2022 was the year of making up for lost time. It was the first full year of venues being reopened, meaning an avalanche of new and delayed albums coincided with the ability to properly tour. Legacy acts returned with their most inspired work in years. Newer artists released groundbreaking records across all genres on a near weekly basis. This all makes keeping up with the endless torrent of new albums more challenging than ever. Fortunately my 72 thousand minutes on streaming alone basically count as a doctorate in this field.
Hundreds of albums are added to my queue each year, only to boil it down to a few dozen that I predict will stand the test of time for me. That means asking the tough questions. Do I just dig this record or do I genuinely love it? Do I really just love a handful of songs? Is it a banger? As always, you can answer these questions yourself with the sampler playlist. If you find something you enjoy, support the artist by seeing a show, purchasing some merch, patronizing your local record store, and staying up to date with union causes.
These are the projects that defined my 2022, and deserve a place in your 2023.
Earl Sweatshirt — SICK!
Released January 14
While only 27 at the time of his latest record’s release, Earl Sweatshirt has become something of an elder statesman in the indie/alternative rap community. Since graduating from his shock rap Odd Future debut mixtape, each subsequent release has served as an introduction to a new crop of underground talent while peeling back additional layers of the man himself. That typically resulted in revelations of trauma and depression, but SICK!, largely influenced by the pandemic, ironically finds Earl more at peace. His muttered, poetic stream of conscious flow still carries the same weight, but the introduction of wonky trap production alongside his usual woozy soul samples gives his sound yet another new life.
Selected cuts: “2010,” “Tabula Rasa (feat. Armand Hammer),” “Fire in the Hole”
Silverbacks — Archive Material
Released January 21
The album’s opening seconds of a drum solo put you on notice that you’re not sitting still for this one. Dublin-based post-punk band Silverbacks’ second album builds upon a winning formula established on 2020’s Fad, keeping their foot on the gas for 37 minutes of danceable drum beats and guitar tones that find catharsis in funk. Undoubtedly influenced by revivals of the 1980s new wave scene, their modern take lands somewhere between LCD Soundsystem at their most rock-influenced and 2021 list entrant Parquet Courts when they’re bolding the dance in dance-punk. Early murmurs of a third album imply their dance influences will be dialed up with a wider variety of instrumentation, surely making them a band to watch in 2023.
Selected cuts: “Archive Material,” “Different Kind of Holiday,” “I’m Wild”
Animal Collective — Time Skiffs
Released February 4
Music has transportive, time-traveling powers; just ask experimental indie veterans Animal Collective. These powers are responsible for their latest record as the pandemic derailed recording plans. After fruitful in-person writing sessions in 2019, the band began trading files of their individual contributions until the album was complete. Despite the remote work, Time Skiffs has a live energy to it that might not have been possible in previous years. This album marks the first time all four members have collaborated in a decade, and it’s a return to what they do best: bizarre, electronic-tinged psychedelic pop. Critics waiting for another Merriweather Post Pavilion will continue waiting, but Time Skiffs makes a strong case for being their most enjoyable, complete record since the seminal work.
Selected cuts: “Strung with Everything,” “Walker,” “Cherokee”
Cate Le Bon — Pompeii
Released February 4
It’s apparent Cate Le Bon has gone through phases of her life with David Bowie endlessly on repeat. That’s not to say we can expect the Welsh singer-songwriter to dabble in glam rock under a string of aliases, but she absorbed the gene of a shapeshifter. Her stylistic shift from one album to the next is never a given, let alone an individual song’s direction from one moment to the next. The journey from the jarring indie rock of 2016’s Crab Day to the smoother, uneasy consolation of 2019’s Reward was the birth of a new era. Pompeii further perfects the direction of its predecessor, guiding Reward’s more intimate tone into a contorted reimagining of synthesizer-heavy 80s alternative. The result is just as honest and introspective; Pompeii just has more confidence in inviting you inside for a look.
Selected cuts: “Moderation,” “Harbour,” “Running Away”
Erin Rae — Lighten Up
Released February 4
Since debuting at a Nashville open mic night a decade ago, Erin Rae has been a staple of the city’s folk/Americana scene. Upon the release of her solo debut in 2018, the rest of the country has gradually been cued in on one of the city’s best kept secrets. For her latest effort, Rae teamed with indie/folk superproducer Jonathan Wilson, whose sheen proved to be just what Lighten Up needed. These recordings are retro without leaning too hard on nostalgia, sharp without too much gloss, and most importantly, the instrumentation has a distinct personality, while still letting Rae’s subtly clever pen and delicate voice effortlessly occupy the spotlight.
Selected cuts: “Candy & Curry,” “Can’t See Stars (feat. Kevin Morby),” “Modern Woman”
Saba — Few Good Things
Released February 4
Saba’s been through a lot, but don’t try to pigeonhole his work as an expression of trauma. His 2018 standout record Care for Me was a soulful, longform expression of his grieving process after the murder of his cousin and fellow Chicago rapper John Walt. Having experienced more loss in the following years, each verse has been analyzed through this same lens. These narratives are present on Few Good Things, as well as the anxiety of being the one to break generational poverty, but Saba latest is an exploration of “both/and.” It’s a more optimistic body of work that acknowledges joy and nostalgia in the midst of those lows. The record isn’t without a few missteps, but the highs are consistent enough to make it a welcome addition to an impeccable catalog.
Selected cuts: “One Way or Every N***a With a Budget,” “Survivor’s Guilt (feat. G Herbo),” “Come My Way (feat. Krayzie Bone)”
Big Thief — Dragon New Warm Mountain I Believe in You
Released February 11
Big Thief had a massive 2019 with two critically-acclaimed records, U.F.O.F. and Two Hands, before briefly going on hiatus to release a slew of impressive solo albums. They’ve reformed on their latest release like an indie rock Voltron for their most ambitious record yet. The band wears more stylistic hats than ever across these 20 tracks, dabbling in familiar folk and earthy indie rock while incorporating new elements like the upbeat mysticism of “Time Escaping” or woozy drum programming on “Blurred View.” It can all feel a bit excessive in one sitting, but with the caliber of most of these songs, it’s tough to make a case for why this shouldn’t have been a double album.
Selected cuts: “Time Escaping,” “Certainty,” “Simulation Swarm”
Spoon — Lucifer on the Sofa
Released February 11
It has to be said without the slightest bit of “back in my day” rhetoric: they just don’t make bands like Spoon anymore. While the Austin quintet has no qualms with experimentation, their tenth album Lucifer on the Sofa is a largely back to basics, guitar-driven rock record devoid of sub-genre classifiers. It’s a style that in the hands of a lesser band would be filled with “real rock” tropes and pandering nostalgia. Rather, it’s no frills production and arrangements feel like less of a statement and more like the result of being hyper focused on writing good songs and letting them breathe. Mission accomplished.
Selected cuts: “The Hardest Cut,” “Wild,” “My Babe”
Beach House — Once Twice Melody
Released February 18
I once described Beach House’s artistic growth as gently listing rather than taking sharp turns, where their leaps and bounds are only noticeable in retrospect. Similarly, double album Once Twice Melody is a gently guided journey through both the intimate and the cosmic. It’s their first self-produced release since producer Chris Coady took their dreamy, smaller scale recordings to grander heights on 2010’s Teen Dream, and it’s clear they have been studying the craft. While there’s been notable growth in the studio, true to the dream pop duo’s track record, the album seemingly isn’t breaking a ton of stylistic ground. What it lacks in newness though, it more than makes up for in just how beautiful it sounds.
Selected cuts: “Once Twice Melody,” “ESP,” “New Romance”
Curren$y & The Alchemist — Continuance
Released February 18
Every Curren$y album is a safe bet from a subject matter standpoint: weed raps, money moves, and vintage cars. What separates a great “Spitta” album from the dozen other projects he drops every year is ultimately who he has inspiring him at the helm of his instrumentals. If you’ve kept up with my annual lists, you already know I’m on board with just about anything with The Alchemist on production duties. Continuance marks the fourth time this duo has teamed up for a collection of stoner-entrepreneur raps over smoky, jazz-tinged boom bap beats, and their chemistry has yet to wane. It won’t land among the most noted releases in either artist’s discography, but it’s bound to be a cult classic.
Selected cuts: “No Yeast (feat. Boldly James),” “Corvette Rally Stripes (feat. Havoc & Wiz Khalifa),” “Whale Watching (feat. Styles P)”
SASAMI — Squeeze
Released February 25
An occasional foray into country, dance, or even something hip-hop adjacent is to be expected from indie artists, but what singer-songwriter is citing nu-metal as an influence in 2022? In an effort to fully tap into her pandemic frustration in 2020, SASAMI channeled the angsty music of her middle and high school years with a songwriting capacity and emotional intelligence beyond “angry white guy hates authority and gaslights his girlfriend for 11 tracks.” Alternating between traditional, softer indie rock and aggressive nu-metal, Squeeze is a fascinating record that would be just as at home on your local NPR station as it would soundtracking an early 2000s WWE pay-per-view.
Selected cuts: “Skin A Rat,” “Say It,” “Tried To Understand”
KAINA — It Was a Home
Released March 4
Home can be wherever you feel loved, and in KAINA’s case, it was her literal childhood home. The Chicago R&B singer’s second record is rooted in the bittersweet nostalgia that comes with being a first generation American with Venezuelan and Guatemalan parents. Her upbringing was spent dreaming of something better ahead rather than appreciating the magic of the present moment. That lesson learned carries into her present as she navigates love in all its forms: romantic, platonic, and self-love. Ultimately, we have the capacity to be at home wherever we are, and this soulful record feels like the comfort of your own couch, sipping coffee as the first rays of sunlight start to creep through the blinds. It’s the sound of the present moment magic being captured.
Selected cuts: “It Was a Home,” “Good Feeling,” “Apple”
Luna Li — Duality
Released March 4
Most of us had lofty quarantine productivity goals, but multi-instrumentalist Luna Li really put in the work. After going viral at the beginning of lockdown with her “harp jams all day” video, she replicated its success with a series of videos highlighting her creative process in her apartment, culminating in last year’s instrumental jams EP. The release encapsulated her mellow, whimsical sound of an orchestra of one; think along the lines of your favorite soundtrack to a family-friendly Nintendo game. Her debut album Duality retains much of the dreamy, playful energy that made her an internet sensation, but ups the production value and incorporates lyrics for the first time since a 2017 self-released EP. The album doesn’t quite feel like the peak of her potential, but it’s a worthy start of the journey to follow.
Selected cuts: “Boring Again (feat. Jay Som),” “Afterglow,” “Silver Into Rain (feat. beabadoobee)”
Nilüfer Yanya — PAINLESS
Released March 4
Nilüfer Yanya’s 2019 debut Miss Universe made two things apparent: her ability to tap into the raw emotion of a moment and her natural pop songwriting instincts, even when obscured through its electro-indie production. PAINLESS isn’t quite as panoramic as its predecessor, dialing back the upbeat highlights and rock grit. It still sonically takes welcome, unexpected detours, but each experiment amplifies the sentiment being conveyed. It’s frantic when she’s anxious, grand when she’s bold, and stripped back when she’s defeated. Every piece of this record fires on all cylinders to work toward the common goal of crafting timeless, heart-wrenching pop balladry.
Selected cuts: “the dealer,” “midnight sun,” “anotherlife”
tobi lou — Non-Perishable
Released March 11
Since his three-peat of EPs in 2018, Chicago rapper tobi lou’s output has been on shaky ground. Some of his singles have still been hitting, but his first full length effort Live on Ice left a lot to be desired. A bloated tracklist buried some of his best tracks to date amongst a torrent of weaker material better saved for contractually obligated deluxe editions. Non-Perishable is a return to form highlighting tobi’s cheesy, irresistibly fun pop-rap that’s as confident as it is lonely. His strengths of cartoonish emboldenment and plainspoken, relatable sadness are underlined by energetic production and instantly memorable hooks. Keeping it at a tight 33 minutes, it’s a solid offering to wet fans’ appetites for this album series’ two remaining installments.
Selected cuts: “Hopeless Romantic,” “WIDE Open (feat. Jean Deaux),” “Busy”
Widowspeak — The Jacket
Released March 11
Quiet contemplation is the cornerstone of Widowspeak’s discography; it’s the sound of an overactive mind rushing to fill the silence of a moment. The Jacket was originally a concept album about a tailor in a city’s satin district joining a band, finding love, and watching it all fall apart. In reality, it draws influence from the band’s decade plus of actual successes, regrets, and self-worth vs. productivity crises as a touring band. The title of the record references the costumes we all wear in our day-to-day lives, but it works on a sonic level as well. The band’s folky, dream-pop adjacent sound is comfortable and broken in. You generally know what to expect from a Widowspeak album, and rather than being bored with its familiarity, it’s there to warm and console.
Selected cuts: “While You Wait,” “Everything Is Simple,” “The Drive”
Destroyer — LABYRINTHITIS
Released March 25
Despite The New Pornographers holding a special place as one of my most formative bands, sometimes-member Dan Bejar’s critically acclaimed main gig never quite clicked with me. If you give a 30 year career of shapeshifting enough time though, something is bound to stick. Bejar continues to guide Destroyer into unpredictable territory on LABYRINTHITIS. It’s an uncharacteristically upbeat album with playful synthesizers and groovy rhythms, even if Bejar himself remains elegantly melancholic like he’s reading classic literature from the dancefloor. That bittersweet juxtaposition creates a deeper appreciation for both sides; if you can’t occasionally dance through the discontent, then what’s the point of it all?
Selected cuts: “It’s in Your Heart Now,” “June,” “It Takes a Thief”
Vince Staples — Ramona Park Broke My Heart
Released April 8
Is there a more underrated run in modern hip-hop than the one we’re witnessing from Vince Staples? His self-titled 2021 effort, produced by Kenny Beats, dialed back his animated delivery for a more lethargic, conversational tone. Ramona Park Broke My Heart is just as personal of a record, exploring how his relationship with his home town impacts his present rather than providing “live” documents to previous versions of himself like 2015’s Summertime ‘06. However, the album finds Staples crafting the sunniest, most West Coast-influenced jams we’ve heard him on to date. While he’s not serving immediate game-changing albums like 2017’s Big Fish Theory, Staples continues to quietly build one of hip-hop’s most consistent catalogs.
Selected cuts: “MAGIC (feat. Mustard),” “WHEN SPARKS FLY,” “PAPERCUTS”
Wet Leg — Wet Leg
Released April 8
Less than a year removed from their hit debut single “Chaise Lounge,” Wet Leg’s eponymous debut immediately sealed their status as one of the most buzzed about bands in the world. That kind of immediate success doesn’t come without its detractors, but even the biggest skeptic would be hard-pressed to not instinctively nod along. Tapping into the nostalgic sounds of the early 2000s post-punk revival, Wet Leg have assembled an undeniable, upbeat album that effectively tackles late 20s/early 30s growing pains without ever taking itself too seriously. Everyone is entitled to find the hype overrated or put on their tin foil industry plant hats, but if you actively dislike this band, you might just dislike a good time.
Selected cuts: “Chaise Lounge,” “Wet Dream,” “Too Late Now”
Fontaines D.C. — Skinty Fia
Released April 22
If Wet Leg explores post-punk at its most joyous, the third Fontaines D.C. record is the subgenre at its most politically charged. The Dublin-founded band relocated to London out of career necessity during the height of the pandemic and were quickly greeted with an anti-Irish sentiment still common throughout England. The album’s theme revolves around the ensuing reflection upon Irishness, while it’s musically a concerted effort to mesh their debut Dogrel’s high energy with A Hero’s Death’s experimentation for a more focused release. For a deeper dive into the record’s creation and release, check out my interview with bassist Conor Deegan III here.
Selected cuts: “Jackie Down the Line,” “Roman Holiday,” “Skinty Fia”
Pusha T — It’s Almost Dry
Released April 22
Another Pusha T album, another legendary barrage of coke bars. Push wants to be the Martin Scorcese of street raps, and it’s hard to argue with his formula. It’s been nearly 25 years since the world first heard him as one half of the legendary Clipse. Someone remaining so singular in their subject matter across that stretch of time without getting stale is no small feat. The blueprint is always tweaked just enough, the quotables are the perfect level of outrageous (looking directly at you, ‘Cocaine’s Dr. Seuss’), and the production by heavy hitter friends like Pharrell Williams and Kanye West keeps things fresh. It’s impossible to live up to the hype set by his previous album DAYTONA’s all killer, no filler seven tracks, but it seems equally impossible we’ll ever collectively tire of hearing him rap about the pastime he loves most.
Selected cuts: “Brambleton,” “Neck & Wrist (feat. JAY-Z & Pharrell Williams),” “Diet Coke”
MJ Lenderman — Boat Songs
Released April 29
Prior to 2022, MJ Lenderman was perhaps best known as the guitarist for Asheville-based rising indie stars Wednesday. Boat Songs, his third solo outing, quickly took on a life of its own with a unique blend of styles and evocative songwriting. Lenderman’s production and guitar work bring indie rock to the honky tonks, meshing the catharsis of a Dinosaur Jr. solo with the heartache of country pioneers like John Prine. As if the music itself wasn’t captivating enough, Lenderman’s lyricism is equally worthy of praise. Whether exploring heartbreak or introspection, his sense of humor and offbeat references like Michael Jordan’s “flu” game, professional wrestling, and early 2000s Disney computer game Toontown Online strike a nerve with their specificity rather than undermine the subject matter. It’s an album only MJ Lenderman could make.
Selected cuts: “You Have Bought Yourself a Boat,” “TLC Cagematch,” “You Are Every Girl to Me”
Warpaint — Radiate Like This
Released May 6
It’s been six years since we last heard from Los Angeles indie-pop band Warpaint. There was no formal hiatus; sometimes life events like having children, moving across the country, or even solo musical pursuits take priority. The Radiate Like This sessions began in early 2020 before the pandemic forced the band to finish their parts in solitude. Despite being in dramatically different literal and figurative places before and during Covid, Warpaint’s chemistry has arguably never been stronger. The album’s ethereal sound fits right alongside the rest of their discography, but this softer, catchier batch of songs is their most immediately gratifying to date.
Selected cuts: “Hard to Tell You,” “Stevie,” “Melting”
Kendrick Lamar — Mr. Morale & The Big Steppers
Released May 13
Mr. Morale & The Big Steppers is an anomaly on this list. While the other entries have high replay value based purely on enjoyability, Kendrick Lamar’s latest offering begs for repeated listens to determine what exactly you feel about it. It’s like getting captivated by one painting at a gallery, staring at it hoping it reveals itself as brilliant or bullshit. Trauma is the root of the record as Kendrick navigates his healing in therapy, while simultaneously asking difficult questions about the trauma that leads to reprehensible, “cancellable” behavior. It’s a deeply flawed, uneven effort that is never not interesting. The fact that you continue to return to it is ultimately a positive sign.
Selected cuts: “Purple Hearts (feat. Summer Walker & Ghostface Killah),” “Silent Hill (feat. Kodak Black),” “Mirror”
The Smile — A Light for Attracting Attention
Released May 13
Radiohead’s members know how to keep themselves occupied during the band’s downtime, but The Smile’s debut record might be the first time you listen to a side project without thinking, “cool — so when is the band getting back together?”. Thom Yorke and Jonny Greenwood are joined by drummer Tom Skinner and go-to producer Nigel Godrich for a record that stands among their proper band’s most vital work. It has all the hallmarks of a great Radiohead project: upbeat, rocking cynicism, lonely electronic exploration, and a progression into new territory. Elements of math rock and jazzy breakbeats keep you guessing on its direction. No matter the influence it leans into, A Light for Attracting Attention establishes yet another benchmark in a career already full of them.
Selected cuts: “You Will Never Work in Television Again,” “The Smoke,” “Skrting On The Surface”
Cola — Deep in View
Released May 20
Are you keeping track of how many times the words “post-punk” appear in this list? The subgenre’s banner year continued with the debut of Cola, formed out of the ashes of Ought’s dissolution by their guitarist/vocalist Tim Darcy and bassist Tim Stidworthy. Alongside U.S. Girls drummer Evan Cartwright, Cola draws from similar influences as Ought, but they keep the latter’s more explosive moments tighter and trade its 80s sentimentality for a more plainspoken delivery. It’s like dialing back the Joy Division in favor of The Strokes; it’s not necessarily a reinvention, but a great introduction to a promising career ahead.
Selected cuts: “Blank Curtain,” “Degree,” “Water Table”
Ravyn Lenae — HYPNOS
Released May 20
While producer Monte Booker’s off-kilter, futuristic funk is most commonly associated with rapper/singer Smino, his style proved foundational on Chicago R&B singer Ravyn Lenae’s debut EP at the age of 16. A collaborative EP with singer/producer Steve Lacy would eventually follow, taking her sound in a more retro, soulful direction. HYPNOS, her long-awaited debut album, builds a bridge between these worlds and traverses entirely new grounds. As progressive in sound as it is nostalgic in melody, her ear for production shapes the ideal environment for her one-of-a-kind, silken voice to thrive, fully capitalizing on the promise her young career has shown up to this point – and she’s just getting started.
Selected cuts: “Venom,” “M.I.A.,” “Mercury (feat. Fousheé)”
Angel Olsen — Big Time
Released June 3
Angel Olsen’s most recent record of entirely original material was the grandiose synth pop of 2019’s All Mirrors. While 2020’s Whole New Mess presented those tracks in their stripped down folk origins, Big Time is yet another pivot for the singer-songwriter. Her style has flirted with elements of country music in the past, but this latest record steers straight into rhinestone ballads and steel guitar. As with Erin Rae’s latest record, producer Jonathan Wilson plays to Olsen’s strengths, allowing her always captivating voice and lyrics steal the show. Genre isn’t of much consequence for an artist like Angel Olsen. The strength of her songwriting and its core emotion will always transcend, regardless of the sights and sounds along the way.
Selected cuts: “All the Good Times,” “Big Time,” “This Is How It Works”
Namir Blade — Metropolis
Released June 3
Nashville-raised, Los Angeles-based rapper/producer Namir Blade just can’t stop. His Mello Music Group debut, 2020’s Aphelion’s Traveling Circus, introduced him as a creative force as he built a science fiction-based world on production and navigated love and loneliness in his writing. Producer and labelmate L’Orange brought out a different side of Blade on 2021’s Imaginary Everything, trading sci-fi film influence for blaxploitation era soulful brashness. Metropolis returns to futuristic world building with that newfound confidence, inspired by the 1927 silent film and 2001 anime of the same name. While it falls short of articulating its intended concept, Blade’s faith in following his individuality paved the way for some absolute jams. You can find my in-depth breakdown of the album here.
Selected cuts: “Award Speech,” “Mephisto,” “Cruisin USA (feat. Ke’Osha Oshay & Jamison Hudson)”
Soccer Mommy — Sometimes, Forever
Released June 24
Soccer Mommy’s Sophie Allison has never been shy about her influences. There was once a time when citing Sheryl Crow as an inspiration would have your indie credibility revoked on the spot. As ridiculous as it sounds, the freedom to like what you like is a relatively new concept thanks in part to a younger generation of artists like Allison. Sometimes, Forever continues down the path of 2020’s color theory, balancing indie textures and influences with early 2000s pop-rock sensibilities. Producer Daniel Lopatin of Oneohtrix Point Never, known primarily for his electronic and ambient music career, aids this mission by complimenting the quirks in her pop music and bringing a new lushness in the process. Regardless of your genre wheelhouse, there’s a song here for everyone.
Selected cuts: “Bones,” “With U,” “Shotgun”
Brent Faiyaz — WASTELAND
Released July 8
WASTELAND has no business being as enjoyable of a listen as it is. The corny, overly dramatic interludes are automatic skips. His “savage playboy” persona is one Drake has already run into the ground, and similarly, its lack of emotional depth results in little investment in a selfish man-child caricature. But I’ll be damned if an impressive portion of these tracks don’t stick with you. What Faiyaz lacks in original perspective, he makes up for in ability to craft a mood. His 90s R&B-influenced vocals and melodies, solid hooks, and ear for rich, cinematic production nearly negate WASTELAND’s shortcomings. Once he’s able to unlock that missing piece, there’s nothing stopping him from releasing a true classic. Until then, keep the bops coming.
Selected cuts: “GRAVITY (feat. DJ Dahi & Tyler, the Creator),” “ALL MINE,” “ROLLING STONE”
Beyoncé — RENAISSANCE
Released July 29
If you’ve made it this far, I feel like I can confide something to you: Beyoncé has never really done it for me. Her talent is evident and the occasional “Crazy in Love” or “Hold Up” make their way into my sphere, but vocal powerhouses over glossy production don’t typically evoke much out of me. RENAISSANCE, however, is an absolutely undeniable magnum opus. It’s an adventurous dance album with compelling production, songwriting, and an intentionality that makes it flow without a wasted moment in its hour plus runtime. Just as importantly, each of those moments is serving up banger after banger. Beyoncé has cracked a code on how to craft something that’s both innovative and universally beloved.
Selected cuts: “BREAK MY SOUL,” “PLASTIC OFF THE SOFA,” “VIRGO’S GROOVE”
JID — The Forever Story
Released August 26
Just as I began worrying that I was tiring of JID’s shtick, The Forever Story validates that the Atlanta MC is indeed worthy of the hype. His 2018 album DiCaprio 2 has collected more dust in my library than expected, and the lightning fast “lyrical miracle” singles have had diminishing returns. This third record still exists within many of the same boxes you would expect him to operate. He’s still making space for dense, sometimes showy verses, his taste in production hasn’t changed much, and his underrated singing voice might remain underrated. That being said, it’s his most fully realized effort yet. JID seemed due for a stylistic shift to keep things fresh, but instead he stuck to what he does well and found a way to make it even better.
Selected cuts: “Raydar,” “Bruddanem (feat. Lil Durk),” “Just In Time (feat. Lil Wayne & Kenny Mason)”
Julia Jacklin — PRE PLEASURE
Released August 26
Whether boldly addressing the elephant in the room or finding bittersweet poetry in the smaller details, Julia Jacklin is above all an observer. PRE PLEASURE continues pulling at similar threads as her first two records, attempting to untangle the complexities that are foundational to us all. Whether religion, parental relationships, or connection with her own body, Jacklin is putting in the work to unpack it all in real time. Her lyrics’ confessional tone translates to the music as well; where 2019’s Crushing highlighted her abilities as guitarist, PRE PLEASURE’s tracks were born in solitude with a Roland keyboard. Additional instrumentation was fleshed out with her bandmates from there, but the honesty of time alone remains.
Selected cuts: “Lydia Wears A Cross,” “I Was Neon,” “Be Careful With Yourself”
Built To Spill — When The Wind Forgets Your Name
Released September 9
Singer/guitarist Doug Martsch is something of an oddity. His live show energy is that of a reluctant frontman who just wants to shred, but he essentially is Built To Spill. The legendary indie outfit was founded with the intention of its members being a revolving door with each release. Martsch returned to this original idea after his longest running bandmates gradually departed between 2012 and 2015, making this first record in seven years the debut of a new lineup. It sounds like the refresher they needed. They’ve never been bad, but When the Wind serves up some of their most vital, instantly memorable songs in quite a while. It might not reach the heights of their most acclaimed work, but it’s a worthy listen proving Martsch still has plenty of gas in the tank.
Selected cuts: “Gonna Lose,” “Rocksteady,” “Spiderweb”
Sudan Archives — Natural Brown Prom Queen
Released September 9
No one is making music remotely similar to Brittney Parks, better known by her stage name, Sudan Archives. Parks’ multi-instrumentation and self-production blends R&B, hip-hop, and electronic music for a kaleidoscopic version of each. The results are always unconventional, but never at the cost of catchiness; you’re bound to be singing along just before an insane violin breakdown cuts you off. The duality of its eccentricities and inviting nature lends itself to the record’s theme. It’s her fictional homecoming to Cincinnati where she allows herself to relive moments she missed out on as a child with a full embrace of her uniqueness, blackness, and womanhood. As compelling as it is listening to an artist trying to figure themself out, it’s refreshing to hear someone know exactly who they are.
Selected cuts: “Home Maker,” “Ciara,” “Selfish Soul”
Alex G — God Save The Animals
Released September 23
Alex Giannascoli is a sonic explorer. His work has been defined by a certain experimental spontaneity paired with meticulous tinkering. Each of his previous seven records got bigger and more eclectic, culminating in 2019’s fantastic House of Sugar. As far as Alex G albums go, God Save The Animals is his most straightforward listen in years. His folkish songs are still filled with uneasy melodies, unconventionally pitched vocals, and the occasional jarring synthesizer, but it’s more focused on his other core tenet: impeccable, emotive songwriting. The album’s eccentricities are always welcome, but his strongest statements this time around are from those stripped down, intimate moments.
Selected cuts: “Runner,” “Early Morning Waiting,” “Miracles”
Mamalarky — Pocket Fantasy
Released September 30
Shortly after the pandemic began, Mamalarky embarked on a cross-country trip to live together in the Atlanta area for the recording of Pocket Fantasy. The ensuing year wasn’t too dissimilar from a lot of our experiences: getting deeply invested in a project, few interactions outside of your roommates, and taking little walks in nature to maintain sanity. The band appears to have developed a mythical world inside of this routine where creativity could thrive. Pocket Fantasy is the sound of your inner child embarking on an Adventure Time quest. You can hear how much fun the band had throughout the DIY recording process in its poppy quirks, sprightly melodies, and unorthodox time signatures. That feeling is an infectious one; it might just be the inspiration you need to let your imagination run wild.
Selected cuts: “Mythical Bonds,” “It Hurts,” “July”
Tyler Childers — Can I Take My Hounds to Heaven?
Released September 30
Once beloved for his embrace of country music’s history, Tyler Childers has wandered to the intersection of the genre’s traditional roots and unconventional future. His most recent proper studio album, 2019’s Country Squire, was more of the former, but 2020’s Long Violent History took a left turn into primarily instrumental covers of traditional bluegrass songs. This latest triple-disc record presents three versions of each song: live studio recordings, alternate takes with horn and string sections, and an experimental remix version that sounds like it was recorded on an MPC waterlogged in a Gulf Coast bayou. These gospel, country, and southern rock-influenced versions are bound to please fans, while the “Joyful Noise” portion continues to challenge audience expectations. Understanding how to expertly balance that tightrope is what makes a generational artist.
Selected cuts: “Way of the Triune God – Hallelujah Version,” “Heart You’ve Been Tendin’ – Hallelujah Version,” “Angel Band – Jubilee Version”
Alvvays — Blue Rev
Released October 7
Covid production delays have been a part of nearly every record in recent memory, but factor in a stolen recorder of demos and a basement flood ruining the band’s gear, and that makes for a long five years between records. Although the band had a half decade to meticulously, deliberately plot each song, producer Shawn Everett convinced them to boil years of hard work down into a single hour of recording and fine tune in post-production from there. The result is the best of both worlds; Blue Rev marries a catchy urgency with heartfelt thoughtfulness in a way only they can. Whether it’s their familiar Smiths-influenced jangle pop or newfound love for shoegaze, their influences are molded into the shape of an Alvvays song rather than dictating the shape itself. That confidence in who they are and perseverance to see the record through make it their most refined offering yet.
Selected cuts: “Pharmacist,” “Easy On Your Own?,” “Belinda Says”
Frankie Cosmos — Inner World Peace
Released October 21
Bands like Frankie Cosmos are in a tough spot. When soft, bedroom-recorded slacker rock is your greatest attribute, how do you gauge when something is under-developed? The band’s recent albums had their fair share of gems but suffered from this exact issue. It all boils down to songwriting. Inner World Peace isn’t a huge departure from what Frankie Cosmos have always done, but frontwoman Greta Kline’s songwriting is the sharpest it’s been since their 2016 breakthrough Next Thing. New song structures on tracks like “Empty Head” and “One Year Stand” and a touch of psychedelia breathe new life into their well worn sound. Every tweak to the formula serves Kline’s primary strengths of uncovering sentimentality and navigating the existential in everyday mundanity.
Selected cuts: “Abigail,” “Aftershook,” “Empty Head”
Smino — Luv 4 Rent
Released October 28
It’s a cliche for a reason: you can’t love someone until you love yourself. The inspiration for Smino’s third album comes from the realization that in prioritizing his love for others, there wasn’t enough left for himself. Luv 4 Rent makes up for lost time as it fully embraces self-love by diving headfirst into everything that makes the St. Louis rapper-singer unique. That being said, don’t expect a self-serious offering; Smino’s muses are still sex, weed, and community. He’s still delivering over-the-top, inventive flows over innovative production, albeit with warmer soul samples this time around. He’s reached a point in his career where a mainstream record with crossover hits would make the most sense, but instead he doubled down on the self-expression that got him where he is. There’s only one Smino, and thankfully he knows it.
Selected cuts: “No L’s,” “90 Proof (feat. J. Cole),” “Settle Down (feat. Cory Henry & Ravyn Lenae)”
Phoenix — Alpha Zulu
Released November 4
Indie seemed poised to take over the mainstream in 2009. Every commercial featured the latest buzz band, Beyoncé and JAY-Z were going to Grizzly Bear shows, and Wolfgang Amadeus Phoenix was inescapable with synthpop singles like “1901” and “Lisztomania.” That full-on takeover never came to fruition, but plenty of that era’s bands have continued to receive critical and commercial acclaim. Alpha Zulu is Phoenix’s third record since that breakthrough and makes a case for being the strongest, most cohesive effort of the three. It’s a rare album where each track feels like their next big single. Even growers that initially feel like misfires like the title track or “All Eyes on Me” have a way of setting up camp in your brain. Cheesy tracks and all, Alpha Zulu never tries to be anything other than what it is: a damn good time.
Selected cuts: “Tonight (feat. Ezra Koenig),” “Winter Solstice,” “Artefact”