My Albums Of 2022 - Second Tier (pt. 1)
One of the problems that I had this year was that I heard about a half dozen albums in the first nine months of 2022, and was then inundated with new stuff from October onwards. This has meant that I’m aware of a lot more good albums that those that I’ve written about at length but I don’t know them well enough to have a lot to say on the subject. However, I think I can probably manage a round up of both the best new to me stuff, and a few that are great without quite being the best. Tumblr won’t let me put more than 10 links up in a post, so these will have to be split into two: this is January To June
February
Doe St’s slacker rock has plenty of obvious influences, with Pavement and fellow Aussies Chook Race both springing to mind. But their self titled debut was a great example of that thing in indie where someone takes the thing you think you’ve heard done to death and finds a way to make it feel fresh enough to go around again with. In this case, the tunes hit a perfect spot, the untrained harmonies have a lazy charm to them and the guitars have just the kind of scratchy restlessness that I like.
March
Aldous Harding’s forth LP “Warm Chris” was as warm and idiosyncratic as expected, but needed more effort than I was prepared to put in back in March. However, a few listens recently have brought its quality home to me: it’s earthier than 2019’s Designer but just as tuneful, and at its best when pursuing the stranger paths that seem to come to her so intuitively.
Denzel Curry branched out on Melt My Eyez, See Your Future, his most successful record to date, which veered between jazz based Robert Glasper collaborations and hard DnB beats with Slowthai, with plenty to go in-between. The whole thing pulled together in a way that was satisfying enough if slightly uneven, though Denzel's charm and punchy delivery were consistent features.
April
Pop-punk trio Joyride! returned after 6 years sounding exactly the same as they'd always done and, if Miracle Question didn’t quite reach the same heights of brilliance as their masterpiece Bodies Of Water, it followed a similar enough template in both style and quality to remind me why I love them all over again.
Sault released no less than five albums in 2022 (two of which were doubles) as well as an EP and a lengthy single and, to be honest, in the end I couldn't be arsed with it all. But there was plenty to admire if you could hold focus for long enough, with the choral soul crossover Air being the record I returned to the most, an album that combined elegance and joy with a genuine experimental flair.
May
Black Star returned for the first time in over 20 years and released their album on a paid-for podcasting platform, in a move that I'm going to call dumb. But in spite of all that, No Fear Of Time turned out to be an absolute belter: Bey and Kweli brought some typically insightful politics to the project and the rhymes hit hard alongside Madlib’s disjointed and occasionally soulful beats.
Warpaint shed some of their angst on the sun-kissed Radiate Like This album, working with a soulful, feminine vibe that made for perhaps the most listenable record they’ve ever released. While the lyrics at times left something to be desired, there was enough elegance and beauty to feel like it marked a welcome step forward.
June
Yaya Bey’s second album, Remember Your North Star was a surprisingly unusual proposition: while there was clearly a more straightforward neo-soul record hiding somewhere in its coattails, almost as big an accent was placed on ambient experiments as the introspective funk pop at its heart. Either way, North Star's sheer quality and unexpectedness made it one of the most intriguing and enjoyable albums that I heard this year.
Part two coming up when i can get it together. In the meantime, why not read some long-ass reviews of my ten favourite records of 2022!
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crime mob - crime mob
I think one of my big deciding factors to tell if you’re annoying about music is if you don’t like this album. You know what that tells me, you don’t like fun, exciting, well produced, and hype music. Yeah maybe you just don’t dig the sound or something, but to be honest, almost everyone I’ve shown this to who’s isn’t just a rap or pop music hater loved it. And I love it.
Some pretentious motherfucker might tell you “ohh wahhh this isn’t as good as Kendrick” and it’s like no you’re wrong. It’s not trying to do the same thing. This isn’t trying to be fucking illmatic. You know what it’s trying to be, motherfucking crime mob, and it does. It does so fucking well. Every. God. Damn. Song. On this thing is so incredibly hype it makes me want to jump on my desk and dance. It’s so exciting so fucking high energy, the beats are so fucking heavy and catchy and creative, the flows are perfectly executed, the whole aesthetic of this thing is awesome.
A lot of you will probably have not listened to this album, just give it a shot. Just put on a few songs and let them do their thing. Don’t stuff this square peg into a circle hole. Let it be as good as it is.
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