Post by Jimmyzz on Dec 19, 2022 8:36:54 GMT
Alternative Press Magazine
Published: December 12, 2022
Contributing Authors: Natalia BarrSadie BellMackenzie Cummings-GradyAlessandro DeCaroNeville HardmanIlana KaplanE.R. PulgarYasmine Summan
In 2022, pop mavens, rap greats, and rock favorites returned, select indie acts broke out to the masses, the pop-punk resurgence continued to thrive, and many upstarts won over the hearts of new fans. All in all: It was a pretty great year for new music. To reflect on the year, like the huge music fans that we are, AltPress rounded up the 55 best albums of 2022. Below, find our favorite records we've had on repeat all year, from beloved pop and indie records to hardcore hits and standout hip-hop releases, and everything in between.
The Best Albums of 2022
Dirty Hit
The 1975 – Being Funny in a Foreign LanguageOn their 2019 album, the 1975 sang about how "sincerity is scary." On this year's release, frontman/lyricist Matty Healy poured out of his heart every feeling he has about allowing oneself to be sincere, giving yourself over to love, and what masculinity means in this day and age. In the most 1975 way possible, that comes across in playful, snarky witticisms and shameless admissions ("Part of the Band," "The 1975," "When We Are Together"), and damn perfect pop songs ("Happiness," "Oh Caroline," "I'm In Love With You") that capture the effervescent feeling of love in sheeny guitars and synths. With each verse that makes you stop in your tracks to either laugh or tear up, you'll feel a little more sincere, too. —Sadie Bell
Domino Records
Alex G – God Save the AnimalsAlex G’s ninth studio album, God Save the Animals, is further proof that he's the Brian Wilson of the millennial generation. The 13-track release finds him once again covering considerable sonic ground, from introspective folk, hyperpop, emo, and ‘90s alt rock that almost feels cinematic in scope. Whether he's modulating and pitch-shifting his voice or stripping his arrangements down to their bare bones, Alex G’s music is as beautiful as it is unsettling. Even when he ventures into strictly instrumental territory with tracks like “S.D.O.S,” he still conveys so much emotion and meaning. God Save the Animals is Alex G at peak form — defying any creative limitations in pursuit of constant exploration. —Alessandro DeCaro
Dine Alone Records
Alexisonfire – OthernessIt’s rare for a band to come back in style after 13 years and release their best work to date, but Canadian rock veterans Alexisonfire did just that. Otherness is proof that sometimes you need to go back to basics to discover who you really are. The LP contains elements of the band’s classic post-hardcore sound, but with a more raw, organic approach that toes the line between classic rock and atmospheric psych-rock — along with three distinct vocalists — to create a sound that could be their own genre at this point. Upon first listen, it's clear that Alexisonfire are firing on all cylinders, sounding more in sync as collaborators and more confident than ever before. —AD
Polyvinyl / Transgressive
Alvvays – Blue RevCanada's Alvvays tend to take quite a few years between records — and that might just be because every time, they cook up nothing less than indie-pop perfection. Named after the Canadian alcoholic beverage Rev, Blue Rev is bubbly and intoxicating, with its shoegaze and power-pop guitars, and varied — at times dreamy and others warped — production. One sip of singer Molly Rankin's poetic musings about heartbreak and growing older and you'll be buzzed on the sheer dreaminess that is Blue Rev. —SB
Epitaph
Architects – the classic symptoms of a broken spiritArchitects have consistently been the precursor for what British heavy metal sounds like; they write a riff, and five years later, it’s the only thing you hear on the radio or live. Their 10th studio album is no different, offering the similar themes of nihilism and existentialism you know of the band, but with an optimistic, lively approach. Experimenting with makeup and fashion in music videos, seamlessly blending technical metal verses with pop choruses, Architects still find their artistic challenges to overcome with this release — and in doing so, help to elevate British heavy metal to a mainstream level. —Yasmine Summan
Domino Records
Arctic Monkeys – The CarJust when you thought Arctic Monkeys couldn't get more stylish, the English indie titans do the damn thing. On their 2018 record, Tranquility Base Hotel & Casino, frontman Alex Turner positioned himself and the band as a lounge-pop act rather than one of the biggest rock groups in the world. Here, they keep up the act, but in a way that somehow exudes even more glamor. It sounds pristine, and the sexy, funky moments beg to be heard beneath "a mirrorball." As Turner sings in falsetto about fame, love, and heartbreak over cinematic tracks, they paint a world of panache you can't help but get lost in — much like a vintage romance (perhaps specifically one that plays out in a '70s club that's drenched in velvet). —SB
DTA / Elektra Records
Avril Lavigne – Love SuxThe pop-punk revival has dominated the early 2020s, with comebacks from industry mainstays, paired with exciting new artists bursting through the seams. It could arguably feel impossible for acts to break through all the nostalgic noise — but for the reigning pop-punk princess Avril Lavigne, it’s no sweat. Love Sux is like the cooler older sister to 2007's The Best Damn Thing, touching on similar topics from a matured perspective, with a strong experience in the field, and more to deliver. And yet, it still manages to connect with the younger crowds, offering collaborations with Machine Gun Kelly and YUNGBLUD. Grammy snub or not, Love Sux should be praised in pop-punk history. —YS
RIMAS
Bad Bunny – Un Verano Sin TíPuerto Rico’s gift to the world has bottled summer and its intricacies in a cross-genre affair that spans dream pop, grimy dembow, merengue, house, and trap. This masterclass in Latin alternative features assists from fellow Boricuas the Marías and Buscabulla, and Colombia’s Bomba Estéreo. Bad Bunny’s latest proves the future of popular music (in any language) lies in the alternative approach. —E.R. Pulgar
Sumerian Records
Bad Omens – THE DEATH OF PEACE OF MINDFor their third studio album, THE DEATH OF PEACE OF MIND, Bad Omens made a conscious effort to prove that they are so much more than a metalcore band, and it certainly shows. From the opener “CONCRETE JUNGLE,” which blends moody synths pads, dance beats, and R&B-esque vocals in the vein of Post Malone or the Weeknd to the radio-ready rock anthem “Nowhere To Go,” Bad Omens make every track feel like its own entity while still retaining cohesion. Those who love their heavier material will be satiated just fine with “Artificial Suicide” and “IDWT$,” where the band flex their aggression incompelling new ways. Ultimaely, THE DEATH OF PEACE OF MIND is a record that redefines experimentation in modern metalcore. —AD
4AD
Bartees Strange – Farm To TableEver since his debut, Bartees Strange has propped the door open to another galaxy. It’s one that seems to stretch infinitely, with possibility and experimentation reigning supreme. On his sophomore album, Farm To Table, he continues to subvert and challenge how people think about music, from the indie-trap of “Cosigns” to the exuberant dance-pop of “Wretched.” Strange has undergone a momentous year, the type that’s joyful to witness from an artist who continues to evolve and enrapture through sheer curiosity. —Neville Hardman
Parkwood Entertainment
Beyoncé – RenaissanceThe disco reverbs, electronic funk breakdowns, and vogue beats are turned to 100 on Beyoncé’s latest knockout. Renaissance is a study of nightlife’s queer fringe, featuring samples from legends like Donna Summer and Robin S., production by Chicago house icon Honey Dijon, and appearances from Grace Jones and Big Freedia. Virgo’s groove indeed. —ERP
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