TOP TEN ALBUMS 2022

 TOP TEN ALBUMS 2022

Hard to find a singular thread that truly connects these varied releases - other than to say that each, obviously, stirs the imagination - summoning that deep appreciation for all the ways music works its magic.

As I choose to do each year, this list is presented in no particular order. The albums are too different and my musical moods shift too dramatically from day to day to be able to commit beyond selecting only ten releases out of the many outstanding records I have listened to all year long. I have, for the first time, offered a single track that I am recognizing as the ‘Most Fun’ track of the year.

Check these out if you feel drawn to and, as always, let me know if you have any thoughts you’d like to share. Cheers!

The Smile / A Light For Attracting Attention - In a world that hasn’t provided any new Radiohead music in over six years, those hungry for what we’ve been missing would take just about anything. The awesome news is that this reconvening of Thom Yorke & Jonny Greenwood is bonafide in every way. From frantic syncopation to dreamlike haze, the breadth of sounds employed is staggering and returns deep admiration. Probably the most completely perfect album on my list.

Immanuel Wilkins / The 7th Hand - It might be lazy (and a tad cliche) to compare Wilkins to Coltrane, but when you fold-in the deft control of his instrument, his clear intent to explore spirituality, & the stunning 26-minute closer, “Lift” (a true milestone in Wilkins’ young career), it seems that the similarities are unavoidable. Great beauty coexists alongside the ferocious precision of his musical mission statement.

Spoon / Lucifer on the Sofa - This is the pure rock record that any Spoon fan knew they could deliver. It comes right at you and it never lets up - in all the best ways. From The Stones purr of “Wild” to the driving hump of “On The Radio”, this is a stark reminder that Spoon holds domain over a unique patch of sound that is singularly specific to only them. Following the more pop-experimental sounds of their last two albums, this one feels like it has arrived right on cue.

Tears For Fears / The Tipping Point - Nostalgia is an interesting alchemy. Attraction to something you once loved can be given the funhouse mirror treatment, distorting your true feelings simply because of that undefinable earlier connection. After nearly two decades since their last album, the return of TFF would probably have been enough to elicit a positive reaction, but the truth is, The Tipping Point is a superior pop album - melding their signature ingredients with a welcome dose of mastery gleaned from not resting on their laurels. 

Curse of Lono / People In Cars - Some albums carry all of their alluring power in the thoughtful layering of pure subtlety - something these tracks achieve completely. The UK-based ensemble owes more than a healthy share of their sound thanks to American roots music, but the overall delivery is what really takes everything to the next level. Bonus points are obviously given for the nod to Hunter S. Thompson.

Daniel Rossen / You Belong There - Best known for his work with Grizzly Bear, Rossen’s 1st solo effort simply seems to belong to a different time - specifically recalling, in alluring fashion, the best of 60s folk rock. Simon & Garfunkel, CS&N, and Astral Weeks all swirl around this well-crafted hybrid without ever surrendering to pure retro-worshiping. That is, Rossen handily makes these older musical influences sound new and wholly noteworthy.  

Stars / From Capelton Hill - A band doesn’t always need a bag of tricks to remain relevant. After 9 albums (and over twice as many years together), Stars have earned their status as true purveyors of undeniably gorgeous indie-pop. This album is a declaration of the many charms that have always worked best for the band, while the male/female vocal interplay of Torquil Campbell & Amy Millan has never been stronger or more convincing.

Dawn Richard & Spencer Zahn / Pigments - From Scott Walker to Talk Talk, there has been a striking (though rare) tradition of artists who have had pop success, but simply refuse to settle into commercial appeal - instead forging forward with more challenging, less accessible material & focus. Teaming up with multi-instrumentalist Zahn, R&B vocalist Dawn Richard trades dance beats & pop hooks for a much wider expanse of musical exploration that is at once both haunting & cathartic. Like a soundtrack river that you are intrigued to be carried away by.

White Lies / As I Try Not To Fall Apart - Rare is the band/artist who completely hides their foundational influences, and White Lies have never been shy about expressing their love of 80s/90s new wave & synth pop in their particular hybrid of modern rock. On their 6th collection, they don’t necessarily eclipse the strong work they have released thus far, but they seem especially focused in pronouncing their musical strengths in very on-target broad strokes. So thoroughly listenable are the tracks, they echo as if heard (and loved) for years.

St Paul & The Broken Bones / The Alien Coast - After establishing a well-deserved bid for being the latest king-of-the-hill of modern soul traditions with their 2014 debut, Half The City, the band released two more albums which - though solid enough - seemed to hit slightly off target of that early promise. With their latest, they seem intent on charting new territory - weaving a range of influences into a collection that is darker & murkier without getting lost in those new sound shadows. 

MOST FUN Track of the Year, 2022 “Turn Da Fucking Lights Back On” by Marvin Tate’s D-Settlement Imagine, if you will, that Funkadelic had a child with The Time, which was then raised by a comic Chuck D - and you might be getting close. The full sprawling album that this song appears on is a bit too erratic to make my Top Ten, but this track is definitely worth many listens. Pure joy AND FUNK emulate with a force that must be recognized. I dare you not to nod your head and smile.