- Riley
- Jan 2, 2023
- 26 min read
Happy new year everyone! I met a lot of new faces in 2022, and the general consensus that I've gathered from those I've talked to is that it's been a more productive year than ones prior. It felt very transitional to me. Both on the small scale of my life and the large scale of the world. I talked to a lot of people who seemed to be righting the ship and getting back on track with themselves, and that’s been cool to see.
I’ve been slowly waiting, working, and staying in the background with my head down. Being satisfied with and embracing a more humble lifestyle has been my biggest goal. In a few ways, that’s hampered my ability to stay on top of music like I used to. I have noticed fewer opportunities in my daily life for turning on an album and listening to it all the way through. This appeared to be a substantially significant time for hip-hop and rap fans. We saw the return of a whole host of prominent names and several of the industry’s most favored pioneers drop some cutting edge pieces of work. Meanwhile, plenty of other huge names in music who had gone completely quiet over the last few years showed us what they’ve been hard at work with. There were many long-awaited pay-offs for different fanbases to celebrate.
Anyways, I don’t know if I’m still a depressed piece of sh** or not, but a lot of releases just didn’t hit like I was expecting. I had a hard time connecting with many different albums that mostly everyone else seemed to instantly identify with. I know my brain isn’t completely broken because I’ve had a great year with movies, actually. This winter, I feel much better equipped to write a top 15 movies of 2022 list than an albums one. I guess that’s how it goes sometimes. So, yeah, if this seems shorter or less verbose than the two previous year entries, there’s your explanation.
The reason I wanted to preface all that is because I listened to a ton of new records in the last couple months to prepare for this. Probably about 90% of them didn’t do it for me. Like I said, maybe it’s me, maybe not? Either way, that makes the connections that I did manage to form with a few albums more special, and I’d like to share them with you. So, these are the ones that I actually got something out of:
Honorable mentions
In the earlier part of 2022, when I was desperately seeking some of that musical satisfaction I was just talking about wanting all year, I came upon a high scorer on rateyourmusic, MAN PLAYS the HORN by Cities Aviv. It swept me away instantly. That very first song, “Everythang Workin On a Natural Time,” is one of my favorites of the year and is the perfect way to lead into such an ambitiously massive LP. Go ahead play those first four minutes. You can’t tell me that’s not one of the most epic intros ever. MPTH didn’t end up making the full list because I can never get through it easily. It’s so bloated and is one of those albums that isn’t afraid to have a big ten-minute instrumental transition. The “Director’s Cut” is nearly two hours long and some tracks out of the 35 total are clearly just stronger than others. Still, it’s itself in every way it wants to be. I can’t not mention it because I went through those first ten or so songs from this over and over again as the months went on.
Also, a quick nod to Kenny Mason with RUFFS. Kenny was a big contributor to The Forever Story, by JID, which appears later on this list. His solo stuff is sharp and he’s especially versatile. “HALLOWEEN,” “MINUTE FOREVER,” and “333 / ATOM” are some of my most streamed songs all year from anybody. Also, “NOSEDIVE” featuring my main man, Jean Dawson, is ballistic. It’s arguably the most deranged and viciously crazy banger I’ve ever heard. Those are my personal highlights, but check out the whole album, too. It’s a good time with good highs, just not quite consistent enough for me to enjoy from front to back. His style aligns with my tastes too well for me to lose sight of him in the future.
A few final shoutouts to Kilo Kish with American Gurl which narrowly missed being on here and Junior Varsity for giving me some of my new favorite songs on their new EP. Alright, now, onto the main course.
*Be advised that the YouTube link to every album is hyperlinked to each title
Had never heard about this guy until I saw that Dijon, an amazing artist that I mentioned on last year’s list, posted about this record on his Instagram. It seemed like a wise decision to check out one of my current favorite musician’s current favorite musicians. Anyways, can you believe that a country album kind of made it on this site? It’s more of a slacker-rock, slowcore, and alternative record, but it’s also definitely got a country twang. I’ve heard it described as alt-country, which fits, too. I usually don’t gravitate toward this sound too often, but I’m a sucker for anything that conjures up a youthful and nostalgic feeling. Boat Songs has wistful ballads with noisy garage-band guitars and buzzing strums at each turn. Lenderman’s playful lyrics are full of silly references that make for a good laugh every so often. These anecdotes seem random, but he always manages to tie them back to a practical situation like a failing romantic entanglement or being in a love triangle. “TLC Cagematch” is probably my favorite to do this. The explosive “Toontown” is another heartbreaker buried beneath goofy imagery. Don’t let the initial nonsensical sports references fool you either. There’s some hopelessness underneath it all. Every post I read about this LP online mentions a different favorite song, which is a good sign that there might be something here for everybody. I usually tend to prefer the more catchy cuts like “You Are Every Girl to Me.” Lenderman draws a lot of comparisons to Neil Young and other folk/rock/country singers from people’s childhoods. This might be one of my more far-fetched recommendations since it’s so far out of my alley and I’m less of a trusted-source in this region of music, but I have to diversify the taste, man. Give it a spin if it sounds like you.
Favorite tracks: You Have Bought Yourself a Boat, TLC Cagematch, You Are Every Girl to Me
I’ve been eagerly waiting for the next Beyoncé solo album since I graduated high school. I went to college for five years, graduated, then got a big boy job and still didn’t have it yet. I thought The Carters was “eh” aside from a few standouts, but I couldn’t wait to see how Queen B could possibly top Lemonade (2016), which is honestly one of my favorite records ever. It’s emotionally potent, purposeful, and solidified her as one of the greatest of all time. She showed off how much of a musical Swiss Army knife she is and did whatever she wanted to with what felt like was something to prove. That’s why I was initially thrown off when I pressed play on this and heard nothing but nonstop and kind of one-dimensional dance tracks. Although, a few like “ALIEN SUPERSTAR” were an instant hit with me and felt like prime Beyoncé in her golden era yet again. I walked away from my first listen disappointed that it wasn’t all that, though. About a month or two passed and I kept hearing the lead single, “BREAK MY SOUL,” which I was also initially underwhelmed by. However, it started to really grow on me. The energy felt stronger with each listen and now it’s just one of my favorites. I had to remind myself that this isn’t supposed to be that golden era anymore. This is supposed to be a renaissance! So I stuck with it, revisited the album, and kept open minded only to see the LP for what it is. It’s a sunnily uplifting time with flashes in the pan of pure brilliance. So many songs are meant to be empowering or encouraging and it’s evident that Beyoncé had certain groups in mind when engineering these tunes. “PLASTIC OFF THE SOFA,” is one that comes to mind as an elevating anthem. Know now that there’s more than meets the ear here. If you don’t hear it at first, this album’s heroic-ness will rub off on you with time, and the finer attention to detail, showmanship, and pizzazz that Beyoncé is known for eventually shows itself. I can’t wait for this supposed second chapter in a trilogy.
Favorite tracks: ALIEN SUPERSTAR, BREAK MY SOUL, AMERICA HAS A PROBLEM
This is your obligatory feel good pick from me. Louie feels like a walk in the park or a sunny day on the porch. Kenny dedicates this first official solo album to his father, which explains the heartfelt tone and genuine emotion spread carefully from top to bottom. He’s really just a professional who is one of the hardest workers in the production scene. It’s no wonder he’s becoming such a highly sought after instrumental overseer for countless big names in music. There are plenty of recognizable guests and frequent Kenny collaborators on here, but they are sort of hidden in the filling as flavor enhancers instead of main stars. Anyone from slowthai, to Dijon, to Pink Siifu, or Fousheé will pop in lightly to provide a sample or background vocals if it serves the greater vision of the beat. For example, “Still” already has a lovely color palette going on that's made even brighter by some fun ad-libs and soundbites from JPEGMAFIA. Nothing is dull or stretched thin for the sake of padding out, which is rarer to find on these producer albums, especially modern ones that appear very streaming-conscious. The tracks are usually short, sweet, and never repetitive. You can put on songs like “Hooper” or “Drop 10” and hear an insane amount of new additions making their way into the audio concoction to keep it fresh even though they only run for just about a minute and a half. Most of the cuts behave the same way, so it’s perfect for people with low attention spans like me. The music is just so lively and vibrant that I never get bored. I usually just enter a state of moderate bliss. I feel like I always need sunglasses whenever I put this on, even if it’s in the dead of night. This record won’t restructure your psyche or anything but it will provide a joyous half hour. Just kick back and listen for instant serotonin.
Favorite tracks: Family Tree, Eternal, and Rotten, I guess. Don’t hate any of them, really.
This is almost like a Halloween rap album. As Conway himself says in the very first minute, it’s “way too spooky.” This album sounds like a rainy night or an abandoned house. This was my first time listening to Conway but I am familiar with him. He’s a signee of Shady Records, a big Alchemist collaborator, and obviously closely associated with Westside Gunn and the other Griselda guys. I mainly listened to God Don’t Make Mistakes because of the widespread critical acclaim. While I don’t feel as strongly about it as others, there’s no denying that it’s a great body of work. The boom-bap beats can get repetitive for me at times, but this is mostly on my list for the bars. I love the writing here. There isn’t a bad lyrical moment from anybody, especially Conway. Plus, he ends up being about as real as he possibly can be and lays it all out from his struggles with addiction, mental health, trauma, gun violence, and more. “Stressed” brought some genuine emotions out of me the first time I heard it and the display of heart-wrenching honesty about the trials of his personal life is so admirable. Another angle of this record that I love is the storytelling. Conway offers images of gloomy nights on the streets where drugs are being dealt, gunfire is exchanged, and friends are lost that really match the mood of the nightmarish instrumentation. You might walk out of this feeling soggy and defeated if it weren’t for how the tracks progress and the train of thought unfolds. We see Conway’s character arc both in the past and the one he is undergoing now. The final cuts, “So Much More” and “God Don’t Make Mistakes,” are the perfect reflections on everything Conway has shared on the entirety of the LP and make for a satisfying ending. This is easily my favorite product to come out of the Griselda label. Not just for the content and quality pen-work but the directly sincere performances. Avoid listening if you aren’t ready for a drearier time. When you’re in the mood, though, this will match with a cloudy and solitary evening like no other.
Favorite tracks: Tear Gas, Wild Chapters, Chanel Pearls
I think we were all excited to hear that King Push would be returning with another album full of Kanye West produced songs, especially after how awesome Daytona, one of the best rap records from 2018, was. However, it was even more invigorating to know that Pharrel Williams would also be joining the fold with a separate batch of beats. At this point, I think Pusha’s decision to exclusively work with the finest and most decorated beat curators is one of his smartest, because it brings a legendary shine to his already golden bars. He’s an artist with impeccable taste and high standards for himself, and that’s why he doesn’t miss. Anyways, let’s talk about individual songs. “Brambleton” doesn’t kick off in the explosive way “If You Know You Know” did, but it’s a slick intro that sets the scene of a Push record nicely. What follows are easily two of the best rap songs all year with “Let The Smokers Shine The Coupes” and “Dreamin Of The Past.” Both titanic producers show up with some of their best work in a long time as each track contains ruthless chops and tight sampling. The first half of It’s Almost Dry is kind of pristine, but there are a few skippable cuts in the second one. “Rock N Roll” finally snapped the flawless streak that Kid Cudi and Kanye had going with songs they shared, which is fitting considering how permanently terminated their relationship seems this time around. I’m also not crazy about that song with Nigo. It’s fine, but doesn’t feel like it fits in with the rest of the track list. We get a fairly powerful ending, though, as Clipse reunites for a thoughtful reflection on their past lives and career. As much as my brain loves the compactness of the previous Push release, it’s great to see something new and adventurous from one of the most consistent rappers ever. Pusha is undeniably one of the most calculated and polished amongst his contemporaries, and releases like this are only further cementing his legend status.
Favorite tracks: Let The Smokers Shine The Coupes, Dreamin' Of The Past, Scrape it Off
SZA made waves just before the final act of 2022 closed out with a long-awaited return and apparent possible send-off. What’s up with that? Where’s she going? I liked Ctrl (2017) but my girlfriend LOVED it. Women everywhere seem to love SZA, and that’s for good reason. She’s leading a charge for girls, especially girls of color, to find validation in themselves. She’s a distinct voice that hates boys. Don’t we all? I was worried that I wasn’t connecting with this one at first, but I came around shortly after. My favorite aspect of SOS is that SZA finds a nice balance between evolving her music while still maintaining what we’re familiar with. She isn’t afraid to branch out and expand upon her sound as well as the sound of other artists. “Low” is obviously straight off a Travis Scott turntable, but SZA still makes it her own here with a flair we haven’t seen yet. “Ghost in the Machine” feels like another next step as Phoebe Bridger’s more melancholic folky indie style lends well to SZA’s. This affinity for exploration doesn’t always pay off, though. There’s a rough attempt at a pop-punk song with “F2F” that’s hard to get through. Still, more progress toward pop isn’t always bad as the song “Too Late” is super catchy. It’s hard, because this album on first listen is quite expansive and intimidating. At times the instrumentation and vocals can feel aimless, but usually I found myself appreciating what they would grow into. “Gone Girl” doesn’t sound like it’s going anywhere fun at first until it builds into an epic show-stopper. Once I didn’t let the length of the whole album distract me and started taking it bit by bit, I came to digest what ends up feeling like her best effort yet. SZA is kind of the queen of longevity. She rode out Ctrl for five years and came back with even more recognition and hype. If this is truly her last release for a while, then she wanted to keep the people fed. While I don’t think dropping out of music right now is the best move, at least she may have done it on a high note with an incredibly versatile and sizable marker in her career.
Favorite tracks: Kill Bill, Snooze, Gone Girl
Tetsuo and Youth (2015) is one of my favorite rap albums ever and to get a sort of indirect sequel to that is a dream come true. That was a maximalist artsy effort that truly is a “mural-like” listening affair. According to Lupe, Drill Music in Zion was recorded, in its entirety, over the course of 72 hours in his living room. So, it became evident that this time, Lupe wouldn’t be diving into and fleshing out ideas like before. But, if I didn't tell you that, you probably wouldn't have guessed. This is still his shortest album yet, but that doesn’t mean it’s without substance. Instead of a “pull-out all the stops” finely expansive art show, this is a slower, jazzy, more bittersweet look at art itself. It’s the other minimalist side of the coin which, in a way, is equally as significant. Also, this seemed like a fun challenge for Lupe to undertake, where he could try to see how much he can pack into a body of work in such a short time span. That might be my favorite part of this, honestly. This feels like a somber afternoon in a museum or coffee shop. The spoken word passage from Lupe's sister, Ayesha Jaco, in "THE LION'S DEEN" is such a tone setter, and the way Lupe rides in on "GHOTI" immediately after is one of the smoothest entrances ever. "AUTOBOTO" is probably the most accessible cut since it has a catchy flow and higher energy compared to the ones surrounding it. I do adore how the record begins, but I actually think the best track run comes at the end with three straight floating musical escapes. They all carry this dreamy quality that sound like they could whisk you away on a cloud or floating spaceship, which is a fantastic way to end any LP. "ON FAUX NEM" is specifically ethereal. The ideal sunset driving song. Drill Music never overstays its welcome and leaves you with a desire to go back and do it all over again. It's like riding on a lazy river and reading a good book. Lupe is one of the smartest voices out there with plenty of valuable observations. He's even teaching courses on Rap Theory at MIT. I hope he continues this streak of high-caliber releases on the next one because he's putting together quite the legacy.
Favorite tracks: GHOTI, DRILL MUSIC IN ZION, ON FAUX NEM
This was easily my most anticipated album of the year. Pixel Bath (2020) is a long-running and way too frequently mentioned topic on this blog, but I can’t help it because I love that album more than I love myself. It’s a staple of Riley Wood, and as more time passed between that record and CHAOS NOW*, the more I felt like the latter had to outdo its predecessor. I’ll be the first to admit that I unfairly put way too much pressure on this thing because I still listen to Pixel Bath on a weekly basis, and it just doesn’t ever get old. However, I have listened to this new LP about 200 times this year according to Apple Music, so while I admit to playing favorites, I’ve put in the work to hopefully make a more objective assessment. CHAOS NOW* is still really good, and I can’t knock Jean for continuing to carve new tools as well as sharpen his old ones. For most of the 36 minute runtime, he’s incandescent, poetic, and likes to come crashing in with everything to prove. The table setter, “THREE HEADS,” is a ravenous and fiery rock n roll opener that sets up the anthemic “GLORY*” which will have you bursting through the sunroof yelling at the sky. Some of the experimenting that follows doesn’t quite hit the mark for me this time, though. I find myself passing up “POSITIVE ONE NEGATIVE ONE*” often, but the track list doesn’t have any dry runs of multiple cuts. The features throughout are all very nice and we even get to hear Earl Sweatshirt SINGING like the legend he is on the very touching and heartfelt “Bad Fruit*.” Jean also offers a newer, more sensitive track with the finale in “PIRATE RADIO*” which has a folky and cinematic feel that’s reminiscent of Bon Iver. It’s a great send-off that’s uplifting and epic without being corny. All in all, If you love and grew up on hip-hop/rock like I did, then this is made for you. Jean is one of the best creative minds of my generation and might be my favorite artist right now. He taps into a very specific vein that us twenty-somethings all share and if there’s someone for you to discover through this article it’s him. Sorry, Jean, you're on the list. Needed an excuse to write about you more. Love you.
Favorite tracks: THREE HEADS*, GLORY*, Bad Fruit*
This sounds like swamp music. It’s like running from something in a dark alley. This is a thick, muddy, dense record that packs so many lyrical punches that are impossible to all capture on a first listen. Billy Woods is somebody I've had my ear on for a few years now, especially whenever he makes an Armand Hammer project with Elucid. He’s a smart guy that may be the king of “underground” rap right now. His music is often classified with that word, but I don’t like it. Isn’t that just based on association? I won’t get into that fully, but just know that the only reason I’m okay with people calling his music “underground” is because most of his work sounds like it’s coming from a cave or a bottomless pit. It’s dark, unnerving, and somewhat mysterious. For instance, the beat choices here and the decision to rap over them by Billy and his features is an intrepid feat. Just listen to the entirety of “Haarlem” and you’ll see exactly what I’m talking about. Billy uses words and sentences that I’ve never even heard used in rap songs. The storytelling here is immaculate. It’s nothing short of literary, to be honest. The third track, “Wharves,” for instance, has countless evocatively haunting lines about war, colonizers, bodies, etc. Many of the tracks have historical tie-ins with the album even ending in a museum setting, which is a mind-blowing way of reassessing these fragmented tales as a despondent afternoon inside. That line from ”Smith+Cross” about “Fire in the cane fields, generational trauma. At the museum, eyes glassy from the pain pills. Me and her in the diorama,” still gives me chills. I could go on about effective lines across the track list all day. The references and imagery are so rich and often obscure that you could come back to this and analyze something new for years to come. That’s not really anything new coming from Woods, but he definitely does it his best on this LP. Billy actually released two projects this year, but if you’re going to listen to one, Aethiopes should be the choice. It’s proven to me that Billy is one of the best contemporary writers working in music, and you might not hear anything more avant-garde than this in 2022.
Favorite tracks: Sauvage, NYNEX, Remorseless
In 2021, Little Simz delivered one of the best albums of the year, if not the very best for a lot of people, with Sometimes I Might Be Introvert, which we’ll call SIMBI for short. In my eyes, she’s the current queen of rap and I was floored to see that she would be releasing something so soon after what many would call her Opus thus far. I suddenly had to be ready for her to flip my list over and take a seat on the top at the last minute. So, did she really do it again? Kind of yes and kind of no. In many senses, we get a more laid-back and lowkey experience this time, with a groovy, moody, and warm batch of songs that feel more like a soft intimate night in than an elaborate show stopping parade. That’s not to say it’s without its extravagance. Tracks like “X” and “Heart on Fire” could easily belong on SIMBI with their illustrious instrumental passages and grander overall production. But, there’s less weight on this new release, which isn’t necessarily a bad thing, it’s just not concerned with being a crowd-pleaser. This is something you’d put on when you’re in need of a mellow car ride or study session. The atmospheric beat on “Angel” is so hypnotic with a fantastic momentum to it and there’s this gorgeous chorus that eventually seeps in and tucks you into bed. I had to play it three or four times when I first heard it. Also, that cascading outro on “No Merci” is one of the most satisfying moments I’ve experienced with any song all year. I know it sounds like this is a more downplayed listen, but I promise you that the triumphant moments don’t get sacrificed on NO THANK YOU. It doesn’t always feel like paving new ground, but it’s an excellent, almost sister-like follow-up to SIMBI. The universe that Simz manages to construct around you with her music is so engulfing, so even if this is a bridge project, it’s one of the best I’ve heard.
Favorite tracks: Angel, No Merci, X
Now here’s one that feels like it’s been out for years already, and that’s partly because it’s built like a timeless classic. Danger Mouse, one of the most journeyed and significant musicians of the past couple decades, and lyricist extraordinaire, Black Thought, of the Roots, easily create the best tag team effort of 2022 with Cheat Codes. This is what I’d call a “no skip experience” as all 38 minutes of this record are packed with mesmerizing beats, clever lines, and punchy bars. The project also slings plenty of star power and there really isn’t one feature that falls flat as every contributor from A$AP Rocky, to Run the Jewels, to Raekwon, to Conway the Machine and so many other big names bring their A game. Black Thought is giving it his absolute all with the pen and he isn’t wasting any moment that he has on these vintage beats. The Danger Mouse production is some of the best you will hear all year. He brings an old-school New York sound with addictive loops that will give your eardrums hugs. There will be times that you won’t ever want to say goodbye to some of the gorgeous, sometimes even cinematic instrumentals and perfectly grown samples that are nothing short of high-inducing. “Because” is one of the best examples of this euphoria, and every verse from every feature creates a supremely slick ride. In my top ten songs of the year, for sure. Danger is a longtime DOOM collaborator and I was extremely pleased to hear a witty posthumous appearance from the legendary supervillain on the next track, “Belize.” The way that song immediately fades into the glimmering “Aquamarine” is part of why I can’t stop once I start with the track list on so many occasions. When all is said and done this could go down as one of the defining hip-hop collabs of the 2020s. This will be album of the year for many people. Who knows? It could even be yours if you haven’t tried it out yet. Do yourself a favor and don’t skip out.
Favorite tracks: Sometimes, Because, Aquamarine
2018 was a ballistic year for music. So many ground-breaking releases were coming month by month. So much so that it might have been easy to miss DiCaprio 2, a distinct tape with a refined approach from the young Dreamville signee, JID. It put him on a big radar as the next possible up-and-coming rap star. You got that sense that he would be working on improving each layer of his artistry in between then and now, and that’s exactly what happened. The Forever Story is a marvelous display of everything he’s learned up to this point. JID puts every angle of his talent into this project and it shows. What’s more, he appears to further hone in his craft and conjure his own creative voice. There’s so much perspective on here, and JID’s musings over the recurring tales of humanity are more than we could ever ask for. You can hear this elevation in the actual music, too. The big head bobbers are all still present, yes, especially in the beginning, but most of the record fills itself with these cooler, composed, soulful sounds. The amount of singing on here, even from JID, was such a pleasant surprise. On the surface, a good portion of these songs aren’t in your face or jumping out at you, but he keeps you engaged with his intuitive rhyming patterns and relaxed delivery. Also, this might be at the top for the amount of flow switches I’ve heard any rapper make on a minute per minute basis. Like, just listen to that switch on the back end of “Surround Sound.” It comes way too natural for him that it's scary. It’s hard not to get distracted by the cadences across the board and he just holds onto your attention differently than most do. With all that said, I don’t see this as the slam-dunk album of the year that many do. I really want to, but I think JID has a higher echelon. I’ve always agreed that he’s a mini Kendrick, and this feels like his Section 80 (2011) and kind of his good kid, m.A.A.d city (2012) which means his To Pimp a Butterfly (2015) is still coming. This could be a mover, since I’m still hoping to unlock more of it, but I’m fine with it here at #4 for now. I’m okay with calling it great, but not ready to call it the greatest if that makes any sense.
Favorite tracks: Dance Now, Kody Blu 31, Money
Viagra Boys first came to my attention when a recurring character on this blog and often mentioned music recommender, German Lomeli, told me to check out Welfare Jazz last year. I liked a lot of what I heard, especially the opening cut, “Ain’t Nice” which I listened to over and over again along with a few others. Despite that, I didn’t connect with enough of the whole project to place it on my list last year. Cave World, on the other hand, is exactly the itch I was looking to scratch. I love the concept of applying a prehistoric perspective on modern times. It's funny and thoughtful and ridiculous and contemplative and…yeah. It’s great. Front-man Sebastion Murphy has such an animated performance throughout and makes the most colorful musical moments extra deranged. The dancey, catchy, infectious “Troglodyte” is arguably my favorite song of the year, and it’s like a robot caveman rager. It absolutely shreds. I just can’t ever get enough of how much ass it kicks. The follower “Punk Rock Loser” should also get a mention. It’s not one that leaps into your lap at first, but now it’s one of my most revisited. Also the closer, “Return to Monke” is completely carnal and feels like the collapse of society. I don’t want to spoil the experience any further, but you can probably infer from the title that it sounds like devolving into something rampant. I’m most impressed with how Cave World can stay so consistently entertaining while still asking some of the more interesting questions that plague society in 2022. How did we go from sticks and stones to conspiracy theories about vaccines, school shootings, and lizard people? Would we be better off going back to the caves and trees? This is a hilariously awesome album that tackles those questions in a totally unique, aggressive, and sarcastic perspective. If you’re a fan of punk rock, industrial synths, or anything weirdly fun, then this is worth your time, I promise.
Favorite tracks: Troglodyte, The Cognitive Trade - Off Hypothesis, Return to Monke
Nobody is more consistent in rap than Denzel Curry. He’s the model for quality by now. I’ve always considered TA13OO (2018) to be the extremely high bar to conquer when it comes to the rest of his career output from here on out, but it might just be this one now. He undoubtedly reaches that height here, and I go back and forth on this, but he may have even surpassed it. In a lot of ways, this feels like the newly evolved, more mature, 2.0 version of Denzel. He feels more experienced, and comes off as a wiser, more battle torn orator in his delivery. Lyrically, he’s still one of the best in the industry, and takes on a more introspective approach this time around that I don’t know if we’ve fully seen before. From the very first song, he goes over his regrets, unchecked emotions and actions, as well as who he wants to be moving forward. It’s a perfect transition into the lead single, “Walkin,” where a more depressed sounding Denzel details his efforts to shake off the worsening burdens life has been bringing him (and all of us collectively) in recent years. It just feels like a big forlorn sigh that still has a touch of positive outlook to it. The exploration of these more complicated feelings and themes are exactly what I’m talking about when I say this feels like a next step. It’s a crying shame that Curry didn’t even get a nomination for “Album of the Year” this Grammy cycle so much as “Rap Album of the Year.” He hasn’t been shy about voicing his frustrations on the music world refusing to give him his long-deserved flowers, either. After all, what does he have to do on this one to get more recognition? It’s not without its fair share of more accessible bangers like “Troubles,” “Ain’t No Way,” and “X-Wing,” which are all great additions to the middle of this project that help it from becoming too lowkey. These are all radio hits in an alternate reality where Denzel is a more household name. Even if you’re not always a fan of rap, I’d still give this a try. If there’s anyone to do some converting, it’s this guy.
Favorite tracks: Melt Session #1, The Last, Sanjuro
“Sorry, I didn’t save the world my friend. I was too busy building mine again.” Arguably no line has hit harder and summed up my 2022 than this one. I, like many others, completely lost who I was at the start of this decade. The pandemic was surely a source, but it coincided with a complete personal dismantling that I was undergoing. Because of that, I feel like I failed my friends, family, partner and most importantly, myself at doing my part and fulfilling my obligations to them. That's the worst effect of depression, and what makes it so unbeatable at times. You drop out for a bit, get back, see the damage that your absence has caused, feel like sh**, and drop out again to avoid living with what you did. Life and people in it, with their unforgiving nature, can only push you further back sometimes. The question is this: How can we choose to rebuild ourselves (a justifiably selfish action) while still being there for one another? It seems like we’ve all had to ask that question in the face of the world’s recent collapse. I know critics view Kendrick’s “savior” complex as just that, but I also feel like he addresses a broader guilt about not always contributing and learning to find peace that you can’t, which is a very interesting problem that many of us carry. Anyways, let’s talk about the actual music. This is a DOUBLE album, which is impressive because each track serves a purpose. There aren’t many weak points, and it’s got everything I could have asked for. Luxurious stadium-status bangers? Check. Catchy laidback cruising music? Check. Melancholic meditations? Check. Raw reflections? Check. Yeah, I know that “We Cry Together” track is a skip most of the time, but the performances are so guttural and vehement that you can’t deny the effectiveness. Speaking of performances, I always love how Kendrick will often take a step back from going full-bore and just opt to glide over something smooth. We forget how sharp of a song crafter he is. “Rich Spirit” and “Purple Hearts” are specifically silky. We also get some of Kendrick’s most personal lyrics to date. This therapeutic train of honesty sort of builds up to the confrontational and deeply depressing “Mother I Sober” toward the end. The curtains officially close with a jubilant sense of freedom on “Mirror,” though. I don’t think Mr. Morale and the Big Steppers is the perfect undisputed champion of the year like I may have with my other previous number one placements, but I’d say it was the best new record that I most enjoyed, remembered, and resonated with in 2022. I kept waiting for something to top it, but that moment never came, so for now, unless I stumble upon a sleeping giant, this takes the "Crown."
Favorite tracks: Die Hard, Rich Spirit, Count Me Out
Well, I’m glad that’s taken care of. I’m going to be honest with you all and say that writing things has (still) not been very fun as of late. If you couldn’t tell already, I’m continuing to fight myself a lot. I’ve got many many many major projects in the works but have only been working on them sporadically and never consistently. That’s partly because I’m not fully where I want to be personally yet, but also because I’ve been prioritizing what makes me feel good lately and creating things has kind of given me the ick in recent years for whatever reason. Either way, let’s hope for even more progress in 2023. Maybe I’m close or maybe not? I’ve accomplished a lot of basic ground work this last year, so I don’t want you to feel like I haven’t been doing anything.
Getting back up is a slower, more arduous process than I initially anticipated. The lesson is that there is work to be proud of this year, even if you don’t see it. Even if it’s foundational and less flashy; Even if it just feels like work. As I kind of foresaw, priorities have shifted and goals have shrunken so that life can feel reasonable and comfortable again. It’s been hard to accept that I’m new to this stage of life and that I won’t figure it out in a short time span like I usually do. I’m getting old. I read the closing passage to my 2021 list and got kind of bummed to see that I was hoping for a bounce-back year. However, I felt a little better when I realized that I kind of did that. Not to an insane degree, but I’ve rebuilt a lot of what went away in the years prior. Riley, if you’re reading this from the end of 2023 and stuff has somehow gotten worse or taken an unexpected turn: Growth is happening. Better days are worth fighting for. I'm realizing that things won't be the same again. There is no return to how it used to feel. Instead, something new is the only way.
This might be the last time you hear from me in a while. Please do what I plan on doing this year and go out with friends, enjoy a dumb tv show, eat a meal you like eating, and just be nice to people. Share some love. Enjoy what people have to offer. I just want to see this rebuild through and see my strength and confidence continue to rise. I’m learning that it may take a very long time, a lot longer than anyone expects, but it is still possible.
