraâs epic 10-minute opener, âDoomscroller.â
The term has grown in popularity in the past few years, and Emily Haines uses it to begin a descent into a dark, hopeless place. I cannot help but imagine myself as Orpheus, descending helplessly into Hades past legions of the wailing dead. The song pulses, a horde of synth and drum grabbing at your ankles as you sink into your seat. The wakeup call, the assurance of âWhatever you do, either way weâre gonna love you,â is a moment of clarity, but one Iâve cynically seen as a sort of We Need to Talk About Kevin assurance. It doesnât matter how dark or twisted things may get in the descent to come, as long as an ascent follows.
From there, everything immediately comes crashing down to the ground floor, where âstarting over wonât be easy.â There is desperation and determination from the bottom of the sea, synths and guitars molding into an unending chase sequence on âWhat Feels Like Eternity,â a song that I assume Sisyphus legally has to have on repeat.
After the albumâs initial three songs, Haines turns her writing up to an 11 with âFormentera.â The songâs cinematic opening fades into a relentless bass groove as Haines hurls metaphorical concoctions like Molotov cocktails, singing about the âheaviest fragile beastâ and âa rising star in chains.â Have I parsed what sheâs talking about? Of course not! But her delivery begs a simple kinship with her words, which move with determination into âEnemies of the Ocean.â
If Formenteraâs first songs are about identifying conflict, âEnemies of the Oceanâ is about identifying blame. She chastises onlookers surprised by the way things have turned out, and is clearly furious at the unkind truths of the world. However, after this song, Haines begins her ascent, apologizing for her harsh words and acknowledging her silence and inactivity from her ivory tower, which she refers to as a âgolden cageâ on âI Will Never Settle.â Swallowing her own pride, she speaks of âhumble pie on a paper plateâ and compares silence to starving as guitars quake at her power.
The album could end at this point, but âFalse Dichotomyâ gives us an early victory lap with its keys, and âOh Pleaseâ follows up with similarly tasty synthesized solos. But itâs âPaths in the Skyâ that fills me with the most hope, an acknowledgement of our relative insignificance in the universe and a plea to love one another. We might be flying blind, with no way to stop the time â but thatâs how we like it.
Favorite Song: âFormenteraâ
Before I go, I need to soapbox real quick. It may come as a surprise, but I do this all for free. Now, I know, I know â youâd like to throw money at me right now. Thereâs no need to do that, really! However, if you do feel so compelled, Iâd like to instead make a few suggestions:
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Iranâs response to the massive, women-led protest movement thatâs formed since the death of Mahsa Amini has been a disgraceful abuse of power. The Abdorrahman Boroumand Center has been doing a lot of work documenting the cases and trials of protesters in this movement. I am not a fan of American intervention in Middle Eastern politics, but itâs still possible to show solidarity and support by donating at https://www.iranrights.org/donate.
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The Sogorea Teâ Land Trust is an urban land trust led by indigineous women in the Bay Area. The theft of land which was never meant to be owned is a deep scar, one that will require intense systemic change to heal. In the meantime, the land trust asks that any non-indigenous Bay Area residents provide a land tax at https://sogoreate-landtrust.org/pay-the-shuumi-land-tax/.
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The economic education gap in Oakland has been a central subject in recent years, especially in light of the many school closures the city has been making. If you want to support local school districts, you can do so through the Oakland Public Education Fund, which invests in community resources for public schools. Iâd advise donating directly to an individual school â you can find a list at https://www.oaklandedfund.org/give/donate-to-a-school/. Why should Piedmont get all the cash?
And thatâs it! I appreciate anyone who made it this far, and I invite anyone whoâs interested to share your favorite albums of 2022 with me! What did I miss? Who did I snub? Let me know at @weakandrewwk on Twitter, or email me at crewbitt@gmail.com. Iâll post anything good below. Happy New Year!