Our very best of the year sit in this most highly regarded of tiers with the most precious of accolades the boring-ass gatekeeping elitist sport of golf can bestow upon you - these are the Gold Jackets.
#11. Hygiene by Drug Church
Typically the further a punk band strays from their hardcore roots and towards pop sensibilities, the worse their output becomes. But "Hygiene" is far and away Drug Church's most concentrated anthemic effort to date and also, the best album of their careers. Somehow the poppy tone just suits the group beautifully and the spectacularly crunchy guitar tones matched with the gritty personality of front-man Patrick Kindlon allows the group to highlight their best assets without abandoning the group's core principals. It's concise, effective and demands to be replayed again and again. With highlights like "Super Saturated" that could blend in seamlessly on any number of Warped Tour compilations or the comical critique of cancel culture found on "Detective Lieutenant", Drug Church is at their absolute peak here, delivering the album they've seemingly been building towards their entire bandhood. I just don't think anyone (themselves included) would have expected it.
#10. $oul $old $eperately by Freddie Gibbs
Freddie Gibbs has been one of the most consistent voices in hip hop for nearly a decade now but after sharing the spotlight with prolific producers like Madlib and The Alchemist, "$oul $old $eperately" feels like he's finally stepping out of the shadows of his collaborators and establishing himself as the main attraction. With a more contemporary sound, this may also be his most universally accessible album as well. The more upbeat production matches the progression of his vocal delivery incredibly well, enabling Gibbs to put down some of the best bars of his career. "Too Much" might even be the best single the Gary, Indiana native has ever produced and the album closer, "CIA", sends the proceedings out on a particularly high note. He's 8 albums deep and the fire he delivers on this record make it feel as if Gibbs is just only getting started.
#9. Crash by Charli XCX
Following up her 2020 bedroom lockdown project "How I'm Feeling Now" with a relentlessly catchy arena pop anthem, Charli XCX's "Crash" is almost too grand to take in on just one listen. But the immaculate production make it such a joy to revisit that the repeat listens will surely only enhance your enjoyment of it. The run from "New Shapes" to "Lightning" is absolutely incredible and so consistently entertaining that it's hard to pick which of the 7 standout tracks is the favorite. Sure "Lightning" is a little repetitive, but undeniably effective. And the isolated vocals on "Move Me" make for a somber change of pace on the upbeat landscape of dance pop bangers. Some days it's "Good Ones" some days it's "Constant Repeat", but ultimately the entire record is the highlight for Charli as she finally embraces mainstream pop relatability in her most complete album to date and what should serve as a populous breakthrough for the gifted musician.
#8. Once Twice Melody by Beach House
An 84 minute synth pop epic delivered in 4 chapters, dream pop duo Beach House have crafted their masterpiece with their 8th album, "Once Twice Melody". It's stunning to see a band 15 years into their careers producing their best work but this ambitious culmination of electro-pop and indie love ballads is absolutely stunning. Dream pop can be a little redundant or gimmicky at times but this feels like the absolute pinnacle of what the sub-genre can achieve. With tracks like "Pink Funeral" which combine hip-hop high hats and psych rock guitar solos, Beach House regularly push the envelope on where the experimental boundaries of their music can reach while still composing incredibly effective and tightly constructed pop melodies. There's so much great material here, I'd almost recommend listening to the chapters independently as opposed to trying to push through the entire collection in one sitting. It allows the listener to appreciate each movement, complete with it's own highlights. There's "Runaway", "Another Go Around", "Finale" and perhaps best of all - "Superstar", which sounds like it should score the opening credits to an unproduced sequel for Drive. The record is a career best for the group and their most impressive work to date.
#7. Sore Thumb by Oso Oso
On their fourth LP, Oso Oso fully embraces their emo-pop heritage and take the form of the modern embodiment of mid 90's pop rockers like Gin Blossoms or Goo Goo Dolls before them. Initially intended as a quick EP, there's a warm and charming playfulness to this record that feels carefree and invigorating. Yet the craft involved to create the insanely catchy hooks in tracks like "Father Tracy" and "Fly on the Wall" is absolutely staggering. Similar to Drug Church's "Hygiene", I find myself in awe of how much I enjoy this band fully diving into their pop instincts as it really brings out the best in them. Except maybe "Nothing Says Love Like Hydration", they may have taken the cheekiness a little too far on that one. But the rest of the album is incredible. Just try listening to "Describe You" and not have that hook looping through your head the rest of the day. I fucking dare you.
#6. Prince Daddy and the Hyena by
Prince Daddy and the Hyena
With the follow up to our inaugural choice for album of the year, Prince Daddy and the Hyena return with a slower self-titled, stylistic exploration of self and their evolving sound. Starting off almost like a classic Brian Wilson Beach Boys cut, "Adore the Sun" sets the earnest tone for what's to follow. But it's not all doom and gloom, as the next track "A Random Exercise in Impermanence" packs all of the urgent angst of a classically pissed off Green Day track. And while there are plenty of through lines that connect the album thematically, it's decidedly less connected than "Cosmic Thrill Seekers" and hinges more on it's standout singles than anything else. But even so, the album continually takes massive creative swings. "El Dorado" finds the band delving into a jangle pop love ballad. "Hollow, As You Figured" is a demented alt-rock head banger. "Curly Q" is a soft-spoken, acoustic cry for meaning amidst an existential crisis. And yet somehow it all works cohesively. This is definitely the best punk album of the year and even more proof that Prince Daddy and the Hyena are here to stay. Oh, and front-man Kory Gregory just might be the most adept songwriter in punk rock since Laura Jane Grace.
#5. Renaissance by Beyonce
Before August 2022, I had never listened to a full album from Beyonce. Yes, we exist. But as I found myself craving an upbeat summer anthem to sooth my post-covid soul, I decided to give "Renaissance" a shot. And holy shit, I'm glad that I did. And this is not your traditional Beyonce anthem in the vein of "Single Ladies" or "Say My Name". "Renaissance" is the work of an artist at her creative apex, ready to stomp through the streets and take the world back out of it's 2 year pandemic depression, get coked up and go clubbing. It boasts an experimental confidence and outstanding curation of production the likes of which we haven't seen broached by a mainstream pop icon like this since Prince. It's an uninhibited, delightfully weird dance record that celebrates the best aspects of club, disco, trap, and house music. As always, her vocals are absolutely insane. And while I didn't think much of her rapping abilities with husband Jay-Z on their collaborative album "The Carters", she's definitely improved substantially since. I will say, outside of the context of the album, "Break My Soul" does get a bit redundant but listening to the album as a whole is really a must. "Cuff It" sounds like the fun disco throwback Lizzo wishes she had as a single for her new album but the standout for me is the erratically entertaining "Alien Superstar". Now I guess I should probably go back and listen to "Lemonade" or something.
#4. Church by Billy Woods
There were a ton of great hip hop albums released this year, so I hope the fact that one artist is listed here with two of the top three records of the year doesn't make it seem like there wasn't a lot to choose from. Billy Woods is just that fucking good. His delivery is absolutely flawless and always brings the most unique, abstract textures you'll find anyone using in rap. He quite simply just doesn't sound like anyone else right now, which is the highest compliment I can pay someone constantly striving for a singular voice in the crowded field of underground hip hop. *SPOILER* I did prefer "Aethiopes" to "Church" but I would say this is probably a much more accessible release to casual hip hop fans. The run from "Schism" straight to the album closer "Magdalene" is absolutely spectacular. From the re-emergence of the "No Hard Feelings" loop making a surprise appearance in the closing moments of "Schism" transitioning to the absolute perfection of a bass loop that opens "Frankie" to album highlight "Pollo Rico" bleeding straight into what feels like a curtain call career closer on "All Jokes Aside" and then finally one more Armand Hammer flavored banger for the road with ELUCID sending things out on the adrenaline pumping "Magdalene" - this thing has a nearly perfect second act...
#3. Aethiopes by Billy Woods
...but Aethiopes is just relentless. The immersive, brooding atmosphere is so distinct that these songs sound like they couldn't exist anywhere EXCEPT for a Billy Woods record. There are so many layers to peel back here, it's like you're sifting through the debris of a burnt down building, piecing together the story of the former inhabitants while filling in the gaps with wherever the depths of your own imagination can take you. Each track is so visceral and unique, this record demands to be listened to in full despite the staggering number of standout tracks. And if "Church" is backloaded, "Aethiopes" is fittingly front loaded with the run from "No Hard Feelings" to "NYNEX". And while I'm usually not a fan of too many guest appearances, the features here only serve to enhance the atmosphere as Quelle Chris and El-P match the energy curated by production team Preservation perfectly. I was pretty close to making this declaration after the 2019 double feature of "Hiding Places" and "Terror Management" combined with his consistent output with Armand Hammer but his work this year has made it irrefutable - aint nobody doing it better than Billy Woods right now...
#2. Cheat Codes by Danger Mouse and Black Thought
...and yet having said all of that, "Cheat Codes" is still the best rap ALBUM of the year. It may not have the peaks of Billy Woods' efforts but it also lacks some of the valleys. Danger Mouse sets an impeccably produced course for The Roots' front-man Black Thought to navigate here and the journey is fucking phenomenal. There really isn't a dull moment to speak of, with choice soul samples that would make Madlib salivate, modernized and manipulated into a contemporary classic collection of tracks. I really can't recall a hip hop album like this with absolutely no skips to be found, in at least a decade. It's a true spectacle and hopefully just the beginning for what has proven to be a sensational collaboration between creative powerhouses. A spectacular showcase for this enlightened age of hip hop we're currently occupying.
#1. grow your hair long if you're wanting to see something that you can change by Field Medic
There isn't another opening track I heard this year that knocked me on my ass the way that "Always Emptiness" did the first time I heard it. Kevin Sullivan's style of "stream of consciousness" songwriting has always been candid and relatable but finally partnering it with a studio producer and evolving his sound from bedroom folk to a fully formed alt-country revival has taken his work to a whole nother level. Contrary to similar acts like Sun Kil Moon or Mount Eerie, Field Medic has constructed a more cohesive narrative structure for his deeply personal songwriting that makes for a more re-visitable and rewarding listening experience. It's as devastatingly vulnerable as anything you've ever heard and yet the raw emotion is polished up and delivered with such aesthetically pleasing twangy steel guitars, enchanting melodies and electronic enhancements that it harkens back to the heyday of country music greats like Patsy Cline, Loretta Lynn, George Jones, or Hank Williams Sr. and brings them into the modern era. Inhabiting the sweet space between folk and country, this evolution of Field Medic sounds like an emo Neil Young. And yet the sullen content is delivered with such an attitude of levity and acceptance that it never feels daunting to take in such dreary material. Instead, it's strangely freeing to hear Sullivan exploring these dark thoughts and having an experienced tour guide put a voice to things often left unsaid. There's a comforting catharsis reached here in shining a flashlight into the darkness and supplying you with some solidarity in a way that very few albums can achieve while leaving you eager to come back for more. Embracing your emotional wreckage hasn't been this invigorating or empowering in far too long.
View the Rest of the 2022 Year in Tiers Here:
#music #aoty #albumreview #bestof2021 #albumoftheyear #nowlistening #nowplaying #albums #records #bedroompop #folk #Country #altcountry #alternative #alt #emo #FieldMedic #HipHop #rap #BillyWoods #DangerMouse #BlackThought #Aethiopes #Church #Beyonce #dance #nudisco #edm #electronic #funk #trap #house #PrinceDaddy #PrinceDaddyandtheHyena #indie #punk #poppunk #powerpop #OsoOso #BeachHouse #dreampop #synth #synthpop #CharliXCX #DrugChurch #FreddieGibbs #internetkilledthevideostore