Welcome back folks! Another year has passed and, subsequently, so has another venture into some of this year’s best albums. Once again, you’ll see there is a little bit of a leaning (according to Spotify, my most listened to genre was hip-hop) but as always there’s a little something on here for everyone.
Except pop… man, I really don’t listen to a lot of pop. Someone make a note to force me to listen to more pop next year.
A strange thing happened to me this year. I’m not sure if it was the stress of starting a new job, or if the past couple years of pandemic blues caught up with me, but upon reflecting on my list I have come to observe that there are a lot of albums that made a lasting impression on me because they were fun. Sure, there are plenty of serious cuts on here, but as you dig into these you’ll find a handful of ones that aren’t necessarily genre defining albums, but rather ones that I just couldn’t stop listening to. So if you’re in the same headspace as I find myself in you might just find a few gems to take away from the year.
Something else we’re going to try this year is breaking the albums up into chunks of ten. These are roughly organized in order of favorability, but that doesn’t mean that I wouldn’t recommend the ones in the bottom third! After listening to over 150 albums this year, if you made it into the top thirty, you’re in pretty good shape. I’ll be adding a write-up each week, so if you are confused as to why you keep seeing the start of the same post it’s because the albums are being added as they go! Without further ado, let’s jump into my favorite albums from 2022!
Honorable Mentions:
Here Comes the Devil Smidley (Indie Rock) – Emo/ indie rock with some sad boy vibes.
Hostile Architecture Ashenspire (Experimental Black Metal) – Black metal with saxophones, vivid spoken word, and epic in form.
King’s Disease III Nas (Hip-hop)- Nas proves why he’s still one of the greatest to do it with a slew of hip-hop bangers.
Pawns and Kings Alter Bridge (Hard Rock) – Alter Bridge’s heaviest and most energetic album in years. The fact that these guys haven’t completely taken metal/ rock radio stations hostage is a mystery.
Metanoia Persephone (Progressive Metal) – Symphonic death metal with quite a few sections that almost sound like they belong in a soundtrack.
30. HIS HAPPINESS SHALL COME FIRST EVEN THOUGH WE ARE SUFFERING Backxwash (Metal/Hip-hop)
If you’ve been following my write-ups for the past couple years, you may remember that one of my favorite releases was Backxwash’s I Lie Here Buried With My Rings and Dresses, a volatile hip-hop record that infused elements of trap and metal to create a piece of art that was disturbing, saddening, and absolutely electrifying. This year Ashanti Mutinta a.k.a. Backxwash is back with another slew of dark tracks, wrapping up her trilogy of albums that explored the painful emotions and memories associated with her childhood, this one in particular about growing up in a religious community that didn’t accept her identity. And while this one is still as heavy as her previous release, there’s a sense of empowerment in her songs this time. Instead of burying herself in drug abuse and self-harm, she seems to be facing her demons head-on, accepting and finding love for herself. The real surprise comes with the last track, where she abandons heavy metal riffs for a soul sample, providing the listener with a feeling of hope that maybe, just maybe, there’s a light at the end of life’s darkest moments.
For fans of… JPEGMAFIA
29. Vaxis II: Window of the Waking Mind Coheed and Cambria (Progressive Rock)
I’ll be honest, I’ve put this album on my list and taken it off at least a half a dozen times over the past couple days. My initial impression of it was that it was one of Coheed’s weaker releases. Coming off the coattails of Vaxis I, an album that very much felt like a return to form after the intimate but ultimately lackluster The Color Before the Sun, I couldn’t help feeling like this album was missing something. It was pop-y. The songs felt more obvious and less… conceptual. It very much sounds like an album that a father wrote for his son and then… shoehorned a concept into. But dammit, you just can’t separate me from this band for too long. And while this is the band’s most accessible release, and I still attest that the concept doesn’t feel like it’s quite there, I can’t help but be drawn to the energy of it. Songs like “Comatose” and “The Liar’s Club” gallop along with a punk rock vibrancy, while opener “Beautiful Losers” and “Shoulders” are massive enough to fill entire stadiums with their grandiose riffs. Maybe I’m becoming sentimental as I approach fatherhood, as the album thematically tackles what it means to be a parent, but there’s no denying that this a fun album from one of progressive rock’s most consistent acts.
For fans of… My Chemical Romance.
28. Pain Remains Lorna Shore (Deathcore)
It’s not often that I find myself delving into deathcore as a genre. Much like its tamer cousin, it’s hard for me to truly become invested in the music because of the sheer bombardment of intensity. But this album is absolutely wild. I can always appreciate the energy a band puts into an album when they’re hungry, and in search of something. This album has this hunger. It’s violent and will tear out your throat if you let it, but holy shit is it a thrilling experience. Mixing symphonic passages that sound like something straight out of a fantasy movie with blistering riffs and pulverizing breakdowns, this is a release that any metal fan is not going to want to miss. The icing on the cake is vocalist Will Ramos, who I’m not convinced is actually human. I wouldn’t recommend this album to the casual listener, but if you’re looking for an album to lift heavy objects to, this is going to get your blood boiling.
For fans of… fighting grizzly bears.
27. You Belong There Daniel Rossen (Folk)
Death is an ending and a time for new beginnings. It’s a time for reflection and grief, for remembrance and pained smiles. On “You Belong There”, Daniel Rossen (previously of Grizzly Bear fame), explores themes of new beginnings and loss over a collection of pleasant folksy riffs and jazzy drumming. It’s an album that feels like wandering through the woods at the end of autumn. The leaves have fallen, the sun is low, the colors are gray and muted, and yet even in the strangeness of this time between seasons there is beauty. There is life. Rossen’s album very much lives in the same space that so many 70’s folk acts like Bread and Simon and Garfunkel lived in. There is a whimsy amid the heaviness, a playfulness to Rossen’s soulful singing. That, combined with the growling of Rossen on the upright and the jazz drumming of Christopher Bear, seems to suggest that even though this is a period of transition, this is also a period of rebirth. After all, it’s only a passage.
For fans of… Jethro Tull.
26. NO THANK YOU Little Simz (Hip-hop)
If last year’s Sometimes I Might Be Introvert was a bombastic, theatrical album, this is it’s more grounded sister. While some might suggest that this album feels like a collection of b-sides, to me this feels more intimate, and in a way a little more personal. Simz still has an absolutely incredible flow and loves to infuse strings and brass into her beats, this album feels like it belongs more in the club than in a stadium. This, nor my comments on her previous album, are meant to suggest one is better than the other, as each album creates its own atmosphere incredibly well. Simz continues to demonstrate why she is one of the most exciting MCs to be listening to with a swagger to her flow that compliments the grandiose nature of her beats, and if you haven’t caught the previous release maybe this is the one for you. And if you enjoyed last year’s album, chances are you are going to enjoy this album just as much.
For fans of… Stormzy.
25. Component Systems with Auto Reverse Open Mike Eagle (Hip-hop)
I think one of the things kids nowadays are missing out on most are mixtapes. Yeah, so many of my students craft hundred song playlists on their preferred streaming services, but there’s something about only having a specific amount of time to force the creator to be intentional about the songs they choose. It’s a lost art form, something that even artists seem to be struggling with as they fight companies in the current streaming war, but for Open Mike Eagle it was a part of his childhood, pulling songs and rants off the radio to create mixtapes that he could listen to as he grew up in Chicago’s South Side.
2020 was a rough time for all of us, but for Open Mike Eagle it was exceptionally brutal, hitting him with a divorce, the loss of a television contract, and many friends. His album addressing this, Anime, Trauma, and Divorce was an absolutely gut-wrenching dig into his psyche, a raw account of the events from his perspective. In many ways it felt like an ending, but with Component Systems… Open Mike steps back into the ring, proving that despite the losses in previous years he still has his razor sharp wit, his unique flow, and an ear for strong beats. When all was lost he returned to the music that shaped his past, crafting songs that are a mix between the boom bap music of the 90’s and some of the more experimental beats he’s toyed with on recent releases. The result is an album that can feel a little disjointed given its “mixtape” concept, but it’s also a portrait of one of underground hip-hop’s greatest MCs.
For fans of… MF Doom.
24. Parrhesia Animals as Leaders (Progressive Metal)
There’s no denying that Tosin Abasi, Javier Reyes, and Matt Gartska are three of the most talented musicians of their respective instruments. Abasi and Reyes’ riffs are mind-bending compositions, so complex and textured that it’s hard to believe that they’re only being played by two musicians, and Gartska’s drumming is so mathematically complex that trying to figure out just what time-signature he’s playing in is likely to make someone want to bash their head against a wall if they think about it too much. This has been a blessing and a curse for the band. At their best (2014’s Joy of Motion) their music is lush soundscapes of heady, groovy metal. At their least appealing (2016’s The Madness of Many) their music comes across as combinations of exercises, lacking any melody or emotion. It’s dazzling to listen to, sure, but afterwards you’re left with no real lasting impressions.
I say this all to illustrate that I completely understand why some are turned off by this band, but also to assure you that this album is very much one of their stronger releases. Yes, there are songs that are completely crushing under the weight of their headiness (“Monomyth”) but even those are exciting listens, building in multi-textured complex rhythms until its frantic, and pummeling ending. Listening to songs like “Micro-Aggressions” and “Gordian Nought” are thrill rides from start to finish, rewarding the listener for their patience with new musical nuggets with each listen. And don’t even get me started on that wonky breakdown at the end of “Red Miso”. If you enjoy an album that makes you feel bad about your ability to play an instrument, you definitely need to give this a spin.
For fans of… Periphery.
23. Epigone Wilderun (Symphonic Metal)
Every year I feel like I go through the same pattern. January rolls around, I do my music write-up, and then I just feel burnt out for a bit. Music doesn’t stick with me and I find myself just sort of drifting from album to album. But every year, without fail, there’s an album that saves me, that captures my attention, excites me, and draws me back into my music listening journey with a renewed sense of passion. This year’s album is Wilderun’s Epigone. The follow up to 2019’s Veil of Imagination, the album’s title suggests something repetitive, a band continuing a sound to give the fans what they want. This also couldn’t be further from the truth. While all the elements of this and its predecessor are the same (the massive choral sections, the orchestra accenting the band’s riffs, the folksy guitars that crescendo to massive metal riffs) one of the things I appreciate that this album does is it bucks expectations (looking at you, “Distraction II”). There were a few moments where I thought I knew where a song was going only to have the rug drawn from under my feet, or the song to simply do what is least expected. With its folk guitar, Evan Berry’s bard-like singing, and the symphonic aspects, it’s hard not to listen to this album as if it’s a fantasy epic. I know I said this about Veil of Imagination, but this album very much feels like some sort of quest. By the end of it you feel like you’ve been on an adventure, slaying orcs, fighting alongside elves, and saving the world from an ancient evil. This is a journey you’re not going to want to miss.
For fans of… Yes.
22. Aethiopes Billy Woods (Spoken Word/ Hip-hop)
I don’t know how he does it, but holy shit Billy Woods is nothing but prolific. His flow is so densely packed with literary and historical references that I don’t feel embarrassed admitting that half the stuff he says goes over my head. I think that’s why 2019’s Hiding Places made such an impact on me. The beats were some of his most straightforward, which allowed me to gradually wade into the music instead of plummeting headfirst into an album with stranger beats and crammed with Wood’s rich flow. Aethiopes is, in many ways, the opposite of this, and yet I find myself drawn into the sinister stories he weaves through each track. The beats are stark and haunted. On songs like “Sauvage” Woods raps through jittering bones and banging piano chords, and the result is an album that very feels like finding Woods in the middle of the forest, sitting stoic in front of a fire, wreathed in smoke and shadows. Aethiopes is not an accessible album by any means, but like all of Woods’ releases it rewards the listener for their attention and dissection.
For fans of… Aesop Rock.
21. Closure / Continuation Porcupine Tree (Progressive Rock)
If you’ve been keeping up with me at all, you know that progressive rock is something near and dear to my heart. Brought to it through my father’s favorites from the 70’s, I continue to find appreciation in it, both the bands that look forward and experiment with what rock truly can be, and those that look backwards, paying homage to the sounds of some of history’s greatest bands like Pink Floyd and Yes. Steven Wilson has always had a love for the genre, first employing the sound in his music, then digging into remastering some of the best progressive albums. On Closure/ Continuation, Wilson reunites with Porcupine Tree drummer Gavin Harrison and keyboardist Richard Barbieri to craft an album that is very much what the title suggests, a moment to reflect on what the legendary band has been, and a window into what it might look like, should it continue.
I’m not going to lie, Wilson had me worried about the future of his musical output with the poorly constructed The Future Bites, but this album proves that he still has it. The songs on Closure/ Continuation are very much Wilson’s brand of progressive rock, but they’re done well and are filled with catchy choruses, groovy riffs, and an energy that we haven’t heard from him since 2017’s To The Bone. “Chimera’s Wreck” is a slow-burn whose riff could have been taken from Coheed and Cambria. “Harridan” is a bass-heavy galloping groove that is very much like something off Yes’ Fragile. This album is a fun listen from start to finish, and hopefully a sign to Wilson and company that there is still an audience for bands who can write smart, infectious songs.
For fans of…The Moody Blues.
20. Cheat Codes Danger Mouse/ Black Thought (Hip-hop)
Man, when you’re good at something you really don’t need to do anything groundbreaking with it, you just need to show up and do what you do best. Cheat Codes is the perfect example of this. Danger Mouse’s soulful beats compliment Black Thought’s poetry tastefully, adding color to the MC’s reflective storytelling. And, as in peak form as these two are, this album is made even more impressive by the list of features on it. “Saltwater” is a creeping head bobber featuring Conway the Machine, one of the sickest artists to blow up over the past couple years while “Belize” features a posthumous performance from the late, great MF Doom. The majority of this album is a collection of laidback hip-hop pieces, sounding like a room full of Hip-hop Heads passing the mic back and forth instead of a club of kids moshing and grinding. It’s a heady release, but one that I would highly recommend for both old and new connoisseurs of the genre.
For fans of… Biggie Smalls.
19. Where Myth Becomes Memory Rolo Tomassi (Hardcore)
Serving as the finale to a trilogy of albums, Where Myth Becomes Memory is a culmination of sounds, a worthy capstone that encompasses the seething hardcore of 2015’s Grievances and 2018’s emotive, post-rock/ black metal-tinged Time Will Die and Love Will Bury it. Rolo Tomassi is a band caught in a balancing act, crafting songs that swing back and forth between crushing hardcore riffs and Eva Korman’s floating vocal performance. Opening tracks “Almost Always” and “Cloaked” are a perfect example of this, lifting the listener up in a golden haze of warm fuzz and delicate piano notes, before sending them smashing down with the pummeling metalcore riffs. “Drip” has by far one of the best opening build-ups this year, getting the blood pumping with waves of guitar distortion over the steady but growing beat of a snare drum. Rolo Tomassi have always been good at taking their listener on a journey, and this album is a continued example of this, building intensity over the second half until releasing it with the meditative closer “The End of Eternity”. If you’re someone who enjoys the intensity of hardcore music, but also appreciates the use of atmosphere to cleanse the palette, this is the album for you.
For fans of… Glassjaw.
18. We Broke the Weather We Broke the Weather (Progressive Rock)
I always like to give bands props for just going for it on their debut album. To me, it means a helluva lot more to see a group take a risk, even if there are some misses (fixing them is what their sophomore album is for, right?). On their self-titled debut, We Broke the Weather do just that, crafting a slew of Coheed, Genesis, and other prog act influenced songs that are infused with a heavy dose of youthful energy. Whether they are channeling musical-esq energy (“Rot King”) or epic King Crimson vibes (“The Fog”) the album rarely loses steam or missteps. This is a band to definitely keep on your radar over the next couple of years.
For fans of… The Dear Hunter.
17. It’s Almost Dry Pusha T (Hip-hop)
There are some albums that are written for deeper reasons, artistic compositions to share social commentary, advance the genre, or serve as a figurative guide into the artist’s psyche. There are some albums about selling cocaine. This is the latter. If you’re looking for music to bump with the windows down on a summer night, It’s Almost Dry is the one for you. Pusha T flexes his way through 35 minutes of memorable beats, rapping about life in the streets, his various monetary successes, and slinging bricks. There’s something effortless about Pusha’s flow, a swagger with which he constructs his rhymes that commands attention from the listener. Songs like “Hear Me Clearly” slink through the shadows like a panther while Kanye produced “Dreamin’ of the Past” rocks back and forth in the sunlight, basking in the nostalgic yellow light of the past. Push is one of the coldest MCs out there, and this album is a hard reminder of that.
For fans of… Jay-Z.
16. The Fundamental Slimes and Humours Nekrogoblikon (Power Metal)
I’d initially started this write-up with a glowing review for this album: “Don’t listen to it.” I was convinced that this album was more for me than a recommendation for the average music listener. But as I sat down with it today and crafted my thoughts on it, I couldn’t help but find myself growing more and more fond of it until… screw it. You should definitely check out this album. It’s probably some of the most fun you’ll have listening to music this year. Moving away from their death metal roots into power metal territory, The Fundamental Slimes and Humours is probably the goofiest album on this list. Combining metalcore riffs, blistering double bass drumbeats, the shrieked vocal performance from Nichloas Calonne…er… a real goblin, tubas, accordions, massive pop choruses, and some incredibly dry tongue and cheek lyrics, this album has continually put a smile on my face as I’ve navigated one of the more difficult years in recent memory. Songs like “Going to Die” prance along with nihilistic glee, narrating the tale of John Goblikon as he dances between trying to live a better life before realizing that he is, one day, in fact going to die, and that no amount of happiness will change that fact. The ending, in particular, is absolutely hilarious as John commits to leading a better life (albeit in a very tongue and cheek way) and decides to lead the crowd in a chant of “hey” until the song deteriorates into the ramblings of a madman. The entire album, much like that particular song, revels in a maniacal insanity, an embodiment of the idea that I’m going to force myself to laugh and smile until it fucking kills me.
Over the course of the year, there have been a handful of songs that have made a lasting impact on me, and even though it’s not the deepest songs with the most poignant lyrics or musically challenging performances, the closer “There is No Such Thing As a Key” is a song that has stuck with me over the past six months. It seems strange to end a review for an album that doesn’t take itself too seriously by being too serious, but this in itself is also a key to understanding this album. On a more personal note, I think I, like many people, have been searching for a key, something to instantly solve our problems or fix things. And while The Fundamental Slimes and Humours has its moments, the final song really sums up the theme of the album. Sometimes we take life too seriously. Sometimes we forget that the answers to our problems are to cut ourselves a damn break. There isn’t such a thing as a key. So, give yourself the grace to have a little fun with the time you have.
For fans of… Andrew W.K.
15. Incident on 3rd The Physics House Band (Math Rock/ Jazz Fusion)
Before anyone says it, yes, I am aware that this album came out in 2021. That being said, it dropped in December of last year, so a) I missed it in my single minded focus to put together last year’s list b) I wouldn’t have had enough time to truly appreciate it and c) if you think for a second I’m going to pass up an opportunity to talk about one of the most exciting rock/ jazz bands of the past decade you’re out of your damn mind. Coming off the heels of their high energy (and IMO one of the best live albums of all time) release of their live album Metropolis and reeling from powerhouse bassist Adam Hutchison leaving the band, The Physics House Band have crafted an album that feels true to their sound, while progressing into a style that leans more heavily on jazz and atmosphere instead of the rock and metal of their past releases. Don’t get me wrong, songs like “Incident on 3rd” still absolutely rock and erupt into an explosive energy only PHB are capable of, but there are also plenty of songs that create space and atmosphere. “Melting Through Midtown” ruminates on melancholy keys while Miles Spilsbury’s saxophone flutters in and out of focus. Once again, these gentlemen have crafted an album full of music that pulsates with energy and excitement. Each song is a multi-layered treat of smart compositions and incredible playing. There’s a great chance you’ll continue to see these guys on my lists, and I’m so excited to hear what they concoct next.
For fans of… Chic Corea.
14. Mr. Morale and the Big Steppers Kendrick Lamar (Hip-hop)
If you were to ask any music connoisseur what their top five anticipated albums of this year were, chances are pretty good Kendrick’s new album would make it on that list. With a stacked discography that explores the psyche of a people, a culture, and a genre it’s understandable. So, when Kendrick announced the release of a double album, hyped by a single that wasn’t on the album, you can imagine the waves that rippled through the hip-hop community and larger music world. The big question was: how would Kendrick address the global pandemic, the current political climate, and the subsequent shift in consciousness affecting the youth of the nation?
The answer: an album about therapy. Mr. Morale and the Big Steppers is Kendrick at his most vulnerable, exploring the pressures of being placed on a pedestal by his fans, the way his own trauma has impacted his life choices and the way that those choices have affect those around him. And much like therapy, this album is sometimes a mess. The narrative is not linear like Good Kid m.a.a.d. City nor does it have a strong underlying theme like To Pimp a Butterfly. Still, there’s something bold about Kendrick airing out his skeletons on wax, something important about an album that is as much a confession and acceptance as it is a means to explore his psyche.
If you’re looking for bangers, I’m not sure you’re going to find them here. With the exception of “N95”, the album is a lot more experimental and laidback, exploring R&B samples and jazz over 808s. And for all its inaccessibility, there are still plenty of standout moments. “We Cry Together” is a production more than a song that, with the incredible acting of Taylour Paige, explores a toxic relationship. “Mother I Sober” is a confessional of Kendrick’s various traumas (the beating of his mother, the treatment of his gay cousin, his own infidelity) and his reflections of those incidents. It’s a powerful album, and one that for certain has staying power in the conversation of hip-hop for years to come.
For fans of… James Baldwin
13. In Stasis Monuments (Metalcore)
Monuments have been on my radar since their absolutely brilliant 2014 release Amanuensis, one of my favorite metal releases of the 2010s (and possibly ever). On the surface there’s a lot they do that mirrors the efforts of other metalcore bands from the djent era: their music is an amalgamation of harsh vocals and rhythmically complex grooves and soaring pop-esq choruses. And while on paper there really isn’t much that sets them apart from their contemporaries, the boys just do it so much better. This was largely, in my opinion, due to the truly gifted ear that (ex)vocalist Chris Baretto had for a catchy hook and a powerful vocal line. So when he and guitarist Olly Steele announced their departure from the band, I’ll admit that I had my doubts that their big shoes could be filled.
But holy hell, a slew of one-off singles, a pandemic, and an absolutely violent first single later and call me a believer. I think there’s something to be said about a band having a fire lit under their asses, a hunger to accompany their love of writing music, that can transform a collection of songs into something crackling with electricity. In Stasis is one of those albums. Accompanying the massive grooves of John Browne and company is young gun Andy Cizek, a vocalist whose rise to fame doing vocal covers on YouTube quickly led to him being scooped up and he does not disappoint. His range is immaculate, coupling soaring highs with guttural screams, and it transforms music that is already devastatingly heavy into a true force of nature. First cover “Lavos” is a perfect example of this (and a song that easily earned its spot on my top ten songs this year). An already brutal metalcore song is made even more epic with the accompanying strings from composer Mick Gordon (of Doom soundtrack fame). Monuments are only going to continue their upward trajectory from here, and I can’t wait to hear what this latest iteration of the band is capable of.
For fans of…All That Remains.
12. Chaos Now Jean Dawson (Pop Punk/Hip-Hop/Alternative)
This is a minor rant, but a lot of the old pop punk bands putting out records now are missing the “punk”. Blink-182’s latest single is such a sugary sweet pop song that I feel like I have to floss after it, and don’t even get me started on Green Day’s most recent output. I suppose there’s always been a bit of a disconnect between the idea of something being “punk” and something being “pop”, but perhaps what I really feel is missing is not necessarily that the catchy aspect of the music, but the attitude of it. It’s hard to be a punk when you’re 50 and selling out stadiums I suppose.
All this is to say that, of all the pop punk artists I’ve heard recently, Jean Dawson is one of the most authentic young bucks to step into the ring, a true embodiment of doing whatever the hell what you want, genre be damned. Through his various music videos and promotional videos this kid has a vision, the result of which has crafted one of the most inspired and engaging young artists rising up this decade.
Of all the albums on this list, this is definitely the youngest. Sure, there’s a lot of young talent on this list, but this is the biggest album on this list that felt like something my students would listen to, and in a very exciting way the future of music. Incorporating a slew of genres, from pop punk to hip-hop and even folk, this album is an exciting glimpse into what music could be if people just got the hell over a label. Opener “THREE HEADS*” is a stomping punk/ hip-hop romp that shifts immediately into the indie rock heavy “GLORY*”. “POSITIVE ONE NEGATIVE ONE*” starts off like a pop punk song you might have heard on channel 93.3 in the late 00s before shifting into a 90’s inspired house beat. If this sounds like a mess, sometimes it can be, but for me that’s part of the excitement. And while not everything that Dawson throws at the wall sticks, the majority of it does and it’s an exciting mess to observe.
For fans of… 90’s alternative.
11. XI: Bleed Here Now And You Will Know Us By the Trail of Dead (Indie Rock)
Long albums are always a mixed bag for me (as I’m sure they are for many people). At their best they can be an actual journey, a musical exploration that by the end of it, leaves the listener feeling exhausted but elated. At their worst they can be a slog, a collection of filler songs that serve as auditory fluff to exaggerate the few moments of strong writing. Coming in at an hour and fourteen minutes, XI: Bleed Here Now is very much the former, an album that weaves motifs and lyrical themes beautifully over its hour and fourteen minute run time. Establishing its “Calm As the Valley” musical motif among others in the first few songs, the album tackles themes of aging and failure in a way that feels intimate and personal but epic. The first half of the album very much feels filled with youthful energy and ideas, painting the world in a light of what it could be, whereas the second half is more of a reflection on what it looks like after the years have whittled away at your will and inspiration. The centerpiece of this album “Contra Mundum” is a perfect example of this, reflecting on who the narrator was before, who they are now, and how this person is one and the same, and yet entirely different.
This is one of those albums where repeat listens are essential to appreciating its subtler nuances. But, is it very possible to appreciate it upon first listen? Absolutely. On a personal note, it’s really hard for me to give an album that second chance if I don’t see some merit in it. In many ways this album, at least philosophically, lives in the same space as many progressive rock albums from the past. It takes you on a journey and then returns you to where you began, changed, renewed, impassioned. Opener “Our Epic Attempts” and closer “Calm as a Valley” are mirrors of each other, the same song seen in a different light, the first more somber the second more epic with strings, a choir, and a brass chorale. This is an album for the album lover, and well worth the time the listener invests in it.
For fans of… Modest Mouse.
10. Phototroph Moon Tooth (Metal)
It was understandable that, especially in 2020 and 2021, we saw many artists releasing some of their angriest, grimmest, and darkest music. Art, as we all know, is a reflection of the world we live in, and that reflection during those tumultuous years looked pretty bleak. And while we still saw a little bit of carryover from those years in the music of 2022, Moon Tooth decided to compose a different album, one reverberating with positivity and hope, choosing to look forward instead of back. One only needs to listen to the lyrics to catch this optimism, as narrated in opener “I Revere” where vocalist John Carbone croons “Tomorrow’s woe is a grave/ But I ain’t in it yet/ So I won’t go, I won’t bend/ I ain’t givin’ in”. The lyrics are definitely a highlight on this one, each song a battle cry for the listener to rise and make the day better than the gloom from the night before. And while the riffs are still groovy and heavy, at times like a more modern Lynyrd Skynyrd, but unlike 2019’s Crux, they often resolve in a major key.
A phototroph is an organism that gains energy from the sun or the light, and the band’s message on this album is not subtle. This is an album for those still feeling the looming shadow of our political and social climate, an album that offers you its hand and guides you towards the light at the end of the tunnel. As Carbone sings on “Phototroph”, one of my favorites songs from the year and a composition that lifted my spirits when I needed it, “Oh, then it came to me/ That the shadows I’d seen/ Only meant to reveal/ That the light was right behind me/ The whole time.” Damn, this album is beautiful.
For fans of… Volbeat.
9. Cult Classic Dog Fashion Disco (Avant Garde Metal)
Ignore the album art for a second. Yeah, I know, it’s my fault for making it the first thing you encounter when working through this list, but try to put it out of your mind for a moment because beyond the heathenish imagery and the cartoon medium, there’s a message. It’s not entirely what you think.
I’ve had my eye on this band for a while, digging the one off single here and there but not really sinking my teeth into a whole album until this year’s release. To an extent I got what I expected: this is an album that lives in a very similar space to Mr. Bungle. It’s goofy one moment and punishingly heavy the next. It skanks about with ghoulish glee, playing out like a demented circus before descending into a metal breakdown. What surprises me (and maybe it shouldn’t) is how much I absolutely love this. Sure, I thought it would serve up a couple laughs every once in a while, but I didn’t anticipate how much I would return to it.
At its core, Cult Classic is a scathing review of our current world, our dependence on vices (“Spider Fang”) and organized religion (“If I Only Had a Brain”). It lambasts our inability to think for ourselves. Over a slew of songs that bounce back and forth between genres, it’s an album that manages to deliver its message without coming across as too serious. It lives in the same space as Nekrogoblikon’s but the tongue isn’t in the cheek. It’s been bitten off and spat out on the floor.
In a world where politicians are worshipped and featured in household effigies, celebrities are followed with fevered obsession, and Instagram influencers shift the tides of consumers with the snap of a picture, it’s not too far off to believe we’re living in a cult of personality. Dog Fashion Disco are just here to remind you of it, and help you dance along in spite of yourself.
For fans of… Mr. Bungle
8. DEATHFAME Quelle Chris (Experimental Hip-hop)
It was around twenty minutes into his set when Quelle Chris stopped the beats and let out a heavy sigh. His concert up until that point had been a mix of comedy and hip-hop, both of which Quelle excelled at. But as he was standing on stage there was something about his demeanor that changed. The self-assured bravado he’d carried himself with all performance deflated a little, and he bore his soul. He talked about how this year had been one of the hardest of his life, how he hadn’t wanted to do this anymore, but it was crowds and moments like this that made the struggles of being an incredible artist that hasn’t gained the recognition of the mainstream worth it. And he asked us to do something. He had us envision our “spirit animal”, and when he said “Go” he wanted us to make the noise of that animal at the top of our lungs.
And everyone did it. The Ogden Theater filled with the sounds of animals crying out and letting go of whatever it was that was weighing down. I think it was what we all needed.
This, in a nutshell, is what DEATHFAME is about, the concept that the recognition artists crave only comes in the months after their deaths, when fans and critics band together to mourn the loss of a great talent instead of praising them and giving them the recognition they deserve when they’re alive. The album is a mix of Quelle’s best songs, a statement to prove how damn good he is (“DEATHFAME”), and a slew of lo-fi, downbeat songs contemplating his place in the hip-hop hall of fame (“The Sky Is Blue Because the Sunset is Red”). There are moments of self-help (“Alive Ain’t Always Living”), moments of creeping dread (“How Could They Love Something Like Me?”), and even moments of levity (“PS1 (Pontiac Sunfire 1)”), but over all this album is a portrait of a struggling artist, a man who knows he’s great but will never gain the accolades he desires until it’s too late.
For fans of… Earl Sweatshirt
7. God’s Country Chat Pile (Sludge/Hardcore)
I feel really bad for this band. On their debut album, Chat Pile have managed to create an unreal amount of hype, producing an album that is terrifying, poignant, slightly funny, slightly teeth gritting. It’s the kind of album that you expect a band to put together once in their career, the kind that they make before disbanding and disappearing altogether. It’s almost legendary in status, and there’s a good reason why. Over a slew of Korn-esq, sludgy riffs, vocalist Raygun Busch drunkenly slurs and shrieks his way through commentary that ranges from critique of religion (“Wicked Puppet Dance”) to the treatment of the homeless population (“Why?”). He’s a one-of-a-kind vocalist, his performance akin to the poetry of a madman pacing around his blackened room. It’s his delivery that transforms songs that should be goofy into truly horrifying experiences. “Grimace_smoking_weed.jpg”, one of the best songs to come out this year, is a fantastic example of this, a presumably autobiographical tale of extensive drug use that leads to him hallucinating about a demented version of the McDonalds mascot Grimace and, subsequently, trying to kill himself. This album is absolutely insane and shocking, but simultaneously memorable. Listening to it, I find myself completely mesmerized by the band’s commitment to the aesthetic. There’s really not much I need to say about this album except if you’re looking for music that will shock, surprise, and even make you uneasy, you need to put this on your short list. It may not be the prettiest album, even the most mature, but man is it something you won’t soon forget.
For fans of…Dillinger Escape Plan.
6. A Light for Attracting Attention The Smile (Alternative Rock)
As many of you have probably noticed, the unintended musical theme of 2022 was “Kevin Listens to Radiohead’s Discography” and while I was subjected to three of their albums through my exploration of RYM’s “Highest Rated Albums of All Time”, it was through The Smile’s debut album that I actually encountered Thom Yorke and Jonny Greenwood’s music for the first time. Sure, I’d heard one off singles here and there, but as I’ve come to learn over the course of the year, the music of Radiohead’s members is anything but something you can pigeonhole.
Joined by Sons of Kemet drummer Tom Skinner, A Light for Attracting Attention is very much a Radiohead album that wasn’t. Combining ambient electronics (“The Same”), groovy afrobeat rhythms (“The Opposite”), and even a touch of post-punk (“You Will Never Work in Television Again”), this album is everything you’d expect from Yorke and company. Songs are consistently composed and produced, allowing for all the subtle textures to blend and swirl, creating an auditory kaleidoscope of sound and color. As to be expected, there are songs that are haunting (shout out to Peaky Blinders for using “Pana-Vision” in the final scene of their show), and songs that will make you want to groove and bob (“A Hairdryer”). In many ways this album incorporates some of the best parts of both Greenwood and Yorke’s band, and Skinner’s. There’s a little something for everyone here, and a solid reason why it’s climbed so high on my end of the year list.
And so we come to the part of this review that I’ve been dreading for all the right reasons. Because it would be impossible for me to talk about 2022 and its music without touching on the song that made the largest impact on me and the song that, if you listen to nothing else, you need to check out. The best song (and music video) of 2022 is The Smile’s “Free in the Knowledge”.
It’s funny how music (much like any artform I suppose) can take on unintended meanings. A song about coming together and unifying as a people against the struggles of the world found me alone one night in April. Standing in my backyard, I stared out into the darkness, lost in memories and tears, seeing the ghost of my family dog as she bounded around my yard. In many ways this song, for me, represents loss and the inevitability of said loss, a call to live and love what you have while you can. It’s a song that breaks your heart only to lift you up, something I’ve found myself needing as I navigate the curveballs the past year has thrown my way. It’s a song that forces you to reflect on yourself and, subsequently, ask better of yourself. And that alone is a reason to give this album a listen.
For fans of…R.E.M.
5. Tiktaalik Charlie Griffiths (Progressive Metal)
I don’t know why I have this prejudice, but I’ve always been reluctant to check out the material of a solo artist when they break away from their band. It’s really stupid, because one would think that if I enjoy the music they make as a part of a collective, then I should enjoy their solo material. Oftentimes, however, I find that the thing that makes a band great is the balances and checks that go into making their songs, their ability to assimilate each other’s strengths into their music while reigning in some of their more self-indulgent tendencies. Even worse, the release might just sounds like a weaker release from the artist. So, when I heard that the guitarist of one of my favorite bands of the past ten years (Haken) was releasing a collection of his own music, I was curious but also hesitant. Would it just be a watered-down Haken release?
The answer is, excitedly, no. Tiktaalik is, to be sure, more straightforward than a Haken album, but what it loses in some of the zany quality that makes the band’s music so memorable, it makes up for by exploring metal as a genre. This is definitely not an album that Griffiths’ band would have wanted to make. “Crawl, Walk, Run” is a thrash/ death metal ripper. “Luminous Beings” is a progressive metal slow burn that builds to a Gentle Giant inspired breakdown (OK, Haken probably would have made a song like that). “In Alluvium” is a power metal inspired piece that sounds like it could easily fit on the next Symphony X album. There’s a little something for every metal fan on this one, and a strong reason why it’s my favorite progressive metal album of the year.
The thing that I appreciate about it most is Griffiths compositional intelligence. Songs transition from one to the next without pause. Motifs and lyrics repeat across songs. All of this creates a sense of cohesiveness. This is something that can be listened to song by song but is truly appreciated when sat down with. Unlike some solo projects, this is not a collection of B-sides that the band rejected. This is one piece that the artists decisively created on their own and man, I really appreciate that he did.
For fans of… Dream Theater.
4. SO. MUCH. too. much. Destrage (Metalcore)
There’s something to be said about the art of crafting an album title. Sure, you could just choose a song from the tracklist and have that stand as the title, but I have a lot of respect for a band that recognizes an overall theme or tone and is able to capture that accurately as a statement to represent the whole album. I’m sure many of you see where I’m going with this, but with Destrage’s latest album you’re getting exactly what the title suggests. This album is so much. It’s too much.
I always find myself frustrated with metalcore as a genre. In many ways it feels stagnant, one of those genres where apologists will tell you a product is strong because it’s just a good example of the genre. Any artist that dares to venture too far away from the breakdown laden formula is labeled as “progressive” and as a result it grows stagnant and bland. But along come Destrage, injecting life and energy into a genre that desperately needs it. And how do they do that you might ask? By clipping cables to its nipples and turning the dial to eleven.
Destrage have never really been a band that’s played by the rules, but I will say that their most recent outputs (2019’s The Chosen One and 2016’s A Means to No End) felt safe, like a band settling. Gone were the EDM dance breaks, the tempo shifts, the goofy subject matter. With a lot of respect to the boys, it felt like they weren’t having fun anymore, and that sucks. But jump forward three years and something’s shifted because holy hell, these guys are back at it to create a ruckus. Openers “A Commercial Break that Lasts Forever” and “Everything Sucks and I Think I’m a Part of It” are rippers that sound like Meshuggah after a snort of cocaine. “Italian Boi” and “Private Party” stumble drunkenly through bouncing, nu-metal/ carnival riffs. There’s even a cover of Stone Temple Pilots’ “Vasoline” that takes the original and lights a bottle rocket under its ass. If this sounds like fun, that’s because it is.
All of this is to say that, yes, this album is a lot, a metal album that has few moments of reprieve but is ultimately unrelenting. To someone not used to the noise, this album will probably be too much. But to someone ready to have a good time, well it might just encourage you to dive into their back catalog. It might not be enough.
WARNING: This music video includes lots of strobing images. Please watch at your own risk.
For fans of… Enter Shikari.
3. Few Good Things Saba (Hip-hop)
I think it says a lot that this is my favorite hip-hop album of the year, given that hip-hop (according to Spotify Wrapped) was the genre I listened to most. There were so many phenomenal albums that didn’t even make my list, and yet this was the album that resonated with me the most. Maybe it’s because I discovered it during the season when it was most accentuated. I often found myself listening to this when I was sitting on my porch, a beer in hand, my dog prancing around the yard, the sun setting over the rooftops. It’s not a collection of bangers (although there are some such as “Survivor’s Guilty”) but rather a collection of reflective bops as Chicago native Saba reflects on where he came from and the memories that have made him.
I think this album caught me by surprise because of how thoughtful it is. A year into my 30s, staring down the barrel of a new career environment, and contemplating fatherhood, this album found me in the quiet moments as I contemplated my role in this world: my role as a son, as a father, as a friend. And this album tackles all those as if Saba is viewing a collection of old family videos in the golden haze of the setting sun. There’s some laughter, there’s a few tears, but ultimately there’s a sense of longing, of nostalgia.
Saba doesn’t rely on trends to sell an album that can be enjoyed by old heads, teens (the first suggestion I’ve ever given a class that my students actually came back to me and told me they enjoyed), and the casual listener. The beats are clean and creative, Saba’s flow is relaxed and conversational, the features are fantastic, and the message in this album is relevant whether you live in your head like I do or not. Whether you’re on the cusp of some new great adventure, or enjoying the comforts of life, this is an album that welcomes meditation on the few good things we have.
For fans of… J. Cole.
2. Fear of the Dawn Jack White (Rock)
This is not an album that says anything deep. It doesn’t do anything you haven’t heard before. It doesn’t dazzle with a stunning vocal performance or with long-winded solos. It just unapologetically, unrepentantly, kicks your ass. It shotguns a beer at your private wedding, flips off the party, revs its snowmobile in the gravel parking lot, and does a backflip through the gazebo. It starts a fight with your great aunt Bertha over what would win in a fight between a gorilla and a grizzly bear. It takes shots of sour apple schnapps with your nephew Derek until he passes out. Then it dances with his limp body ala Weekend at Bernie’s. It’s the guy who wins a dance off against you during your first dance with your wife, and the crowd loves it. It doesn’t give a shit. And neither should you.
In the number two spot of my list is a record I would dub Ski Album of the Year. This is a nitrous-fueled romp from start to finish, an album made by an artist who doesn’t really care to do anything other than make blues rock riffs that get your headbanging and your foot stomping. Jack White has nothing left to prove at this point in his career, having fronted some of the most successful rock groups of our time, and the only thing left is to make the music that he wants to make. Most of the instruments are performed and produced by him, and the album is put out through his record label Third Man Records, so there was nothing to stop him from making the most asinine rock record he could. Sure, there are plenty of straight forward rockers (Opener “Taking Me Back” was my most listened to song this year) but there are plenty of surprises throughout. “Hi-De-Ho” features Q-Tip of A Tribe Called Quest fame as he raps over a swampy rock beat (it also features scatting from White and samples of Cab Calloway). “Eosophobia” features a Santana like riff/solo over a creeping, Latin inspired beat. “That Was Then, This is Now” bounces between rock and funk before blasting off in the second half with a crushing riff that sounds like the grungy cousin of “Seven Nation Army”.
It was clear to me from the first listen that this was an album that was going to stick with me. It kicked the hinges off my eardrums and commanded my attention with its bravado and take-no-prisoners attitude. Sure, there are albums that came out this year that have more to say, but none of them say it with the same swagger than this one has saying nothing. And to me, that’s worth a helluva lot of something.
For fans of… The Black Keys.
- Hellfire Black Midi (Progressive Rock)
I knew it. I knew these young men had it in them, it was just a matter of time. 2019’s Schlagenheim was a fun but scattered release, and 2021’s Cavalcade had quite a few great moments of experimentation, but some songwriting that didn’t quite develop songs to their full potential. But here we are in 2022 and, finally, Black Midi have crafted an album that feels chaotic and yet cohesive, on the edge of losing control and yet composed. This is the potential I’ve been waiting for them to reach.
Whether you’ve only listened to this band or you’ve watched their live performances, you know this is a group creating art that emanates a life and energy. They’re an act that thrives when they’re teetering between improvisation and composition, and this album leans into this strength, a collection of songs that is bursting with an energy only a band live tracking can really capture. Accompanying Greep’s Talking Head’s-esq rambling vocals, drummer Morgan Simpson’s fill-heavy drumming, and Cameron Picton’s funkadelic bass are a slew of horns and the addition of keyboardist Seth Evans and saxophonist Kaidi Akinnibi, and the layers are a welcome addition to the madness ensuing across this ten-track album. The result is an album short enough not to out stay its welcome but packed full enough to keep you wanting to return for more.
Hellfire is truly deserving of its number one spot on my list, an album that I would recommend to anyone who enjoys music, an album that revels in its own zany energy but has the compositional maturity to recognize when to pull back, and when to breathe. It’s an album that finally sees a young act not only breaking into the music scene but breaking into a sense of themselves. Whether you’re a fan of post punk, 70’s rock, psychedelic music, jazz, even metal, this album is going to sit well with you. And if you aren’t but you just enjoy listening to music that is hungry, volatile, and chomping at the bit, this album is also for you. Don’t trust me? Look up a live performance of this band. This is the one album you don’t want to miss.
For fans of… Frank Zappa.
The Word and The Song 