Even though he had a pretty solid professional wrestling career, a couple of title runs and was technically inducted into the WWE Hall of Fame (who isn't though?); Kane was never really a headlining act. He had a pretty awesome look and had plenty of kick ass moments but thanks to the fact that he was introduced as The Undertaker's little brother - he never really escaped the shadow that cast upon him. And so these are the equally impressive - but not quite "BEST EVER" quality albums of 2022.
#46. Blue Rev by Alvvays
On first listen, I really didn't see what everyone was raving about with this album until I was about 7 tracks in. But then so much more of the group's personality shines through on the second half of the record when it's not smothered in layers of shoegaze jangle pop distortion. It gets super new-wavey, really giving the vocalist a chance to shine on stellar tracks like "Velveteen" and "Tile by Tile". I had to immediately re-listen to the entire thing to reassure myself of my vastly different opinions on the two halves. But yet again, once I powered through "Very Online Guy" (the album's worst track by far) I found myself enjoying the back half of the record considerably more than it's opening. Maybe it's the indistinguishably fuzzy guitars? I don't know. But it's still half a really solid indie rock album.
#45. Emotional Creature by Beach Bunny
Beach Bunny's simple, yet effective formula for ultra catchy power pop anthems makes her one of the most promising young acts to watch right now. "Emotional Creature" is an undeniably fun evolution of the sound she introduced us to on 2020's "Honeymoon", with a remarkable sing-along opener in "Entropy" and a captivating instrumental detour in "Gravity". After that the record gets a tad slow for my taste but still, the sky's the limit for this talented young songstress.
#44. Arrangements by Preoccupations
Formerly known as Viet Cong, Canadian post-punks Preoccupations deliver a formidable progression of the typical post-punk sound with some new wave tendencies on "Arrangements". It's an easy listen, despite the expansive song lengths. But at times it can feel like it's merely treading water, maintaining a status quo rather than pushing the envelope. Although maintaining the status quo is definitely superior to the odd developments their peers like Idles or Tropical Fuck Storm have attempted lately.
#43. Innate Passage by Elder
Elder has been an incredibly consistent source of proggy space metal over the last several years and their latest effort is no exception. It's not a pivotal moment for the band or anything like that but it's another incredible collection of material none the less. Every song takes you on a pretty fulfilling journey, even if the song lengths can be wearing at times. Which I didn't mind but I could see how others might.
#42. Little Green House by Anxious
With their debut album, Anxious introduces us to their screamy-emo (not screamo, MOM) infused power pop with the confidence and consistency of a younger incarnation of The Story So Far. "In April" is a brilliant single for a band this young and then the album kicks things into a whole nother gear with "Speechless" bleeding beautifully into "Let Me". The emotionally charged closer is also pretty spectacular, making Anxious one of the best new punk bands of the year that many might have overlooked due to their January release. But they're absolutely worth circling back to.
#41. We've Been Going About This All Wrong
by Sharon Van Etten
While the opening track, "Darkness Fades", starts a bit slow - the build up to the song's gripping finale is pretty spectacular. In fact all of the songs seem to hit their stride right as they're ending. Which is a great way of leaving the listener wanting more. Even when things get a little redundant. But then all of a sudden we're treated to the gritty synth undertones of "Headspace" and the album discovers this entirely new dimension. It's really enjoyable, even if there are moments that aren't exactly riveting. Solid stuff.
#40. LIMB by Timeshares
Timeshares feels like one of those punk bar bands that have been around forever. In a good way though. They're seasoned vets of the dive bar tour circuit and carry with them a blue collar Americana swagger that sounds like Jacob Dylan of the Wallflowers fronting Lucero. The good, "Nobody's Darling" era Lucero though. Nothing earth-shattering but it's a serviceable selection of PBR fueled fun. Like Iron Chic or Red City Radio, but y'know, good.
#39. God Don't Make Mistakes by Conway the Machine
Conway the Machine has 3 of the best hip hop songs of the year in "Guilty", "Stressed" and "So Much More" but unfortunately they're trapped on a frustratingly inconsistent album. Aside from the grating Griselda tongue roll gun noises, "Tear Gas" has a straight up terrible hook and the production on "Drumwork" is painfully redundant. Honestly, you can skip the first 5 tracks on this record altogether. "Guilty" finally breaks through all of the aesthetic pretense and delivers some incredibly insightful lyrical content. Then of course it's followed by even more tongue rolls on "John Woo Flick" but from "Stressed" on out, it's golden. Goddamn, these Griselda boys gotta work on sequencing. And editing. And locking Westside Gunn out the recording booth.
#38. This World is Going to Ruin You by Vein.fm
I was really hoping "Errorzone" was going to be a jumping off point for Vein.fm (formerly just "Vein") but this follow up feels much safer than I was hoping for. Granted, there's plenty of the neck breaking hardcore the group is known for but I was really anticipating more of the genre crossover experimentations they teased on their previous outing. "Inside Design" gives you a taste, but they never fully embrace it. Tracks like "Orgy in the Morgue" and "Wavery" are absolute bangers but maybe I was expecting too much progression from a group that's bordering nu-metal. I mean, this is fine. I'm glad they didn't turn into full on glitch-core cenobites like Code Orange. But a little more experimentation wouldn't hurt...
#37. Unison Life by Brutus
So if you've ever wondered what White Lung might sound like with Chelsea Wolfe on vocals, this Belgian 3 piece is exactly the sound for you. The record is solid front to back, with no real lulls to be found. And when I read that vocalist Stefanie Mannaerts also plays drums, I had to YouTube it to see for myself. And holy shit, that girl is impressive. The immersive post-metal chorus guitars and booming vocals are even more stunning to take in from a live performance, so I really hope this group makes it over to the states sometime soon because they are really something to behold.
#36. Hallelujah Hell Yeah by String Machine
"Hallelujah Hell Yeah" harkens back to the indie-folk revival of mid 2000's era Matador records in the best of ways, making the group sound like Arcade Fire's quirky little nephew. Or the best local band to play your local winery. These aren't meant as insults really, I enjoyed this quite a bit. Even if it's a little short. It's still a fun and harmless listen. "Churn It Anew" seems to be the standout but honestly, if you like that track you'll likely enjoy the rest. Excited to hear more from this group moving forward.
#35. Baby by Petrol Girls
In 2022 there's a lot for women to be pissed off about and Petrol Girls' "Baby" provides a slew of empowering battle cries to pick from. Even though the title track, "Baby, I Had an Abortion" is incredibly heavy handed - tracks like "Fight For Our Lives" and "Violent by Design" feel much more organic. The mix of impeccable post-punk/hardcore guitar work and uncertain poppy vocals doesn't always mix well (see "Feed My Fire") but the rest of the tracks pull off the unique blend quite well. And while it may seem a bit one dimensional with so many "Fuck the Patriarchy" themed political tracks, the closer "Bones" shows plenty of depth below the surface level intrigue of "voice of the moment" sentiment that's so prominently displayed here.
#34. Hellfire by black midi
London's avant-prog powerhouse return with a panic inducing collection of controlled chaos that feels like a descent into madness, plowing you over with a steam roller of complexity. Bordering on speed-jazz, the technically astounding performances on "Sugar/Tzu" are quite remarkable. Counteracted with the surprisingly serene intermission "Still", the group seems to be shifting their focus onto conceptual arrangements, boasting a newfound emphasis on vocals. Which I can't say I'm fully in favor of. But there's still enough instrumental brilliance to keep me satisfied, even if the narrative driven direction they're heading down isn't my favorite.
#33. Flourishing Extremities on Unspoiled Mental Ground by Pharmacist
With the exhaustive list of genres and sub-genres, particularly in metal, I'm a bit surprised to hear something this unique in it's blend of progressive songwriting and punishing technical death metal. The record explores some truly interesting territory that I don't know that I've heard tackled before. Even if the growling metal vocals aren't for you, there's enough pioneering instrumental work here to make up for it. It's a long and occasionally confounding journey but it's such a unique navigation in marrying these unfamiliar sounds that I'm so fucking here for it and already very ready for more.
#32. At Some Point You Stop by PHONY
I absolutely adored PHONY's 2019 debut and as much as I admire their reluctance to take the predictable route of continuing that same emo/power pop formula, I have to admit, the unexpected detour into moody synth pop on this record took some getting used to. But I think that's due to the most stylistically unfamiliar tracks opening the record. "Summer's Cold" is the first recognizable appearance of the PHONY we've heard previously and from there on out, the record really hits it's stride in the latter half. Particularly on album standouts "Wedding & Funeral Family" and "Boundary". And even listening through a second time, the electronic integrations feel a little more natural. It's just a tad jarring when it's the first thing you hear.
#31. Rat King by Mason Hunter
To be completely honest here, it's incredibly strange to try and rate your friends' work. I'm ecstatic to hear Mason releasing new music after taking such a long break between projects but also listing it here as the thirty-something best record of the year seems kind of like a backhanded compliment. But I'll try to be as objective as I possibly can and start by saying I love the expansive collection of instruments utilized on this record. Hunter balances the electronic and organic live instrumentation so well that the line between virtual and physical performances is nearly indiscernible. Which builds such an immersive soundscape to get lost in. I'm usually a sucker for strong openers and closers but I think "Rat King"'s most successful songs are found in the middle, with "In a Knot" and "Tame" marrying the balance of instrumental and vocal arrangements to perfection. I did feel the record start to lose momentum a bit with "Demon of Noontide" and "Murmering" but regardless, it's a stellar electronic experiment that evokes echoes of Animal Collective, Hot Chip, Washed Out and maybe even some Paul McCartney?
#30. It's Almost Dry by Pusha T
The last time we heard from Pusha T it was on "DAYTONA" as part of Kanye West's series of 7 track albums released in 2018 and as much as I like this latest record, "It's Almost Dry", I can't help but wonder how much better this would have been had it been whittled down to just the best 7 songs. "Call My Bluff" beats it's hook into the ground and the lyrical content throughout the album can get a bit repetitive but Push is so fucking skilled at what he does, you can't help but marvel at the precision with which he delivers his verses. Even the overused joker giggles and stylistic tug of war between co-producers Pharrell and Ye can't derail what is yet another testament to one of this generation's best rappers. "Dreamin Of The Past", "Rock N Roll" and "Diet Coke" would probably be the best tracks on any other hip hop album this year and Push drops them consecutively here like it's nothing. What a legend.
#29. It's Time...To Rise From the Grave by Undeath
With everyone leaning so heavily into pop sensibilities these days, it's always refreshing to hear a fun and furious head banging metal record sneak into the rotation. Full of alternating riffs and chugs (maybe even TOO MANY riffs? if there even is such a thing?) Undeath is an adrenaline pumping brand of thrash metal for those seeking the next Power Trip, with maybe a touch more evil injected into the proceedings. Like a thrashy-er Job for a Cowboy, perhaps?
#28. Dent by Signals Midwest
Even though Signals Midwest has been around for some 14 odd years (?!), this latest effort feels like their most complete record to date. They've concentrated their sound most succinctly into pop punk tracks that carry the energy of fellow Cleveland greats The Sidekicks or even Jeff Rosenstock on the record's frantic opener "Blind Contour". But the combination of "Sure of It" and it's reprise found later on "Love and Commerce" are the perfect encapsulation of what sets this album apart from the rest of their catalogue, giving the record a cohesive through line and personality that imprints itself upon the entire collection. Signals Midwest have released a bevy of great songs in their decade plus but this is certainly the most consistent and cohesive record they've released thus far.
Hear our interview with Signals Midwest's Maxwell Stern here
#27. The Long Defeat by Deathspell Omega
As much as I adored "The Furnaces of Palingenesia", this follow up really felt like a step backwards for Deathspell Omega. The compositions are as instrumentally dense as they've ever been but the songs feel simultaneously messy and yet somehow simplified. There's a lot of really interesting territory explored, it's just not always arranged in the most engaging ways. And for some reason, each song sounds like an album closer. Maybe the tempo? As with any of their work, the more you listen to it, the more you can unpack - but this time around I'm finding less to enjoy than I typically do. But even when they're not at their best, it's still far and away some of the most stimulating music you'll find anywhere on the planet.
#26. Final Light by Final Light
I was a huge fan of the darker direction Perturbator took with his last record, "Lustful Sacraments" and with this collaborative effort between himself and Cult of Luna's Johannes Persson, that same gothic style is pushed even darker. There are plenty of electronic projects that add in guitars or metal growls as added instruments. Or metal bands that pipe in some ornamental synth tracks to spice things up. But Final Light feels like a true creative collaboration. The guitar tracks are harmoniously intertwined with Perturbator's lush soundscapes and add a layer of abrasive edges to the typical fuzzed out atmosphere. They both add such a unique perspective to one another's work that I truly hope this isn't just a one-off experiment for the them. They work incredibly well together and it'd be a shame for them not to continue to push each other even further.
#25. Blending by High Vis
On their sophomore album, London 5 piece High Vis, push their post-punk practices into equally energetic and anthemic 1980's inspired power pop that would fit nicely onto a mix tape with the likes of The Replacements or Husker Du. It's fun, fast and relentlessly engaging. High Vis avoids the typical pitfalls of self-serious post-punk acts attempting to branch out from the shadows of their influences by keeping things light and laying off the heavy handed pretense that their genre peers tend to dabble in. A phenomenal sign of growth for a promising new act as they further establish themselves as a band to watch.
#24. The Forever Story by JID
Despite serving as JID's 3rd full length, there's a very raw and unrefined quality to "The Forever Story", particularly in the opening 6 tracks. "Dance Now" is a decent enough sounding single but besides that, the beginning of this record sounds pretty amateurish. But there's a drastic improvement in quality at "Kody Blu 31", where the raw talent, song structure and performance finally align. It's a turning point for the album and perhaps JID's career, as from there on out, the album only gets better as it goes on. "Can't Make U Change" is smoother than hell transitioning into "Stars" which leads me to think, maybe he just needs to slow things down? That's where he seems to be thriving most frequently.
#23. Dream Weapon by Genghis Tron
Genghis Tron's first full length album since 2008 is a dense and immersive journey through vast soundscapes of synth infused, pulse-pounding metal. It starts admittedly a tad slow but once the title track "Dream Weapon" hits, the record kicks into high gear and never looks back. It's an incredible return to form for Genghis Tron as the 8 song collection packs an unrelenting revitalization of the unique style this group introduced us to over a decade ago. From "Alone in the Heart of the Light" to "Ritual Circle", it's hard to pick a true standout track here without recommending you just take in the entire album as a whole. You'll be glad you did.
#22. King's Disease III by Nas
Despite delivering one of the most monumental hip hop albums of all time in "Illmatic", Nas is often left out of the conversation surrounding the best rappers of his era. It's always Tupac, Biggie, Jay-Z, Snoop and Dre... But unlike his living peers, Nas is finding himself in the midst of a career resurgence thanks to his collaboration with producer Hit-boy and their 4th LP together in 3 years. And surprisingly enough, this may be their best collaboration yet. And Nas's best album in over a decade. They may not quite be the "Michael and Quincy" duo they proclaim to be here, but it's still a phenomenal rebirth for one of hip hop's most gifted MCs. The whole experience just exudes so much energy. It's intoxicating. There's even some more contemporary arrangements like "30" that manage to evolve Nas's sound into the modern hip hop landscape. And while it may be a little long at 16 tracks, it still feels damn good to see Nas unload like this and bolster his legacy this late into his career.
#21. Dawn FM by The Weeknd
Following his post Uncut Gems re-emergence, The Weeknd has cemented himself as one of the biggest pop stars in the world. And rather than play it safe with a predictable follow up to 2019's "After Hours", he's delivered this ambitious concept album evoking even more Oneohtrix Point Never influence by framing the entire narrative within a radio station. It's a tad long but overall, it's a much more consistent record than "After Hours" even if it doesn't have the stand out singles like "Blinding Lights" or "In Your Eyes" to lean on. But the nu-disco/new wave fusion is fun and infectious never the less, sounding like Michael Jackson reborn while delivering the most skillfully executed Chromeo album never made.
#20. Heavy Pendulum by Cave In
I gotta admit, before talking with Dan Ozzi about his stellar book SELLOUT, I had never listened to Cave In. But the fact that he wanted to include the group with their very own chapter among the likes of Green Day, Jawbreaker, Against Me and At The Drive-Inn (among many others) lead me to dive into their latest release with open arms. And this groovy blend of cosmic space metal was absolutely spectacular. "Floating Skulls", "Careless Offering", "Amaranthine" all hit like Baroness or Mastodon at their creative zenith. And this may be due to my unique perspective of taking this latest effort in as my first exposure to the band, but I like this considerably more than their earlier work. I really hope they continue to grow into this sludgy direction because this shit is tremendous. And without a doubt, the best metal record of the year.
#19. Entering Heaven Alive by Jack White
As pleasantly surprised as I was with Jack White's "Fear of the Dawn" earlier this year, I still didn't have high expectations for this ballad-centric companion piece. But goddamn, this is the best material he's produced since The White Stripes disbanded. Jack seems to be genuinely inspired by this new love in his life (whom he proposed to on stage at the first date of his summer tour) and delivers some spectacular love songs as a result. "All Along The Way", "If I Die Tomorrow", "Please God, Don't Tell Anyone" - this thing is fucking loaded with stellar tracks from a songwriter who sounds like his passion has been reignited. There are a few missteps still ("I've Got You Surrounded" and "Queen of the Bees" are a little cheesy) but the highlights more than make up for them. Particularly "A Tree On Fire From Within".
Listen to our Top 40 Jack White playlist Here
#18. Experts in a Dying Field by The Beths
Auckland, New Zealand's The Beths are one of my favorite new discoveries this year. The catchy, upbeat, airtight, indie powerhouse act pack the punch of a seasoned vet with the sincerity and hopefulness of an underground newbie. Think Hop Along meets Diet Cig. This record is amazingly consistent and exudes an endearing energy that's absolutely infectious. This record is stupid amounts of fun, and one of those albums that you can play through multiple times in a row without ever caring how many times you've already heard it (sometimes consecutively). If people still bought CDs, this wouldn't leave your car stereo for a month.
#17. kenopsia by quannnic
This album totally took me by surprise, as the latest piece of noise-pop glitch-rock produced by our digitally disaffected youth. The lush production is able to cover a vast musical landscape incredibly fluidly while tracks like "gesture gesture gesture", "life imitates life" and "stick" all hit like electronically enhanced Deftones singles. It's a remarkable debut from potentially the most promising new artist of the year - filling in a shoegaze-y ambiance with a crunchy, digital atmosphere that oozes personality in every track. I'm already dying for more of this.
#16. 40 oz. to Fresno by Joyce Manor
I really can't fathom how Joyce Manor hasn't become the biggest band on the planet by now. They're one of, if not, THE best pop punk outfits of the last decade and after a minor detour into softer and borderline indie ballads with "Million Dollars to Kill Me"; "40 Oz. to Fresno" is a welcomed return to form for the group with all of the power pop charm you've come to know and expect. It's incredibly efficient, packing more compelling vocal melodies and catchy guitar hooks in just 17 minutes of material than some bands achieve in their entire careers. It sounds so effortless and yet works so effectively, I just wish they had a little more to share with us after a 4 year gap between albums. But I'm definitely more excited for the future of Joyce Manor than I have been since "Never Hungover Again" dropped.
Listen to our Top 40 Joyce Manor playlist Here
#15. Mr. Morale and the Big Steppers by Kendrick Lamar
Coming out of one of the most turbulent times in recent U.S. history, I think a lot of people were looking to a prophetic voice like Kendrick's to address the tumultuous social and political landscape we currently find ourselves in. But instead of another "To Pimp a Butterfly" style opus, Kendrick takes a more candid and introspective narrative path with this double album therapy session of self-examination and personal growth. It's an incredibly bold creative choice in the superficial world of hip hop but it's as thoughtful and genuine as anything the legendary rapper has written thus far. Rather than casting judgement and examining the exterior agitators in his life, Kendrick reflects on his own traumas that have him in stuck in a cycle of overcompensation through extravagance and indulgence. He's bearing his soul here as he shares the weight of being a conscious cultural icon while tearing down the celebrity savior complex that holds figures like himself so highly in regard. And while I don't see myself revisiting this album as frequently as his others, that doesn't make it any less important. He's one of the most gifted writers of our generation and this album deserves to be digested like the literary work of genius that it is. Even if it's not always the most musically satisfying. But Kendrick himself even attests that he's "not in the music business. I been in the human business". And this is one of the most humanizing listening experiences out there.
#14. Malign Hex by Meat Wave
With 2017's "The Incessant" the Chicago post-something 3 piece, Meat Wave, established themselves as one of the most preeminent punk bands in the country. 5 years later and they're still reveling in the recipe of hypnotic guitar loops, mesmerizing bass grooves, thought provoking conceptual songwriting and gripping lyrical content that left such a massive imprint in their wake. It's rare to hear a punk band that leaves you hanging on every word but that's exactly the effect Chris Sutter's snarky line delivery has on the listener. It's just as compelling vocally as it is instrumentally, which is a rarity in the punk genre. The record opens flawlessly with it's first 3 tracks, highlighted by the first single "Ridiculous Car", but I did find my interest waning in the midsection run of "What Would You Like Me to Do" through "Merchandise Mart" just a little. But the album then closes on another spectacular run, culminating in the exquisite finale "Malign". Another sensational specimen from one of the best punk bands going.
#13. Tom by Hearts to Gold
This unbelievably punchy, bombastic collection of power pop anthems feels like the most confident arrival of a punk front-man since maybe Max Bemis of Say Anything? Which may sound a little hyperbolic but goddamn, the vocals are really doing a lot of heavy lifting here to elevate these songs. And while the instrumentals can be a tad simplistic at times, the slow and melodic unraveling in tracks like the tremendous album closer "Mary" or the single "Tigers Jaw", take things to a whole new playground for the band to play in. It's an incredibly exciting leap for the group to make on their second album and I am ecstatic for the future of this Minnesotan 3 piece.
#12. Ants From Up There by Black Country, New Road
I wasn't a huge fan of Black Country, New Road's debut album last year but this more finely condensed, vocally emphasized direction the band has taken with their sophomore effort is a profound leap forward for the group. There are a few instances of cringey lyricism lingering about (like pandering to streaming algorithms by name-dropping "Billie Eilish") but holy shit - "Concorde" and "The Place Where He Inserted the Blade" are two of the most stunning musical arrangements of the year. I had almost written this band off entirely but this follow up has me re-assessing the incredibly high potential this band has.
View the Rest of the 2022 Year in Tiers Here:
#music #aoty #albumreview #bestof2021 #albumoftheyear #nowlistening #nowplaying #albums #records #prog #indie #blackcountrynewroad #HeartToGold #Emo #PopPunk #PowerPop #Alternative #alt #postPunk #MeatWave #KendrickLamar #Rap #HipHop #JoyceManor #quannnic #electronic #glitch #TheBeths #JackWhite #CaveIn #Metal #hardcore #TheWeeknd #neosoul #dance #synth #funk #soul #Nas #GenghisTron #JID #HighVis #FinalLight #DeathSpellOmega #deathmetal #SignalsMidwest #Undeath #PushaT #MasonHunter #PHONY #Pharmacist #BlackMidi #PetrolGirls #PostPunk #StringMachine #Brutus #Vein #Veinfm #ConwayTheMachine #Conway #Griselda #Timeshares #SharonVanEtten #anxious #elder #preoccupations #BeachBunny #alvvays #internetkilledthevideostore