The largest tier in this year's recap gathers the perfectly fine, not bad but not great, commonplace enough to be found in nearly every city in America - the Subways. They're decent enough, at least as far as fast food is concerned. And not entirely terrible for you either. But it's not spectacular either. Usually for every great flavor or fresh ingredient there's a stale one hiding to counterbalance it equating to a perfectly average experience. Welcome to Subway.
#99. From a Bird's Eye View by Cordae
After his incredible debut, I gotta say, Cordae's sophomore effort feels pretty subpar. There's not a lot of hooks, just a bunch of empty brag raps announcing his arrival - even though his debut album did a much better job of that 3 years ago. You've arrived my guy, let's keep it moving. Freddie Gibbs injects some heat late into the proceedings and we finally get a stand out track in "Westlake High" - but it's the last track on the record. A long gestating follow up that definitely doesn't feel worth the wait, let's hope Cordae puts a little more thought into his next attempt if he's going to take this long between releases.
#98. Running with the Hurricane by Camp Cope
Trying to rebound from somewhat of a sophomore slump, Camp Cope returns with their third album "Running with the Hurricane" and if you were judging from the title track alone, you'd think they've corrected course. The soaring, uplifting vocals and message of perseverance is incredibly powerful stuff. But after that, everything that follows just kind of runs together. While I was listening I didn't realize I was only 2 songs from finishing the album because of how indistinguishable the rest of the tracks were from one another. So it seems there is some hope left for the group, but maybe only in bite sized portions.
#97. Psychokinetic Love Songs by Hey, ily
With a name like Hey, ily - it's probably no surprise to find the project has a knack for overly cutesy, bedroom pop. But it's the abrupt and frequently messy genre shifts into heavy non sequiturs that both set this record apart and hold it back. It just feels like the recipe isn't quite balanced yet. And with the random instrumentals and shortened run time, maybe this should have been a demo, not a debut LP. But "Stress Headache" feels like a glimpse at what Hey, ily could be when things are firing on all cylinders. But throughout the majority of "Psychokinetic Love Songs" they just very rarely are.
#96. Component System with the Auto Reverse
by Open Mike Eagle
Open Mike Eagle is one of the most candid and unique MCs going right now so I was incredibly interested to hear where he was going to take his sound with this new record. But as he indicates on "I Retired Then I Changed My Mind", OME seems to be beaten down by the stagnant state of his career. He doesn't appear to have a lot to say, besides the fact that he's still pretty heartbroken over his cancelled Comedy Central show. And he outsources the majority of the record with way too many features, particularly from Video Dave, who I learned very quickly from his 3 separate appearances here that I really don't care for. But there's some solid production throughout, specifically on "Multi-Game Arcade Cabinet" and "Credits Interlude". But it's definitely the first time I can say an Open Mike Eagle album is lacking in passion.
#95. Shepherd Head by Young Jesus
Young Jesus' tranquil and unexpected stylistic shift from 2020's "Welcome to Conceptual Beach" is hard to classify as anything other than a disappointment. It felt like Young Jesus was on the precipice of a breakthrough but their follow up here is just so frustratingly unrefined. The ambient art pop, indie-tronica sound just feels like meandering experimentation; best exemplified with the section of someone seemingly playing a pan flute to entertain their dog.
#94. SICK! by Earl Sweatshirt
Earl Sweatshirt is an incredible rapper but I'm still waiting for him to put all that talent together into a great album. There are glimpses of his genius sprinkled throughout the past several years but he's still not put out a start to finish solid record and unfortunately "Sick!" feels like he's getting further from doing that, not closer. Armand Hammer may be the lone highlight with their feature on "Tabula Rasa", meanwhile Earl himself seems to be sleepwalking through this. I know the "I don't give a fuck / chill" kind of vibe is his thing but this feels like the dude is flat out bored. Or maybe I'm projecting my own feelings of what I went through listening to this...
#93. Pool Kids by Pool Kids
4 years after their impressive debut, Pool Kids return with an undeniably emotional follow-up, largely due to Christine Goodwyne's extraordinary lyricism. The instrumentals however, feel like a pile of unsorted ideas nonsensically arranged on a poster board with a glue stick. There's midwest emo tap guitars, breakup ballads, oddly placed harmonics, detours into dream pop and some puzzling production choices (particularly on "Swallow") - which doesn't really leave you with much of a cohesive sound or identity for the group. I was really hoping this would be a breakout, statement type of album for Pool Kids but instead it kinda just feels like a collection of super sappy pop-rock songs.
#92. A Light for Attracting Attention by The Smile
I'm not the biggest Radiohead fan but I can appreciate the majority of their catalogue. This side project from Thom Yorke and Jonny Greenwood feels like a collection of songs they're emancipating from the expectations of being included on a Radiohead album, which allows them to be a little more carefree and unrefined. Plus Yorke can get away with lyrics like "simple ass motherfuckers". But it wasn't until 7 tracks in when we hit "Thin Thing" that I found my first moment of genuine intrigue. "Waiving the White Flag" had a cool intro and you get a nice jolt of energy as it leads into "We Don't Know What Tomorrow Brings", so if you start down this path, it's definitely worth hearing how it ends because the back half of the record packs the most interesting material by far.
#91. Close by Messa
Messa has an incredibly fun sound. The slow stoner metal vibes are awesome but with songs this long, if everything isn't hitting just right, you're in for a 7 fucking minute slog until the next attempt. And despite a couple of solid opening tracks, the overall success rate is frustratingly low. It goes on and on and you really feel every one of the 64 minutes this thing carries. "O=2" doesn't even bother with an ending, just an abrupt and almost humorous needle scratch after ten and a half minutes of droning on. And on. And on. These dudes gotta learn to edit themselves.
#90. Dance Fever by Florence and the Machine
Florence and the Machine kick off their 5th LP with a refreshing burst of energy and for a moment I thought, "hey, they're finally gonna have a solid follow up to Ceremonials!" - the record that really got me on board with this group. But that energy fades after the first 3 tracks, as does the substantive lyrical content and suddenly I realized I was in for another letdown. You might be better off just listening to "Free" and waiting for the next attempt. I mean "Ceremonials" was 11 fucking years ago and maybe that's as good as it's ever gonna get for Florence and the Machine. And damn, that's a bummer...
#89. Preacher's Daughter by Ethel Cain
The debut album from Ethel Cain is a little drawn out, but clocking in at 75 minutes over 13 tracks and nearly every song well over 4 minutes a piece; I guess that should be fairly obvious. A glance at the album art tells you almost everything you need to know of Ethel's rustic, wayward church girl ballads about wearing crosses and being taken "down to the river". The first 45 minutes is incredibly singular in style, sounding like a sort of a bible belt Lana Del Rey. Then we hit "Gibson Girl" and things get aggressively horny and from there on out, we take an abrupt style shift into some haunted ass Chelsea Wolfe style tracks. Which is a welcomed change, albeit a bit too late. But the latter half really shines because of it. Particularly "Sun Bleached Flies". But again, it's buried nearly an hour into the album and the song itself is 7 and a half minutes long - which is a lot to ask of the listener, especially on a debut.
#88. angel in real time. by Gang of Youths
Sydney Australia's Gang of Youths brings an interesting melting pot of alternative rock and indie pop production to their 3rd LP, with the incredible vocals from David Le'aupepe elevating everything quite considerably. But once the second track kicks in, album standout "in the wake of your leave", it's quite clear this is more than just another singer/songwriter with a backing band. Although it does feel like the intersection of War on Drugs and Mikal Cronin, it's still very unique. My biggest gripe is that it just goes on for far too long. Especially the second half, where the song lengths really start to wear thin with "spirit boy" (weighing in at a whopping 6:30 minutes) which is followed immediately by "brothers" (another 6 minute slog). By the time you find yourself listening to the tortured "hallelujahs" on "hand of god", it feels like the record might never end.
#87. Anti-Colonial Vol. II by La Armada
4 years after Anti-Colonial Volume 1 dropped, Dominican transplants La Armada return with another love letter to 2000's era beatdown hardcore in the vein of The Warriors or Comeback Kid. It's a much more fun and frenetic effort than Volume 1 and feels like a punk rock scrapbook of hardcore's past. Sadly though, it is a tad hamstrung by some uninspired lyricism. But if you feel like taking a time machine to a 2007 VFW circle pit - this will likely do the trick.
#86. Assassine(s) by Celeste
I've been a huge fan of Celeste'(s) output over the past several years but something about this, their 6th album since 2008, just feels flat. It doesn't have the same kind of intensity or bite that their previous efforts had. I don't know if it's just diminishing returns on the same sound without much evolution or it's something deeper altogether but this just didn't connect with me the way that Animale(s) or Infidele(s) did. Everything just feels kind of expected at this point. Like you knew exactly what's coming with each track. It's okay, but definitely nothing essential.
#85. Diaspora Problems by Soul Glo
I really don't want to make a habit out of shitting on everyone's punk homecoming queen but even more so than last year's "Glow On" - I just don't get the hype here with Soul Glo. There are some incredibly interesting genre crossovers and the sound is undeniably unique but I just can't get passed those vocals. I can overlook the high-pitched screechy quality to the Refused, Bad Brains or Blood Brothers because the compositions are so compelling but this is altogether so abrasive that I just can't really get into it. As much as I admire the innovation and energy here, it's just too much for me to fully endorse.
#84. the awful things we've done by peregrine
Serving as an emotional, swan song for the band (maybe?), peregrine toys with a lot of interesting elements but they all feel somehow restrained and their brilliance never quite breaches to the surface. As it is though, this serves as a decent stop-gap between Hotelier albums if you're in need of some deeply moody emo / indie rock. I just really wish this wasn't a farewell album from peregrine because it sounds incredibly promising. But maybe this will just be a preamble for whatever great new projects the creative forces at hand here put together next.
#83. caroline by caroline
This one was hard for me to put my finger on. There was plenty of aimless, repetitive, plodding bits of post-minimalism that definitely didn't gel with me. But something underneath all that directionless noodling among delicately arranged atmospheres made this more endearing than I suppose it should have been. It was an interesting debut for this odd combination of ambient chamber folk but overall, it was like the gears of something greater trying to activate something that never fully engages. I'm intrigued, just not all that entertained. At least not yet...
#82. Anybody's Baby by Looming
God I love Jessica Knight's vocals. She's an absolute treasure. But 5 years removed from their last album, "Seed", this long gestating follow up just doesn't carry the enthusiastic momentum this group had going for it when we last heard from them. The complexity of the instrumental arrangements has leveled off considerably and the songs themselves lack the punch of their earlier work as well. Hopefully they'll rebound from this sooner rather than later.
#81. Chloe and the Next 20th Century by Father John Misty
While at first I thought perhaps Father John Misty had reverted back to the theatrical flair of "Pure Comedy", very quickly I realized "Chloe and the Next 20th Century" was little more than a lame costume party. Draped in the bombast and pretense of roaring 20's Old Hollywood, this record is the definition of style over substance and FJM himself even seems to admit to as much on the closing track when we finally get a glimpse of the cynical philosopher we normally hear from; when he admits he'd rather hide behind the safety and security of empty love ballads. Which is a massive bummer. The record itself sounds great - with stellar production and outstanding performances - but there's just none of the conceptual rewards Father John Misty usually packs into his material.
#80. Modern Primitive by Septicflesh
With their first full length in 5 years, the symphonic Greek metal lords of Septicflesh have returned. And while the band hit a wonderful stride of releases in the early 2000's and 2010's, it feels like they're continuing on a downward trajectory with this latest collection of slower, more predictable tracks. "Coming Storm" has an urgency that the rest of the album seems to lack and the overly used chugs on "A Desert Throne" really take you out of the album almost entirely. I sorely miss the more involved symphony and choral accompaniment. Without it this is average at best, their weakest offering in 2 decades at it's worst.
#79. Where the Heart Is by Sweet Pill
Sweet Pill's debut LP houses a familiar combination of intricate instrumentation and drawn out vocal delivery that's found in a number of emo projects (most recently the controversy entangled Hospital Bracelet) - this one just happens to be a little less lyrically enticing. I did really enjoy the hard hitting edge to the finale on "Cut", I just wish there was more of that intensity throughout the rest of the record. It's fine as it is, but that passion could really elevate things for them quite a bit moving forward.
#78. DEATHFAME by Quelle Chris
Quelle Chris returns with yet another hella smooth, well composed record which may be almost too consistent for it's own good. Well except "Die Happy Knowing They'll Care" which is nearly un-listenable. Everything else here is just fine though. "Alive Ain't Always Living" is probably the standout. I say probably because it's hard to really pinpoint a standout when the record feels like it stays at the same level from start to finish. Which is all to say it could've benefited from some more variety. Very mid.
#77. Leather Terror by Carpenter Brut
I was incredibly excited to hear what Carpenter Brut had cooked up with the follow up to "Leather Teeth" but aside from the impressive list of guest appearances - this feels like a sequel resting on the laurels of the original. The integration of vocals on "Leather Teeth" added a nice flare of personality but here on songs like "Good Night, Goodbye" and "The Widow Maker" - they kind of derail the atmosphere the music was working so hard to build. The collaborations just don't really gel. And most of the arrangements feel like they could have been scraped off the cutting room floor of the last record as there's no real progression to Carpenter Brut's sound either. It's decent but definitely disappointing.
#76. I Told Bessie by ELUCID
With Billy Woods' Armand Hammer partner in crime, ELUCID, dropping his latest solo project; you really can't help but wonder if the record would have been better off as an Armand Hammer EP. Especially when the album's standout tracks are all enhanced due to features from Woods or Quelle Chris. The production is pretty phenomenal throughout but when it's just ELUCID, it's hard not to miss the guest appearances. And as good as the group efforts like "Sardonyx" are, tracks like "Ghoulie", "Split Tongue" and "Guy R. Brewer" are complete throwaways. "Ghoulie" specifically feels like a full-on airball of a song; with a horribly redundant beat, no hook and no intrigue whatsoever. But the handful of solid ensembles keep this from being a total bust.
#75. Dog Hours by Big Nothing
As my introduction to Big Nothing, specifically the phenomenal opening track "Always On My Mind", I felt like I had stumbled onto a solid little Americana diamond in the rough. Like Purple Mountain meets Tom Petty. However the record loses steam quickly after the first couple of tracks and songs like "Curiosity" really expose how much the vocalist struggles to bring the personality needed for this style of music to pop. You've either got to have a powerful, charismatic voice or deeply well constructed lyrics and on both fronts - Big Nothing comes up a little short. But when they can camouflage those shortcomings, they're a pretty enjoyable throwback act.
#74. Dropout Boogie by The Black Keys
The Black Keys have repeatedly failed to recapture the magic they tapped into on 2010's "Brothers" and while "Dropout Boogie" doesn't reach the heights of the best Black Keys material, it feels surprisingly more fun and less forced than anything they've put out in a decade. It's a more blues oriented sound, with loads of slide guitar and fun rhythms, not so hellbent on forcing riffs or pop choruses into the proceedings. Just plain and simple blues rock and roll. Things may stray a little too simple on "Your Team is Looking Good" but nevertheless, the record is a breezy half hour of middle of the road bar rock.
#73. Continuance by Curren$y and The Alchemist
I don't know what it is, but there seems to be a way too casual attitude with some of this year's rap records. Not that we need every MC to bark his verses like DMX or Eminem did but at some point this slow delivery just feels so unenthused that it infects the listener's excitement level as well. This one particularly just lacks urgency in a way that damn near feels like you're listening to the Alchemist's curated playlist for The Weather Channel. "The Tonight Show" may be the standout here but again, it just doesn't have very much excitement outside of the base sample.
#72. Farm to Table by Bartees Strange
After exploding onto the scene with 2020's "Live Forever", Bartees Strange is back with his follow up collection of soulful post-punk emo jams. This time he's integrated a new dance pop element on tracks like "Wretched" but they feel a little too out of place on "Cosigns". It's like he's losing control of where he wants his eclectic sound to grow, even veering into a straight up classic rock ballad on "Hold the Line". Bartees himself has said that this was initially intended as an EP and I can't help but thinking maybe that's why this got away from him so much. It's not bad, just stretched a little thin and lacking the concentrated excitement of his debut. I wish there was more like the last 30 seconds of "Escape This Circus" though.
#71. Lose Your Delusion by A Wilhelm Scream
A Wilhelm Scream have hit the legacy era of their bandhood where they can put out a record whenever they damn well please. And while there's some intermittent killer riffs to be found (most heavily concentrated on "The Enigma"), most of the record is incredibly tame for a band this instrumentally proficient. A lot of lazy power chords and boring pop punk - "Figure Eights in My Head" being the worst offender (maybe of their entire career). I guess I don't necessarily want them to pivot into full on metal territory the way that their spiritual predecessors Propagandhi did but I definitely don't feel like this stylistic shift was worth releasing a record over either. Especially after a nine year gap. And what happened to the vocals? Really feels like they mailed this one in and I have to ask why?
#70. Cool It Down by Yeah Yeah Yeahs
One of the many bands reemerging from hiatus in the post-covid world, Yeah Yeah Yeahs are back after a 9 year absence. With just 8 songs. But the opener, featuring Perfume Genius, makes for one of the most unexpectedly triumphant collaborations of the year. However, the novelty of the electronic infused evolution of the band dissolves almost instantaneously on the second track. It's painfully simplistic - both musically and lyrically - touting tired clichés such as "hungry life a wolf" and "roll the dice". And after such a phenomenal opener, the album ends with such a whimper in "Different Today" and "Mars". I mean, I'm glad they're back making music together but maybe they should have waited to refine a proper album's worth of material...
#69. Sometimes, Forever by Soccer Mommy
I'm familiar with Soccer Mommy's previous efforts and without the collaboration with Oneohtrix Point Never's Daniel Lopatin as a producer here, I don't think I would have given this new record the time of day. But after listening, I'm not sure the two creative forces really work together. The first two tracks sound like all of the other sleepy indie rock songs Soccer Mommy has put out thus far and "Unholy Affliction" superimposes the electronic elements into her songwriting in a way that feels like oil and water mixing. Which is to say they don't. There's a much more cohesive middle ground found on "Shotgun" and "Darkness Forever" but overall, the songs are just way too drawn out and the dreamy pop rock aesthetic isn't polished enough to really work. It's okay, it's just not the breakthrough I was hoping a collaboration like this might inspire.
#68. Dragon New Warm Mountain I Believe In You
by Big Thief
Even though it's packaged as an 80 minute double album opus, this is really just a collection of quirky folk songs. There are a few interesting innovations with electronic integrations (particularly the breakdown on "Simulation Swarm") but for the most part, this really didn't need to be 20 songs deep. Especially with incredibly lackluster tracks like "Wake Me Up To Drive" and "Sparrow". A lot of fat could have been trimmed from this but there are some gems to be found in tracks like "Spud Infinity" and "Heavy Bend". It's fun, even if a tad frivolous at times.
#67. Finally, New by They Hate Change
Packing an unexpected hybrid of dirty south hip hop and break beat electronica; They Hate Change really doesn't sound like anyone else out there right now. And even though it feels like a work in progress, with the super bouncy production occasionally clashing against the slowly drawn vocals, it's still entertaining to hear it all unfold. Especially the way "Perm" & "X-Ray Spex" send things out on a high note. This is a project to look out for in the future for sure.
#66. Skinty Fia by Fontaines D.C.
Fontaines D.C. deliver some fairly effective Dublin goth rock with heavy Iceage vibes. They feel very comfortable sticking to post-punk pub rock and for the most part they flourish there. "Jackie Down the Line" is a phenomenal track and the best showcase of how much the innovative percussion elevates the proceedings. But once the overly drawn out "The Couple Across the Way" hits, the album slows to a crawl and never really recovers. Specifically the closer, which feels almost intentionally grating.
#65. Dissolution Wave by Cloakroom
I really loved 2017's "Time Well" so I was more than ready for Cloakroom to take the next step into becoming the full fledged slow core successors of Hum they ought to be. But disappointingly "Dissolution Wave" comes up short. "Lost Meaning" is a phenomenal opener but after that it feels like a see-saw of safe and exploratory compositions. It's a sonic tug of war between the familiar shoegaze formula and crunchy stoner jams. I find myself pulling in the direction of the latter but overall, the outcome is a wash. Neither side really gets what they want. "Fear of Being Fixed" whips major ass though. I just wish there was more like it.
#64. Melt My Eyez See Your Future by Denzel Curry
I think I'm in the minority here but I really felt like Denzel was at the peak of his powers with 2019's "Zuu". This record just feels way too slow. There's that tempo switch 2 minutes into "Walkin" that brings out the MC I fanboyed over in year's past but mostly this record just feels tired. The features seem to have more enthusiasm than Denzel does and while the stylistic experiment on "Zatoichi" pays off, most of them (like "Trouble") don't. A very mixed bag.
#63. Freakout / Release by Hot Chip
Continuing down the path they started on with 2019's "A Bath Full of Ecstasy", Hot Chip brings us more experimental 1970's dance punk with their latest effort. And although it's with inferior results, it's still a fun soundscape to explore. "Freakout/Release" has a stellar title track, boasting an outstanding bass line and the album standout "Eleanor" sounds like a lost level of Sonic the Hedgehog (albeit, maybe just a tad too long at 5 minutes...). But overall it's a pleasantly catchy and innovative collection of synth pop. I'm not entirely sure how I feel about the hip hop verse but I guess they're trying some new stuff?
#62. Tana Talk 4 by Benny the Butcher
I really don't have anything against Westside Gunn but goddamn, "Guerrero" had the best production on the record until Westside's verse just absolutely wrecks it. Outside of that, Benny the Butcher's album is pretty consistent. Maybe even more so than fellow Griselda MC, Conway the Machine's (who just so happens to feature in a song here addressing their constant comparisons to one another in "Tyson v Ali") but while "Tana Talk 4" avoids some of the missteps of "God Don't Make Mistakes", it lacks the highlights and lyrical impact of Conway's record as well.
#61. The Kick by Foxes
This is an effortlessly bouncy pop record with phenomenal production, it just may be a little too similar from song to song. Vocalist Louisa Rose Allen does a pretty great job evoking that sultry Miley Cyrus delivery along a backdrop of hyper-poppy Carly Rae Jepsen style music. Her vocals wrap around the music so perfectly on "Absolute" and "Growing on Me" that it feels like the convergence of 30 years of top 40 radio simultaneously exploding onto one track. But again, the songs are just so similar that it's hard to really differentiate much and the lyrics may be the biggest hindrance in that capacity as well.
#60. Things Are Great by Band of Horses
I don't know if the lush production did a better job at hiding the lyrics on the first 3 Band of Horses records or this group has really fallen that far from grace with sections like - "Can't do all the things that we used to do. And it sucks. And it's bad" - but either way, it's an issue here. And yet despite that, this is still probably the closest they've come to recapturing the magic of their best work since those 3 introductory records. Which may just be a reflection of how bad "Mirage Rock" and "Why Are You OK" were, but I'll try and look on the positive side and reward this improvement. "You Are Nice To Me" even finds them breaking some interesting new ground with their best single in quite some time.
#59. Rouge Carpet Disaster by Static Dress
There were a lot of Myspace scene nostalgia acts this year and even though they don't really inject much innovation into the formula - Static Dress does a solid job of highlighting the best of that era of music. Even if it can feel like a vapid copy/paste vanity project. "Lye Solution" is probably the standout but "Marisol" feels like the most promising track, injecting some Deftones style shoegaze into the mix. It's an undeniably fun trip down memory lane for those who lived through the Drive-Thru Records era of screamo hardcore. But like revisiting your childhood hometown, it's fun for an afternoon and you wouldn't really want to move back there permanently.
#58. Spirit Roaming by AKAI SOLO
Backwoodz Studioz has had one hell of a year, so when they proclaimed they saved the best for last with this AKAI SOLO release, maybe I set my expectations a tad too high. AKAI's delivery is spectacular and the production is top notch but it just didn't have the polish of Backwoodz' best output. The feel-good, motivational podcast monologue sound clips are a huge momentum killer. Especially when the songs themselves don't have a lot of progression to them. It's as if the clips are being used as audio bookmarks to distinguish the tracks from one another. AKAI has incredible potential but even the album highlight, the one-two punch of "Jyu Viole Grace" and "For a Few" is weighed down by the minute long TED talk before "For a Few" even starts.
#57. Silver Sash by Wovenhand
Like a more instrumentally dense Murder by Death or a gothic uncle to Downhaul; Wovenhand weaves an undeniably distinct tapestry of dark-psych-Americana. And even though the group finds themselves 20 years deep into their careers, there seems to be a reluctance to fully embrace the electronic evolution of the band. But it really serves as their most intriguing aspect on this album. Specifically the title track that closes out the record, "Silver Sash", which finds the group finally showing the least resistance to progressing their sound. It just takes a little too long to finally get them there.
#56. Big Time by Angel Olsen
Without the pomp and circumstance of 2019's "All Mirrors", Angel Olsen seems to have aimed at reinventing herself as an indie rock Dolly Parton this time out. Though it's not quite as fun as Waxahatchee's "Saint Cloud", "Big Time" is more focused on 1970's style country ballads, which admittedly get a tad redundant. Even though there are undeniable moments of lush and enchanting crooning from the songstress scattered throughout, there's not a ton of highlights to speak of. But it all leads to a phenomenal climax on "Chasing the Sun" which ends the record pretty spectacularly.
#55. Sugar Rot by p.s.you'redead
If you think p.s.you'redead sounds like a Myspace username from 2006, their music pretty much falls into that same screamo category. "Sugar Rot" is a throwback to breakdown happy hardcore acts like Blood Brothers but where things really get interesting are on the title track - when we get somewhat of a modernization of the sounds they're so obviously influenced by. It's a fun introduction to the band and I really hope they continue establishing their own identity rather than just serving as a nostalgia play, because that's where they're at their most engaging.
#54. Time Being by Tree River
From the first 3 tracks on "Time Being", you'd think you'd stumbled upon the next great pop punk act of our generation - with hooks that would fit nicely on any Modern Baseball or Joyce Manor album. But after that, the fun fizzles out into a weird Angels and Airwaves sequence of arena ballads. And including Say Anything's Max Bemis on "Crossroading" really helps the track itself stand out as the record's clear highlight but it also shines a light on how much personality the rest of the vocals are lacking once he leaves.
#53. All That Was Promised by Hath
Boasting a triumphant brand of progressive death metal, Hath's sophomore effort shows an incredibly promising growth for the group as they continue to distinguish themselves as one of metal's best new bands. "Kenosis" is the best track for sure but the impeccable guitar work on "Iosis" is certainly worth checking out as well. Things do get a little predictable after "Decollation" but the record still whips all kinds of ass.
#52. Cocodrillo Turbo by Action Bronson
After a couple of lackluster follow ups to 2015's "Mr.Wonderful", it feels like you can finally hear the fire coming back into Action Bronson's delivery with his last two efforts. This record specifically is his best work since "Wonderful" and comes blazing out of the gate with an opening that could easily serve as Bronson's AEW entrance music. But "Ninety One" is the highlight here and for the first time in a long time, Bronson leaves you wanting more - in a good way.
#51. Boat Songs by MJ Lenderman
This latest solo outing for the guitarist of buzz band Wednesday, is a collection of mid tempo indie tracks that sound like Car Seat Headrest with more of an alt-country twang. Some of the lyrics are a little overly quirky (like on "Dan Marino") but when they work (like on "TLC Cage Match"), the mix really hits. Simple, fun, and fearless - MJ Lenderman seems to be carving out a promising career path for himself as a distinct and invigorating new voice in indie songwriting.
#50. Fear of the Dawn by Jack White
I haven't really found myself connecting with a Jack White project in any meaningful way since The Raconteurs' "Consolers of the Lonely" back in 2008. So needless to say, I've found Jack White's solo output to be pretty 'meh' thus far. But his last full length album, 2018's "Boarding House Reach", was the first time I found myself outright embarrassed to call myself a fan of his. And yet this record doesn't shy away from the bold and eccentric experimentation that made his previous record laugh out loud awful. Instead he leans into the weirdness - wrangles it and rides it like a fucking rodeo bull. It's a fun and fearless 40 minutes with one of the most gifted instrumentalists on the planet. With such large segments of the record entirely instrumental, it still lacks the lyrical substance or stadium anthem hooks that he's famous for but it feels like he's finally given up on forcing himself to recreate his past and just embracing where his creative energy is taking him. Which is a wild fucking ride and one that may not be entirely necessary, but it's certainly more entertaining than anything else he's done in the last decade.
#49. Formentera by Metric
I haven't really thought about this group much since they burst onto the scene in the early 2010's alongside fellow indie-tronica acts like MGMT or Cut Copy, but Metric's latest effort is actually pretty fun. And still carries with it that quirky charm that made groups of their era so enjoyable. "All Comes Crashing" is a great single and even though the record can meander into some overly drawn out sections ("Doomscrollsers" feels like it could end 3 or 4 times before it finally does) the majority of the material is still a solid listen.
#48. The Unraveling of Puptheband by Pup
On their 4th LP, Pup continues exploring the harsh and heavy truths of becoming an aging punk with their trademark cynical sense of humor. However, it's hard to shake the feeling that they're trying to recapture the vibe of "Morbid Stuff" with diminishing returns. Which has actually made me appreciate "Morbid Stuff" even more, retroactively. "Totally Fine" is as close as they get and while it's a stellar single - the expansive detours in jangle pop and electronic supplements can't quite push the band into anything as engaging as their earlier work. Maybe fittingly so, this record about a band in the midst of a creative midlife crisis feels like exactly that - a group stuck between unsuccessfully trying to recreate their youthful peak and unenthusiastic drifts into unfamiliar genres in attempt to spark creative growth. Maybe this really is the start of the unraveling of Pup the band? Or maybe just the leveling off after a meteoric start?
#47. Impera by Ghost
I know Ghost is pretty corny to most people but if you set aside their theatrics, these guys can write some pretty sick radio rock riffs. And thankfully that's what they've chosen to do again after the stylistic misfire of "Prequelle". Reintegrating a sense of cheesy throwback fun that makes them the perfect successor to KISS or Ozzy's solo work - "Impera" feels like a return to form for the arena goth rockers. That is until "Twenties" hits and you find yourself questioning lyrics like "...we'll be grabbing them all by the hoo-has" (?!) It's an incredibly poor attempt at MAGA satire that could easily be confused as a Trump rallying cry if it weren't on an album about the fall of an empire. Then the record somewhat fittingly grows way too ballad heavy in a true homage to 80's heavy metal - but still, it's nice to see the group back on the promising track that "Meliora" started them down 7 years ago.
View the Rest of the 2022 Year in Tiers Here:
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