Top 50 Music Albums of 2022
by 
DommeDamian 
2022, the beginning of a new, album journey.
Hey reader. Can you please listen to my new album Healium; it's out on every streaming platform. I worked really hard on it and all the other clichés I could say but I seriously hope you will listen to it.
https://open.spotify.com/album/2LJVypC50RhQLVNAD1EJsI?si=XLhfjct1RqK0klIiYQmGzA
- Chart updated: 11/12/2025 12:45
- (Created: 01/12/2022 17:26).
- Chart size: 50 albums.
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95/100 (Disc 1)
Well..............................................................yeah! [First added to this chart: 07/27/2022]
Well..............................................................yeah! [First added to this chart: 07/27/2022]
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80/100
Quadeca keeps getting Ws. What could I say, this guy just reinvented a new concept of how music can appeal to me without being completely natural sounding. Many thoughts came to mind over my first rotations of IDMTHY, but in the end, all of them are blurred out by the high impression I had throughout almost the entire album. I will say that Quadeca managed to do what many electronic musicians (like Postal Service and late-era Bon Iver) failed to. Even some of my good favorites out of their primes like Sigur Ros (just listen to the painstaking blend of post-rock and chamber folk on the amazing The Memories We Lost In Translation interlude). He is also like a folktronica Kid Cudi if he mourned his world and his life, post-suicide. Even the cover art is a slight vision of what it's like to be that ghost. You see the small house, probably his home or where he died, and then things start to blossom in his own purgatory. But the elephant is the white circle, that in my interpretation symbolizes the emptiness or the way of descending fading away.
The lush drum machine mixed with distant vocal and string harmony on Tell Me A Joke, make for a truly compelling case of lyrical sarcasm and sonic complexity ("Ha-ha, laugh to the grave"). Attention to detail should be mentioned by the door knock at the end. On top of tying in the feelings of regret in the middle of the record, Born Yesterday is a highpoint of rhythmic soul-search. "I've been in so many tears, I try my best not to count it" just adds to the imaginative of how people live inside other people's emotions. Even the chorus sounds like him weeping, just like the last two minutes is like if peak-era Bladee were a tortured soul.
There's less rapping on Haunt You than on FMTY and also the successor Scrapyard, and it's also less finesse, both on Don't Mind Me, very clumsily - unlike the cumulative piano/violin dialogue - and the misplaced-yet-fine-enough Danny Brown feature (edit: I like that verse now, Danny rapping as carbon monoxide damn). It's more forgivable on Picking Up Hands because of how immensely captivating the folktronica composition is around, both with guitar and whirling drums. It may sound like a critic, but I am actually really taken aback by the music surrounding it that I don't pay attention to it. For some criticism that holds it from a decade-defining classic is that they never seems to be a true emotional gut-punch. Maybe it speaks to how alien the whole album and its stigma is, but generally it remains extensively impressive without hitting close to home. My least favorite song is the opener sorry4dying, but it still is packaged with some compositional acrobatic and lines like "I left my body lying on the doormat" is describing how he just died. But back to the good things, speaking of alien, it also says a lot about its own perception of death: it's strange yet becomes familiar to everybody.
In between the surrealistic melodies and genuinely beautiful glitch warping that I never thought I could enjoy, his vocal effect and mixing is borderline genius. He is from the unknown void you go when you just die, except on Fantasyworld that is a callback to what happened when he committed suicide (aka when he was in the real world). And it makes sense in that context and also in feel, with his heavy Microphones incorporations in the naked vocals and a piano urged in simplicity. That is of course before it explodes into the cinematic prog-pop segment (even that 1-second cut out at 3:21 was cool), Ben making sure to play with brain favors and also making a rotating experience out of it. It's simultaneously the most accessible or least surreal song, and again with the attention to detail, the fact that death is unpredictable speaks volumes to why these tunes have their respective movements. I'll quote user Braithan on this one:
"He is still alive here, but only physically. The character is completely checked out at this point, and has already made the decision to go “to a place that ain’t real”. The utterly dark lyrics are matched perfectly with a really empty atmosphere, that starts with just a droning piano. But as the song goes on, more and more sounds are added and layered, and they reach a heightened build throughout the fantastic self-written poem, it’s a completely goosebumps moment. [...] It’s an existential, depressing and fuzzy triumph, and serves as a perfect last hoorah for the characters life."
Not to mention, I love how imperfect he is singing, it's humane, it's struggling, and drips with somberness and agony, especially in death. But he is not only imperfect in his vocals but also in spirit. After poisoning his family by oven on House Settling, he panics on the marvelous Knots, and undoes it by turning off the oven: even in death, he is still as imperfect as human. It's hard to describe how potent a statement like that is. And just like he is haunting his loved ones in death, he's also showing how much loneliness haunted himself when he was alive if making him unalive wasn't enough. "I'm an open book in a closed casket" he shouts as the instrumental is auditory of when steampunk and cyberpunk clashes. "I don't fade to black, I turn to static" he foreshadows chanting with cryptic death bells and synths of misophonia.
After opening with a Uematsu melody accompanied by slow indie pop drums, vocal delivery of mere acceptance and tape-like instrumental palette sounds, Sunday Service Choir comes in with a surprisingly and legitimately gratifying performance with the essential sentence "Those words don't do you justice" as if angels are stating it as a matter of fact. That level of stellar winds up in the last song Cassini's Division, basically a poem that is less personal and more universal, plus some great drums from the Swans guy. The title refers to The Cassini Division, a dark, thin gap between Saturn's rings, which symbolically mirrors the liminal space between life and the afterlife. These rings represent an unsettling static (an in-between state) capturing the final moments of Qua as he dissolves into nothingness. The track carries an eerie and deeply unsettling atmosphere, with dark, introspective writing that reveals the character's reluctance to let go. Despite convincing himself he’s ready to move on, there’s a palpable sense of fear and desperation. After the spoken word and instrumental end, footsteps and a distant emerge, suggesting that the character’s time in the afterlife is running out, and he’s still struggling to accept his fate. The desperate attempt to escape is futile, as he succumbs to the consuming static—a metaphorical disintegration of his consciousness. Those last three minutes of pure broadband ambient tape noise (also bordering on micromontage) are what I remember the best from the LP. It even goes from crunchy to a subtle swirl. It's a chilling representation of his final absorption into this void, marking the completion of transition and the mourning of his living peers. And then, the record stops, as soon as he is completely out in every metaphysical way. Absolutely the most explosively creative meditation on death and its aftermath I have heard in a long time, as well as one of the most impressive albums of the decade. Every listen is a different breed, different breeze.
Oh and did I mention he did everything himself? [First added to this chart: 11/26/2022]
Quadeca keeps getting Ws. What could I say, this guy just reinvented a new concept of how music can appeal to me without being completely natural sounding. Many thoughts came to mind over my first rotations of IDMTHY, but in the end, all of them are blurred out by the high impression I had throughout almost the entire album. I will say that Quadeca managed to do what many electronic musicians (like Postal Service and late-era Bon Iver) failed to. Even some of my good favorites out of their primes like Sigur Ros (just listen to the painstaking blend of post-rock and chamber folk on the amazing The Memories We Lost In Translation interlude). He is also like a folktronica Kid Cudi if he mourned his world and his life, post-suicide. Even the cover art is a slight vision of what it's like to be that ghost. You see the small house, probably his home or where he died, and then things start to blossom in his own purgatory. But the elephant is the white circle, that in my interpretation symbolizes the emptiness or the way of descending fading away.
The lush drum machine mixed with distant vocal and string harmony on Tell Me A Joke, make for a truly compelling case of lyrical sarcasm and sonic complexity ("Ha-ha, laugh to the grave"). Attention to detail should be mentioned by the door knock at the end. On top of tying in the feelings of regret in the middle of the record, Born Yesterday is a highpoint of rhythmic soul-search. "I've been in so many tears, I try my best not to count it" just adds to the imaginative of how people live inside other people's emotions. Even the chorus sounds like him weeping, just like the last two minutes is like if peak-era Bladee were a tortured soul.
There's less rapping on Haunt You than on FMTY and also the successor Scrapyard, and it's also less finesse, both on Don't Mind Me, very clumsily - unlike the cumulative piano/violin dialogue - and the misplaced-yet-fine-enough Danny Brown feature (edit: I like that verse now, Danny rapping as carbon monoxide damn). It's more forgivable on Picking Up Hands because of how immensely captivating the folktronica composition is around, both with guitar and whirling drums. It may sound like a critic, but I am actually really taken aback by the music surrounding it that I don't pay attention to it. For some criticism that holds it from a decade-defining classic is that they never seems to be a true emotional gut-punch. Maybe it speaks to how alien the whole album and its stigma is, but generally it remains extensively impressive without hitting close to home. My least favorite song is the opener sorry4dying, but it still is packaged with some compositional acrobatic and lines like "I left my body lying on the doormat" is describing how he just died. But back to the good things, speaking of alien, it also says a lot about its own perception of death: it's strange yet becomes familiar to everybody.
In between the surrealistic melodies and genuinely beautiful glitch warping that I never thought I could enjoy, his vocal effect and mixing is borderline genius. He is from the unknown void you go when you just die, except on Fantasyworld that is a callback to what happened when he committed suicide (aka when he was in the real world). And it makes sense in that context and also in feel, with his heavy Microphones incorporations in the naked vocals and a piano urged in simplicity. That is of course before it explodes into the cinematic prog-pop segment (even that 1-second cut out at 3:21 was cool), Ben making sure to play with brain favors and also making a rotating experience out of it. It's simultaneously the most accessible or least surreal song, and again with the attention to detail, the fact that death is unpredictable speaks volumes to why these tunes have their respective movements. I'll quote user Braithan on this one:
"He is still alive here, but only physically. The character is completely checked out at this point, and has already made the decision to go “to a place that ain’t real”. The utterly dark lyrics are matched perfectly with a really empty atmosphere, that starts with just a droning piano. But as the song goes on, more and more sounds are added and layered, and they reach a heightened build throughout the fantastic self-written poem, it’s a completely goosebumps moment. [...] It’s an existential, depressing and fuzzy triumph, and serves as a perfect last hoorah for the characters life."
Not to mention, I love how imperfect he is singing, it's humane, it's struggling, and drips with somberness and agony, especially in death. But he is not only imperfect in his vocals but also in spirit. After poisoning his family by oven on House Settling, he panics on the marvelous Knots, and undoes it by turning off the oven: even in death, he is still as imperfect as human. It's hard to describe how potent a statement like that is. And just like he is haunting his loved ones in death, he's also showing how much loneliness haunted himself when he was alive if making him unalive wasn't enough. "I'm an open book in a closed casket" he shouts as the instrumental is auditory of when steampunk and cyberpunk clashes. "I don't fade to black, I turn to static" he foreshadows chanting with cryptic death bells and synths of misophonia.
After opening with a Uematsu melody accompanied by slow indie pop drums, vocal delivery of mere acceptance and tape-like instrumental palette sounds, Sunday Service Choir comes in with a surprisingly and legitimately gratifying performance with the essential sentence "Those words don't do you justice" as if angels are stating it as a matter of fact. That level of stellar winds up in the last song Cassini's Division, basically a poem that is less personal and more universal, plus some great drums from the Swans guy. The title refers to The Cassini Division, a dark, thin gap between Saturn's rings, which symbolically mirrors the liminal space between life and the afterlife. These rings represent an unsettling static (an in-between state) capturing the final moments of Qua as he dissolves into nothingness. The track carries an eerie and deeply unsettling atmosphere, with dark, introspective writing that reveals the character's reluctance to let go. Despite convincing himself he’s ready to move on, there’s a palpable sense of fear and desperation. After the spoken word and instrumental end, footsteps and a distant emerge, suggesting that the character’s time in the afterlife is running out, and he’s still struggling to accept his fate. The desperate attempt to escape is futile, as he succumbs to the consuming static—a metaphorical disintegration of his consciousness. Those last three minutes of pure broadband ambient tape noise (also bordering on micromontage) are what I remember the best from the LP. It even goes from crunchy to a subtle swirl. It's a chilling representation of his final absorption into this void, marking the completion of transition and the mourning of his living peers. And then, the record stops, as soon as he is completely out in every metaphysical way. Absolutely the most explosively creative meditation on death and its aftermath I have heard in a long time, as well as one of the most impressive albums of the decade. Every listen is a different breed, different breeze.
Oh and did I mention he did everything himself? [First added to this chart: 11/26/2022]
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75/100
Somebody said to me that there is no way anyone can release a better album than me this month, and while I am wholeheartedly grateful for that compliment, this rock solid Soccer Mommy record proves otherwise.
After one of my favorite singer-songwriter records of the decade (so far) in the emotionally memorable Color Theory, I was curious to where Sophie would go after that. When it comes to creating a gripping and compelling musical atmosphere, Soccer Mommy is quite frankly in a league of her own, especially for this generation of musical acts; blending garage-rock with Slowdive-esque shoegaze, Soccer Mommy is one of the few musicians who can master the nostalgic feel of the golden era of dream pop while simultaneously sound and feel so modern.
Her new album over here, Sometimes Forever, not updates the sound and mood, but also makes a leap in qualifying melodiousness and conceptual depth. Which is not an easy feat, considering how well-structured Color Theory was in itself. She has teamed up with Oneohtrix Point Never, and considering I just fell in love with his 2011 album Replica (that is also kind of dream pop-ish but with more noise rock charms) this is one of those collabs I didn't know I needed.
The production all over this album is crystal yet raw, dystopian yet shines of colors and life. The song that sonically and atmospherically reminds me the most of Color Theory is the tender Fire In The Driveway (one of the true highlights), but is even better with the spinning harmonies around the second half of it. But Sometimes Forever leans more in a Noise Pop gorgeousness. If I should compare it sound-wise to anything it could be the legendary Yo La Tengo (also one of my favorite bands): Color Theory was a melancholic And Then Nothing Turned Itself Inside-Out, whilst Sometimes Forever is a progressively folky I Can Hear The Heart Beating As One.
One of the most out there moments comes in Darkness Forever because of a surprising trip-hop drum-loop throughout (and that ghosty vocal engineering; super clean (no pun intended)); the track then descends down to a tunnel of shoegaze-guitars (think of Mazzy Star's Bells Ring mixed with Ride's In A Different Place). There is even songs like newdemo where, at very best, she rivals the intensity of Lisa Germano, without loosing that jangly Shoegaze-touch. Normally I would hate when someone incorporate electronic sounds into an indie rock song, but those semi-industrial synths on Unholy Affliction works decently. Not harmoniously or greatly, but decently; luckily it only lasts the first minute before the organic drums (that works much better) takes over. Following Eyes also tries something unusual but ends up sounding less exciting and not a very good melody-line; pretty much the album's weakest link.
Lyrically, I have a huge respect of the way Sophie is capable of conveying emotional observations into strophes that feel free-formed but is sorts of well-organized mini-poems. Feel It All The Time is a prime example of that, as there is a fine combination of literal imagery (Maybe there’s days where it’s just running out / Like gasoline gauges and drivin’ South) to visceral metaphoric thoughts (So I’m gonna drive out for the sunshine / Drown out the noise and the way I feel / But even the light is so temporary / And I see the dark at the back of my heels) and yet nothing feels outta place.
There is so much more to dive into but I feel a little loss for words. Which can indicate either 1: that this record has left me speechless, or 2: that I am not a good writer. If it is the first then that suggests to you enough reason to check this out. If it's the second then I suppose I should approximately listen to it now to comfort myself. Because just like Color Theory, it's a very captivating record, one of the year's greatest actually. Yet unlike Color Theory, Sometimes Forever goes in more sonic places and becomes more risky and exciting because of it. [First added to this chart: 06/24/2022]
Somebody said to me that there is no way anyone can release a better album than me this month, and while I am wholeheartedly grateful for that compliment, this rock solid Soccer Mommy record proves otherwise.
After one of my favorite singer-songwriter records of the decade (so far) in the emotionally memorable Color Theory, I was curious to where Sophie would go after that. When it comes to creating a gripping and compelling musical atmosphere, Soccer Mommy is quite frankly in a league of her own, especially for this generation of musical acts; blending garage-rock with Slowdive-esque shoegaze, Soccer Mommy is one of the few musicians who can master the nostalgic feel of the golden era of dream pop while simultaneously sound and feel so modern.
Her new album over here, Sometimes Forever, not updates the sound and mood, but also makes a leap in qualifying melodiousness and conceptual depth. Which is not an easy feat, considering how well-structured Color Theory was in itself. She has teamed up with Oneohtrix Point Never, and considering I just fell in love with his 2011 album Replica (that is also kind of dream pop-ish but with more noise rock charms) this is one of those collabs I didn't know I needed.
The production all over this album is crystal yet raw, dystopian yet shines of colors and life. The song that sonically and atmospherically reminds me the most of Color Theory is the tender Fire In The Driveway (one of the true highlights), but is even better with the spinning harmonies around the second half of it. But Sometimes Forever leans more in a Noise Pop gorgeousness. If I should compare it sound-wise to anything it could be the legendary Yo La Tengo (also one of my favorite bands): Color Theory was a melancholic And Then Nothing Turned Itself Inside-Out, whilst Sometimes Forever is a progressively folky I Can Hear The Heart Beating As One.
One of the most out there moments comes in Darkness Forever because of a surprising trip-hop drum-loop throughout (and that ghosty vocal engineering; super clean (no pun intended)); the track then descends down to a tunnel of shoegaze-guitars (think of Mazzy Star's Bells Ring mixed with Ride's In A Different Place). There is even songs like newdemo where, at very best, she rivals the intensity of Lisa Germano, without loosing that jangly Shoegaze-touch. Normally I would hate when someone incorporate electronic sounds into an indie rock song, but those semi-industrial synths on Unholy Affliction works decently. Not harmoniously or greatly, but decently; luckily it only lasts the first minute before the organic drums (that works much better) takes over. Following Eyes also tries something unusual but ends up sounding less exciting and not a very good melody-line; pretty much the album's weakest link.
Lyrically, I have a huge respect of the way Sophie is capable of conveying emotional observations into strophes that feel free-formed but is sorts of well-organized mini-poems. Feel It All The Time is a prime example of that, as there is a fine combination of literal imagery (Maybe there’s days where it’s just running out / Like gasoline gauges and drivin’ South) to visceral metaphoric thoughts (So I’m gonna drive out for the sunshine / Drown out the noise and the way I feel / But even the light is so temporary / And I see the dark at the back of my heels) and yet nothing feels outta place.
There is so much more to dive into but I feel a little loss for words. Which can indicate either 1: that this record has left me speechless, or 2: that I am not a good writer. If it is the first then that suggests to you enough reason to check this out. If it's the second then I suppose I should approximately listen to it now to comfort myself. Because just like Color Theory, it's a very captivating record, one of the year's greatest actually. Yet unlike Color Theory, Sometimes Forever goes in more sonic places and becomes more risky and exciting because of it. [First added to this chart: 06/24/2022]
Year of Release:
2022
Appears in:
Rank Score:
300
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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75/100
...and I thought you could not amuse me with music sounding like this anymore. The Till(er)man comes out with a new singular album, this time reviving a super inspired vocal jazz style straight out of the 1950s and 60s. It is deliriously produced and he sounds just as smooth as he ever has been. One day I was actually writing with my project group, at one of their homes and we played this album all the way through as background lounge music, and it is an album that will work both that way and if you paid better attention. And considering that I consider him as one of the greatest, most honest and extravagant songwriters of the 21st century, I haven't even dove into the lyrics on this thing yet and it is already one of the greatest things I have heard all year. He has managed to convey, express and master yet another potent music style of the past with intellectual, blooming ingredients of his own. This is now my second favorite album of his after 2017's Pure Comedy of course. [First added to this chart: 04/17/2022]
...and I thought you could not amuse me with music sounding like this anymore. The Till(er)man comes out with a new singular album, this time reviving a super inspired vocal jazz style straight out of the 1950s and 60s. It is deliriously produced and he sounds just as smooth as he ever has been. One day I was actually writing with my project group, at one of their homes and we played this album all the way through as background lounge music, and it is an album that will work both that way and if you paid better attention. And considering that I consider him as one of the greatest, most honest and extravagant songwriters of the 21st century, I haven't even dove into the lyrics on this thing yet and it is already one of the greatest things I have heard all year. He has managed to convey, express and master yet another potent music style of the past with intellectual, blooming ingredients of his own. This is now my second favorite album of his after 2017's Pure Comedy of course. [First added to this chart: 04/17/2022]
Year of Release:
2022
Appears in:
Rank Score:
439
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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75/100
I don't quite know how to specifically describe this. This feels like some folk songs, drenched in utter psychedelia and eeriness. Most of the tracks are tiny and adventurous, and Frances' voice makes everything feel so comfy (except the annoying vocal effect on Intimacy). This, especially the highlights (from the baroque chamber folk of Flower Childs and Escapism to the slacker jazz of I Quit Cigs), are quintessential music for when you are pot-stoned and your mind flows away into the air. Unconventional slacker rock combined with hypnagogic philosophy, this is a hidden gem of the year, check it out. [First added to this chart: 08/15/2022]
I don't quite know how to specifically describe this. This feels like some folk songs, drenched in utter psychedelia and eeriness. Most of the tracks are tiny and adventurous, and Frances' voice makes everything feel so comfy (except the annoying vocal effect on Intimacy). This, especially the highlights (from the baroque chamber folk of Flower Childs and Escapism to the slacker jazz of I Quit Cigs), are quintessential music for when you are pot-stoned and your mind flows away into the air. Unconventional slacker rock combined with hypnagogic philosophy, this is a hidden gem of the year, check it out. [First added to this chart: 08/15/2022]
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75/100
This is the best Christmas album I have ever heard. Not only doesn't it feel like a major label-forced release to profit from people's holiday spirit during the year's final month, but John's pure heartfelt delivery and belief in the songs he covers, are captivating. We need more Christmas indie folk hymns music, instead of slapdash poppy nonsense. Unlike corporate Christmas music that you hear everywhere, this little album has an independent holy ghost coming through and I dig it. For people who love this music, there is no reason for you not to listen to this during the most wonderful time of the year. [First added to this chart: 03/04/2024]
This is the best Christmas album I have ever heard. Not only doesn't it feel like a major label-forced release to profit from people's holiday spirit during the year's final month, but John's pure heartfelt delivery and belief in the songs he covers, are captivating. We need more Christmas indie folk hymns music, instead of slapdash poppy nonsense. Unlike corporate Christmas music that you hear everywhere, this little album has an independent holy ghost coming through and I dig it. For people who love this music, there is no reason for you not to listen to this during the most wonderful time of the year. [First added to this chart: 03/04/2024]
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75/100
I hate that it's been exposed that the drummer Harry Corrigan is a rapist because this album is FIRE from start to finish. 22 minutes of pure pop punk without a second's lack of focus. Yes, I even think the drums are played mixed greatly (knowing some people pointed out how they sound buried in the mix, but inho it fits and makes it feel more "ruff" the way your typical punk rock record should be right?). I mean I am one of the last people who you should take to a pop punk concert, since I do not have that much respect for the genre, but my goodness this album rocks in there. Even with the cover art having a Cartoon Network-flair to it, No Pressure are going 2000s with this joint here; and while these songs does have a liiiitttle bit of nostalgia, it is utterly overshadowed by rhythmic energy coming in in the music. This is one of those cases that you don't want the musicians to try and invent or think because they rock so good I shouldn't mind at all. [First added to this chart: 06/23/2022]
I hate that it's been exposed that the drummer Harry Corrigan is a rapist because this album is FIRE from start to finish. 22 minutes of pure pop punk without a second's lack of focus. Yes, I even think the drums are played mixed greatly (knowing some people pointed out how they sound buried in the mix, but inho it fits and makes it feel more "ruff" the way your typical punk rock record should be right?). I mean I am one of the last people who you should take to a pop punk concert, since I do not have that much respect for the genre, but my goodness this album rocks in there. Even with the cover art having a Cartoon Network-flair to it, No Pressure are going 2000s with this joint here; and while these songs does have a liiiitttle bit of nostalgia, it is utterly overshadowed by rhythmic energy coming in in the music. This is one of those cases that you don't want the musicians to try and invent or think because they rock so good I shouldn't mind at all. [First added to this chart: 06/23/2022]
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75/100
Willie Nelson is country-Jesus. I just love him. I do not dislike a single album of his that I have heard so far. This new one is one of my lesser favorites though but it's still super solid. You can tell that Willie Nelson is old, but he still sounds more fresh than most of the "fiery" musicians who is in their 70s, while this album dropped on his 89th birthday. Some of the topics here intensifies when he sings it in this age. I am striving to smoke weed with him before either of us die. God bless Willie like he been blessing us. [First added to this chart: 05/24/2022]
Willie Nelson is country-Jesus. I just love him. I do not dislike a single album of his that I have heard so far. This new one is one of my lesser favorites though but it's still super solid. You can tell that Willie Nelson is old, but he still sounds more fresh than most of the "fiery" musicians who is in their 70s, while this album dropped on his 89th birthday. Some of the topics here intensifies when he sings it in this age. I am striving to smoke weed with him before either of us die. God bless Willie like he been blessing us. [First added to this chart: 05/24/2022]
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70/100
If the originators of shoegaze and dream pop were teachers for the new generation of bands, Knifeplay's Animal Drowning would be one of their best students, one of those who manages to make an old sound cool. It's not only about creating an ethereal atmosphere out of noise, but also the substance you layer it with. The different guitar pedals on different songs on the record fits the songwriting to a level of expertise. Even though the vocal layering doesn't match the attraction of instrumentation and keeps it from touching the classic, it does not bother me. I like every song, but the classic shoegaze guitar on Promise, the mellow riff on Deserve and the odyssey of Untitled make for truly compelling moments. A big applause for not using recycled melody lines too and a standing ovation for having better-than-average lyricism. Bombastic yet potent, a good recommendation for snobs of the genres. [First added to this chart: 10/31/2022]
If the originators of shoegaze and dream pop were teachers for the new generation of bands, Knifeplay's Animal Drowning would be one of their best students, one of those who manages to make an old sound cool. It's not only about creating an ethereal atmosphere out of noise, but also the substance you layer it with. The different guitar pedals on different songs on the record fits the songwriting to a level of expertise. Even though the vocal layering doesn't match the attraction of instrumentation and keeps it from touching the classic, it does not bother me. I like every song, but the classic shoegaze guitar on Promise, the mellow riff on Deserve and the odyssey of Untitled make for truly compelling moments. A big applause for not using recycled melody lines too and a standing ovation for having better-than-average lyricism. Bombastic yet potent, a good recommendation for snobs of the genres. [First added to this chart: 10/31/2022]
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70/100
I utterly forgot to write down anything during this sitting and I just had this as background music, until I realized that it's better than nearly any background music I could ask for. Renata is not an amazing singer, but she has emotions and knows not only how to make you feel something sincere, but also knows how to turn country pop ballads into blissful, borderline metaphysical pieces. This is a supremely good album, sonically and atmospherically speaking. The first half definitely exceeds the second tho. [First added to this chart: 05/24/2022]
I utterly forgot to write down anything during this sitting and I just had this as background music, until I realized that it's better than nearly any background music I could ask for. Renata is not an amazing singer, but she has emotions and knows not only how to make you feel something sincere, but also knows how to turn country pop ballads into blissful, borderline metaphysical pieces. This is a supremely good album, sonically and atmospherically speaking. The first half definitely exceeds the second tho. [First added to this chart: 05/24/2022]
Year of Release:
2022
Appears in:
Rank Score:
3
Rank in 2022:
Rank in 2020s:
Average Rating:
Comments:
Total albums: 19. Page 1 of 2
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Top 50 Music Albums of 2022 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Matteo Fabbiani | 1 | 2% | |
| Quadeca | 1 | 2% | |
| Soshi Takeda | 1 | 2% | |
| Haig Beylerian | 1 | 2% | |
| Caitlin Rose | 1 | 2% | |
| Claire Dickson | 1 | 2% | |
| Bladee & Ecco2k | 1 | 2% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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| |
19 | 38% | |
 |
5 | 10% | |
 |
3 | 6% | |
 |
2 | 4% | |
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2 | 4% | |
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2 | 4% | |
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2 | 4% | |
| Show all | |||
Top 50 Music Albums of 2022 chart changes
| Biggest climbers |
|---|
| Up 1 from 48th to 47thRock Believer by Scorpions |
| Up 1 from 47th to 46th40 Oz. To Fresno by Joyce Manor |
| Up 1 from 46th to 45thVade Mecum by Glenn Jones |
| Biggest fallers |
|---|
| Down 21 from 27th to 48thCazimi by Caitlin Rose |
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Other year charts by DommeDamian
(from the 2020s) DommeDamian has shared 74 more 2022 year charts with the community. Browse them all here.| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 10 Music Albums of 2025 | DommeDamian | 2025 year chart | 2025 | |
| Top 35 Music Albums of 2024 | DommeDamian | 2024 year chart | 2025 | |
Top 50 Music Albums of 2022 ratings
Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AVwhere:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
N.B. The average rating for this chart will not be reliable as it has been rated very few times.
Showing all 5 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
| ! | 01/28/2024 10:01 |  Purplepash | 1,693 | 88/100 |
| ! | 01/14/2023 16:26 |  Repo | 562 | 100/100 |
| ! | 12/23/2022 09:42 |  LedZep | 1,104 | 84/100 |
| ! | 03/31/2022 16:07 | Nkelleyslc | 114 | 91/100 |
| ! | 02/08/2022 19:35 |  Graeme2 | 213 | 94/100 |
Top 50 Music Albums of 2022 favourites
Showing all 2 members who have added this chart as a favourite
Top 50 Music Albums of 2022 comments
Showing all 1 comments |
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From LedZep 12/23/2022 09:47 | #292156
LedZep 12/23/2022 09:47 | #292156
Feels carefully crafted, with a lot of attention to detail and interesting write-ups. Probably my fave 2022 chart, even though we're not exactly listening to the same styles.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
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