While still plugging along on rounding up the 23 best albums of 2023, I’m beginning a new review this year. Last year was the 50th anniversary of hip hop! The legend goes that on August 11, 1973 DJ Kool Herc was DJing a party for his sister at a rented community room in an apartment block in the Bronx. He tried out a new style he’d been working on, where he would use multiple turntables to extend and mix the drum breaks of songs, with he and his fellow DJ Coke La Rock talking over the beats.
In honor of this anniversary, the idea bloomed in my mind that I should review the top 50 albums of that 50 years. As I crunched together a list from various sources, 50 proved to be too restrictive- many of the classics were getting squeezed out. So, to make a little more room, I opted for 100 albums, two for each of hip hop’s 50 years.
For its formative years, hip hop was a live entertainment form, with the first recorded songs not emerging until 1979, and the first albums in 1980. So my review will cover 1980-2023, with 50 posts of two albums each. The only ground rule I made for myself (besides looking for 2×50, aka 100, albums that were widely well-regarded) was that I had to have at least one from each year. As you’ll see by and by, some years get multiple albums, but since we have 100 spots for 43 years, it tends to all work out.
And with that, let’s embark!
The Sugarhill Gang, Sugarhill Gang (1980)– I’ll open by noting that this album didn’t make many “best” lists. But I’ve included it here for the simple reason that when it came out in February 1980 it was the first hip hop album ever. Sort of. The “sort of” being that while the Sugarhill Gang released one of the first commercial rap recordings with “Rapper’s Delight” in 1979 (and scored the first top 40 song for the genre), this album is only half hip-hop. Sugar Hill records founder and hip hop recording pioneer Sylvia Robinson wasn’t sure the market would support an entirely rap album, so three of the tracks are competent, albeit not historically significant, soul/disco outings. Still, this was hip-hop’s first foray, and the three tracks that are on the album- “Rapper’s Delight” with it’s classic “Good Times” sample from Chic (it even starts with the first recorded use of the name that the genre would bear: “Hip-hop, hippie to the hippie, to the hip-hip-hop and you don’t stop”), “Rapper’s Reprise” (which, mysteriously, is the first track despite the title), and the dynamic “Sugarhill Groove”- are delightful. While the group was assembled by Robinson for the express purpose of recording hip hop and founding her record label, there’s no denying the founding importance of Wonder Mike, Big Bank Hank, and Master Gee.
Kurtis Blow, Kurtis Blow (1980)- This album did make many lists. And is also not purely a hip hop album! There’s the yearning and simple soul song “All I Want in the World (Is to Find That Girl)”, and a somewhat out of place but rocking and fun cover of Bachman-Turner Overdrive’s “Taking Care of Business”. But the balance is shifted from Sugarhill Gang‘s 3:3 to 5:2, so hip hop is winning! This also represents the first major label recording for the genre, as it was released by Mercury Records. It wasn’t really a huge stretch for them, as they had a large soul, funk, and disco roster, but still worth noting. Kurtis Blow himself hailed from Harlem, and was only 20 when his breakout single “The Breaks” was released in 1980. That’s worth keeping in mind, because even at that young age he was influential- listening to the five hip hop tracks here, I was struck by just how sampled and lyric-checked they were by the Def Jam crew later in the 80s.
I know what you’re thinking- we’re almost done with December and you’re only finishing your review of September. Aren’t you hosed? Well, you do have a point, but boldly onward we go on our quest to find the 23 best albums of 2023!
For those just joining, what happened so far: To familiarize myself with newer music after a new music drought of a decade or so, in 2021 I listened to the critics choices for the best albums of the 2010s, and picked my favorites based on their choices. I did the same for 2020, picking my top 20 from the critics lists. And I started listening to new releases each month, eventually arriving at my picks for the 21 best albums of 2021. One good year deserves another, so I decided to do it again in 2022, listening to all the new releases and discovering the 22 best albums of 2022. And now I’m doing it again for 2023!
There are links to the 2020, 2021, and 2022 albums in the posts above, but if you’d like an all-in playlist for each year, I have that set up on Spotify:
Each month is divided into “yes” and “maybe” categories as follows:
Yes– This represents the albums that, upon first listen, could definitely be in the running for best of the year. That’s no guarantee for these intrepid albums- as of this review there are 109 “yeses”, and only 23 spots. Heads will roll!
Maybe– These albums have a lot to recommend them, but also some factor that gives me pause. I put them in their own category, because “maybes” sometimes linger and eventually become “yeses”. As of this post, there are 118 “maybe” albums, so more heads will roll!
Got it? Good. Now let’s get on with my top picks from 112 September new releases!
Alan Palomo, World of Hassle– Originally from Mexico, composer, producer, and songwriter Alan Palomo has apparently been making beautiful and catchy genre-bending music since the late 00s but has remained off my radar until now. The loss is mine! This lush, catchy, and smart amalgam of electro and 80s soul had me smiling and bopping my head along the whole time!
Corinne Bailey Rae, Black Rainbows– At times smokey R&B, at times on the experimental side of EDM, at times more like noise rock. At all times well done, and stronger for the mix. I have questions about the pacing, but the content is superb. As has been true since her debut, this English singer-songwriter remains the real deal!
Earl Sweatshirt /The Alchemist, Voir Dire– I so consistently enjoy the Alchemist’s work, and Earl Sweatshirt has also put out some of my more favorite hip-hop of the last few years. And indeed, what results here is nuanced, complex, and layered. I am sold on it!
Ed Sheeran, Autumn Variations– Ed Sheeran as a phenomenon is so international megastar pretty boy that I wanted to dislike this. But this album just so knows how to work pop tune chords that I can’t resist its charms!
Eli Escobar, The Beach Album– Nice classic hip hop and electronic sounds (think electro, house, early techno) and a smart varied mix. This album knows (as one track says) that it is “taking us back.” And leans into it full force, to excellent effect! Escobar is an Upper West Side kid who began playing records, throwing parties, and making beats as a late-’80s/early-’90s teen, his love for a familiarity with the evolving NY dance scene shows up here in the best kind of way.
Lydia Loveless, Nothing’s Going to Stand in My Way Again– A little bit country, a little bit indie rock, torchy, and plenty sassy! This Ohio native singer-songwriter musical influences put her right in the middle of a good space, and she inhabits the sound in a welcome way.
MJ Nebreda, Arepa Mixtape– MJ Nebreda is a Venezuelan-born, Miami-based artist, producer, and DJ. Her latest project, Arepa Mixtape, draws inspiration from reggaeton, dembow, and raptor house—an electronic genre hailing from Caracas. I may not be able to understand much lyrically, but the mix makes me feel bouncy and intrigued.
No-No Boy, Electric Empire– You may find other indie rock albums with peerless chamber pop melodic instincts. You may find other musical efforts that mix in aspects of Asian musical traditions with integrity and without appeal to novelty or fetishization. You may find other nuanced and thoughtful explorations of identity and history. But I would propose that you will rarely find all those things together and done at such a high level. No-No Boy is the project of Asian-American singer, songwriter, and scholar Julian Saporiti, and this is his third album. It was a slow burn, but it really got me.
Olivia Rodrigo, GUTS– I like Olivia Rodrigo for her knack for combining chart-worthy dance/pop hooks and rocking breaks, with lyrics that are somehow simultaneously bubblegum and yet acidly sharp and searing. There are a host of young female artists in this space now, but even among them she is a standout, and her plaintive and sometimes almost unearthly purity of voice adds another whole level to it. This is a worthy follow-up to her debut level, and an inspiring down payment on more to come.
Sarah Mary Chadwick, Messages to God– Her searing album Me and Ennui Are Friends, Baby was on my top 21 list for 2021. This outing has many of the same strengths of that album- spare musical arrangements, emotionally complex and literate lyrics, and a raw vulnerability that is equal parts bitterness and desperation. And she goes even further here- witness the amazing turn “Angry and Violent” does from unapologetic ugliness to self-doubt and a plea to stay, or the upbeat arrangements of certain songs (“Drinkin’ on a Tuesday” and “Shitty Town” for example) even as they paint a vivid picture of life’s ills. It feels funny to love this, in the sense of the kind of bleakness on display. But insisting on honestly making art to illuminate from within the pain transforms it.
Sextile, Push– Dance instincts, a stuttering electronic beat, and a punk heart. All Music Guide tells me this LA band is “Alternative/Indie Rock, Indie Electronic, New Wave/Post-Punk Revival”. Whatever they are, I like it!
Sparklehorse, Bird Machine– When the family of Sparklehorse’s Mark Linkous discovered his uncompleted fifth album in the archive of recordings he left behind after his death in 2010, they took some time to decide what to do with it. They decided to bring a producer to finish it, and the results bear out that decision- the perfect harmonies, bursts of noisy low fi rock and slower fuzzed-out patches, 60s pop instincts, and mix of effects recall the best of what Sparklehorse did. it is a fitting final testament to Linkous, and reminder of all that was lost through his suicide.
Stephen Marley, Old Soul– I remember when Ziggy Marley first came out and I thought he was okay, but maybe not a totally suitable vessel for all the Marleymania nostalgia he inspired. Then I heard Damian and thought he was the real deal. Stephen is on a whole other level though! The musical approaches here are varied, and the quality peerless. The album does certainly invoke the family legacy, but it feels honest and deep in its approach.
Subsonic Eye, All Around You– This is the fourth Singaporean band I’ve run into in these lists in the last few years, and I love them all! It feels very jangly 90s, with a propulsive melodic energy. There is apparently a scene there I need to check out!
Tha Retail Simps, Live on Cool Street– It starts like blistering punk with lo fi crackle that would sound in fine company in 1978 and ends not unlike psychedelic flavored garage rock a la 1969. In between, this Montreal band delivers good banging fun with every track.
Tirzah, trip9love…???– I like the stripped down EDM beats and lush layered synths behind the warm rich vocals and emotionally intelligent lyrics. This feels like a folk singer or even a torch singer who’s somehow ended up in an electronic production universe. This English singer-songwriter has in fact been plying iterations of electronic music for several albums now, and each feel like a fresh exploration.
Tyler Childers, Rustin in the Rain– You could be forgiven for thinking that you had fallen into some kind of country music historical review here, with hints of the outlaws, the Burrito Brothers, and the 70s and 80s Nashville Sound. But you’ll get hints along the way of a modern sensibility animating things- references to e-mail, tips of the hat to electronic music, a country ballad cast as an ode to a same sex partnership. Six albums in, this 32-year-old singer songwriter remains a vital sign that a country that embraces both the old and the new is possible.
Various Artists, A Song for Leon: A Tribute to Leon Russell– I do love a good various artists covers album, but it’s hard for one of these to totally succeed as an album. Among other things, there are the potential traps of too exactly reproducing the original, and wildly varying quality to overcome. All that said, this works! Leon Russell’s influence looms large over 70s music, combining soul, funk, country and rock influences. That very breadth comes in handy here- it powers great covers by obvious fellow travelers like Margo Price, Nathaniel Rateliff, and Orville Peck. But it also supports surprising interpretations, like the Bootsy Collins/U.S. Girls collaboration, and a cover by the Pixies. Darned if this isn’t both a classic and contemporary listen!
Maybe
Helena Hauff, Fabric Presents Helena Hauff– Hauff is a Hamburg-based DJ and producer of stripped-down analog techno and electro. And dammit I love it! I’m a little leery due to the over an hour length, but this is the kind of dynamic interesting electronica that really gets me on board.
Jeff Rosenstock, Hellmode– It starts off with an anthemic punky power-pop query about whether love will outlast finding out the singer has fucked up. From there, sometimes it goes emo-earnest, sometimes punky overdrive, (and often snarky). It reminds me of a space somewhere between early Green Day, your 00s emo de jour, and Harvey Danger. Sometimes it’s a little too toward the emo side, but is so high energy and emotionally literate lyrically that I don’t mind it. I am told that he, “is an American musician, multi-instrumentalist, singer and songwriter from Long Island, New York. He is known for his former bands Bomb the Music Industry! and The Arrogant Sons of Bitches, as well as for his work as a solo artist and as a composer for Craig of the Creek. He is the founder of Quote Unquote Records, the first donation-based record label.” Well all right!
Kristin Hersh, Clear Pond Road– Not her sharpest album ever, but man can that woman write and raggedly sing a song that sinks its emotional hooks in!
Maxo, Debbie’s Son– This LA hip-hop artist has created a hazy echoy lurching soundscape that shows how much space is still left in hip-hop outside of its tropes and sonic straightjackets. It feels a little unfocused, which is what lands it on my “maybe” list, but the sounds and emotional and lyrical depth they back are well worth revisiting.
Octo Octa, Dreams of a Dancefloor EP– It’s an EP, but a practically album length one (albeit with only three songs), and from a New Hampshire DJ. So I had to check it out on behalf of my almost-home team! It is a little light for full album status, but as fine a set of electronic music as one might wish to find.
Pretenders, Relentless– The album opens with a bruising start almost at home in grunge. At other times it feels like an old blueswoman holding court. Or punk returning. Or 80s hard rock radio. But Chrissie Hynde’s voice is unmistakable, and her chords still chime like bells. It ends on an oddly muted note, but this darkly textured album commanded my attention.
Prewn, Through the Window– This seems constantly on the edge of being too narrow-band in sound, but also hits so many notes I like- anguished vocals, minor chords, feedback, distortion, and reverb. It can be difficult to penetrate to the dark heart of what is going on here, but the fact that there is a song about literally killing and frying every fish in the sea gives you some indication. I’m not entirely sure what Izzy Hagerup of Massachusetts is up to, but I dig it!
Saoirse, Fabric Presents Saoirse– I don’t know why Fabric insists on making their showcases for luminaries of club electronic music over an hour long. Presumably they don’t want us to feel shortchanged? So I’m not quite sure it works at this length, but I love the short sharp punch effects-laden mixes from this Irish-born DJ.
The Handsome Family, Hollow– Folk, Americana, sometimes something more indie, sometimes sounding straight-up primeval spooky. It felt a little lulled out at times, but also achingly authentic. This New Mexico by way of Chicago married duo knows their craft!
And there we are for September! Will I finish October-December in the next five days? No, no I will not. But I will continue post-haste!
No surrender on the journey to finding the 23 best albums of 2023- We may be lagging a little, but July & August are here!
My quest to get familiar with newer music started in 2021, when I listened to the critics choices for the best albums of the 2010s, and picked my favorites based on their choices. I did the same for 2020, picking my top 20 from the critics lists. And I started off listening to new releases each month, eventually arriving at my picks for the 21 best albums of 2021. That whole process was so amazing that I decided to do it again in 2022, listening to all the new releases and discovering the 22 best albums of 2022.
There are links to the 2020, 2021, and 2022 albums in the above-linked posts, but if you’d like an all-in playlist for each year, I have set that up on Spotify:
In those posts, you’ll see I’ve divided things into “yes” and “maybe” categories as follows:
Yes– This represents the albums that, upon first listen, could definitely be in running for best of the year. Keep in mind that, as of this post, we have 91 “yeses”, so at least 75% of those will die on the way to the top 23. And that’s before we even get to…
Maybe– These albums have a lot to recommend them, but also something that gives me pause. I put them in their own category, because I’ve found “maybes” sometimes linger and eventually become “yeses”. As of this post, there are 109 “maybe” albums.
Now that we’ve got that established, let’s get on with my top picks from the 167 July and August new releases!
Be Your Own Pet, Mommy– Powered by the true force of nature Jemina Pearl, Be Your Own Pet released one of my favorite albums of the 00s, Get Awkward, and then promptly imploded. The ensuing years saw her grow up, start a family, and emerge even stronger and more in charge, and their old garage rock swagger plus her enhanced substance are a great combination here. Not to mention which, the album opens with a BDSM song. What’s not to like?
Cautious Clay, Karpeh– This multi-instrumentalist known for self-released bedroom pop and writing and producing for other artists branches out to the Blue Note label for a (fittingly) jazz-flavored soul sound. The music has a kind of spontaneous low-fi feedback-laden feel at times, and some interesting electronic and effects flourishes along the way. This kind of thing can be borderline for me, but the exuberance and dynamism, and an unguarded openness in the vocals and lyrics are quite winning.
Colter Wall, Little Songs– This is such a lyrically, vocally, and musically full-bodied and genuine invocation of the heyday of 70s Outlaw Country (with occasional dashes back all the way to Hank Williams) that I can barely process that it’s coming from a 28-year-old Canadian. Well done 28-year-old Canadian, and somebody let Pop Country Radio know!
Dhanji, RUAB– I love the old school soul G-funk sounding samples, the sometimes-dizzying kaleidoscope mix, and the challenging experimental sounds of this 25-year-old rapper from Ahmedabad, India. Much of it isn’t in English, and much of the time I don’t care! US hip hop could learn a thing or two about shaking things up a little from this youthful debut album.
Diners, Domino– Arizona native Blue Broderick delivers 24 minutes and ten songs worth of straight-ahead sunny rock with classic 60s chords and low fi nerdiness on this album. I am extremely pleased.
DJ K,PANICO NO SUBMUNDO– Okay, it’s almost entirely in Spanish. But darned if the hypnotic repetition, deep bass beats, and weird glitchy layers of electronic sound doesn’t weave a spell. I am told that DJ K is a Sao Paulo producer, and he works in baile funk, an electro/funk/bass subgenre that emerged in Brazil in the 80s. I am also told that he “pushes the edges of baile funk to horrorcore extremes with a style he dubs “bruxaria,” or witchcraft.” I’m telling you that I love it!
Florry, The Holey Bible– Country rock from this Philadelphia band with a 90s alt country feeling to it, but more than a dose of 70s sunshine, and playful wit in vocals, lyrics, and arrangement. All this is delivered without sacrificing the feeling of authenticity, and genuine emotion comes through on the tracks that need it.
Grace Potter, Mother Road– My Vermont home team girl Grace Potter is in peak form here- rocking, rootsy, musically tough, lyrically feisty. This is a nearly perfect fusion between formula, form, and function. And it even pretty much pulls off a conceptual through-line!
Greta Van Fleet, Starcatcher– I mean, Great Van Fleet is a forgery, right? But their forgery of Zeppelin, Rush, and other 70s hard rock luminaries on this album is so true to the original and exquisitely delivered, I can’t help but love it as a work of art in its own right. Rock on, lads!
Guided by Voices, Welshpool Frillies– Nice crunching guitar in a solidly classic vein redolent of the 60s, but sometimes sounding more 90s, and doing detours into prog rock and Bowie territory. I am not entirely sure what they’re going for here, but I love it anyway!
Half Japanese, Jump Into Love– Snarky and joyfully experimental, this reminds me of how College Rock bands of the 80s played around and had fun with their music, vocals, and lyrics. The album fits into the space between early Camper Van Beethoven and the Dead Milkmen at their weirdest, with some Wall of Voodoo thrown in. This is not accidental, as Half Japanese front-person Jad Fair has been kicking around the fringes of indie production since the late 70s. There is never an uninteresting moment here.
Homeboy Sandman, Rich– Smart, positive, and often funny left of center lyrics, a pleasant conversational flow, and a varied and clever musical mix. This Queens rapper has been around for fifteen years, and it shows in how comfortable and confident he is doing his thing here. And shows how much hip hop that relaxes a little and gets into the details of small everyday life real still has to say.
jaydes, ghetto cupid– Glitchy, fragmented, and densely layered, with elements of hip-hop, EDM, guitar samples and experimental music. The collage is made even more hallucinatory by the 17 songs flashing by in 33 minutes. Besides stylistic unity, the whole thing is held together thematically and by repeated samples and loop motifs as well. Wit, ambition, and skill mark this Florida teen as someone to keep your eye on!
Lukas Nelson & Promise of the Real, Sticks and Stones– Willie Nelson’s son here with some good old-fashioned country (a la outlaw) and rock (a la southern rock and 70s singer songwriter). It’s not the newest sound in the world, in fact anti that, but it is a great delivery of said sound that never rings false.
Noname, Sundial– Smart metaphysical poetic hip hop, positive but with plenty of raunch and bite, with disarmingly approachable vocals and a compelling swirl in the musical mix including jazz, gospel choruses, Brill Building pop, and classic 80s beats.
Open Mike Eagle, Another Triumph of Ghetto Engineering– This Chicago MC really delivers on the album title! Great attitude and presence, a smart and interesting low fi mix, hooky and poetic with both positivity and darkness.
Osees, Intercepted Message– The venerable San Francisco indie rock band takes us on a great excursion into the more rocking side of new wave. Though the synths are cranked up too, and we get some great 808 beats in there! Deliberately lost in time, but so flawlessly done.
Palehound, Eye on the Bat– Thrashy guitar with just enough poppy melody, on point vocal phrasing during both slow/quiet and loud/fast interludes, lyrics that paint real life stories but load them with emotional meaning. Band frontperson El Kempner severely undersells when they say “it’s kind of like journal-rock, just all of my biggest fears splurted onto some vinyl, no different from writing a diary, really” but that does give you a kind of idea. This is their fourth album, and I look forward to hearing more!
PJ Harvey, I Inside the Old Year Dying– The album expands on Orlam, her epic poem about the coming of age of Ira-Abel, a young Dorset girl whose companions include the bleeding, ghostly soldier Wyman-Elvis and Orlam itself, a lamb’s eyeball that serves as the village oracle. As overdone as this sounds, the concept lends a depth that you can constantly feel but doesn’t stand in the way of getting to the songs. Which yes, are dissonant and challenging, but also strangely accessible.
PWNT, Play What’s Not There– Pop so sweet I almost get a toothache, and textures so shimmery it’s like cotton candy. There is more than a little psychedelic sheen, and I think I also detect an omnichord in there somewhere… AMG says: “L.A. musician Kosta Galanopoulos named his solo project, PWNT, after the Miles Davis credo “Play what’s not there,” the title he bestows to his sophomore album.” I say, amen!
Shamir, Homo Anxietatem– An unusual vocalist with a surging voice, music that’s equal parts new-wave, electronic dance, folk, and hard rocking (with a bonus blues song thrown in), and a powerful point of view. This Las Vegas native is a bundle of talent who has been beaming out great indie pop since 2012, and he’s showing no signs of slowing down.
Snooper, Super Snooper– Punk in a vein that reminds me of early Jam and American hardcore, but also includes playful distortion, drum machines, and sound effects reminiscent of new wave, hip hop, and electronic music. The album rips through 14 songs in 23 minutes without every losing vitality and fun. I am now more than halfway in love with this Nashville band!
Various Artists, Tell Everybody! 21st Century Juke Joint Blues from Easy Eye Sound– Since founding the Easy Eye Sound label in 2017, Dan Auerbach has produced and issued dozens of recordings. And indeed, we get Auerbach on one track, the Black keys get another, but it’s mostly filled with the label’s artists. Held together by a cohesive spirit between the musicians, this is as fine a batch of non-formulaic but utterly classic contemporary blues as you are going to find.
Voivod, Morgoth Tales– Between the band name, the album name, and an opening track named “Condemned to the Gallows”, you might be expecting something in the metal vein. And you would be right! It reminds me, favorably, of the heyday of thrash metal in the 80s, with a hint of grunge in there, and a little of the extra punch of doom metal but, glory glory hallelujah, none of the technical frigidness or orchestral flights of fancy that makes so much contemporary metal lose its vitality, and with vocals that, while properly shouty, are actually somewhat legible! Heavy and yet dynamic, dark but with wit. This Quebec thrash band that started in the 80s celebrated their 40th anniversary by recording whole new versions of deep cuts from throughout their history. This album has more than a thing or two to teach the kids these days, and it makes this sometime-metalhead very happy.
Who is She?, Goddess Energy– Sweet melodies, bright chords, driving music right on the centerline between pop and punk, and energetic charmingly artless vocals. All of this, and odes to Movie Pass, Marianne Williamson, and telling off Anne Hathaway’s haters. How can I not be smitten? This “supergroup” of members of local Seattle bands Tacocat, Lisa Prank, and Chastity Belt makes some real magic together.
Maybe
Alice Cooper, Road– I don’t think Alice Cooper ever puts on a bad show, and that includes here. Is it a little formulaic? Sure. Is his formula rollicking metal and shock rock? Yes! There is even a kind of unifying theme/metaphor of being on the road. There’s a (well done) “Magic Bus” cover as the last track that doesn’t quite fit with the rest, but otherwise good clean (but play dirty) fun.
Being Dead, When Horses Would Run– It has that shimmery 60s sound with 90s quirky verve, lyrics about buffaloes, horses, days off, and God, and a classic psychedelic sound effect catalog. This, of course, adds up to this Texas-based band’s album being compulsively charming and likable. Some concerns about back half pacing are the only thing keeping me from an enthusiastic “yes.”
Bethany Cosentino, Natural Disaster– Clear as a bell vocals, wordy lyrics that wax both personal and social, and a ringing guitar wielded by someone familiar with rock, folk, and country who knows how to work its chords. This reminds me more than a little of the 90s. Cosentino is from the lo-fi duo Best Coast, and makes a great authentic-feeling sound, even if it doesn’t necessarily stand out as original.
Bush Tetras, They Live In My Head– Excellent moody minor chords rock, somewhere between post-punk and 90s, and vocals with a haunted, plaintive edge. It turns out this New York band has been kicking around since the late 70s and was one of the early No Wave bands, which tells you why they sound like everything between. Everything in between actually derives from them!
Diego Raposo, Yo No Era Así Pero de Ahora en Adelante, Sí– Okay, it was all in Spanish, there was one song near the end that lost me by being too lulled out, but in general I was very taken with the complex and lively mix this Dominican multi-instrumentalist and producer has going on here. Per Pitchfork “Melding jungle breakbeats, fuzzed-out electric guitar, and frantic bass with melancholy downtempo production”. Per me, yay!
draag me, Lord of the Shithouse– The title has attitude! Musically, this outing from Spirit of the Beehive members Zack Schwartz and Corey Wichlin is making some beautiful noise, delivering a diverse (and often pleasingly unhinged and fragmented) electronic sound. It is sometimes a challenging listen and I’m not totally convinced that it hangs together enough to work as an album at its length, but the soundscapes are compelling.
Edsel Axle, Variable Happiness– Rosali Middleman, usually a singer-songwriter, here goes for an electric-guitar instrumental album. And, if you get me minor chord-heavy, reverb-laden instrumental electric guitar, I am going to like it. Does it entirely hold together as an album? Not sure, but I do like it!
Gaadge, Somewhere Down Below– Good bell-ringing lo-fi guitar rock with fuzzy crunch and distortion from this Pittsburgh band. Is it terribly original? No. But so well done!
Grian Chatten, Chaos for the Fly– This debut studio album by Irish musician Grian Chatten (best known as the lead singer for Fontaines D.C.) has the raw edge of his work with them, but also a delicate orchestration arrangement. This lightens the emotional heaviness and brings new depth and subtlety, and a hint of sweetness, to his sound. I’m not sure it comes together, but it is affecting, and I never wanted to leave.
Hiss Golden Messenger, Jump For Joy– Sunny indie rock with some 70s country rock and southern rock feeling. I kept going back and forth between thinking it sounded too samey track-to-track, and thinking it sounded beautifully classic. And since I did that to the end, that is the very definition of a “maybe”!
Horrendous, Ontological Mysterium– Good old fashioned blistering metal that still remembers melody, has just the right technical shininess (and more than a hint of British new wave metal), and actually has somewhat approachable vocals! Is it the most original thing ever? No. But thank goodness someone is keeping metal hope alive!
ICYTWAT, Final Boss– I love the low-fi sound of this hip-hop album with its distortion, loops, and reverb. It all sounds a little sinister and buried in feedback, and the lyrics that make it through reinforce this feeling of menace. The album takes more than occasional dips into a more conventional contemporary autotuned mumble-rap, but when it’s not doing this the sonic mix made my ears happy.
Jon Batiste, World Music Radio– The beats! The grooves! The energy and positivity! The production that sweeps in hip-hop, rich and varied strains of soul and R&B, EDM, world rhythms! It feels simultaneously old school and fresh. All Music Guide says “Grammy-winning New Orleans pianist and singer known for his eclectic crossover music that juxtaposes jazz, soul, pop, gospel, and NOLA R&B”. I say, he’s amazing, and the only thing I’m unsure of here is the sprawl and if it holds together at the full hour+ run rate.
Lifeguard, Crowd Can Talk/Dressed In Trenches– 2023’s Crowd Can Talk/Dressed in Trenches is the first release from Chicago trio Lifeguard that has gotten much traction outside their hometown, though you might not guess that to hear it. This collection of two EPs — one previously released, one not is full of fuzzy goodness! It has just the right mixture between harshness and some kind of melody. The second EP is harsher and noisier than the first, but both have their charms.
PVRIS, Evergreen– Sometimes this sounds more like indie rock (in an arch intellectual version of that), more often like a dance super-mix (in a good way!), and always experimental and intelligent. I don’t know if it quite holds together, but frontperson Lynn Gunn’s presence, and the daring smarts of the whole thing kept me listening.
Rauw Alejandro, Playa Saturno– I can’t help it, I have a soft spot in my heart for reggaeton. Actually, it may be a sweaty, pulsing spot. Either way, even with nearly nary a word of English from this Puerto Rican reggaeton master, I am here for the high energy multi-layered mix.
Rhiannon Giddens, You’re the One– She’s got a voice! This North Carolinian musician romps through soul, blues, bluegrass, and jazz standards with a phrasing that is sometimes a little smooth to a fault, but also very authentic-feeling.
Ruth Garbus, Alive People– Spare. Folky. Intellectual and philosophical. Abstract. Recorded live in Greenfield, Massachusetts by the, among other things, sister of Merrill Garbus from Tune-yards, though it doesn’t feel like a live album in a crowd feedback kind of way. It’s all of a tone, but so powerful, compelling, and lyrically surprising it kept bringing me back in.
The Hives, The Death of Randy Fitzsimmons– This album is single-handedly making me believe in the 2000s garage rock revival again. And with more than a little flavor of the Jam, Stiff Little Fingers and the rockier side of post-punk. There is nothing new here. But that’s gloriously the point!
Various Artists, Barbie The Album– If you were to picture what would be on the Barbie soundtrack, you might envision girl power icon singers and high energy dance music. You would be right about both of those! Given the nature of the film, you might also picture musings on the meaning of femininity and image/expectation versus reality. Again, you would be right. You might be surprised, though, that there are also some equally substantive takes on masculinity in the process, and an array of musical styles beyond the obvious. And it pulls off a kind of emotional arc along the way. I’m not sure yet that it totally hangs together, but for a soundtrack album to amount to a real album is no small feat!
Veps, Oslo Park– If you tell me you’re a Norwegian 90s pop-rock influenced girl group, you can’t add more adjectives I respond positively toward. Energetic, fun, and well put together, and, if I’m not sure yet how far it rises above its derivations, I’m definitely giving it another listen!
Your Heart Breaks, The Wrack Line– Fuzzy guitar, slow melodious chords, fun musical surprises, intelligent lyrics, and vocals with equal hints of nostalgia and whimsy. Your Heart Breaks is a project led by musician, artist, and filmmaker Clyde Petersen, and this is their first release for Kill Rock Stars. Written in collaboration with others, it’s loaded with well-deployed guests (including several delightful turns by Kimya Dawson), and for good measure, there’s even an ode to Wesley Crusher. Because it is lo-fi and low-key, the pacing sometimes lags toward the end of its hour-long run, but the considerable charms kept me tuned in.
And there we are! Will we get September out before the end of November and then try to do October-December in a blaze of glory? Stay tuned to find out…
The journey to find the 23 best albums of 2023 continues! That’s right, we’re listening to new albums as they come out each month and sorting the standouts into “yes” and “maybe”. Next up: June!
If you’re new here, this all started in 2021. In a quest to get familiar with newer music, I listened to the critics choices for the best albums of the 2010s, and picked my own favorites based on their choices. I did the same for 2020, picking my top 20 from their lists. And I started off listening to new releases each month, eventually arriving at my picks for the 21 best albums of 2021. I had so much fun in the process that I decided to do it again in 2022, listening each month and discovering the 22 best albums of 2022.
There are links to the 2020, 2021, and 2022 albums in the posts, but if you’d like a one-stop playlist for each year, I’ve set that up on Spotify:
As for how those “yes” and “maybe” categories I mentioned above work, as I listen to the new releases for each month I sort the ones that particularly catch my attention into two categories:
Yes– This represents the albums that, upon first listen, could definitely be in running for best of the year.
Maybe– These albums have a lot to recommend them, but also something that gives me pause. I put them in their own category, because I’ve found “maybes” sometimes linger and eventually become “yeses”.
Now that we’ve got that established, let’s get on with my picks from the 121 June new releases I listened to!
Albert Hammond, Jr., Melodies on Hiatus– What with his work with the Strokes and all, Hammond is clearly a top rate guitarist, and this makes me aware of just how much the sound of that band owes to his rhythm guitar work. But this is not just a matter of a Strokesque album, though those flourishes are delightful. It’s the deft way he has with balancing melody and rocking guitar, and genuine melancholy yearning that leaves an impression.
Baxter Dury, I Thought I Was Better Than You– Dry wit and more than vaguely unsettling lyrics wrapped in sophisticated pop and laid-back detached spoken word vocals. You might think from all these descriptors that he’s English. You would be right! He is also, incidentally, the son of Ian Dury of Blockheads fame, and it is apparent that a great deal of the sardonic deadpan passed down to him.
Big Freedia, Central City– This album from New Orleans-based rapper Big Freedia is overflowing with humor, booming bawdy energy, and classic mix motifs. This is apparently a subgenre known as “bounce music”. And heaven knows this is a historical moment where exuberant energy from a gender nonconforming gay man who embraces femininity is extremely welcome.
Bob Dylan, Shadow Kingdom– We all had to figure out something to do during COVID. For his part, Bob Dylan put out a black and white film of a live-in-the-studio concert where he revisited songs from earlier in his career. Two years later he’s released an album version of that concert. Casting early Dylan into later-day Dylan with a slowed down and precise vocal phrasing and musical reworkings of his old standards is kind of a revelation. It makes you realize what he’s been doing since Time Out Of Mind, and both the links it has with his earlier work, and the phase shift involved.
Boris/Uniform, Bright New Disease– New York industrial noise-rock band Uniform toured with the also noisy and pan-genre Japanese trio Boris in 2019. The two groups then began recording music together. The result is unhinged in the best way- it has elements of noise rock, metal, hardcore, all delivered with an edge of madcap experimentalism.
Detwat, HiTech– I have learned that ghettotech is a fusion of electro, techno, ghetto house, and Miami bass that has arisen from Detroit’s club scene. I’ve also learned that I like this. It’s very fresh! It shows the verve of both good hip hop and electronic, with stuttering energy, humor, and a sophisticated mix.
Dream Wife, Social Lubrication– I was on the edge with this- at first it seemed punky, but not terribly originally so. And pleasantly featuring girl-power, but not overly notably. But then the lyrical bite kept coming, and the 80s and 90s alt influences got piled on top of the punk. This London-based band won me over!
Joanna Sternberg, I’ve Got Me– Quirky vocals, acoustic, with sharp dense emotionally internal lyrics and slightly off-kilter instrumentation. It’s often kind of sing-song, and deliberately artless, but vulnerable. All-in-all, this NYC-based singer, songwriter and visual artist is doing something delightful and that I want to hear more of!
Juan Wauters, Wandering Rebel– The lyrics here are at times wistful and at times tongue in cheek, the musical mix light and inventive, the whole thing shot through with his signature experimentalism, and winning multi-cultural mix. The formerly Queens-based artist has relocated to his native Uruguay, and both landscapes show through here.
Nat Myers, Yellow Peril– A Korean-American Blues musician, which is a story I like. But even better, it is as fine a genuine-feeling dynamic set of steel guitar traditional blues as you are going to find. It never felt less than fun and true for a single track.
Owl City, Coco Moon– I heard this was from an electronica collective, which put me a little on edge. But in fact, it turns out to be delightful! It is electronic , but in the way, for example, the Postal Service is electronic. And in fact, reminds me of the brighter and more quirky side of Ben Gibbard’s work. It’s somewhere between affecting storytelling and high-energy summer fluff, and unusually informed (for indie electronica) by the artists’ Christianity. Per Wikipedia: “Owl City is an American electronic music project created in 2007 in Owatonna, Minnesota. It is one of several projects by singer, songwriter and multi-instrumentalist Adam Young, who created the project while experimenting with music in his parents’ basement.” Three cheers for music that comes from parent’s basements!
Ruen Brothers, Ten Paces– An atmospheric indie rock with cowboy ballad flavorings, minor chords, and weird western themes. How am I not going to fall for this? I’m NOT not! Turns out on subsequent investigation that they are an English duo infatuated with American music a la rockabilly. Well, okay! Well done lads.
Speech Bebelle, Sunday Dinner on a Monday– This British hip-hop artist has an interesting voice, in both senses of the word, and a lush richly-produced mix backing her. I really appreciate her poetic flow, and the fact that it takes on social concerns and reveals internal emotional truths with equal fluency, organically joining the two.
Sweeping Promises, Good Living Is Coming for You– Such a bright clear classic new wave sound! They wouldn’t sound out of place on a circa 1983 double-bill with Missing Persons. Which is not to say there is anything inauthentic here, behind the slinky synthy excellence, there’s some genuine heft and personality to the vocals of lead singer Lira Mondal. Dagnabit, I think I love this Kansas by way of Austin by way of Boston by way of Arkansas band!
Teke::Teke, Hagata– Their album Shirushi made my 2021 Honorable Mention list, and this one is charming me in a similar fashion. Eclectic, alternately serrated and swinging, with an edge of dark frenzy and a hefty dash of mirthfulness. Yes, it is all in Japanese, no that doesn’t matter, the wealth of its sonic landscape is well worth the journey.
Witch, Zango– “On their first album in nearly 40 years, the Zamrock pioneers prove their malleable, genre-spanning style still sounds like the future.” So says Pitchfork, and I don’t disagree! It reminds of the sunny rock/soul crossover of the late 60s a la Sly Stone, the African polyrhythms informing new wave, good old fashioned crunchy 90s guitar rock, and other things besides. The musical approach is so fresh and alive I’ve got to consider it!
Maybe
Bobbie Nelson/Amanda Shires, Loving You– One of my 2022 top picks, Amanada Shires, with Willie Nelson’s sister covering country-flavored standards with associations with Willie Nelson. Well shucks! It isn’t the most original thing ever, but it is pretty darn nice.
Bombadil, In Color– What a sunny, multi-layered, weirdly fun world this invokes! Color me a fan of this eclectic neo-folk North Carolina band. Also, it’s surprisingly coherent given the way it was recorded in different locales during the pandemic, though there are some pacing issues.
Bully, Lucky For You– I feel like this fell straight out of the 90s! Crunching guitar rock, ragged vocals, a deliberately unkempt, in your face energy. There are glimmers of 00s dance, because she is of the generation that is pop-fusing that with 90s alt rock (witness guest track by Soccer Mommy). It’s derivative, but it’s a good derivation.
Cory Hanson, Western Cum– A little southern rock, a little country rock, gets into 70s classic rock riffs, and occasionally ventures into country hardcore territory. Sometimes reminiscent of Neil Young. All with a great deal of humor! It’s a mood, it’s an era, but it is a great evocation of it.
Jason Isbell & the 400 Unit, Weathervanes– I am such a sucker for what Jason Isbel does. On this album, he starts on a genuinely dark and spooky note musically and lyrically, then lightens up from there- mixing in his signature combination of country, 70s rock, Springsteen-reminiscent anthemic songs, and Dylan-reminiscent sketches. But even as the music grows more exuberant, the darkness and ache is never far away. It’s a little incoherent for its sprawl (with a run time of an hour), but that’s the only thing keeping it from “yes”.
Jenny Lewis, Joy’All– Comparing Jenny Lewis to the best of Jenny Lewis is maybe unfair to her, but that’s what you get for being great! On that front, her lyrics here are occasionally shallower, her vocals sometimes more washed out, and the music not always as sharp as her best. in other words, sometimes it is merely “good” instead of “really, really good”. But definitely good enough for a second listen!
Jess Williamson, Time Ain’t Accidental– A country folk excursion with hints of Jenny Lewis, Nanci Griffith, and others. The lyrics are richly visual, evocative of the musical space without being cliché, and her voice warmly invites you in. It has a fairly narrow musical and vocal range but bears repeated listening.
Kool Keith, Black Elvis 2– Sequel to the well-regarded 1999 solo album from this founding member of the Ultramagnetic MCs. And, indeed, it has a certain kind of 90s verve to it- hard metallic drive to the beats and the flow, clever lyrics, varied if not downright whacky samples. As if to prove the point, there’s even a guest spot from Ice-T. And there’s a track devoted to Marvel comics, so you know that’s going to reel me in.
Laura Cantrell, Just Like a Rose: The Anniversary Sessions– Well that is some lovely countrified electric Americana! Both musically and vocally it’s full of brightness and clarity, with lyrics and chord changes that have a feeling for authentically honoring country while bringing in pop rock energy. Cantrell has been recording in this vein since the late 90s, and this is her 6th solo album (raising a family and having to work for a living having taken a lot of her time). The musical and vocal range is rather narrow track to track, which is about the source of my “maybe”, but it shines with sincerity.
Louise Post, Sleepwalker– I like cooking with salt. Do you know what kind of salt I like best? Veruca Salt! So, in service to my evergreen love affair with 90s loud guitar alt rock female singers, I am always going to be interested in what Louise Post is up to. And she’s up to classic form here! Not to mention self-consciously looking back and reminiscing. As such, it sounds a little dated. As such, I can’t help but love it.
Lucinda Williams, Stories From a Rock ‘n’ Roll Heart– Lucinda Williams rocking out is going to be a pretty good combination to bring me on board with. And indeed, this album is full of fine moments. It lulls toward the second half, but even if It isn’t “great” Lucinda Williams, “good” Lucinda Williams is pretty great.
Metro Boomin, Metro Boomin Presents Spider-Man: Across the Spider-Verse (Soundtrack From and Inspired by the Motion Picture)– This soundtrack is led up by hip-hop and trap DJ/producer DJ Leland Tyler Wayne aka Metro Boomin, but loaded full of guest stars. The surprising news, to me, is how successful it is as an album. Perhaps because of the focus the film provides, perhaps because of a skilled producer with a clear vision, it feels “together”. And even uses auto-tune in a way that feels holistic to the songs and tone of the album without sacrificing dynamism and vitality. I’m not totally sold, but I can’t dismiss it as a possibility!
Pardoner, Peace-Loving People– A nice snotty jangly guitar sound that reminds me of a certain strain of American alt 80s and 90s alternative, with occasional dips into total hardcore, delivered via 14 songs in 28 minutes. Not the most original components ever, but I will say I liked it more as time went on. And wouldn’t you know they’re a San Francisco band?
Protomartyr, Formal Growth in the Desert– Solid post-punk, with an edge of industrial, and some weighty anger, as befits a band from Detroit. They remind me of many things from the 80s and 90s, and as such, it’s not a startlingly new or different sound. If you read Rage Against the Machine through Magazine, you might get something like this. But the feeling conveyed is genuine, urgent, and timely.
Son Volt, Day of the Doug– This tribute album to Tex-Mex musician Doug Sahm was conceived by Son Volt frontman Jay Farrar. What results is classic Son Volt, lent a little bit of focus by the theme. Not “different” from the countrified rock space they usually operate in, but very well done.
Special Friend, Wait Until The Flames Come Rushing In– Their 2021 album Ennemi Commun was on my semi-finals list. This has that same feeling for fuzzy guitar, pop melodies, and genuine emotion with quirky twee delivery. I won’t be mad at listening to it again!
The Baseball Project, Grand Salami Time– This starts off feeling like a lost album from the original American punk scene(s) somewhere between New York and LA. Not on the hard thrashy side, but on the more melodic, and conversant with 60s harmonies side- think Richard Hell, Television, X. Or the New York Dolls. More than a hint of garage psyche gets into it from there, a la the Nuggets collection. I am a little unsure due to the multiplicity of dated feels but darn it’s a good exemplar of its sounds!
The Dead Milkmen, Quaker City Quiet Pills– In a way, this could have been an album from them at any point in the 80s or 90s. But the snarky excellence and low-key brutality of their approach on songs like, “Grandpa’s Not Racist” is pretty damn timely. Dated? Timeless? Any which way, I have to consider it.
Youth Lagoon, Heaven is a Junkyard– This is musically and vocally extremely low-key, which had me on the fence. But also, haunting, and compelling in the melodic yet ragged spell it weaves. Youth Lagoon is the vehicle of Idaho-bred bedroom pop/neo psychedelia musician Trevor Powers, returning after a break since 2016. Welcome back!
And there you have it, June, coming to you before the end of August. We’ll keep working on the pipeline. Because you can’t quit when you’re halfway there!
All right, not quite before the end of June, but we’re getting May out in early July. We’re catching up to real time! But catching up on what, you ask? Well, we’re on a journey to find the 23 best albums of 2023 by listening to new albums as they come out each month and sorting them into “yes” and “maybe”. Join us!
Okay, you say. I’m intrigued. But how did this come about? In 2021, in a quest to get familiar with newer music, I listened to the critics choices for the best albums of the 2010s, and picked my own favorites. I did the same for 2020, picking my top 20. And I started off listening to new releases each month, eventually finding the 21 best albums of 2021. I had so much fun in the process that I decided to do it again in 2022, listening each month and discovering the 22 best albums of 2022.
There are links to the 2021 and 2022 albums in the posts, but if you’d like a one-stop playlist, I’ve set that up on Spotify:
Did I mention “yes” and “maybe” above? I did! As I listen to the new releases for each month, I sort the ones that are in contention for best of the year into two categories:
Yes– This represents the albums that, upon first listen, I think could definitely be in running for best of the year.
Maybe– These albums have something to recommend them, but also something that gives me pause. I put them in their own category, because I’ve found “maybes” sometimes linger and eventually become “yeses”.
Got it? Good. Now let’s get on with my picks for the most promising albums from the 105 May new releases I listened to!
Alice Longyu Gao, Let’s Hope Heteros Fail, Learn and Retire– The title lets you know there’s a point of view, which is great. But even better is the mix of energetic, wacky, and experimental on display here as it combines electronic, sing-song, noise rock, and high-octane dance music. This Chinese-born American singer, songwriter, DJ, and performance artist has it going on! (Note this is not actually a May release, it’s from Pitchfork’s Spring list of “33 albums you might have missed”. As you know, we miss NOTHING.)
Arlo Parks, My Soft Machine– Her album Collapsed in Sunbeams was in my top 21 list for 2021. Compared to that, this album smoother in some ways due to a lusher more pop-oriented production. But lyrically it’s more directly personal and the vocals often have an uncloaked sense of vulnerability. So, its strengths are different, but she is no less powerful here for it.
Charlotte Cornfield, Could Have Done Anything– One of my picks for 2021 honorable mention was her album Highs in the Minuses, and it remains a sentimental favorite of mine. This has the same plain-spoken honesty of lyrics and vocals, warm presence, and music with an acoustic base but enough production polish and melody that moves it along nicely.
Dave Matthews Band, Walk Around the Moon– Nobody is more surprised than me to find myself liking this! After the freshness of his initial intro in the 90s Dave Matthews has been, well, very Dave Matthews. Reliably, dependably, relentlessly Dave Matthews. This, however, finds him in a darker and more pensive mood, and a musically rich one- there are hints of grunge, 60s psychedelic pop, and various other soundscapes along the way, and a less sunny, more interior dive than we have come to expect from him.
Foyer Red, Yarn the Hours Away– A weird nervy, jerky, rock, multi-layered, sing-songy, with gonzo synths. If more people were as inventive with pop rock as this Brooklyn band, it would be a grand world!
Galen Ayers/Paul Simonon, Can We Do Tomorrow Another Day?– In a way, it is no surprise to have a member of the Clash on a musical venture that mixes up ska, Latin, and retro-rock influences. Former Clash bassist Simonon worked out these songs while riding out COVID in Spain. He has actually mostly been creating as a well-regarded painter in recent decades, but the experience of street playing got him interested in his first musical venture in five years. When he returned to London after the pandemic receded, he partnered with singer/songwriter Galen Ayers to bring his new songs out as this album. It legitimately delights, retaining the feeling of warmth and relaxed spontaneity from the set’s origin.
Kassa Overall, Animals– “Equally adept as a jazz drummer, rapper, and producer, Seattle’s Kassa Overall makes records whose approach to musical modernism is informed amply by beat consciousness.” That’s the description, and it’s a great mix! Wildly variable jazz, experimental electronic, left field hip hop all at once.
Kesha, Gag Order– Wow! I did not know a lot about Kesha beyond some vague sense she was dance-related. Which she is, but also raw, ragged, angry, powerful, spiritual, musically varied, and given to unusual production choices. Compelling all the way through!
Olivia Jean, Raving Ghost– Olivia Jean is the lead of the “garage goth” band the Black Belles and, somewhere incidentally along the way, Jack White’s newest wife. I mention those only because both factors, maybe, give you a clue to what her musical POV is. Swinging, retro, and vaguely sinister on the first track, slightly punky power pop new wave on the second, a metal feeling on the third. And later, there is the version of “Orinoco Flow” that turns it into a girl-group/punk number. It may all be a little formulaic, but damn it’s a good formula- Olivia Jean is a cool rocking righteous chick, and I am here for it!
Peter One, Come Back to Me– A good story: The U.S. debut at age 67 of a Nashville musician from Côte d’Ivoire who found fame in Africa as a folk musician in the 90s before emigrating to the U.S. in the 90s and doing just regular life for decades. Even better: It’s a lovely album that delivers an intriguing hybrid of acoustic Afro-pop, jazz, blues, and American folk. From these disparate parts comes a unique whole. And how often these days do you hear something that doesn’t sound like anything but itself?
Rosa Pistola, Cumbiaton Total– Well this was delightful! Such lively, varied, and over the top hip-hop and dance music glee. Per Bandcamp: “Cumbiaton Total is a headfirst dive into Mexico City’s raw and unique take on the reggaeton sound, and its rising recognition. Compiled by NTS with Rosa Pistola (a central figure at the heart of the scene), the release coincides with a mini-documentary that explores the community spirit around the scene, with interviews and footage of the artists that feature on the release.” It is entirely in Spanish, but so fun I don’t care that I can barely understand a single lyric. (Note this is not actually a May release, it’s from Pitchfork’s Spring list of “33 albums you might have missed”. As you know, we miss NOTHING.)
Seán Barna,An Evening at Macri Park– I really like this! Singer/songwriter Barna bases this cycle of songs around Macri Park, a local bar that is a historical anchor for the Queer community in Brooklyn. So, we’ve got that going in for concept, and then new wave/Bowiesque arty melodrama, vivid literary storytelling, and a strong feeling for 70s chords and melodies to top it off.
Maybe
Alex Lahey, The Answer Is Always Yes– This is snarky, a little nervy, with just the right edge of power pop 90s and noisier rock. It’s not the newest, freshest thing ever, and is designedly simple and straightforward musically. But darned if this Australian singer-songwriter isn’t doing a classic sound well!
bar italia, Tracy Denim– A guitar-driven post-punk sound, redolent of the Cure, Siouxsie, Echo & the Bunnymen, the Church, et al, but also with a hint of the 90s to come. The sound is in all wise a little dated and derivative, but darn is it sincere and well done.
billy woods & Kenny Segal, Maps– Billy Woods has made several albums that caught my attention in the last few years, but this collaboration with LA producer Segal takes that to a whole other level. It sounds and feels very DIY and is so delightfully varied in terms of the mix. The flow is a little more low key, and it sometimes feels a little incoherent because of it’s very variety, but I can’t fault it for that. Much.
Brandy Clark, Brandy Clark– It begins with a murder song, delivered so plain and simply vocally you can’t help but love it, and on the musical side it goes from spare to rocking. There are a variety of musical approaches and subject matter that follow, all informed by the same spare story-telling with just the right dose of pop refrains. It may play a little too conventionally sometimes, and pacing/speed is an issue, but for this strong songwriter I will give another listen.
Conway the Machine, Won’t He Do It– There’s a glower and a swagger to this, as well as a muscular mix. If the subject matter isn’t the freshest ever, the flow and personality are strong.
Cusp, You Can Do It All– The hushed opening gave me pause, but I liked the slightly-off guitar rhythm and phrasing of the second track. It goes from there to a fuzzy 90s kind of sound, but retains being slightly off kilter, mixed with sweet melodies. In parts familiar, in parts feeling fresh.
Graham Day & the Gaolers, Reflections in the Glass– Now that’s some good old-fashioned 60s garage rock! It’s not the most original sound in the world, but Graham’s been plying this trade, both in a variety of UK bands and solo, since the 80s, and as a result, it feels like an original example of it. Too fun and well done not to consider!
Immaterial Possession, Mercy of the Crane Folk– Nervy music, jangly and unnerving. There are hints of post-punk, the Doors, the medieval trippy bazaar side of psychedelia, and horror aspects of goth and industrial. It doesn’t sound totally coherent, sometimes the flow is a little off, but this Georgia quartet has something interesting going on!
Jonas Brothers, The Album– I semi-despise myself for even doing this, but I think it’s a gosh-darn maybe! The thing is, I listened through to the end, because each song had enough charm and 2020s peak pop perfection to keep me going. A little pre-packaged? Yes. But a package with a powerfully efficient design!
Masego, Masego– His mix of soul, house, hip-hop, and jazz is winning. It’s musically and vocally interesting, and if not lyrically profound, what’s going on fits the sunny mellow whole. I’m not sure it comes together as an album with enough energy to sustain it, but worth another listen. (Note this is not actually a May release, it’s from Pitchfork’s Spring list of “33 albums you might have missed”. As you know, we miss NOTHING.)
Panic Pocket, Mad Half Hour– This London duo lands somewhere between heavy crunching guitar and poppy melody, with multi-layered female-lead vocals, i.e. it could have come straight from the 90s. The references and concerns are thoroughly contemporary though, and tilt toward a welcome snarky feminism even if the lyrics are sometimes a little too on the nose.
Radiator Hospital, Can’t Make Any Promises– This Detroit by way of Michigan indie rock band is somewhere between 80s jangle rock, 90s lo-fi, and 00s garage. Not groundbreaking, but sounds I love and so very solidly done.
Rhoda Dakar, Version Girl– I know her from being a key figure in the 70s/80s U.K. ska scene, and singing one of the most harrowing songs I have ever heard, “The Boiler”. So, she’s coming in here with a lot of credibility, and this is a covers album, which always tickles my fancy. And indeed these are great versions, delivered in relaxed and easy ska.
Rodney Crowell, The Chicago Sessions– In 2020, Rodney Crowell happened to meet Jeff Tweedy of Wilco at a festival they were both playing at, and Tweedy suggested Crowell should come to Chicago sometime and record at Wilco’s rehearsal space and private studio there. The result is this album, and it’s a great example of fit between the sensibilities of artist and producer. If it’s not the newest sound in the world, darn is it a good one.
RP Boo, Legacy Volume 2– The spare excellence, stuttered pop culture sampling, and driving repetition of these DJ mixes reminds me of the 90s heyday of this kind of music. And indeed, Kavain Space, aka RP Boo, had gotten his start DJing in the Chicago house music scene of the 90s and was already legendary for developing the “footwork” style before he began finally publicly releasing his mixes in the 2010s. This sample collects mixes from the 00s, but it’s new to us. And excellent!
The Murlocs, Calm Ya Farm– An exuberant sound with country and southern rock flavors. Weirdly for the very American sound they are channeling, they’re from Melbourne. It’s not the most original formulation ever, but a thoroughly enjoyable one.
And there you have the May review, out in the first week of July! Can we get June out before the end of the month? Stay tuned…
Do you mostly listen to older music? Me too! In fact, I spent a lot of the new millennium so thoroughly backfilling on genre deep dives and missed gems of the 60s through 90s that I hit 2020 with very little familiarity with newer artists. What to do?
I set out to educate myself! In 2021 I listened to the critics choices for the best albums of the 2010s, and picked my own favorites. I did the same for 2020, picking my top 20. And I started off listening to new releases each month, eventually finding the 21 best albums of 2021. I had so much fun in the process that I decided to do it again in 2022, listening each month and discovering the 22 best albums of 2022.
There are links to the 2021 and 2022 albums in the posts, but if you’d like a one-stop playlist, I’ve set that up in Spotify:
And now in 2023 I’m doing it again! I got a little behind in the beginning of the year, so I batched the “yes” and “maybe” albums of the first three months together:
Speaking of “yes” and “maybe”, this is how those categories work:
Yes– This represents the albums that, upon first listen, I think could definitely be in running for best of the year.
Maybe– These albums have something to recommend them, but also something that gives me pause. I put them in their own category, because I’ve found “maybes” sometimes linger and eventually become “yeses”.
Now that we’ve got all that sorted it, let’s proceed with my picks for the most promising albums from 99 April new releases!
Black Thought/El Michels Affair, Glorious Game– The Roots founder Black Thought and producer El Michels Affair have teamed up well on this album, with Black Thought’s philosophical lyrics and authoritative flow marrying up with an innovative and sharp live/sampled mix from Michels. Add to this the dub and classic soul elements, experimental touches, and the import of the lyrics combine to make a thoroughly excellent package.
Esther Rose, Safe to Run– I was looking forward to this since her album How Many Times made my top 21 in 2021. And here again we have her delightfully sincere vocals, emotionally literate storytelling, and utterly authentic feeling for country, pop, rock, and their fit together. I’m not sure if I’m totally sold on the sequencing, but damn does every single individual song hold up.
Facs, Still Life in Decay– A spare, glowering, bruising set from this Chicago experimental trio. There are also layers of depth in the billowy darkness, a kind of emotional transformation even. It reminds me of the more metallic ends of post punk, of industrial, of the heavy break of a Nirvana song.
Kero Kero Bonito, Intro Bonito– High-energy mix, playing with fragments of electronic, classic video-game sound effects, dance, new wave, J-pop, and hip-hop. It is sweet, melodic, and so darn catchy that it works equally well whether the individual songs are in English or Japanese.
Natalie Merchant, Keep Your Courage– If Natalie Merchant can make a bad album, we have not yet discovered it. The songs here are serious and it ends on a somber note, but not unusually for her, and with much lush beauty, soaring emotion, and poetic turns of phrase along the way. About the only complaint I can lodge is that this could have come from her at almost any time in the last 30 years. Well…
Nourished by Time, Erotic Probiotic 2– I read before listening that Baltimore-raised singer-songwriter and producer Marcus Brown (aka Nourished by Time) “channels everything from ’90s alt-R&B to bedroom indie-pop and bubbly synthpop in the vein of ’80s Prince”. I would say that’s correct, though it doesn’t quite convey how delightful the meld is. What results is recognizably part of its various influences but doesn’t quite sound like anything else out there. More of this please!
Spencer Cullum, Spencer Cullum’s Coin Collection 2– This Nashville-based English pedal-steel master has produced something redolent of the more acoustic side of psychedelic and prog, a la 70s AM radio sound, with pleasingly ornate yet whimsical musical touches a-plenty. It never sounds like it is taking itself too seriously, but without a moment’s lag in musical quality. All-in-all, a weird delight.
TERRY, Call Me Terry– Ringing jangly propulsive guitars, walls of synth sound, catchy refrains, delightfully artless vocal phrasing delivering artsy elliptical lyrics. Listening to this felt like I was in a great part of the alt 80s, yet also contemporary. Three cheers little Australian indie band!
TisaKorean, Let Me Update My Status– The energy, inventiveness, and sheer fun in the first two tracks here alone shows up most of the hip-hop albums so far this year. The multi-layered production makes it like an orchestra, but an orchestra of voice samples, bright synth music, and repeated tonal motifs that provide a structure that holds the whole thing together. I had a similar reaction to this Houston-based artist’s 2021 album mr.siLLyfLow, and if this is lower on the delightfully gonzo factor than that outing, it is higher on coherence.
Maybe
Bruiser and Bicycle, Holy Red Wagon– So much goes on in the first track alone in terms of high energy, quirky moments, and off-kilter arrangements. And there are at least two songs going on simultaneously in the second song. By the time the third track shifts from shoegaze to electronic to 70s folk to 90s guitar, you’re 22 minutes in. They are apparently a “freak folk” group. They are apparently from Albany, NY. By the end of it, I’m not sure what journey I’ve been on, and if it quite came together as an album, but I never once wanted to turn it off.
Indigo De Souza, All of This Will End– Oh these earnest young things who so effortlessly combine singer-songwriter vulnerability, dance music fun, and crunching 90s guitar rock! There is a whole crop of them out these days, and we are blessed for it. Though it didn’t quite make my 2021 list, this North Carolina singer’s album Any Shape You Take caught my eye for the same strengths of musical inventiveness and emotional rawness that are on display here. I’m not totally sold on the sequencing, but it’s got a chance!
Kara Jackson, Why Does the Earth Give Us People to Love?– The power of the plain voice of this one-time National Youth Poet Laureate is what drives this album, but the stripped-down musical settings- spare piano backings, minimal instrumentation, make everything pop that much more. Her voice itself is a choral instrument, and the songs have poetry, but also stories, and know how to have melody and structure as well. And the variety of approaches is amazing, none of them feeling less than heartfelt. The whole thing is a slow burn, but more powerful for it. I’m not quite sure about the overall flow as an album, but it never let go of me.
Lael Neale, Star Eaters Delight– There are the chilly artsy edges, the arch intelligent lyrics, a driving directness to the musical approach. I can see why I like her, even if I’m not 100% sure that flow and sequence came together.
motifs, Remember a Stranger– I loved this album from Singaporean dream pop quintet motifs almost as much as I loved Air Guitar by the Singaporean band Sobs last year, for all the same reasons. The fact that it is so dreamy has me a little on the fence, but apparently there is a scene in Singapore I need to check out!
Poison Ruin, Harvest– Orchestral intros that give way to rocking menace, sometimes shambling metal, sometimes something more like hardcore (which the vocals are reminiscent of as well). It is a good deal more accessible and fun than so many a recent metal album. I don’t know that it’s great, but it’s certainly welcome!
Robbie Fulks, Bluegrass Vacation– Chicago singer-songwriter Robbie Fulks has a decades-long love of country music roots. That, and a basket-full of talented bluegrass musicians recording in Nashville has produced this delightful album. This is not “new,” but it certainly does ring true.
Teleman, Good Time/Hard Time– The parts are recognizable enough- synth pop, new wave, a little disco revival, a pinch of art/prog. But together they work in a way that, if it isn’t new and fresh, still sounds genuine and is engaging from end to end.
The National Honor Society, To All the Distance Between Us– The sound here is somewhere between a chiming 60s, a paisley jangly 80s, and a dreampop 90s. It isn’t the most original thing ever, but so solidly done. Surprisingly, given the UK-feeling influences, they are a Seattle band, and they’re doing it well- the album won’t let you down for a single track.
Wednesday, Rat Saw God– Oh I like this! Moody layers of guitar, alternating feedback-laden surges and quiet lulls, lead-vocalist Karly Hartzman singing with just the right tone of lackadaisical anguish. On the song “Bull Believer” they let it all go for 8 minutes, and then on “Get Shocked” they show they can pull it together into a two-minute package. Either way, there are worlds of feeling inside these songs. There are sequencing issues with the faster and slower moments, but that’s the only thing keeping this Asheville, North Carolina from “yes”.
And there we have the April review! Out before the end of June, so I think we’re catching up. There’s even a chance I’ll have May out too before month’s end, and if not, shortly thereafter…
I mean, it worked out so well in 2021 and 2022, how could I not do it again?
If you’re just joining us for the first time, a few years ago I set out to catch up on newer music. I listened to the critics choices for the best albums of the 2010s, and picked my own favorites. I did the same for 2020, picking my top 20 from the critics most highly rated albums. And I started off listening to new releases each month in 2021, eventually picking the 21 best albums of 2021. I had so much fun in the process that I decided to do it again in 2022, listening each month and picking out the 22 best albums of 2022.
There are links to the albums in the posts, but if you’d like a one-stop playlist, I’ve now set that up in Spotify for the 2021 top 21 and the 2022 top 22.
And now I’m doing it again! Lots of life the last few months delayed things so I may be batching months together, like this Q1 update, until I catch up. Heck, I may decide to batch them together more in general! The other major change I’m making from the last two years is that I’ll just be listing the “yes” and “maybe” albums. I came to believe neither you or I needed lengthy lists of “no”s. If I’m missing something you think I should have picked, ask me about it!
Speaking of “yes” and “maybe”, those two categories work the same way they have in previous years:
Yes– This isn’t a guarantee, but it represents the albums that, upon first listen, I think could definitely be in running for best of the year.
Maybe– These albums have something to recommend them, but also something that gives me pause. I’m putting them in their own category, because I have found “maybes” sometimes linger and eventually become “yeses”.
And now, without any further ado, let us get on with my top picks from 243 new January-March releases!
100 gecs, 10,000 gecs– I do love me some hyperpop! This particular iteration from this St. Louis duo is equal parts bedroom pop synth, autotune, and thrashy guitar feedback excess, and is high energy, silly, and total sincere.
Angel Bat Dawid, Requiem for Jazz– Meant as a deliberate response to the “Jazz is Dead” line that has been kicking around since the 1959 film The Cry of Jazz, this extraordinary album by Chicago composer, clarinetist, and educator Dawid holds a literal requiem mass for the form that both celebrates it, and turns it inside out, both in service of what jazz has meant in the Black world, and what something new in its spirit could mean. It’s orchestral, experimental, dissonant, exuberant, and incantatory.
Ava Max, Diamonds and Dancefloors– I do appreciate good dance music, and this starts off on the right note in terms of energy, production, catchiness, and verve. There is, of course, the phenomenon of putting your strongest track first, and having things rapidly decline from there. But this keeps going at the same level track after track. Nothing overstays its welcome either- the longest track is 3:26. Ava Max is now my second-favorite Albanian-American musical powerhouse! (Sorry Ava, Action Bronson got there first.)
BabyBaby_Explores, Food Near Me, Weather Tomorrow– Musically quirky, distorted and dissonant, lyrically snarky, and vocally weird, without losing the through line of darkly inflected guitars and drums. This Providence Rhode Island trio is an exemplar of what post rock can do. I want more!
Benny Sings, Young Hearts– I really liked his 2021 album Music‘s feeling for relentlessly sunny and utterly sincere pop. That same delightful groove is on display here.
BIG|BRAVE, nature morte– This album rode the edge of being too abstract, but the industrial edges, vocal violence, and serrated dark emotion won me over. I like what this Montreal band is on to!
Debby Friday, Good Luck– This Nigeria-born, Canada-based artist has been known for rave-inspired dystopian sci-fi works. How could i not love that conceptually? And actually, it’s artistic, lurching, electronic, almost like a hardcore electronic dance music.
Doug Paisley, Say What You Like– A classic 70s sound redolent of Southern California singer-songwriters, with a little of the “80s comeback” production gloss of the same. Not the most original sound ever, but literate, heartfelt, and never strikes a false note.
Gee Tee, Goodnight Neanderthal– Turns out a nice old-fashioned LA-scene punk band right on the edge of their “maturing 80s alt” phase is still a good sound! And as befits it sounding “classic” for the space, it from Australia’s excellent contemporary punk scene. It isn’t super-original, but it’s such fast sunny fun that I can’t deny it!
Gina Birch, I Play My Bass Loud– This album from Raincoats co-founder Burch has got the dissonant sound of early post-punk, experiments with rhythm, intriguing work from her eponymous bass, and a familiar feminist edge. If it does sound of an era, well, she was one of the founders of that era, and everything here is still oh so relevant.
H. Hawkline, Milk For Flowers– Golden lazy pop that reminds, as do so many things these days, of the 70s, but also of twee and the more baroquely pop-minded singer-songwriter side of the alt 80s in the UK. Rich vocals, lyrical depth, sparkling musical flourishes, and even an honest to goodness emotional arc. This relatively young (38) Welsh singer-songwriter has got a lot going on!
Icecoldbishop, Generational Curse– There’s an edge of menace, and even desperation, to the flow and mix of this album. Add on top of that interesting and varied musical and vocal choices and lyrics that, not without humor, but also often with horror, meditatively delve into street life, drugs, and family loss. This L.A. rapper has put out about as good a hip-hop album as I’ve heard this year.
Jad Fair/Samuel Locke Ward, Happy Hearts– I found this to be nearly unclassifiable, in a good way. It comes across as almost a sing-song children’s album. Except awkward, adult, and sometimes dark. With a good feeling for sweet melody, and plain vocal delivery. It definitely shows that this comes from a wildly inventive place- Jad Fair, prolific ever since he started with his brother David as Half Japanese during the mid-’70s, went into overdrive during the 2020s. During this period, he was contacted by Samuel Locke Ward, a home taper from Iowa with a strong D.I.Y. aesthetic. Working remotely, they began making one song per week, leading to this album.
JPEGMafia & Danny Brown, Scaring the Hoes– This collaboration between innovative Detroit rapper Brown and Brooklyn-based JPEGMafia (aka Barrington DeVaughn Hendricks) is a dizzying breathless ride. The flow is blistering, the mix experimental and kaleidoscopic, and the fun they had in making it is manifest.
Kate Davis, Fishbowl– Oh the crunching guitars. The driving songs. The melodies! The crystal-clear vocals and emotionally literate lyrics. I do so enjoy what Kate Davis does.
King Tuff, Smalltown Stardust– This is great! Musically, it noticeably hearkens back to familiar sources: psychedelia, T Rex, 60s pop a la George Martin. Lyrically, it is weird, metaphysical, sometimes sweet, sometimes unsettling. And this Sub Pop artist has been a member of Ty Segal’s band and headed a stoner rock outfit is from Vermont too! Go home team!
Lana Del Ray, Did you know that there’s a tunnel under Ocean Blvd– The lush beauty that is a Lana Del Ray song, and the bite that is her lyrical sharpness and dark emotion under the sweetness (kind of like a tunnel under Ocean Blvd…) is in full form here. To this she’s added experimental touches (raucous speech samples from various sources that are just this side of opaque) whose energy makes everything that little touch extra unsettling. It’s not the most unified thing she’s ever put out, it’s not the most impactful, but that’s like evaluating different gradations of gold.
Lisa O’Neill, All of This Is Chance– Folk with a musically dark edge and vocal phrasing that’s both prickly and vulnerable. She reminds me in a way of Dylan in his younger days and how much he could charge a traditional number with new and urgent vital power.
Logic, College Park– The structure of this album is literally Logic and his friend taking a drive around College Park, Maryland, dropping in on people and places along the way to a show. So that gives us the frame, and then the muscular musical mix, strong beats, interesting and varied flow, and self-aware narration lend it depth. At more than an hour it is a tad on the long side, but structure, contents, and fun keep it going. His 2022 album Vinyl was one of my honorable mentions, and this is in contention as well.
Macklemore, Ben– As your contemporary pop superstar hip-hop goes, Macklemore is top of the crop. It’s heavily produced, but the production flourishes are earned, and in service of substantive lyrics and a winning persona. Even the ubiquitous guest star mania is well-deployed. This album means something and I would listen to it again, which in 2023 is not a given.
Maneskin, Rush– This is sleazy high-verve rock and roll of the kind rarely seen in the wild these days. As is so often the case when you do find it, a foreign band is doing it (Italian in this case). Are the lyrics always genius? No. Is the music often a bit obvious? Yes. Gloriously, exuberantly so!
Margo Price, Strays– Having picked her album That’s How Rumors Get Started as one of the best of 2020, I was listening carefully. I started off thinking this had too conventional a pop approach. Then her electric power, deeply stated lyrics, and powerful inventive and lush fusion of pop, rock, and country won me over anew. She really is a singular talent.
Melanie Martinez, PORTALS– Do you like your dance music hallucinatory, crackling with sharp wit, and at times more than vaguely terrifying? I do! Former The Voice contestant Martinez has gotten progressively further out there since a fairly standard pop debut, and I am here for it.
Morgan and the Organ Donors, M.O.D.s– Holy retro soundscapes! Driving, chiming guitars, cracking drums, harmonies. You will hear some 60s girl-group, some garage rock, some pop side of punk, some 80s jangle, some 90s riot grrrl. And it never sounds less than organically whole and fresh, which isn’t an accident. Morgan and the Organ Donors are a band made up of four friends who play a few shows a year at a bar they like in Olympia, Washington. Except the friends are Bikini Kill and Frumpies drummer Tobi Vail on drums, as well as two K Records artists, James Maeda of Spider & the Webs and Olivia Ness of C.O.C.O., on lead guitar and bass.
Mozart Estate, Pop-up! Ker-ching! And the Possibilities of Modern Shopping– Based on the name of the album alone I went in already half in love. What a delight then to hear a perfectly-delivered version of the most exuberant varieties of pub rock, early UK new wave, and UK 80s alt pop acts like Squeeze and The Beautiful South. It is in all wise a familiar sound, but so beautifully rendered that I cannot get mad at it!
Oddisee, To What End– Oddisee is the stage name of Brooklyn-based Sudanese-American hip-hop artist Amir Mohamed el Khalifa. The pure dynamism of what he puts out here musically, lyrically, and mixologically is extremely winning! It reminded me of certain veins of personal story heavy 2000s hip-hop (think Jay-Z or Kendrick Lamar), with some of the feelings and concerns of conscious hip-hop.
PACKS, Crispy Crunchy Nothing– Darn these kids with their sound bridging singer-songwriter folk and crunching 90s guitars, emotionally complex lyrics, and not so subtle bite. There are a lot of them out there, but the album from this version from Toronto indie rock band PACKS led by musician Madeline Link works from start to finish.
Quasi, Breaking the Balls of History– Janet Weiss did not take her summary dismissal from Sleater Kinney lying down, instead joining with her ex-husband to put out the first new Quasi album in ten years. Quasi has been a reliable interesting and challenging band since the 90s, and they’re still in the game here. By turns crunchy, shimmery and shoegazey, and kaleidoscopically weird, this is a delightful listen from start to finish.
quinnie, flounder– The yearning earnest vocals, literate and emotionally complex lyrics, mix of sweet vulnerability and raw snark, and playful production choices on this New Jersey indie-folk singer’s album are a nearly perfect combination. The subject matter is both timeless (romantic longing vs. reality, disillusionment, wrestling with the mysteries of self) and littered with contemporary social and technological references. I’m not sure how it will fare as a document post “now” but there is no doubt it’s an effective one for the moment.
RAYE, My 21st Century Blues– Sophisticated emotional R&B informed by hip hop, full of musical surges and a voice that is remarkable for precision of phrasing and versatility. The album also grapples with real life- abuse, relationships gone bad, emotional and physical bottoming out, in a way that feels authentic but is still pop music smooth.
Ron Gallo, Foreground Music– A blistering guitar open with echoing vocals is an effective way to worm your way into my heart. But he was already there thanks to his album PEACEMEAL being in my top 21 list for 2021. As for this album, is it extremely self-referential? Entirely tongue in cheek? So musically and lyrically fucking clever you don’t care which? Yes! And yet, though undeniably often whacky, it’s not all fun and games, there’s a heart of furious dissent. Is there a better contemporary protest song than the sharp and yet ultimately poignant, neo-psych “BIG TRUCK ENERGY” or a more anguished love song than “I LOVE SOMEONE BURIED DEEP INSIDE OF YOU”?
SKECH185, He Left Nothing for the Swim Back– NY-based hip-hop artist SKECH185’s fiery social and political truth-telling and producer Jeff Markey’s swirling, lurching sonic mix of sounds combine for a powerful package.
slowthai, UGLY– I liked this british hip hop artist’s 2021 album Tyron quite a bit. This album is just as skillfully done, but more coherent and more serious. It has a brooding weight and propulsive energy as he really gets inside to wrestle with life.
The C.I.A., Surgery Channel– You know, this sounds a bit like a surgery channel! It leans toward a nervy sharp-edged post-punk, with more than a hint of the rawer end of 90s alt bands like Babes in Toyland, but also some chilly electronic/synth work a la Kraftwerk. This turns out not to have been released by a national intelligence agency, but by musical auteur Ty Segall, his wife Denée Segall, and Emmett Kelly of Cairo Gang. I really like it, and I don’t even feel the need to be clandestine about it!
The Go! Team,Get Up Sequences, Pt. 2– Get Up Sequences, Pt. 1 was one of my honorable mentions for 2021, and Part 2 is entirely as charming. Imagine a high school AV team made an album exuberantly mixing electronic dance, international music, and hip-hop with liberal use of synthesizer. This gives you some sense of what this Brighton, UK six-piece band is up to, and it is glorious!
Thee Headcoats, Irregularis (The Great Hiatus)– Rollicking blues rock! With the classic name checks to prove it, bolstered by a determination to be, as one song here puts it “pretty original nevertheless”. Like the “Leader of the Pack” inspired “Leader of the Sect” or album-closer “The Kids Are All Square”… The album came about when Billy Childish’s friend and musical inspiration Don Craine of the Downliners Sect died in February 2022. Childish teamed up with his former bandmates from his ’90s group Thee Headcoats and Craine’s Downliners bandmate Keith Evans to record a memorial EP. They all enjoyed the experience enough that they decided to cut this reunion LP. I love what it does so much!
Tzusing, Green Hat– Malaysia-born, Shanghai- and Taipei-based DJ. You may be surprised to hear me say this given it’s almost entirely instrumental and 100% EDM, but this selection of sharp metallic dance music, surprising and energizing electronic effects, and an actual social point of view introduced through computerized voice memos is a win!
U2, Songs of Surrender– Regular readers will know that I like a good album concept. Even when the concept doesn’t totally work, I admire the ambition. This “new” album from U2 scores highly in that regard. The band presents new recordings of forty songs from throughout their career with a stripped-down acoustic approach, in four sets of ten chosen by each band member. As you might imagine, this ends up being a little long, as in, around two and three quarter hours. But it is worth it- the treatments and in some cases lyrical reworkings expose anew the power of the songs, and as a set it sounds very coherent. You may think me mad, but I think this works!
Wild Billy Childish & CTMF, Failure Not Success– The attitude and snark! The wordplay! The sure feel for decades of ass-kicking rock! Opening with a spot-on cover of “Love Comes in Spurts”! Yes, it’s his second entry on this post alone, but I’ll say the same thing I did when I put his 2021 album Where The Wild Purple Iris Grows on my honorable mention list for that year- How did I not hear of Billy Childish until now?!?!
Maybe
A Certain Ratio, 1982– For a band who has been kicking around since 1977, this Manchester post-punk outfit and early pioneer of the Factory Records scene sound surprisingly lively. Part of that is well-deployed contemporary vocal talent on some tracks. And part is that their mix of sounds- post-punk, dub, house, African- are very much a contemporary mix. Is it fresh enough? I don’t know. But it kept me listening!
Aly & AJ, With Love From– These two ladies know their way around pop song harmonies. It reminds me, in a way I like, of Wilson-Phillips. There is sunniness, emotion, and if it’s in a smooth package, well, that’s kind of the point.
Anna B Savage, in/FLUX– I’m not always sure about the tempo and pacing here, but the carefully chosen vocal phrasing, arch lyrics and modulated music combine to produce a powerful effect. This London artist is controlled and stylish while still being full of feeling.
Belle and Sebastian, Late Developers– I mean, there’s no such thing as a bad album from them, right? This one is more sonically varied than their entry from 2022 and, if that makes it fall a little short in coherence, it also keeps things interesting. It’s not the newest sound in the world for them, but it is a good sound!
Black Belt Eagle Scout, The Land, The Water, The Sky– Sometimes folky, delicate, and shimmery, sometimes a gorgeous shredding noise that would be familiar from, for example, Galaxie 500 or My Bloody Valentine. This Portland based artist is doing something interesting here, livened further by her tackling identity issues both Queer and Indigenous.
boygenius, the record– Indie supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker. There is an incredible synergy between their complimentary musical approaches, a whole here bolstered by its parts. The music, vocals, and lyrics are consistently rich and often surprising, and my only real complaint is the sequencing, where a few lulled out tracks keep it from fully gelling.
Bun B/Statik Selektah, Trillstatik 2– There’s a lightness, a sprightly feeling to much of the lyrical and musical mix of this collaboration between Texas hip-hop legend Bub B and East Coast producer Statik Selektah, but also depth in the sources and portraits of life. The vocal flow doesn’t always keep up but is also often quite affecting. And, considering the album was recorded live in one twelve-hour session, it has no business being as successful as it. But it is!
Butch Walker, Butch Walker as…Glenn– Walker started off heading a glam metal band in the 80s and has ventured over all kinds of territory since then. This album finds him engaged in a very specific kind of forgery- it presents the persona of “Glenn”, a burned-out musician playing a cheap and rowdy bar. You’ll hear hints of the 70s incarnations of Billy Joel, Springsteen, and Jackson Browne here, as well other similar voices. The concept sound is inherently a little derivative, but it feels fantastically sincere.
Cheater Slicks, Ill-fated Cusses– Echoing clangy guitars, a thick feedback-laden background, and vocals that are consciously artless. They’ve been kicking around the Boston music scene since the late 80s, and it turns out they can still bring it. It sounds like punk, it sounds like garage rock, it sounds like the snottier reaches of 80s hardcore. It sounds like I’m going to listen to it again!
Daisy Jones & The Six, Aurora– Soundtrack froma streaming show/debut album of the fictional Fleetwood Mac era band from the show. So, you know it’s a derivation. But it actually fails, to the extent it does, by not sounding enough of that era, and reading more modern, like an 80s alt or 90s indie band enamored of that sound. As such though, it’s good, if a tad eclectic (another reason it doesn’t ring true as an album), and the most authentic moments are genuinely amazing.
Deathcrash, Less– If this alternation between fuzzy feedback and faster thrashier music, and combination of aching earnestness and tongue way inside cheek feels familiar, it is no less welcome because of it.
Deerhoof, Miracle-Level– I love Deerhoof, but there are a few things here that further set it apart as their oeuvre goes. It’s their first all-Japanese album and recorded live as in a professional studio, another first for them. Perhaps because of that, it’s got tautness, clarity, and sometimes even a relaxed jam feeling on top of their usual off-kilter mix of sweet melody and noisy anarchy. It doesn’t feel as held-together as their best albums, but it is interesting all the way through.
Depeche Mode, Memento Mori– Death and loss loom large in Depeche Mode’s 15th album and first without founding member Andy Fletcher, who was often the intermediary between Martin Gore and Dave Gahan. It feels like a memorial, heavy and yet strangely melodic, while revisiting many eras of Depeche Mode. The mood is a little heavy, but, well, you can understand why.
Gnoomes, Ax Ox– I saw the band described as “Russian shoegaze-psychedelia-Krautrok-techno”. And indeed, it sounds like all of those. Abstract? More than a tad. But also weirdly listenable! If you were in the right club, you know the one, various parts of this sound like you could have heard it there at any point in the 70s, 80s or 90s.
Guided by Voices, La La Land– And here they are again! This old warhorse of an indie band put out multiple albums in 2021 and 2022, and their first for 2023 is in “classic” territory for them, a kind of Pink Floyd/Moody Blues side of psychedelia. It’s not the newest or freshest sound, but so well done I can’t help but say “maybe”!
Iris DeMent, Workin’ on a World– She’s been kicking around since the early 90s with her mix of country, folk, and gospel , and if it’s sometimes a little too on-the-nose lyrically, it’s also sincere, and is relaxed and confident in its retro musical and vocal stylings.
jonatan leandoer96, Sugar World– Based on the title and the extremely wholesome looking artist on the cover, I was afraid things would be a little too sugary, but in fact this ends up being a beautiful vocalist with solid pop sensibilities turning a variety of 80s alt rock musical approaches into pop gold. Not the deepest thing ever, but rather refreshing!
Lil Yachty, Let’s Start Here– I’ve liked some other things I heard from this Georgia-born hip-hop artist/producer, but this is a whole other level. Yes, it is heavily autotuned, but in this case the medium is part of the message. That is to say, the autotune is folded into layers of production, soul samples, and sometimes philosophical lyrical excursions in a way that supports the whole. It almost feels like a Pink Floyd approach to a hip hop album. Not entirely sure it comes together, but it is worth another listen. Or two!
MIKE, Beware of the Monkey– This wasn’t always distinct enough to break through on an individual track basis, but the metaphysical and socially conscious sampling and lyrics, warmness of the vocal flow, and depth and richness of the musical mix was very compelling. This Bronx-based hip hop artist originally from London has got something very interesting going on.
Paramore, This is Why– I do like me some Paramore! They know how to rock, they know how to be funky, they know how to be dancey, they know how to speed up and slow down within the same song. Not to mention the welcome lyrical bite. I will say there is a sense in which this could have been recorded any time in the last twenty years, and sounded right for its era, but it’s a good rendition.
Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Land of Sleeper– I mean, the name, right? And the description I read of the band is, “Standing at the nexus of doomy stoner metal, fuzz-blasted psych-rock, and bracing post-rock, Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs confront existential dread with creativity.” They live up to it! I haven’t been quite this happy with a batch of metal since the heyday of Mastodon, and if the vocals are a little hoarse/shouty, the music is primo.
R. Ring, War Poems, We Rested– I kept thinking how strongly this was hitting my “female-led 90s alt rock” weak spot, and then read that the band is a collaboration of Mike Montgomery of Ampline and Kim Deal’s sister Kelley (also of the Breeders and the Kelley Deal 6000). Well that explains it! It’s not the freshest thing in the world at this point, but I was a sucker for the sound in 1994, and I’m a sucker for it now.
Samia, Honey– A singer-songwriter with indie rock and electronic influences, her music has a kind of simplicity, but the incisive and emotive lyrics and vocals bring something extra to it. She’s recognizably of a school currently populated by the likes of Soccer Mommy and Olivia Rodrigo, and there are stretches that feel a little too hushed, but the wit and bite demand attention.
Shonen Knife, Our Best Place– Shonen Knife’s mix of girl group pop and Ramones-style punk sounded great and refreshing in the 80s. Their growing musical range while keeping sunny punky pop in the forefront sounded very timely in the 90s. They’ve continued to sound good in the 00s, the 10s, and now in the 20s. Even if these songs could fit in any of those decades, and be from any of their albums, it is impossible to dislike them or say they don’t work.
Sleaford Mods, UK Grim– I am on the fence about this the way I was about their last album. There’s the sameness and simplicity, but also the power in the simplicity, the propulsive poetic barrage, and the witty trenchant and literate rant attached.
The Men, New York City– With the band name, and the album name, you might expect getting a rocking outing that would fit in well with the garage rock revival of the early 00s. And you would get it! Not the most original thing ever, but joyful noise well delivered.
The Nude Party, Rides On– Early on it reads like imagining the Rolling Stones as a new band just starting out today, with a similar approach to musical inspirations, but American and with a good dose of country along with the blues. Eventually it reminds me of Dylan in his country phase. Either way, it’s not totally original, but this North Carolina band knows their space and is inhabiting it very well.
The Reds, Pinks & Purples, The Town That Cursed Your Name– I love the shimmery achy thing that they do here, an invocation of hazy summer days listening to the Cure in the alternative 80s. It’s suffused through with a lyrical nostalgia as well. It is rather same track to track, but a gorgeous sameness.
The Tubs, Dead Meat– The Tubs is kind of a super-group of London-area rock band members, and their collective experience shows here in this well-executed set of songs redolent of the poppier side of original UK punk (think the Buzzcocks, the Jam) and 80s jangle-pop.
Van Morrison, Moving On Skiffle– This dip into a skiffle sound is delightful! He sounds so relaxed and spontaneous, and it’s nice that he’s not putting out full-length COVID conspiracy rants anymore as on his last two albums. The hour and a half-length is really the only issue. I think there’s a 45-minute version of this album that would have been an automatic “yes”.
Vigro Deep, My House My Rules– South African musician/producer Vigro Deep put together this guest-star loaded album based on the “amipiano” genre that has emerged in the South African club scene. Weirdly, given my general electronica-skepticism, and an almost two-hour run time, the sounds were so fresh, interesting, and fun that I must call it a maybe!
Yo La Tengo, This Stupid World– You could make a case that they are the godfathers of indie rock, and here on their 17th album their sound, if not unfamiliar, is still challenging in its mix of charging clanging guitars, quieter moments, elliptical lyrics, fuzzy melodies, and dissonant touches. I’d be down for another 17 albums from them given this, though it did have some pacing concerns for me with a marked slowdown for a big block in the middle.
And this concludes your review of new releases from Q1 2023! I’ll try to get something new out for you before too long…
You probably don’t want to be reading about this. Well I don’t want to be writing about it! But given that this past Friday was officially 18 months until the election, and that we probably already know who the nominees will be (more on this below), I feel I must. Just this once, then I plan to steadfastly avoid writing on this further until we’re a year out.
So, what’s that I say about how we already know who the nominees will be? Let’s start with the easy one.
President Joe Biden announced that he was running again on April 25th. On general principle, this means he’ll be the nominee- the last time an incumbent President lost their party’s nomination was in 1884. Also note that, in order to lose your nomination, there has to be somebody running against you. Every major potential alternative is on board with Biden 2024, including 2016 and 2020 runner-up Senator Bernie Sanders.
While many Democrats aren’t thrilled with Biden running again, the vast majority are satisfied enough, and, as mentioned above, the Party leadership is all in. So, barring health conditions preventing him from continuing, or a debilitating scandal erupting, Biden will be the Democratic nominee. Which brings us to…
Former President Donald Trump announced that he was running again on November 16th of last year. In his case, it’s not that there isn’t anyone else running. In fact, it will likely be the opposite condition that ends up handing him the crown.
There are plenty of potential candidates kicking around: Former South Carolina Governor and UN Representative Nikki Haley and former Arkansas Governor Asa Hutchinson have already announced. South Carolina Senator Tim Scott has an announcement pending. Florida Governor Ron DeSantis and Former Vice President Mike Pence haven’t announced, but they’re sure behaving like candidates. And former New Jersey Governor Chris Christie and current New Hampshire Governor Chris Sunnunu are known to be seriously considering.
This pretty much sets up a repeat of 2016, where a large field splintered the vote so that no single “not Trump” candidate emerged. That, a loyal core base, and the Republican penchant for winner-take-all primaries allowed Trump to gallop away with the nomination even though he only got low 40s-percent of the vote. DeSantis had initially seemed to be getting some traction, but has now faded back, as can be clearly seen in 538’s poll tracker:
The most recent polls have shown that 44% of Republicans don’t want Trump to run again. However, the flipside of that is that 56% do. And this is after January 6th, the classified documents scandal, the new special counsel, the New York indictments, etc. Trump retains a loyal core of support, as he always has, the whole way along.
Combine this core base with the large field, the current leading alternate contender doing worse over time, and the winner-take-all primaries, and the conclusion seems inescapable. Trump is overwhelmingly likely to be the party’s nominee in 2024.
But wait, you say, what about all of Trump’s multiple streams of legal peril? They don’t matter. Being on trial doesn’t make you disqualified from running for President. Being found guilty doesn’t make you disqualified from running from President. Even being in jail wouldn’t disqualify you. As long as Trump’s base sticks with him (and they have so far, through everything over almost eight years), he’ll be the nominee.
Okay, so say we’re headed for a rematch. What’s the outlook? First of all, how dare you! It is utterly useless to prognosticate about this kind of thing a year and a half in advance! Second of all, as a hopeless election nerd, I will take you up on it anyway.
Biden’s net popularity isn’t great (also from 538):
On the other hand, that number is a weak indicator this far out. We can say that his net approval isn’t that much different from same period lows of first term Reagan, Clinton, and Obama, who all went on to handily win reelection:
Also in Biden’s favor is the above-noted fact that he hasn’t attracted any major challengers (sorry Bobby Jr. and Marianne). Presidents who do have competitive re-nomination primaries (Ford, Carter, Bush I) are usually headed for a loss.
And probably the greatest single factor in Biden’s favor is that he’s probably running against Trump. Trump is massively unpopular, and has multiple downside legal issues facing him going forward. In that same poll cited above about 44% of Republicans not wanting Trump to run again, 93% of Democrats and 63% of Independents felt the same way. It’s pretty hard to win a general election when coming up on 2/3 of Independents, and a major chunk of your own party don’t want you there.
The standard disclaimers apply: Eighteen months is a long time. Either candidate could face major health issues. Either candidate could face a crippling scandal (although it’s hard to imagine what would be crippling for Trump in the eyes of Republicans at this point). Recession could be in full swing come election day. Some foreign policy event could have either massive upside or downside for Biden. And so on…
And in our highly regionally polarized age it’s also worth mentioning that the electoral college could make things dicey no matter what. In 2016, Trump finished behind by 2% and 3 million votes nationally, and still became President because of 78,000 votes in Michigan, Pennsylvania, and Wisconsin. Put another way, if just 39,000 of the 14 million voters in those three states had changed their minds, I might be writing about who will succeed Hillary Clinton in the White House next year.
And 2020 was arguably even closer. Biden ended up leading by 4.5% and 7 million votes nationally. But without the 37 electoral votes in Arizona, Georgia, and Wisconsin, we would have had a 269-269 tie, which would have gone to the House of Representatives to settle and probably would have resulted in a Trump “reelection”. Biden won those three states by fewer than 45,000 votes combined. Meaning that around 22,000 voters out of 11.5 million total in just three states changing their minds could have led to a different result.
So this rematch could go down to the wire no matter what the popular vote is. There’s a cheerful thought to consider for the next six months until we check in again!
Once upon a time, a young lad set out to catch up on new music. He listened to critics choices for the best albums of the 2010s. He did the same for 2020. And then he set out to listen to new releases month by month throughout 2021, so he could come up with his list for the 21 best albums of 2021.
All right, look. “Young” is a state of mind, but the rest of the above story is true! And my 2021 excursion was so interesting that I decided to do it again in 2022, as follows:
All told, I ended up listening to 1,128 albums released in 2022. From this:
I ended up with 289 “yes” and “maybe” picks
After re-listening to that 289, I whittled it down to 131
Those 131 then got a final re-listen resulting in…
The 22 Best Albums of 2022!
Amanda Shires, Take It Like a Man– She started off as a country artist, and there’s still more than a hint of that here, but with the minor chords, and surges and undercurrents of feeling, this is like haunted pop music. The genre varies, but the whole is tied together by her powerful earnest vocals and the bare emotional tales of her lyrics. Nanci Griffith’s Storms comes to mind in terms of well-produced pop smoothness combined with complicated dark depths.
April March, In Cinerama– This California singer-songwriter first came to prominence for film soundtrack work, and has carried on her high-verve song stylings in English and French ever since. And this album is a joy from the first jaunty guitar notes, swiftly joined by drums, horns, and her neo-swinging 60s vocals. Much of it carries on in this 60s vein, but at times it sounds like international pop and/or shimmers with timeless harmonies. Any which way, every track shines with unimpeachable excellence.
Bill Orcutt, Music for Four Guitars– It turns out that if you are going to sell me on an all-instrumental album, it needs to be an experimental electric guitar distortion-heavy album! It’s less experimental and more conventional than some others I listened to this past year, but also heavier, and I love the sound this 61 year old guitarist, composer, and veteran of bands since the 90s makes!
Brendan Benson, Low Key– This album from Raconteurs member Benson displays that group’s sure feeling for classic sources, in this case turning out music decidedly influenced by 60s ornate pop, 70s power-pop, and prog pop. In that sense, it’s halfway to being a museum piece, but it’s a darn near flawless exhibit.
Chat Pile, God’s Country– The first track turned me off with its ragged vocals, and I feared it would be another pleasingly heavy but vocally screamoed into the abyss album. But I was wrong! The punk/hardcore/metal edge remained, and the vocals were still ragged, but they cohered enough to understand that the roughness is part of the point. The vocal and lyrical attack reminds me of the brutal snark of Flipper or Jello Biafra, but with a slacker undertow that leavens the whole thing out. Thank you, little Oklahoma band, for reminding us that rock can still be heavy, disturbing, serious, and funny all at the same time.
Ezra Furman, All of Us Flames– Part of a trilogy from this Chicago artist, this album features theatrical and lyrically dense poetic story-telling, with equal parts atmospheric heartland rock, punk, and Tom Waits-style rambles. Lyrically, it’s both a call to arms and series of poignant, personal, and powerful vignettes on the struggle of being Queer in America. A masterwork, all the way around.
Fantastic Negrito, White Jesus Black Problems– This is great! Vocally it’s exuberant and varied. Musically, it’s an R&B shakedown with edges of electronic dance, new wave, garage rock revival, 70s soul, and gospel. And lyrically it is a cycle of songs about struggle, freedom, and joy inspired by the artist’s discovery of 7th generation grandparents who were a Scottish indentured servant in a common law marriage with an enslaved African American man. Xavier Amin Dphrepaulezz, aka Fantastic Negrito, was inspired to play music by listening to Prince and then taught himself. I feel like he’s now teaching us what’s still possible for an album to do!
John Mellencamp, Strictly a One-Eyed Jack– I’ve always had a soft spot for John Mellencamp. At his best he’s been an incisive lyricist and a strong musician. On the poppier side of things, but certainly homing in on a certain heartland rock vibe where he can get quite profound, a la Dylan, Springsteen, Neil Young, etc. That’s definitely the space he’s in on this album (with several Springsteen guest appearances to prove the point). The music is nuanced, the lyrics darkly evocative, and his voice is beautifully ragged while dealing with themes of time, memory, and loss. This is the kind of album that you have to have a lifetime behind you to make, and he’s earned it.
Lizzo, Special– The opening track starts with “Hi motherfucker did you miss me?” then touts her twerk and celebrates her thickness within the first minute. So there’s that for worthy subjects and admirable verve, but also, it’s vocally and musically just so fun, fun, fun! Great dance/soul music with a strong personality, musical cleverness (motifs from the 70s-90s abound), and rich buoyant vocals IS great. And I want to give it a medal for the way “Grrrls” samples from the Beastie Boy’s “Girls” while turning its whole concept inside out. Lizzo for President!
Lyrics Born, Vision Board– I love the dub and ska influences, I love the wacky wit that reminds me of when hip-hop was hilarious in the 80s and early 90s, and the mix and vocals have a strong whiff of that era as well. This album functions in both hip hop and R&B modes, and it’s brilliant, if weirdly retro, in both. Along with his very different album from earlier this year, it shows just how versatile an artist we have in Japanese-American rapper, singer, and producer Tsutomu “Tom” Shimura, aka Lyrics Born.
Mo Troper, MTV– This is full of distorted harmonies and great fuzzy bursts of noise. Amidst the joyous musical discord and mixed in with a good deal of irreverence, there are genuine feelings as well from this Portland-based power pop impresario. Their music reminds me of the Deerhoof school of blowing up and reassembling pop songs. I love that school!
My Idea, Cry Mfer– After Lily Konigsberg of Brooklyn band Palberta had her 2020 solo debut produced by fellow indie rocker Nate Amos, the two became friends, leading to this collaborative album. Both Palberta and a solo album from Konigsberg were high on my 2021 contenders list, and this album has a lot of the “why” behind that on good display. Her pop rock instincts are impeccable, but while melodies proceed so sweetly, the lyrics are archly subversive, and the music is loaded with experimental touches and indie grit and verve. The whole ends up far exceeding its already excellent parts. I want more Lily!
Panic! At the Disco, Viva Las Vengeance– It’s so perfectly obvious what this album is doing that it almost feels manipulative- it’s an over-the-top ode to the lovable excess of rock. But, if you manipulate me by evoking Meatloaf, Queen, Springsteen, and 80s arena rock ballads, and liven it with a punk attitude, I’m probably going along for the ride. As is their forte, Panic! At the Disco pack it with feeling that could be called emo, but are so unreservedly committed to it that it carries the listener along. I kept wondering if it was all too much, but I also kept being charmed back in by the realization that is the whole point.
Particle Kid, Time Capsule– This is extraordinary! For reference, Particle Kid is the band of Willie Nelson’s youngest child, Micah, who describes what he does as “experimental future-folk”. I think that’s not inaccurate, but if anything it undersells the creative kaleidoscope on display here. You’ll find, alternately, experimental electronic, things that sound like they come from some strain or another of the 90s (grunge, shoegaze, melodic pop-rock), psychedelia, and more than the occasional moment that put me in mind of Neil Young. Behind all that, though, there’s a unity of spirit and overarching structure that holds this all together. For an hour and 45 minutes!
quinn, quinn– Three cheers for hyper-pop! This 17-year-old artist has produced a disjointed (in the best kind of way) pastiche of hip-hop that musically turns the genre inside out while being personal, hilarious, and political. This doesn’t sound like everything else out there, and it makes me hopeful that there are still ways out of the rehashed, cliched sonic mess the 2020s has become.
R.A.P. Ferreira, 5 to the Eye With Stars– I was impressed by this Wisconsin hip-hop artist’s album The Light-Emitting Diamond Cutter Scriptures last year, and this has many of the same charms on display in that album. It’s like a lost era of hip-hop in some ways- philosophical, poetic, conscious, given to wild wordplay and lively musical mix. This isn’t by accident, as several name checks of Arrested Development songs and lyrics demonstrate. But it also sounds thoroughly contemporary in a way, and certainly not like something plucked from a museum.
Sick Thoughts, Heaven Is No Fun– The songs here are sometimes in a classically UK punk vein (I Hate You) sometimes like 70s metal (Mother, I Love Satan), or glammier 70s hard rock (Submachine Love). It is, in those ways, a very dated sound. But this doesn’t sound like mere aping, it’s delivered with such conviction that it comes across like an original work of a bygone era that’s somehow fallen out of a time warp. Keeping in mind this New Orleans-based musician is only 25 it’s kind of an amazing achievement!
Superorganism, World Wide Pop– The hyperkinetic pop of this London indie group has so much going on! The first track alone features a dizzying array of sound effects, samples, beats, and musical modes. The goings-on here are equally informed by 21st century dance music, indie rock, and a 90s slacker feeling, which makes it nostalgic and contemporary all at the same time.
The Koreatown Oddity, ISTHISFORREAL?– This philosophical, abstract, and experimental outing from LA-based hip-hop artist the Koreatown Oddity is a delight! Trippy vocals and a heady mix of samples show up in between an ongoing device of claiming to actually be a British artist who had been posing as an American, and musings on the nature of reality and subjective experience. This all might be a bit much if it wasn’t also highly listenable. Which it is!
The Mountain Goats, Bleed Out– This album is chock full of hooks, chord changes, clever word play, and swelling musical moments. At times it’s a little jam bandy, other times more power pop, and sometimes it reminds me of Neil Young and Even Death Cab for Cutie. The whole thing is held together by a semi-narrative involving crime drama themes. It’s a fun conceit, and powers a thoroughly compelling listen!
Tim Heidecker, High School– Tim Heidecker is a comedian with a more than incidental side career as a musician. Which it turns out he’s really good at, making a thoughtful kind of soft rock. This album is in that vein and lives up to its name. Musically, it almost seems like frat rock at times, but gets a hint of 90s alt guitar, and name checks music from multiple genres of the 80s and 90s. It’s full of authentic details of the travails of suburban teen youth. More than that, it evokes the quality of dusty nostalgia that teen memories have, and how at the time everything seemed serious and yet vague at the same time. Kind of peculiarly, it feels philosophical and shallow at the same time, all because it so authentically taps into its theme through mood and mode.
Wet Leg, Wet Leg– I got a 90s vibe from this Isle of Wight band with their lackadaisical vocal style, stop-and-start musical dynamics, and jarring guitar notes. It’s also often lyrically hilarious, packed with sexual innuendo, and snark about band life and boys on the scene. Wet Leg is now my new favorite Isle of Wight band!
And there we have it: The 22 Best Albums of 2022! But wait, there’s more! There are only 22 spots in the top 22 (it being mathematics and all) but I also picked 78 “honorable mentions” to round out our list to a nice even 100:
$ilkmoney, I Don’t Give a Fuck About This Rap Shit, Imma Just Drop Until I Don’t Feel Like It Anymore– The title is solid gold, but what’s really extraordinary here is that it’s a psychedelic album, a socially conscious one in a 90s vein, but with the muscularity of gangster rap. I can’t quite tell whether it’s embracing or deflating either genre, but it also contains one of the best cannibalism songs I’ve ever heard!
Action Bronson, Cocodrillo Turbo– A cacophony of sound effects and musical influences (with a pleasing tendency towards good old fashioned rock) on the mix side, and some variously hilarious and scary swagger on the vocal/lyrical side. He is now my favorite Albanian-American rapper of Jewish and Muslim parentage! His food show is really fun too, although I guess that review belongs in another kind of blog…
Aldous Harding, Warm Chris– Sometimes a classic 70s singer-songwriter feel, sometimes soul/R&B, sometimes sparkling with quirky traces of 80s-2000s alternative, and more than a hint of the Velvet Underground. Each song by this New Zealand singer-songwriter feels like it lasts longer than it does, and I mean this in a good way.
Anitta, Versions of Me– This Brazilian singer, songwriter, actress, dancer, businesswoman and TV presenter (!) really brings it here- the beats get the booty moving, the grooves are catchy, and there’s a great deal of verve, personality, and point of view in the vocals and on the lyric side. It may not be the most profound thing ever, but as great dance music goes- this is!
Artsick, Fingers Crossed– High energy guitar pop and affecting female lead vocals? That’s a good way to get me in. This reminds me of a hooky pop-rocking 90s band, and the poppier end of 60s garage rock bands. While there’s a definite unity of sensibility here, the songs have enough of an individual identity that each one holds attention on its own. Well done, little band from Oakland!
Avantasia, A Paranormal Evening with the Moonflower Society– Between the descriptor “German metal supergroup whose works have often been compared to operas” and the album name, you may have some inkling that you’re in for something overwrought. And it is true in the most glorious of ways! It’s as if multiple strands of 80s metal got together to produce their very own rock opera, as unapologetically over the top as it should be.
Bartees Strange, Farm to Table– His kaleidoscope of an album Live Forever was one of my favorites of 2020. Here he often sticks closer to a conventional palette in terms of music and production, but still pulls surprises. Sometimes the surprising moments are subtle, on others they blow your socks off. If it’s a little off in pacing and not quite as dazzling as his previous outing, it’s still worth many a listen.
Beach Bunny, Emotional Creature– There’s a bevy of younger ladies doing music that effortlessly brings together pop ballads, dance music, and crunchy 90s influenced guitar rock, unspooling emotion and yet intelligent lyrics in the process (looking at you Olivia Rodrigo, Soccer Mommy, et al). And hallelujah for that! Beach Bunny, a Chicago rock band formed in 2015 by Lili Trifilio, is in this vein. It may be glossy, and use pop rotes along the way, but nothing here sounds false, and every track is solid and fun.
Beyonce, Renaissance– The amount of layering in the first track alone is dizzying- the personal, the political, the vocally muscular and subtle, the clever sonic details and twists. It goes on in that vein and expands on with a varied and deep celebration of 80s-90s house music, raunch, snark, and an assured sense of power. It isn’t as coherent as her best, but there aren’t many artists around who can wield their own persona/myth for their purposes as effectively as Beyonce can.
Big Joanie, Back Home– It’s got a 90s alt rock feeling, with surprising electronic, folk and soul undertones, and the rich and ragged depths of lead singer Stephanie Phillips’s voice are the perfect accompaniment to the music. They are apparently a Black feminist British punk trio. Well a-freakin’-men!
billy woods, Aethiopes– This New York hip-hop artist has a reputation as an outsider, and he proves it here in the best sense of the term with dark menacing poetic flow backed by a jazz mix with discordant edges. The lyrics are heavy with history and spirituality without being heavy-handed, and the mix contains constant surprises.
Charlotte Adigéry & Bolis Pupul, Topical Dancer– Belgian-Caribbean musician Adigery is here with some weird, quirky, international dance music that’s topical and polemical with a sense of humor. On the music side it’s light, fluid, and full of dynamic sound effects. The lyrical sentiments are a little too on the nose sometimes, but the presentation is so tongue in cheek you can tell it’s messing with you deliberately.
Che Noir, Food for Thought– Powerful thoughtful lyrics, strong vocal flow, and some interesting mixing. It reminds me of late 80s/early 90s hip-hop in some ways. This Buffalo-based emcee and producer sometimes veers a little too much in the bragging street talk direction, but it’s not totally out of place, and it’s otherwise excellent.
Coco & Clair Clair, Sexy– Think about a feminist but irreverent take on hip-hop. Now make the lyrics hilariously sharp and cutting, and the music multi-layered and unusual while being sugar-sweet. This was a solidly fun listen!
Craig Finn, A Legacy of Rentals– A solo outing from one of the leads of the Hold Steady. Vocally/lyrically it’s pretty much spot on with the vivid tales of regular life that band tells, which you either like or don’t (I do!). Musically is where it gets interesting- there is a lot more variety and experimentation here than on most Hold Steady albums- it reminds me of the difference between, say, the Postal Service and Death Cab for Cutie.
Damu the Fudgemunk/Raw Poetic, Laminated Skies– This pair of Washington D.C. producers/hip-hop artists has produced a collaboration with a dense poetic flow, an intriguing jazz-inflected musical mix, and more than a hint of the conscious side of 90s hip-hop. It’s full of positive energy and I like it!
Demi Lovato, Holy Fvck– Regarding the title- Yes! One might say it’s navigating a pretty familiar stretch of 2000s pop-punk. But as much as it tilts toward the “pop” side, it’s also as often sincerely shredding on the hard and heavy side. And lyrically is where the real bite comes in, as she follows up on last year’s Art of Starting Over. She’s not as raw here as on that album, but no less powerful and often more nuanced. Demi Lovato continues to stake out a real artistic space for herself, and I’m intrigued to see what’s next.
Dr. John, Things Happen That Way– This is his final album, recorded during his last months, which certainly makes it more poignant. But even without that it’s tender, relaxed, makes great use of guest stars, and chooses excellent covers. Inherently, given the covers and the traditional musical styles, not the freshest thing ever. But it’s a beautiful version of it. Go in peace Dr. John!
Eamon, No Matter the Season– This Staten Island hip-hop/R&B artist is bringing a big fat 70s soul sound here, and I am loving it! A period piece? Maybe. But a damn well done one!
Fontaines D.C., Skinty Fia– Their album A Hero’s Death just barely got squeezed out of the top 20 in my 2020 review, so I was looking forward to this. And darned if This Dublin band isn’t bringing the goods! You’ll hear the angular heavy sound of post-punk here, but also the surging power and pathos you might associate with U2 of yesteryear. The accents are thick, the seriousness is leavened with a sense of honesty, and the lyrics are literate and emotionally complex.
Ghost, Impera– This Swedish band’s music is exuberantly delivered, and reminds me of British new wave metal in its clean bright musicianship. Still a little miffed at contemporary music for being mostly retreads of prior eras, but if it’s going to happen, it’s nice to have some good ones.
Gogol Bordello, Solidaritine– I must confess, though I have run across the name for years in circles indicating it might be something I would like, I had no actual idea what Gogol Bordello’s deal was. Their deal is amazing! If you feel like you might need some Romani folk, hardcore, and ska all mixed together in a delirious swirl and delivered with over-the-top energy and 100% commitment, well, I welcome you to join me as a newfound aficionado of Gogol Bordello.
Grace Ives, Janky Star– This Brooklyn-based musician delivers tales of internal and external misadventure, clever and lively synth arrangements, and vocals so replete with sweetness that they belie the wit, snark, and darkness of the lyrics. This all adds up to a fun and multi-layered pop album, and it’s especially impressive when you know that she’s home-produced and arranged the whole damn thing. Grace Ives for God Emperor!
Guided by Voices, Tremblers and Goggles by Rank– This is the 85th Guided by Voices album of the last two years. My count may be slightly off, but the point is, with them pushing out material at such a high rate, this album has no business being as good as it is. In this go, the musical chameleons are channeling a “punk turning to post-punk” era. I hear many echoes of the Jam, Gang of Four, Magazine, Wire, etc. at the tipping point of the 70s becoming the 80s. And it is a glorious noise!
Hank Williams Jr., Rich White Honky Blues– The idea is pretty simple: Have a producer known for getting good down and dirty blues performances work with an idiosyncratic country artist known for getting down and dirty. It works very well! Junior is in excellent grizzled grouchy veteran form here, the material is great, and the playing and production is sterling.
Hollie Cook, Happy Hour– This ska/dub/jazz mix from a British singer and keyboardist (and later lineup member of the Slits) is quite fetching! It sounds like a happy hour- not the loud obnoxious sports bar kind, but the mellow night out at a local spot where everyone is enjoying the grove. If it sometimes feels a little too smooth, it never sounds ingenuine for it, and the album carries you along track to track like a warm current.
Jack White, Entering Heaven Alive– This is White’s second album of the year, and consciously in a different vein than the heavier Fear of the Dawn. Against all general trends of my musical preferences, I like this better! It’s like a continuation of the slower more introspective side of the White Stripes, and as such, is more consistent than the sometimes straight ahead sometimes weirdly veering Fear of the Dawn. But in a way that doesn’t sacrifice musical dynamism and brings a lot of emotional and lyrical depth.
Joe Rainey, Niineta– Niineta, the title of Pow Wow singer Joe Rainey’s debut album means “just me” in Ojibwe, the native language of Red Lake Ojibwe in Minneapolis. If you don’t know what to expect from a Pow Wow album, you’re just like I was. Turns out it’s powerful in its own right, but is interspersed with a sound recording collage and an electronic mix that enhance it further and sends things in surprising directions.
Johnny Marr, Fever Dreams, Pts. 1-4– If Guitar Gods did not end with the 70s, certainly somebody who deserves consideration in the category is Johnny Marr. You’ll hear echoes of all his eras here- the Smiths, The The, his Factory work from the 90s, solo albums. But mostly what you’ll hear is really excellent dynamic guitar work. And if you are only familiar with Marr from his lead guitar days with the Smiths, you may be favorably impressed with the lyrical and vocal skills he’s developed since. The run time’s a little long but it remains dynamic and evocative throughout.
Johnny Ray Daniels, Whatever You Need– Debut album from a 76-year-old North Carolina-based singer/guitarist who has previously been a key figure in multiple North Carolina gospel productions? I’m in! And as it turns out, this is rocking good music from start to finish, without a hint of slickness or inauthenticity. Everyone who’s not a 76-year-old releasing their first solo album should take note about how it’s done.
Jon Spencer & the HITmakers, Spencer Gets It Lit– Jon Spencer has made gloriously raw blues-punk in various bands since the late 80s, and this album finds him in excellent form. It’s loud, it’s heavy, somewhat sleazy and sinister, pretty much everything you could hope rock still can be.
Jonah Tolchin, Lava Lamp– Different pieces of Americana show up in this New Jersey-born singer-songwriter’s approach- folk, blues, country, R&B. At times it’s in a mellow burned-out vein, other times it’s heavy, electric and foot-stomping. The variability doesn’t quite feel coherent, which is the only thing here I take points off for.
Judy and the Jerks, Music to Go Nuts– I mean, is it an album? It’s only 16 minutes long! But it is ten songs. Take that, Ramones! Maybe it’s because the songs are delivered with such verve and commitment, maybe it’s the female lead, but I haven’t been this happy with something in the punk genre since some of the early 2000s Riot Grrl afterburn. Not bad, Hattiesburg, Mississippi band!
Kae Tempest, The Line is a Curve– The descriptor “UK poet, rapper, playwright, and novelist” could have gone a lot of different ways, but the way it’s gone here is pretty stunning. Her plainspoken vocal delivery, muted musical background, and tales of working-class life and deep interior feelings create an experience that lingers long after it’s done playing.
Kamikaze Palm Tree, Mint Chip– LA-based, from San Francisco, with 14 songs in 31 minutes. It’s gloriously off kilter, it’s sing-song, it’s melodious and discordant, I can’t tell whether it’s hilarious or vaguely threatening. I love it!
Kendrick Lamar, Mr. Morale & The Big Steppers– As befits Kendrick Lamar, this is by turns hilarious, menacing, willing to explore ugly truths, and vulnerable and self-exposing. His customary musical and vocal kaleidoscope of approaches is there throughout, and, if anything, is more varied and experimental than ever. If it comes in a little long (1 hour 17 minutes) and isn’t as focused or structured as some of his albums, isn’t the best hip-hop artist of his generation entitled to a sprawling double album?
Kids on a Crime Spree, Fall in Love Not in Line– Now here is a band who has well learned the art of 60s jangly bell-ringing rock (via influence from punk and 80s/90s alt). Is it the most original or profound thing ever? No. But it is flawlessly done. And yet another band who I hear and like, and then subsequently find out is from Oakland. You can take the guy out of the Bay Area, but you can’t take the Bay Area out of…
Kolb, Tyrannical Vibes– So rocky! So melodic poppy! So intellectual and obscure lyrics to go with the surface sheen! So alternating male and female vocalists! This project of a New York singer-songwriter delivers an album that works from beginning to end.
Kula Shaker, 1st Congregational Church of Eternal Love and Free Hugs– Knowing they’re an English psychedelic rock group, combined with that title, gives you some sense of the goings-on here. And, indeed, there are British psychedelic touches a plenty- a framing mechanism of a church service, a kind of through story about the fall of man, ornate musical production, Indian influences, and lyrics sometimes given to extreme whimsy. What all of this doesn’t quite convey is how often it is blisteringly guitar rocking. Listening, I heard hints of all the concept album forebearers one might expect- the Beatles, Pink Floyd, the Who, the Zombies. But it never felt inauthentic.
Kurt Vile, (watch my moves)– The low-key melody, the burned-out wit, the slacker undertow here is a beautiful thing to behold. It was a little overlong at past an hour, without enough tone switches song to song, but musically, lyrically and vocally it was working for me. I’ve seen him described as a “dazed and confused update on roots rock” and I say, “Amen!”
Lavender Country, Blackberry Rose– It has a good story- the artist who released the first gay-themed country album ever back in the 70s put out a new album in 2019 that didn’t get proper backing, so it’s re-released now with some additional production. It holds up to this initial interest well- the music is straight-up (all puns intended) old style country, and the lyrics are full of country tropes with clever subversion. It’s sometimes a little too on the nose, but really is a very interesting musical world turned upside down.
Lee Bains III & the Glory Fires, Old :Time Folks– This “old time” here seems to be the 70s. I hear some Bat Out of Hell, some Cheap Trick, some 38 Special, maybe some Stillwater? The older stuff, from before the “No Planes” Tour. There’s plenty of “new time” too though, sounding like the more electric side of 80s/90s alt country, or, more recently, Drive-By Truckers in their sure feel for country, rock, and contemporary but timeless lyrics. It’s not the most original formulation, but it always feels authentic.
Leikeli47, Shape Up– This New York musician is known for being so private she’s never performed without her face covered. That’s a curiosity, but the real deal is her strong beats, husky sensual hypnotic flow, fun song twists, and delightful inversion of hip-hop gender dynamics. There’s some lack of album coherence/structure keeping this from getting to “yes”, but it’s still a strong package.
Logic, Vinyl Days– There’s a dizzying kaleidoscope of styles and samples on this album from American rapper and record producer Logic, well-deployed guest appearances. On the lyrical side, there’s plenty of bragging, but also plenty of humor and wordplay, some serious message, and wild inventiveness. At an hour ten, it’s a little sprawling, but there’s a lot of good stuff in that sprawl!
Lucy Liyou, Welfare/Practice– This album by a Philadelphia-based Korean-American experimental musician is, in a sense, very detached, even muted. It’s a pastiche of text-to-voice vocals, piano, and sound samples. The detachment works though, to take just enough of the edge off the confessional lyrics of family estrangement and therapy to make the content even that more raw and revealing. Yes, it tends toward the abstract and is over an hour long, but damned if my first impulse after first listen wasn’t to immediately play it again to examine all the layers hidden therein.
Lyrics Born, Mobile Homies: Season 1– I hear “Tokyo-born Bay Area rapper” and I’m favorably predisposed, so it’s so much the better that this COVID-born mix-tape is actually fresh and delightful! It’s composed of collaborations with friends interspersed with interviews he did with them for his podcast. The mix is surprising and unusual, beats and refrains catchy, and lyrics full of both humor and serious import. It didn’t quite hit the same level of sonic focus and sheer fun as his album Vision Board, but he’s made this list twice, which is notable!
Mat Ball, Amplified Guitar– Every song on the record was recorded in a single take, with a guitar Bal built himself. As wonky music premises go, I like it! In practice I ended up liking it a lot too. It felt in a way like a guitar playing pieces meant for other instruments, and doing it with waves of distorted feedback-laden sheen.
Miranda Lambert, Palomino– I like Miranda Lambert’s version of country, and here she’s delivering muscular minor chords, sharp vocals, and smart, swagger-filled lyrics. The country is straight-up enough to give the pop depth, the pop hooky enough to keep it rolling, chock full of sly references to a range of American music, and there’s even a through story of sorts about a trip across the Southwest in search of- Herself? A good cowboy? American life? Her Marfa Tapes collaboration was one of my 2021 honorable mentions, and here again she shows country what it can still do if it just tries!
Orville Peck, Bronco– Minor chords, echoey crooning vocals, a surf-music and rockabilly-influenced take on country. Sometimes so straight-up it’s almost on the edge of parody, but darned if it doesn’t work! Orville Peck is now my favorite South African country musician based in Canada who wears a fringed mask and never shows his face publicly.
Otoboke Beaver, Super Champon– Rocking female-led bands and quirky Japanese noise-pop are two of my happy places, so… And indeed, this is brutal and hilarious. It reminds me, variously, of Bleach era Nirvana, a snotty young hardcore band, and the thrashier side of Cibo Matto. It’s a winning mix, even though mostly in Japanese.
Pastor Champion, I Just Want To Be a Good Man– Itinerant preacher Pastor Wylie Champion wandered California preaching and playing an electric guitar. David Byrne’s label Luaka Bop happened to come across a video of him playing in a church in Oakland, and, after reaching out, recorded a live set before his death in 2018. As an album origin story, this sounds amazing. The even better news is that the spare, powerful, and raw electric gospel it contains lives up to the story.
Paul Heaton/Jacqui Abbott, N.K-Pop– This is a collaboration of the founding members of the Housemartins and the Beautiful South, so it shouldn’t come as a surprise that it sounds like that melodious hook-heavy, syrupy yet biting era/school of British pop. In a way almost a time capsule musically, but the lyrics here, both in topicality and in their point of view, recognize that this is more than 30 years later, and show some wisdom and weariness.
Planet Asia, Medallions Monarchy– I’ve heard this veteran Fresno rapper’s work described as “traditionalist hip-hop”, which, given that he debuted in 1997, means I’m probably much older than I think I am. It’s true though, there is a late 90s/early 00s muscular solidity to this mix, to his flow, and to the tales of the street it contains.
Regina Spektor, Home, before and after– The literate and vivid poetry of her lyrics, the alternating softly and ardently compelling quality of her voice, and the orchestrated swell of the music behind her here are all working so, so well together! She’s been doing great work for about 20 years now, and it’s nice to see it continuing here.
Reptaliens, Multiverse– I mean the group name, the album name, the knowledge that they like to write about alien conspiracies. How could I not? All that being said, there’s not a lot of alien on this outing, but they are surprisingly sweet and melodic musically and vocally while lyrically probing the darker edges of interior landscapes. This excellent neo-psychedelic rock rolls charmingly and somewhat disturbingly along without a hitch.
Rhett Miller, The Misfit– Miller is the former lead singer of the alt country Old 97’s, who in his solo work has tended in a more pop direction. That’s definitely on display here, but think 60s and 70s-indebted pop rather than 00s dance pop. I was on the edge between loving the evocative music and his nuanced lyrics and finding it a little same going track to track. Each time I was about to abandon it because of that sameness though, a musical surprise or a particularly affecting lyric turn got me back on board.
Run the Jewels, RTJ Cu4tro– Re-recordings and re-workings of previous year’s albums are not uncommon, but this one has an especially interesting premise: “It’s a reimagining of RTJ4 through the lens of collaboration and a fusing of numerous musical cultures and influences,” and was made exclusively with Latin collaborators. This works in the best kind of way, taking what was one of my favorite albums from 2020 and making it into something genuinely new, and worthy on its own.
Ry Cooder/Taj Mahal, Get On Board: The Songs of Sonny Terry & Brownie McGhee– Two later day blues greats, now elders in their own right, cover songs from 50s-60s folk blues powerhouses Terry-McGhee. The source material is great, the playing raucously gorgeous, and the vocals gloriously ragged and natural-feeling. There isn’t anything here not to love!
Sammy Hagar & the Circle, Crazy Times– I have a fondness for Sammy Hagar going back to the 80s, so maybe I walked in to this compromised. But no, really, there are great things going on here! Good time rock and roll, interesting covers choices, a heavy noise that makes me miss 80s hard rock radio, and nuanced meditations on aging and what it all means. And Van Halen bassist Michael Anthony and Jason Bonham on drums!
Sarah Shook & the Disarmers, Nightroamer– This album features driving yet very spare country with more than a trace of rock influence, and vocals and music occasionally sounding like they’re being tuned in by an AM radio. It’s got a minor chords and big organ sound that I appreciate, but livened by some more contemporary pop/rock dynamism. Perhaps, when one is a non-binary bisexual atheist, one’s approach to country is especially fresh. North Carolina-based Shook is a unique and worthy voice.
Slash, 4– Well we had Johnny Marr above, here’s another great candidate for “later-day Guitar God”. The guitar work here is, well, Slash- classic, virtuositic, and heavy. And it’s kind of amazing what a good ersatz Axl Rose replacement he got in vocalist Myles Kennedy. Is this really giving us something equal to the best of GNR? Of course not. Or substantially different from what we got with Velvet Revolver? Again, no. But it’s solid, it works, and I enjoyed it the whole way through.
Sobs, Air Guitar– This Singapore indie pop band’s album is the second time this past year I have come across an Asia-based band delivering nearly perfect-sounding 90s alt rock, in this case in the rocking but still pop vein of say, Letters for Cleo or Liz Phair. It seems a little museum piece, but it’s also too damn fun to ignore.
Sofi Tukker, Wet Tennis– Sexy, sometimes sinister, and spare dance music with clear vocals and a surprising mix from the New York-based dance duo of Sophie Hawley-Weld and Tucker Halpern. Hawley-Weld’s warm voice, and lyrics that paint emotionally evocative stories combine with the music to make the whole thing a cut above. Dance music will always be with us. May it always be this good!
Sudan Archives, Natural Brown Prom Queen– Brittney Denise Parks, better known as Sudan Archives, is a violinist, singer, songwriter, and producer who combines R&B, hip-hop, folk, and experimental electronic music. Add to this musical mix a feminist and socially conscious point of view, and lyrical wit to spare, and it’s really pretty amazing. This comes with a bit of a “everything and the kitchen sink” feeling, but still…
Swami John Reis, Ride The Wild Night– I first knew of John Reis when I was living in San Diego in the mid-90s and he was heading local garage-punk powerhouse Rocket From the Crypt. He was great then and he’s great here- this album is pure garage rock snarl from the get-go! It makes me so, so happy.
The Beths, Expert in a Dying Field– Their live album from last year was on my semi-finalists list. What I heard there that so charmed me is on abundant display here- their sure hand at guitar rock that can crunch and get fuzzy, but never losses a feeling for hooks and melody, and the presence and sweet clear vocals of lead singer/guitarist Elizabeth Stokes. There’s nothing about this New Zealand band to not like!
The Bobby Lees, Bellevue– You start with a picture of a woman in dirty coveralls sitting in a pig pen on the cover, and I’m pre-charmed. I might have expected something a little country-fried based on that, but what’s actually here is a rocking feminist musical assault bringing to mind Babes in Toyland, L7, and early Hole. This Woodstock, New York band’s album is the kind of thing that grabs you by the throat with the first track and doesn’t let go from there.
The Jazz Butcher, The Highest in the Land– I’ve known The Jazz Butcher since I was a wee alternative 80s rock lad. He’s always been highly idiosyncratic, and here seems to be in a vocally mellow, musically bouncy, lyrically introspective mood, but his distinctive surrealistic storyscapes are as potent as ever. The energy is restrained, but the heart sustains it.
The Linda Lindas, Growing Up– Energetic power-pop-punk from a girl group? I gotta love it. I gotta! In this case they’re also multi-cultural and tackle sexism and racism with wit and verve, so the love is multiplied.
Titus Andronicus, The Will to Live– In the wake of his friend and bandmate passing, Titus Andronicus lead Patrick Stickles set out to create what he called an “Ultimate Rock Album”. Darned if he didn’t succeed! It’s got crunching hard guitar, 70s cock rock swagger, power chords that would do the Who proud (and/or be legally actionable by them), flirts variously with stadium rock, metal, and punk, and is hooky as all get-out.
Todd Rundgren, Space Force– I like Todd Rundgren both for his own music and his work as a producer, and also I like a good concept. This is an interesting one- he solicited other songwriters from a variety of genres for unfinished songs they’d abandoned, and he completed and recorded them. As befits the concept, it doesn’t exactly sound coherent or unified. But as befits Rundgren, there is a kind of unity in production approach, and a madcap genius holding it all together.
Tony Molina, In The Fade– This is like a punk album in the sense that there are 14 songs crowded into around 20 minutes. But stylistically, instead of punk, the songs alternate between an ornate neo-psychedelia and a heavy guitar-fuzzed pop. It works though, their brevity and variety of approaches being not unlike a punk attack, except with sweet pop. It’s a touch derivative of multiple influences, but an excellent derivation.
Uffie, Sunshine Factory– This rapper, DJ, and singer/songwriter has been working in collaboration and behind the scenes for years and has put out music on social media and via EP, but this is her debut solo album. On the one hand, it is autotuned dance music par excellence. On the other, it is utterly given to the genre, and milks it for all the glitz and tawdry afterburn it’s worth. If anything, the only thing that threw me off was a flat song or two that didn’t have the sparkle of the rest.
Uni Boys, Do It All Next Week– This Los Angeles band knows how to do some good old fashioned (circa 70s) Rock and Roll. It’s power poppy, with hand claps, hooks, and just the right mixture of sleaze, sweetness, and bratty whining. I’m glad somebody still knows how to do this!
Valerie June, Under Cover– A covers album from one of my top 2021 picks for her album The Moon and Stars: Prescriptions for Dreamers. She casts her net wide- Bob Dylan, Gillian Welch, John Lennon, Mazzy Starr, and Nick Cave all make appearances. Excellent as far as sourcing goes, but on top of that she delivers great covers, diving deep into the strengths of her voice, her diverse musical background, and a sense of both reverence and exuberant playfulness. The net effect of all this is heartachingly beautiful.
Willow, coping mechanism– Her album LATELY I feel everything was on my “honorable mention” list for 2021, and this has the same kind of energy and challenge to it. If anything, it goes further, with the hard rock 90s edges and R&B ballad sensibilities more organically blended and balanced, and the lyrics and vocals feeling even more personal.
Yard Act, The Overload– How much do I love quirky, clever lyrics, deliberately unpolished vocals, and off-kilter angular new wave-influenced rock? A lot, and this UK band is doing it very well! It does get a little samey by the end, but it also bounces along and keeps one engaged.
And there you have it even more so! The 22 Best Albums of 2022, and 78 honorable mention. If you’d like a “list only” version, we can accommodate that:
If you enjoyed this venture, the good news is that the 2023 review is already underway. If you didn’t, well it’s underway regardless! See you soon for the recap of January 2023…
We are now finishing 2022! In 2023, it’s true, but hey, you gotta finish somewhere. And for us, the November and December edition of our quest for the 22 Best Albums of 2022 finishes here!
Anyone who needs to catch up can find the previous editions here:
But we’re here for 2022! Before we go further, let’s do a quick overview of the three categories:
Yes– These are albums that could be in the running for the year’s best. We’ve ended up with153 yesses, so every eventual winner will have vanquished 7 competitors to get to the finish line.
Maybe– But wait, that’s not all! These are those albums that definitely had something going for them, but also gave me pause. Because “maybes” sometimes linger and become “yeses”, I’m giving them another listen too. There are 136 competitors in this category.
No– Then there’s “no”. Ending up here doesn’t necessarily mean you’re crap. You do sometimes end up here because you’re crap. But other times you can be fine, but not more than fine. Or interesting and ambitious, but not quite pulling it off. The arena is a brutal place!
And now, with our categories established, we shall proceed with the review of 114 new releases from November and December 2022!
$ilkmoney, I Don’t Give a Fuck About This Rap Shit, Imma Just Drop Until I Don’t Feel Like It Anymore– The title is solid gold to start with, but what’s really extraordinary here is that it’s a psychedelic album and a socially conscious one in a 90s kind of vein, but with the swagger and musical muscularity of gangster rap. One can’t always quite tell whether it’s embracing or deflating either genre. Both simultaneously? It also contains one of the best cannibalism songs I’ve ever heard!
Big Joanie, Back Home– It’s got a 90s alt rock feeling, with variously surprising electronic, folk and soul undertones, and the rich and ragged depths of lead singer Stephanie Phillips’s voice are the perfect accompaniment to the music. They are apparently a Black feminist British punk trio. Well a-freakin’-men!
Coco & Clair Clair, Sexy– Think about a feminist but irreverent take on hip-hop. Now make it lyrically hilariously sharp and cutting, and musically multi-layered and unusual while being sugar-sweet. This was just a solidly fun listen!
Dazy, Outofbody– This debut project of Virginia-based James Goodson is by turns a little punky, a little emo, a little 60s garagey, a little grungy, a little poppy, and always big on fuzzy guitars and feedback. Would that all kids who aspire to rock out do this well, because these kids are all right!
Little Simz, No Thank You– Her album sometimes I might be introvert made my honorable mention in 2021, so I came in here well-disposed. And deservedly so! There’s a chanting spell to her vocal flow, lyrics full of poetic phrasing and personal and social importance, and a dynamic and variable musical mix that makes use of multiple idioms of R&B and soul music. Another strong contender from this UK hip-hop artists.
Lyrics Born, Vision Board– I love the dub and ska influences, I love the wacky wit that reminds me of when hip-hop was hilarious in the 80s and early 90s, and the musical mix and vocals have a strong whiff of that era as well. This music functions in both hip hop and R&B modes, and it’s brilliant, if weirdly retro, in both. Along with his very different album from earlier this year, it shows just how this versatile an artist he is.
R.A.P. Ferreira, 5 to the Eye With Stars– I was impressed by this Wisconsin hip-hop artist’s album The Light-Emitting Diamond Cutter Scriptures last year, and this has many of those same charms. It’s like a lost era of hip-hop in some ways- philosophical, poetic, conscious, given to wild wordplay and lively musical mix. This isn’t by accident, as the name check of an Arrested Development song in one track demonstrates. But it also sounds thoroughly contemporary in a way, and certainly not like something plucked from a museum.
Run the Jewels, RTJ Cu4tro– Re-recordings and re-workings of previous year’s albums are not uncommon in this list, but this one has an especially interesting premise: “It’s a reimagining of RTJ4 through the lens of collaboration and a fusing of numerous musical cultures and influences,” and was made exclusively with Latin collaborators. This works in the best kind of way, taking what was one of my favorite albums from 2020 and making it into something genuinely new, and worthy on its own.
Special Interest, Endure– This New Orleans band’s album is punky, clashing, exuberant! I’ll tell you it’s like a riot grrrl sound heavily informed by dance music, post-punk, and electro, and you’ll form an image that will be rightish, but won’t really let you know how high quality it is, how varied, or how wild.
Uni Boys, Do It All Next Week– This Los Angeles band knows how to do some good old fashioned (circa 70s) Rock and Roll. It’s power poppy, with hand claps, hooks, and just the right mixture of sleaze, sweetness, and bratty whining. I’m glad somebody still knows how to do this!
Maybe
Boldy James & Cuns, Be That as It May– I did like the mix here a lot, and indeed Boldy James’s production has been behind many things on the hip-hop front I’ve liked over the last two+ years. (Cuns was previously unknown to me, and is apparently an Italian hip-hop producer known for his affiliation for vinyl. I can hear it!) I wasn’t quite as sold on the vocal flow and the lyrics, but they had their moments and carried along with the mix, it’s a complete package worth considering!
Brendan Benson, Low Key– This album from Raconteurs member Benson displays that group’s sure feeling for classic sources, in this case turning in a decidedly 60s ornate pop and 70s power-pop and prog pop influenced sound. It’s halfway to being a museum piece, but it’s a darn good exhibit.
Caitlin Rose, Cazimi– This Nashville-based singer-songwriter has a voice that really sticks, with a powerful but plaintive quality. Musically, this is a combination of country influence and something that sounds much more like indie rock in a 90s alt vein. I was sometimes wavering, but then golden moments kept bringing me back. So I guess I’m a maybe!
Fleshwater, We’re Not Here To Be Loved– This sounds like it fell straight out of the 90s. And I mean that in the best kind of way! Imagine that a good album somewhere in the vicinity of the intersection of Soundgarden, Veruca Salt, and My Bloody Valentine was somehow lost and had just been re-discovered. Obviously derivative in a way, but I can’t help myself, I dig what this Massachusetts group is doing!
Foushee, Softcore– This New Jersey singer/songwriter is showing up with sassy attitude, emotionally complex lyrics, and musical styles that take in blistering hardcore, inventive electronic dance, delicate indie, and pop sweetness. All this comes at the expense of coherence, but her presence and verve do hold it together in a way.
Mud Morganfield, Portrait– Son of Muddy Waters! This is a rework of a 2012 album, with two new songs. It sound like muscular 60s blues, contemporary smooth blues, but also has goodly dollops of soul, R&B, and gospel. It also very consciously plays up his father’s legacy. All-in-all, it’s a reworking, and a familiar sound, but there’s a lot to like here.
Spoon, Lucifer on the Moon– A dub re-mix from UK dub producer extraordinaire Adrian Sherwood of their album Lucifer on the Couch from earlier this year. As with many dub remixes, I like it better than the original! In this case, taking their somewhat arty indie rock album and remixing it turns it into something truly new and different.
No
454, Fast Trax 3– Albeit high energy and clever, a super-autotuned hip-hop album at this point in the year is a nyet. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Adrian Quesada, Jaguar Sound– Some good and kind of trippy electronic music, but ultimately didn’t engage me.
AKAI SOLO, Spirit Roaming– I was kind of on the fence here. This was, without question, a sophisticated and complex hip hop album. Earlier in the year it probably would have made my “maybe” list. But we’re so late in the year, it’s only knock it out of the park territory now!
Amos Lee, My Ideal: A Tribute to Chet Baker Sings– Modern master Amos Lee takes on the music of Jazz pioneer Chet Baker” is a good concept. Ultimately it’s a very period-specific feel, but jazz aficionados would be well served.
Apollo Brown, This Must Be the Place– Unlike his February collaboration Blacklight, this album finds Detroit producer Brown in a very jazzy instrumental place. It was good, but I did not find myself there with him.
Asake, Mr. Money With the Vibe– Ahmed Ololade, known professionally as Asake, is a Nigerian Afrobeats singer and songwriter. The mix here really won me over, and the energy kept me engaged, but eventually the autotune started to make things a little too repetitive. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Baby Tate, Mani/Pedi– Damn I like this from the get-go. Vintage 2020s in your face, full of attitude and humor feminist rap (aka “pussy rap”) is my jam. It was headed to automatic yes until a weird back to back slow-down set 2/3 of the way through. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Babyface Ray, MOB– There’s definitely some power here, but too much of it feels like the “mumbled” school of hip hop.
Backxwash, His Happiness Shall Come First Even Though We Are Suffering– Noise rock? Experimental music? Metallically heavy conscious hip-hop? Really some of all of the above! It’s a little too all of these for consistent listening, but it is interesting.
Bbyafricka, The Art of Geekin’– There is a driving glower to this hip-hop album, and some lyrical heft, but ultimately it ends up feeling a little thin musically. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Bill Nace, Through a Room– Grating machine electronic music. Actually, pretty good for grating machine electronic music.
Billy Strings, Me/And/Dad– It’s certainly a sweet premise- modern purveyor of bluegrass Billy Strings records an album with his father, who taught him how to play. It is solid traditional bluegrass, and certainly won’t steer someone looking for that sound wrong, but it doesn’t stand out in a “best of year” kind of way.
Blackstarkids, Cyberkiss*– The fun and inventive mix of conscious-flavored hip-hop, electronic, and experimental rock is a pretty winning combination. It gets a little indistinct and doesn’t totally come together as an album, but I’m in for seeing what this Kansas group gets in for in the future. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Brittle Brian, Biodiesel– An interesting emotional down-tone, a little jangly, a little fuzzy, but it gets to be too same track to track. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
BROCKHAMPTON, The Family– This multi-racial hip-hop collective that’s redefining the meaning of “boy band” got pretty high in my 2021 rankings with their previous album. This one doesn’t quite have the impact and clarity of that, but I do still appreciate what they do.
Bruce Springsteen, Only the Strong Survive– “Bruce Springsteen does an album of soul classics” isn’t the first thing that comes to mind when one thinks of him. But when you hear it, it fits with his soulful searching side, and it’s obvious how much he appreciates the material. And these are, to be sure, good solid covers. They’re a little too reverent as covers go, and, being recorded in one time and place, also a little indistinct track to track. Certainly a nice rounding out of the catalogue for Springsteen fans (of which i am one!), but not a “year’s best”.
Carla dal Forno, Come Around– There is something about the beautiful poetic swirl of the lyrics, elfin vocals, and delicate oddly accented folk-electronic touches that makes this very compelling. Eventually it got to be too the same track-to-track, but I did find a lot to appreciate.
CEO Trayle, HH5– I liked the horrorcore elements, but otherwise the flow and mix of this hip-hop album were a little too indistinct.
Cerrone, Cerrone by Cerrone– This continuous set of re-mixed songs of disco pioneer Cerrone is definitely top-level dance music, but I’m not sure it adds up to an album.
Chris Isaak, Everybody Knows It’s Christmas– I go into a Christmas album somewhat hostile, but a rocking-themed one warms my Scroogey heart a little, and I go into anything by Chris Isaak open for a listen. And it is all pretty well rendered, even if I don’t think it adds up to a “year’s best”.
Chris Liebing/Ralf Hildenbeutel, Another Night– Club retooling of their album Another Day from 2021. These are good high energy tracks, but two hours of it does not a coherent listenable album make.
Christine and the Queens, Redcar les adorables étoiles– Sophisticated, multilayered, somewhat eerie and discordant adult pop. It was ultimately a little too disembodied, and too mostly in French, for me.
Coby Sey, Conduit– Some intense electronic music themed hip hop, it certainly sets a mood, but is eventually too abstract and discordant to work at album length. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Contour, Onwards!– Soulful and jazzy and mellow and too much of a steady groove that fades into the background. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Daniel Avery, Ultra Truth– Kind of a Vangelis soundtrack version of electronic music. It’s fine as far as it goes.
David Bowie, Moonage Daydream: A Film by Brett Morgen– This is a lovely amalgam of dialogue snippets, live performances, and remixes, but at a more than two-hour running time it’s prohibitive to listen to as an album. Bowie fans (including me!) might rightly treasure it though.
Dead Meadow, Force Form Free– My sources tell me that Dead Meadow is an American psychedelic rock band formed in Washington, D.C. in 1998. I really liked their sludgy heavy intro track. The sprightlier subsequent track was so different it threw me for a loop. Overall, still good, but as an all-instrumental album with longish tracks and no coherent theme…
Drake & 21 Savage, Her Loss– I do like Drake, but this collaboration is way into the monotone mumble over-autotuned style of hip-hop.
Dream Unending, Song of Salvation– 5 long songs of ornamented symphonic metal with indecipherable growl vocals. It’s a sound. It’s a common sound. But it’s not my sound…
Duke Deuce, MEMPHIS MASSACRE III– It’s got a bit of a horrorcore rap feeling, and some gonzo attitude to the flow and lyrics, but is too monotone track-to-track to sustain.
Dumb, Pray 4 Tomorrow– A better than average young Vancouver punk band putting out a better than average young punk band album.
Duval Timothy, Meeting With a Judas Tree– A nice somewhat jazzy, somewhat experimental instrumental album.
Ezra Collective, Where I’m Meant to Be– The first track was jazz-informed, left-field, sunny and exuberant hip hop. The second was a Latin jazz live instrumental. Next up was something in-between. It was all musically very good, and wouldn’t let fans of this style down, but not sure it’s a stand-out of the year.
Fenella, The Metallic Index– This was much less metallic than I was expecting from the title. More swirly new-age electronic. Eh.
Field School, When Summer Comes– A nice jangly fuzzy album that would have sounded good in the alt 80s or 90s, and still does, but sort of same track to track and not especially new or different or better.
First Aid Kit, Palomino– The vocals are powerful from this Swedish folk duo, and the music is some good old fashioned indie pop with a dance edge. If it were earlier in the year, they might make my “maybe” list, but we’re getting late, so only surer things are making it through now. Alas!
Fitz and the Tantrums, Let Yourself Free– Fitz and the Tantrums is state of the art for a good enough 2000s somewhat indie very radio friendly band. Some great singles come out of their approach, but I don’t know that anything adds up to an album.
For Tracy Hide, Hotel Insomnia– This Tokyo dream pop band’s ninth album is a stuffed to the gills kaleidoscope of dream pop, J-pop, neo-psychedelia, with a lot of just plain fun. Eventually through language, length, and sheer sonic overload it stopped working for me as an album, but they do work it!
Gold Panda, The Work– Nice sparkling ethereal electronic music. Nah.
Harvey Mandel, Who’s Calling– An instrumental album feeling like something in the vicinity of prog rock with some jazz fusion thrown in. Not bad by any means, but didn’t set in as an album for me.
Heather Trost, Desert Flowers– It’s not bad-electronica, given to organ sounds, some nicely rough edges, elfin vocals. But no.
Hieroglyphic Being, There Is No Acid In This House– More electronic. Much electronic. I do like something about the repetitive hypnosis of this one. But no.
Honey Dijon, Black Girl Magic– There’s some great music here, with great focus, but a little sprawling, unfocused and blending too much track to track to work as an album.
Infinity Knives/Brian Ennals, King Cobra– 30 songs in 30 minutes is intriguing as set-ups go! And there are indeed some interesting approaches scattered around this hip-hop album, but a lot of it is too similar track-to-track.(Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
James K, Random Girl– I think there were some interesting things going on here. It was so abstract and ambient it was hard to tell. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Jeb Loy Nichols, United States of the Broken Hearted– Subtle low-key songs in a country/blues vein with lyrical depth, painting what the title seems to promise- a collection of dusty scattered portraits of the down and out. I do dig what this Wales-based American singer/songwriter is doing, even if it did become a bit too low-key and same track to track to sustain eventually.
Joji, Smithereens– Mot bad musically or lyrically, but a little too shimmery low key same vocally and musically.
Julie Odell, Autumn Eve– I appreciate the swirl and the shimmer of this, but it becomes too gauzy all the same.(Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Julien Chang, The Sale– It’s jazzy, abstract, low-key, arty. Not bad, but no.
La Femme, Teatro Lucido– Paradigmes was one of my semi-finalists for 2022, so I was curious to hear the new album. It has a lot of the verve and gleeful musical stylistic mix I appreciated from their last album, and an even higher level of multicultural coverage with the French band working with Latin musical forms and Spanish lyrics. Eventually too many lull moments and the language barrier prevented me from really attaching to it, but I appreciate what this group does!
Laura Jean, Amateurs– This had an interesting dark and charging feel with minor chords and vocals and lyrics reminiscent of 90s alt songstresses early on, but eventually became too lilting quiet folk later on.
Lykotonon, Promethean Pathology– Per Pitchfork: “Members of Blood Incantation, Wayfarer, Stormkeep, and anonymous other groups comprise Lykotonon, who make industrial metal with lashings of black and death metal. The Denver outfit describes its sound as “a digitized descent into the darker side of the human psyche””. So, you know, I was rooting for it on description alone. And the mix of metal industrial and electronic is interesting. Not quite consistently listenable at album length, but good.
Meekz, Respect the Come Up– A good outing from this Manchester rapper, and it reminds favorably of a lot of contemporary UK hip-hop, but I don’t know that it “whole year” stands out from it.
Metro Boomin, Heroes & Villains– This album does have an epic scale, and the opening had a really good start along those lines, but it descended into over-autotuned production soon after.
Militarie Gun, All Roads Lead to the Gun (Deluxe)- Repackages last year’s dual EPs from this Los Angeles band along with four new songs. This reminds me of 80s hardcore in the best way- guitar churning, semi-shouted lyrics, angst-full, noisy, but strangely melodic. It feels a little too bounded in what it is to be getting to “best of year” status, but I do appreciate it!
Mocky, Goosebumps Per Minute, Vol. 1– Nice energetic electronic. I didn’t hate it!
Moin, Paste– Doesn’t totally come together for me, but I enjoyed this collection of 90s sounding guitar riffs, electronic noise, and philosophical mumbles.
Mount Kimbie, MK 3.5: Die Cuts | City Planning– British hip-hop and electronic mix. Eh.
Nathan Salsburg, Landwerk No. 3– With over an hour run length, and only six tracks, this would have to be doing something pretty arresting to get one to hang in there. In fact, it’s a series of pretty, muted instrumental pieces. Not without worthy craft, but didn’t work for me.
Neil Young & Crazy Horse, World Record– As mentioned in previous reviews, Neil Young is in my all-time top 5 artists, so I’m going to listen to, and probably absorb into my collection, most anything he puts out. That being said, this is definitely not one of his more “on” albums. It has excellent Crazy Horse shredders, mellow golden-hued life reflections, but can’t quite seem to find the tone between them.
Nickelback, Get Rollin’– A new Nickelback album in 2022 sounds like a Nickelback album form the early 00s. You either like that or you don’t so much. My rating here answers that question for me.
NNAMDI, Please Have a Seat– I like the neo-psych touches and the incorporation of guitar, but eventually gets too autotuned, and feels unfocused.
Okay Kaya, SAP– While unquestionably high-quality, this was a little low key and abstract for me. She’s still my favorite Norwegian-American musician and actress though!
Phobophilic, Enveloping Absurdity– As contemporary metal romps go, this is a pretty good one! Maybe not best of year good, but if you’re looking for some good solid metaling out, this won’t mislead you. (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Phoenix, Alpha Zulu– 2009’s Wolfgang Amadeus Phoenix was one of my favorite albums of well…the whole millennium thus far! So, I come in well-disposed. And indeed, this album has many of the things I love about this French group- the exuberant musicality, the sunny energy. But maybe without quite the punch of the earlier work, more lulls, more sounds we’ve heard before from them. I wouldn’t kick it out of musical bed, but it’s not best of year.
Quinn Christopherson, Write Your Name in Pink– The searching and high quality pop her is affecting, even if it is sometimes a little too 2020s radio-indie smooth. But it lulled out a little too often to work as a sustained album.
Randy Houser, Note to Self– It got a little too formulaic eventually, but this album is about the best case that can be made for contemporary pop country. It’s audibly operating in that space, but with traditional country call-backs, and generally a sense of authenticity.
Rauw Alejandro, SATURNO– This Puerto Rican performer’s album started off in an interesting synth/techno vein, and remained interesting on the mix side, but descended rapidly into autotunmania.
Reace Sosa, Big Zap– There is some personality here, and a kind of sinister drive, but not enough about this hip-hop album distinguishes itself from a lot else that sounds like this this year.(Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Richard Dawson, The Ruby Cord– It’s over an hour long, and it opens with a 41-minute track that mostly seems to feature infinitesimally slow drumming and occasional muted rises and dips of strumming and horns. It’s a shame, because there is an interesting weirdly off-kilter neo-folk thing going on once it gets to later smaller tracks. But nyet!
RM, Indigo– As far as smooth mid-tempo Korean hip-hop albums go, this is one.
Roddy Ricch, Feed Tha Streets III– Not without merit, but boy is that autotuned.
Röyksopp, Profound Mysteries III– I had the same feeling about this as Profound Mysteries I & II, which is that it’s beautiful and sophisticated electronic music, but may be a little too blended track to track add up to a stand-out album as such.
rRoxymore, Perpetual Now– Somewhat abstract and very muted electronic. It is smart and interesting, but I don’t see it as an album that gets played again and again.
Seahawks, Infinite Echo– The decryption I saw read: “Taking influence from the writings of the late peace activist Thích Nhất Hạnh, the self-described “anti-dystopian” album incorporates vocal software programs designed by Lyra Pramuk and Holly Herndon, as well as the voice of Mindar, a Buddhist robot priest.” It’s actually not as interesting as that promised, very muted, almost fade into the background.
Smino, Luv 4 Rent– There is some personality here, and a kind of quirky edge, but not enough about this hip-hop album distinguishes itself from a lot else that sounds like this this year.
Smut, How the Light Felt– good chimey indie rock that would have sounded very at home in the 90s. It still sounds good now, but maybe not stand-out best of year good.
Sophie Jamieson, Choosing- An articulate and heartfelt acoustic album, but too much all in one tone song-to-song to sustain at album length.
St. Lucia, Utopia– Pretty, exuberant, a kind of 80s sound dance/pop sound. Eh.
Stormzy, This Is What I Mean– Some really pretty good UK hip-hop, with the smoothness and jazzy quality one often finds there. Not sure it stands out in an above and beyond way, though.
Suzi Analogue, Infinite Zonez– An interesting electronic/club mix here, a little on the abstract side, and not sure if it adds up to an album.(Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Svengali, Cakes da Killa– There is an interesting old school sound to this, reminding of the late 80s Boogie-Down Productions, and some of the jazzier/groovier side of conscious hip-hop. Certainly not unworthy, but we’re late in the year here so the bar is high!
SZA, S.O.S.- Her album “Ctrl” was one of my favorites from my review of the 2010s, so I’m well-disposed. And this is certainly high quality, but lacks the coherence to pull off its length, and the stand-out nature of tracks to get to year’s best. So, “merely” a good album by a good artist. Could not hurt to have more of those!
Tenci, A Swollen River, A Well Overflowing– There’s an interesting quirky experimental nature to this music, but it’s a little too muted and low-key to really kick in as an album proper.
Thaiboy Digital, Back 2 Life– Autotunnnnnnnnneeeeeeeeeeeee
The Lone Below, Love Songs For Losers– “Honey” is a great single, I’ve been hearing it all over the radio lately and it belongs there. My question going in to this was therefore if the album holds up as a whole. And, well… It’s not bad, but it’s not stand-out enough in total.
Theo Parrish, DJ-Kicks: Theo Parrish– This Detroit DJ wields his three decades in the community to put forward a variety of mixes featuring collaborators and styles from throughout the city’s storied musical history. Three hours of it though, well, it’s hard to get an album to work end to end at that length. There is plenty of great material here though!
Trent Reznor & Atticus Ross, Empire of Light (Original Score)– The presence of Trent Reznor in this soundtrack for the Sam Mendes film made me curious enough to give it a try. It turns out to be a very proper, somewhat ambient-tending film score, without much hint of Nine Inch Nails. Very fine, but not the cup of tea we’re looking to sip here!
Turnover, Myself in the Way– It’s smooth, it’s jazzy, it’s funky, it’s fusion. It’s a no.
Valee, Vacabularee– Mumbly indistinct hip-hop
Various Artists, Music from Saharan WhatsApp– A kind of sampler of the South Saharan music scene via WhatsApp submissions, I’m intrigued by the content and the conceit. And the music is very interesting and varied too. Does it entirely work as an album? No. But does it function as a pointer toward an interesting and dynamic musical area? Yes! (Note: This is not actually a November release. It’s from Pitchfork’s Fall list of “34 Great Records You Might Have Missed”. I ain’t gonna miss ’em!)
Various Artists, Live Forever: A Tribute to Billy Joe Shaver– A tribute to Billy Joe Shaver, a pioneer of outlaw country who passed in 2020, by an array of country and country-adjacent musicians old and new. In terms of source and treatment, it’s good, but maybe a little too twice-derived to work as a “best of year” album. Anyone interested in this school of country music wouldn’t be steered wrong by it though!
Waajeed, Memoirs of Hi-Tech Jazz– It petered out into too mellow and too babbling just toward the end, but until that point the cool urban jazz heavily informed by hip hop on display here was winning me over.
Weyes Blood, And in the Darkness, Hearts Aglow– Recognizably of a Lana Del Rey kind of set, and not a bad member of it. At its best, really good. But not consistent or original enough.
White Lung, Premonition– Some fine rock, sometimes 90s grungy, sometimes metallic. It sounds a little too of a period for year’s best, I think.
Young Dolph, Paper Route Frank– This posthumous album from a Memphis rapper does have a strong billowing presence to it. Earlier in the year, it probably would have at least made my “maybe” list, but now it’s the next to last album I’m listening to for 2022. Competition is fierce!
Your Old Droog, YOD Presents: The Shining– This is apparently the 6th release this year from the Ukrainian-born Brooklyn rapper. Well, okay! There’s a lot of with and cleverness in the lyrics and mix, and again, this is something that probably would have been a “maybe” earlier in the year. But we are finis!
And with that, we have finished reviewing November and December 2022’s new releases. Now on to The Final Reckoning…
Chris LaMay-West 