Top 34 Music Albums of 2022
by 
DeusExMackia 
13th May '22 - We have a top 10 at last, and I still have a load of records to go through yet. This year is shaping up well, and any year blessed with a Kendrick release is a good one.
11th Nov '22 - It's crunch time baby! Found about 200 records in the last week that need to get on here at some point. This year is pulling through with so many goods god DAMN.
- Chart updated: 02/07/2023 17:15
- (Created: 01/14/2022 12:33).
- Chart size: 34 albums.
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Best songs: There'd Better Be A Mirrorball, Body Paint, Big Ideas
20 years on from the beginning of their explosive rise to fame and the journey feels like it’s been completed. Not that they’ve ever acted like they were destined to become elder statesmen of alternative music back when they were writing about dancefloor hookups and tinnies, but The Car most certainly qualifies them. Their era-shaking records of past are gone; welcome to the quietest and coolest version of Sheffield’s finest we’ve yet had.
Quiet, in particular, because there’s an artfully dressed remorse hanging in the air of The Car. Turner’s lyricism has evolved from the flirtatious to the introspective. The relationships he sings of are failing, unworkable yet impossible to leave. Evolution has also come in their setting, leaving British suburbia for mansions, estates and rivieras. Despite the more affluent feel, there’s no snobbery to be found here, only ghosts and what-could-have-beens.
This sorrowful tone was building on their last release, Tranquility Base, with messages of times gone by and worlds not ruled by advertising, covered up by its enigmatic moonbase setting. In contrast, The Car brings that sorrow back to Planet Earth, and is far more contemporary. Instead of analysing the world it sees around it, it sits entrenched in the thoughts of its protagonists. We dip into conversations and trains of thought throughout. The cinematic strings, melancholic guitars and mollified drums set that tone at a constant.
Be under no impression though that the band have lost their knack for entertainment. As drenched in minor keys as it is, The Car is first and foremost contemplative. Where some world-famous artists choose to release albums in Autumn to cash in on the run up to Christmas, the Monkeys appeared to have done it for climatological reasons. I stared down to our street from our lounge window on my first few listens, the last leaves falling off the trees and the skies overcast. It made for a perfect soundtrack.
Fundamentally, that has always been the band’s greatest talent. Their ability to capture the lives their audience has wanted to have is why their past material remains so prescient. As the band have aged, so too have their fans. In that regard, The Car is a milestone marker, a record that is reflective of one of the most incredible careers in British music history. Take all that into account, and it tops the spire like a cross, taller and more isolated than ever. Instead of a cross, however, the band’s symbol for the time being is a lonely American sedan parked atop an empty multi-storey, unbearably stationary. [First added to this chart: 10/24/2022]
20 years on from the beginning of their explosive rise to fame and the journey feels like it’s been completed. Not that they’ve ever acted like they were destined to become elder statesmen of alternative music back when they were writing about dancefloor hookups and tinnies, but The Car most certainly qualifies them. Their era-shaking records of past are gone; welcome to the quietest and coolest version of Sheffield’s finest we’ve yet had.
Quiet, in particular, because there’s an artfully dressed remorse hanging in the air of The Car. Turner’s lyricism has evolved from the flirtatious to the introspective. The relationships he sings of are failing, unworkable yet impossible to leave. Evolution has also come in their setting, leaving British suburbia for mansions, estates and rivieras. Despite the more affluent feel, there’s no snobbery to be found here, only ghosts and what-could-have-beens.
This sorrowful tone was building on their last release, Tranquility Base, with messages of times gone by and worlds not ruled by advertising, covered up by its enigmatic moonbase setting. In contrast, The Car brings that sorrow back to Planet Earth, and is far more contemporary. Instead of analysing the world it sees around it, it sits entrenched in the thoughts of its protagonists. We dip into conversations and trains of thought throughout. The cinematic strings, melancholic guitars and mollified drums set that tone at a constant.
Be under no impression though that the band have lost their knack for entertainment. As drenched in minor keys as it is, The Car is first and foremost contemplative. Where some world-famous artists choose to release albums in Autumn to cash in on the run up to Christmas, the Monkeys appeared to have done it for climatological reasons. I stared down to our street from our lounge window on my first few listens, the last leaves falling off the trees and the skies overcast. It made for a perfect soundtrack.
Fundamentally, that has always been the band’s greatest talent. Their ability to capture the lives their audience has wanted to have is why their past material remains so prescient. As the band have aged, so too have their fans. In that regard, The Car is a milestone marker, a record that is reflective of one of the most incredible careers in British music history. Take all that into account, and it tops the spire like a cross, taller and more isolated than ever. Instead of a cross, however, the band’s symbol for the time being is a lonely American sedan parked atop an empty multi-storey, unbearably stationary. [First added to this chart: 10/24/2022]
Year of Release:
2022
Appears in:
Rank Score:
670
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Best songs: Untethered, Hero Man, Soap
Almost every aspect of PVA that we’ve come to know can be summed up in one word: immediacy. Their name is short. Their sound is sharp. Their style is confronting. On stage, they are full blown, never letting up or dropping pace for a second. Their debut album is no different.
Yet, for those like myself who dared to have the slightest guess at what a full record from the three piece might have sounded like, expectations do not meet reality. Blush is so much deeper, more developed and more invigorating than I could ever have imagined. Rollicking with musical maturity, yet delivered with a new band rawness, the band have successfully translated their engendering sound into a full length LP.
Lead single ‘Untethered’ opens the volley, and an apt choice for a lead single it is. Utterly brain-melting in its own right, yet such an unrevealing teaser of what is to come; the band have not simply produced 11 hyper-intense synth punk tracks. 15 minutes later, you’re in the final third of ‘Bunker’, its euphoric major key synth that arrives to close it out lifting that Madchester-derived beat up to heaven. Unpredictable as it may be for the audience, it’s their knowing nod that all of this is at their command that makes it all the more goosebump-inducing.
I may be a slave to electronic drums, but the live drumming courtesy of Louis Satchell gives everything on here a tangible presence and organicness. Add to that when the vocals from Baxter and Harris cross the threshold into incantation territory, and whole new levels to their songs are revealed. The emotions are wrought, firing down the middle of a sound that manages at once to be both brutally industrial and positively primeval.
Trying to pin down exactly what PVA is feels like is an enigma. All at once, they achieve mystery and allure, underlaid with tremendous, dark energy. Inflections of House, Post-Punk and Electroclash and wielded with slick vision, paired with lyrics laced with underlying twistedness. Best of all, however, is that as impossibly cool as it is, Blush lets you in on occasion too. There’s an emotional heart concealed by the awe that is PVA’s instrumentation, which is perhaps what makes moshing to it so totally compelling. [First added to this chart: 10/21/2022]
Almost every aspect of PVA that we’ve come to know can be summed up in one word: immediacy. Their name is short. Their sound is sharp. Their style is confronting. On stage, they are full blown, never letting up or dropping pace for a second. Their debut album is no different.
Yet, for those like myself who dared to have the slightest guess at what a full record from the three piece might have sounded like, expectations do not meet reality. Blush is so much deeper, more developed and more invigorating than I could ever have imagined. Rollicking with musical maturity, yet delivered with a new band rawness, the band have successfully translated their engendering sound into a full length LP.
Lead single ‘Untethered’ opens the volley, and an apt choice for a lead single it is. Utterly brain-melting in its own right, yet such an unrevealing teaser of what is to come; the band have not simply produced 11 hyper-intense synth punk tracks. 15 minutes later, you’re in the final third of ‘Bunker’, its euphoric major key synth that arrives to close it out lifting that Madchester-derived beat up to heaven. Unpredictable as it may be for the audience, it’s their knowing nod that all of this is at their command that makes it all the more goosebump-inducing.
I may be a slave to electronic drums, but the live drumming courtesy of Louis Satchell gives everything on here a tangible presence and organicness. Add to that when the vocals from Baxter and Harris cross the threshold into incantation territory, and whole new levels to their songs are revealed. The emotions are wrought, firing down the middle of a sound that manages at once to be both brutally industrial and positively primeval.
Trying to pin down exactly what PVA is feels like is an enigma. All at once, they achieve mystery and allure, underlaid with tremendous, dark energy. Inflections of House, Post-Punk and Electroclash and wielded with slick vision, paired with lyrics laced with underlying twistedness. Best of all, however, is that as impossibly cool as it is, Blush lets you in on occasion too. There’s an emotional heart concealed by the awe that is PVA’s instrumentation, which is perhaps what makes moshing to it so totally compelling. [First added to this chart: 10/21/2022]
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Best songs: Tears In The Club, Jealousy, Darjeeling
She’s still “a mysterious bitch” as she affirms in the opening moments of this the mixtape she dedicated to herself and to self love, but it’s undeniable that Caprisongs is her most revealing, intimate and personal work to date. The veil has been lifted on the ingenious leftfield expression of her previous projects, not for some artistic sake, but to pay respects to the sounds that have occupied the spaces outside of the Twigsphere.
Caprisongs is a love letter to British RnB and Hip Hop, with many of the places she spends her time being key influences on its sound – London, New York, Jamaica all got namechecked on her Instagram album announcement. The record is wonderfully loose and free-flowing, each track divided by the sound of pressing buttons on a tape player. She feels present and open in her words, her spirit in the room with you rather than on stage and untouchable. You hear her friends in voicenote excerpts, as well as her voice as it normally sounds, adding a wonderful sense of grounding.
For an artist so intrinsically associated with her boldness, this deliberately softer approach feels like it should be labeled as some great ‘left turn’. Far from it; the Twigs we know is more alive than ever on here, and she still humbles me. Her wielding of her mystic character, her emotional expression and her sexual affirmation remain just as remarkable. Her ability as a performer to produce some of the most awe-inspiring blends of music, visuals and theatrics of anyone living today continues to move me.
From the cleansing, melancholic tension of ‘Meta Angel’ to the insanely catchy Dancehall beats of ‘Jealousy’, Caprisongs both collages Twigs’s world and the beauty of Britain’s RnB and Hip Hop scene. Some of its most exciting talent is brought onboard to join her – Pa Salieu, Shygirl and Rema to highlight a few – only adding to the sense of community she creates throughout. We listen to her and her friends search for understanding in the hope of living a better future, dotted with jovial commentary on astrology that grounds it within the modern zeitgeist.
Caprisongs finds endless excitement from the ways we dress up our lives in the search for authentic expression. As the record progresses to its finale, shedding its big-swinging cuts for the delicate late-night-conversations-in-your-friends-bedroom beauty of ‘Darjeeling’, Twigs roundly confirms she’s just as human as the rest of us without compromising on her mystique as a 21st century cyber witch. [First added to this chart: 02/04/2022]
She’s still “a mysterious bitch” as she affirms in the opening moments of this the mixtape she dedicated to herself and to self love, but it’s undeniable that Caprisongs is her most revealing, intimate and personal work to date. The veil has been lifted on the ingenious leftfield expression of her previous projects, not for some artistic sake, but to pay respects to the sounds that have occupied the spaces outside of the Twigsphere.
Caprisongs is a love letter to British RnB and Hip Hop, with many of the places she spends her time being key influences on its sound – London, New York, Jamaica all got namechecked on her Instagram album announcement. The record is wonderfully loose and free-flowing, each track divided by the sound of pressing buttons on a tape player. She feels present and open in her words, her spirit in the room with you rather than on stage and untouchable. You hear her friends in voicenote excerpts, as well as her voice as it normally sounds, adding a wonderful sense of grounding.
For an artist so intrinsically associated with her boldness, this deliberately softer approach feels like it should be labeled as some great ‘left turn’. Far from it; the Twigs we know is more alive than ever on here, and she still humbles me. Her wielding of her mystic character, her emotional expression and her sexual affirmation remain just as remarkable. Her ability as a performer to produce some of the most awe-inspiring blends of music, visuals and theatrics of anyone living today continues to move me.
From the cleansing, melancholic tension of ‘Meta Angel’ to the insanely catchy Dancehall beats of ‘Jealousy’, Caprisongs both collages Twigs’s world and the beauty of Britain’s RnB and Hip Hop scene. Some of its most exciting talent is brought onboard to join her – Pa Salieu, Shygirl and Rema to highlight a few – only adding to the sense of community she creates throughout. We listen to her and her friends search for understanding in the hope of living a better future, dotted with jovial commentary on astrology that grounds it within the modern zeitgeist.
Caprisongs finds endless excitement from the ways we dress up our lives in the search for authentic expression. As the record progresses to its finale, shedding its big-swinging cuts for the delicate late-night-conversations-in-your-friends-bedroom beauty of ‘Darjeeling’, Twigs roundly confirms she’s just as human as the rest of us without compromising on her mystique as a 21st century cyber witch. [First added to this chart: 02/04/2022]
Year of Release:
2022
Appears in:
Rank Score:
311
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Best songs: Tennis, Famous, Jumper
How far this funny little band have come. If you want to see what a debut album with purpose looks like, look no further. The Liverpudlians who honed a knack for writing some of the funniest singles around have turned up and dropped a concept album. Guitar Music describes the record well as a title, but it’s certainly not here to praise it. On top, it’s a piss take of easily memeable guitar genres, whilst in their words, they are so on it with self-deprecating, deeply funny and deeply honest reflections of our time.
All of this well so crafted and refined that part of me wonders if this has been the plan all along. It’s certainly been totally thought through, such as the subtle auto-tuning for one verse on ‘Loaded’. Every punchline possible is utilised, right from the structure of the songs up to the very order of singles they released for it. ‘Jumper’ has probably become the most well known of their songs, and there’s definitely some intentional humour in the fact that this might be the only Courting song some people will have heard. One hopes they aren’t too jaded by how different the rest of the album sounds.
Crucially, Courting do not let their need to be cynical overpower everything. The songwriting on here shines with the same shimmer their material so far has had. ‘Famous’ and ‘Tennis’ are absolute stunners, whilst ‘Uncanny Valley Forever’ delivers the heart of the album in earnest. Guitar Music states Courting’s frank views about the alternative scene in the UK with a snappy, inspired levity, leaving no one out of its scope. To have come up with this a year and a half after Grand National leaves the future wide open for what this band might be capable of. [First added to this chart: 09/29/2022]
How far this funny little band have come. If you want to see what a debut album with purpose looks like, look no further. The Liverpudlians who honed a knack for writing some of the funniest singles around have turned up and dropped a concept album. Guitar Music describes the record well as a title, but it’s certainly not here to praise it. On top, it’s a piss take of easily memeable guitar genres, whilst in their words, they are so on it with self-deprecating, deeply funny and deeply honest reflections of our time.
All of this well so crafted and refined that part of me wonders if this has been the plan all along. It’s certainly been totally thought through, such as the subtle auto-tuning for one verse on ‘Loaded’. Every punchline possible is utilised, right from the structure of the songs up to the very order of singles they released for it. ‘Jumper’ has probably become the most well known of their songs, and there’s definitely some intentional humour in the fact that this might be the only Courting song some people will have heard. One hopes they aren’t too jaded by how different the rest of the album sounds.
Crucially, Courting do not let their need to be cynical overpower everything. The songwriting on here shines with the same shimmer their material so far has had. ‘Famous’ and ‘Tennis’ are absolute stunners, whilst ‘Uncanny Valley Forever’ delivers the heart of the album in earnest. Guitar Music states Courting’s frank views about the alternative scene in the UK with a snappy, inspired levity, leaving no one out of its scope. To have come up with this a year and a half after Grand National leaves the future wide open for what this band might be capable of. [First added to this chart: 09/29/2022]
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Best songs: Delilah, Kammy, Clara
Fred’s outstanding talent to imbue House music with rich, deep emotionality is fully realised on Actual Life 3. Its third installment feels the most complete, and the closest to living up to that title. A portrait of youthful urban living in 21st century Britain, highs and lows, heartaches and hopes poured in with equal measure. Whether you want to treat it as its own pre-mixed DJ set or a soundtrack to embellish your personal slice of Generation Rent, the record slots in with ease.
Too London-centric for its own good? Oh fuck yeah. Some will find its softer side too soft too, something of a ploy to generate appeasement in being a bit soppy. But the tracks on here speak for themselves. Not a single cut misses on delivering a hook, drop or sample that attaches itself to one of your memories. It may well be his life on the record, but as has been his knack throughout the Actual Life releases, it animates your own in ways you don’t expect. Past times and people forgotten are suddenly brought back to your fore, whilst your present feels refocused. It’s quite the achievement for Londonite dance music.
Woven in between the beats is a timely message of dealing with loneliness; friendships strained by distance and modern living; connections that could be so much but are blocked by business. Set to the euphoria of those synths, it makes for a severely captivating and heartfelt experience. By the time the chips are cashed in on the utterly anthemic ‘Clara’, I find it hard not be totally balled over. “If you don’t know, don’t worry.” [First added to this chart: 11/11/2022]
Fred’s outstanding talent to imbue House music with rich, deep emotionality is fully realised on Actual Life 3. Its third installment feels the most complete, and the closest to living up to that title. A portrait of youthful urban living in 21st century Britain, highs and lows, heartaches and hopes poured in with equal measure. Whether you want to treat it as its own pre-mixed DJ set or a soundtrack to embellish your personal slice of Generation Rent, the record slots in with ease.
Too London-centric for its own good? Oh fuck yeah. Some will find its softer side too soft too, something of a ploy to generate appeasement in being a bit soppy. But the tracks on here speak for themselves. Not a single cut misses on delivering a hook, drop or sample that attaches itself to one of your memories. It may well be his life on the record, but as has been his knack throughout the Actual Life releases, it animates your own in ways you don’t expect. Past times and people forgotten are suddenly brought back to your fore, whilst your present feels refocused. It’s quite the achievement for Londonite dance music.
Woven in between the beats is a timely message of dealing with loneliness; friendships strained by distance and modern living; connections that could be so much but are blocked by business. Set to the euphoria of those synths, it makes for a severely captivating and heartfelt experience. By the time the chips are cashed in on the utterly anthemic ‘Clara’, I find it hard not be totally balled over. “If you don’t know, don’t worry.” [First added to this chart: 11/11/2022]
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Best songs: Let The Lights On, Keys To The City, There's So Many People Who Want To Be Loved
The neon outline of a planet adorning Sorry’s second studio effort glows quaintly. The bright colours imply happiness, but its whimsical design and isolation on its dark, starry background say otherwise. It’s a forced smile, another “Yeah I’m alright”, not so much leaning into the melodrama of ‘smiling through the pain’ but rather trying to conjure up reliable brightness from 21st century Britain.
Here’s the thing though; it’s not an outright depressing listen, in the same way 21st century Britain isn’t outright depressing. Drinks, parties, sex and drugs all still exist and continue to be brought to life through the band’s indelible talent for dry humour. But where their debut tried to make light of it, Anywhere But Here dreams of what’s beyond the horizon. “I don’t care, gonna make a lot of rich friends out there” echoes on the chorus of ‘Keys To The City’, something of a musing on the solutions we think might save us all from this cycle.
Their instrumentation remains as witty and sharp as we’ve come to know, but their palette is expanded too, making for another rich, rewarding listen from this one of my favourite bands in the UK right now. An apt addition to their ongoing soundtrack for 20-something urbanites across this damned country. [First added to this chart: 12/12/2022]
The neon outline of a planet adorning Sorry’s second studio effort glows quaintly. The bright colours imply happiness, but its whimsical design and isolation on its dark, starry background say otherwise. It’s a forced smile, another “Yeah I’m alright”, not so much leaning into the melodrama of ‘smiling through the pain’ but rather trying to conjure up reliable brightness from 21st century Britain.
Here’s the thing though; it’s not an outright depressing listen, in the same way 21st century Britain isn’t outright depressing. Drinks, parties, sex and drugs all still exist and continue to be brought to life through the band’s indelible talent for dry humour. But where their debut tried to make light of it, Anywhere But Here dreams of what’s beyond the horizon. “I don’t care, gonna make a lot of rich friends out there” echoes on the chorus of ‘Keys To The City’, something of a musing on the solutions we think might save us all from this cycle.
Their instrumentation remains as witty and sharp as we’ve come to know, but their palette is expanded too, making for another rich, rewarding listen from this one of my favourite bands in the UK right now. An apt addition to their ongoing soundtrack for 20-something urbanites across this damned country. [First added to this chart: 12/12/2022]
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Best songs: Widow, Ploys, Circumference
Fear Fear doesn’t take the world-melting views some artists have explored in the wake of the pandemic years. Instead, lead singer Sydney Minskey-Sargeant’s words are stepping out of the teenage bedroom the band’s earlier work emerged from, and are setting out an altogether broader vision. The instrumentation still rings of West Yorkshire, but it’s clear they feel compelled to engage on a bolder scope on their second studio outing.
What emerges is a world as hard to decipher as that album cover – shapes and objects that seem recognisable, clouded by the confusion of dealing with a vast array of unedifying forces and events. The band throw you hooks and beats you can try to grab onto, but they’re also happy to let you be taken by the tide of their music. For a band obsessed with the power of the synth, their mission seems to be to reappropriate it, contrasting its futuristic possibilities with the anxiety of existing in 2022.
With the same bluntness as its vocals, the record channels its grievances into evolving the band’s mix of Post-Punk and Acid House, emerging in a clash between oppressive claustrophobia and burning anger. As the strings arrive on ‘The Last One’ to close out proceedings, its lasting message seems to be this: hope is hard to find these days, but it can be manufactured by the marvel of the electronic instrument [First added to this chart: 08/02/2022]
Fear Fear doesn’t take the world-melting views some artists have explored in the wake of the pandemic years. Instead, lead singer Sydney Minskey-Sargeant’s words are stepping out of the teenage bedroom the band’s earlier work emerged from, and are setting out an altogether broader vision. The instrumentation still rings of West Yorkshire, but it’s clear they feel compelled to engage on a bolder scope on their second studio outing.
What emerges is a world as hard to decipher as that album cover – shapes and objects that seem recognisable, clouded by the confusion of dealing with a vast array of unedifying forces and events. The band throw you hooks and beats you can try to grab onto, but they’re also happy to let you be taken by the tide of their music. For a band obsessed with the power of the synth, their mission seems to be to reappropriate it, contrasting its futuristic possibilities with the anxiety of existing in 2022.
With the same bluntness as its vocals, the record channels its grievances into evolving the band’s mix of Post-Punk and Acid House, emerging in a clash between oppressive claustrophobia and burning anger. As the strings arrive on ‘The Last One’ to close out proceedings, its lasting message seems to be this: hope is hard to find these days, but it can be manufactured by the marvel of the electronic instrument [First added to this chart: 08/02/2022]
12. (=)
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Best songs: Good Ones, Beg For You, Lightning, Yuck
In her most deliberately manufactured, highly crafted era to date, Charli has orchestrated a crash just as manufactured as the pop industry itself. As she stares deadpan back at you in the wealth of imagery accompanying the record, evoking deal-with-the-devil, sell-your-soul success, an album piling in on cravings for nostalgic aesthetics makes perfect sense.
Boy does she pile it on; Crash walked straight out of the ebony tabled record label boardrooms of the late 80s and early 90s, popping with a blend of Whitney/Janet/Kylie flavoured Dance Pop. It’s a deliberately softer and sweeter approach compared to her previous work, but the persona she crafts for herself is fully revealed within the context of the end of her 5 album deal and calls from her label to be ‘more authentic’. On Crash, a manufactured pop star goes violent; “You say I’m turning evil, I say I’m finally pure” she states on ‘Used To Know Me’, and a bright future opens up. [First added to this chart: 04/08/2022]
In her most deliberately manufactured, highly crafted era to date, Charli has orchestrated a crash just as manufactured as the pop industry itself. As she stares deadpan back at you in the wealth of imagery accompanying the record, evoking deal-with-the-devil, sell-your-soul success, an album piling in on cravings for nostalgic aesthetics makes perfect sense.
Boy does she pile it on; Crash walked straight out of the ebony tabled record label boardrooms of the late 80s and early 90s, popping with a blend of Whitney/Janet/Kylie flavoured Dance Pop. It’s a deliberately softer and sweeter approach compared to her previous work, but the persona she crafts for herself is fully revealed within the context of the end of her 5 album deal and calls from her label to be ‘more authentic’. On Crash, a manufactured pop star goes violent; “You say I’m turning evil, I say I’m finally pure” she states on ‘Used To Know Me’, and a bright future opens up. [First added to this chart: 04/08/2022]
Year of Release:
2022
Appears in:
Rank Score:
294
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Best songs: Wet Dream, Ur Mum, Too Late Now
Wet Leg practically gave Wet Leg an omnipresence for the best of this year, and with good reason. A debut album jam-packed with enjoyable singles, fueled by peppifying energy and dotted with deliriously cool lyrics. They’ve certainly trademarked any reference to Buffalo ’66 for the foreseeable, that’s for sure.
Teasdale and Chambers bank on their charisma to great success, employing a snappy, dross vocal style that brands their sound immediately. Comparisons to similar no-rocker bands who came out of nowhere such as Pavement should be seen as praise; this is music who’s appeal comes from how unbothered it is. Some will feel disenchanted by the insane marketing campaign the record was forced through, but seeing their Glastonbury set from the summer tells you everything you need to know: Wet Leg is equal parts compelling, fun and refined. [First added to this chart: 04/19/2022]
Wet Leg practically gave Wet Leg an omnipresence for the best of this year, and with good reason. A debut album jam-packed with enjoyable singles, fueled by peppifying energy and dotted with deliriously cool lyrics. They’ve certainly trademarked any reference to Buffalo ’66 for the foreseeable, that’s for sure.
Teasdale and Chambers bank on their charisma to great success, employing a snappy, dross vocal style that brands their sound immediately. Comparisons to similar no-rocker bands who came out of nowhere such as Pavement should be seen as praise; this is music who’s appeal comes from how unbothered it is. Some will feel disenchanted by the insane marketing campaign the record was forced through, but seeing their Glastonbury set from the summer tells you everything you need to know: Wet Leg is equal parts compelling, fun and refined. [First added to this chart: 04/19/2022]
Year of Release:
2022
Appears in:
Rank Score:
899
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Best songs: Dead Würst, The Warden, hehe
The Post Punk market has been at capacity for some time now, and trying to carve out a heavier, harder niche is particularly difficult. All of which makes the debut record Brighton’s Ditz so refreshing: no frills, a wonderfully swerving pace and not an inch of pretentiousness to be found. Best of all, the sound they’ve managed to hone already feels like they’ve made it their own. It’s in the same vein as their contemporaries, but the rougher guitars give off a dark, chalky flavour. The Great Regression welcomes you in, but it’s most certainly not a comfortable ride. The ills they list off are hardly unique, but something in their word choice hits with an originality that distinguishes them from similar releases from this year. Just listen to some of those song transitions too; this a band who know how to dress their record and how to communicate a message. [First added to this chart: 09/13/2022]
The Post Punk market has been at capacity for some time now, and trying to carve out a heavier, harder niche is particularly difficult. All of which makes the debut record Brighton’s Ditz so refreshing: no frills, a wonderfully swerving pace and not an inch of pretentiousness to be found. Best of all, the sound they’ve managed to hone already feels like they’ve made it their own. It’s in the same vein as their contemporaries, but the rougher guitars give off a dark, chalky flavour. The Great Regression welcomes you in, but it’s most certainly not a comfortable ride. The ills they list off are hardly unique, but something in their word choice hits with an originality that distinguishes them from similar releases from this year. Just listen to some of those song transitions too; this a band who know how to dress their record and how to communicate a message. [First added to this chart: 09/13/2022]
Total albums: 16. Page 1 of 2
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Top 34 Music Albums of 2022 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Gilla Band | 1 | 3% | |
| Laura Jean | 1 | 3% | |
| Bodega | 1 | 3% | |
| Björk | 1 | 3% | |
| Pongo | 1 | 3% | |
| Working Men's Club | 1 | 3% | |
| NewDad | 1 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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| |
16 | 47% | |
| |
5 | 15% | |
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4 | 12% | |
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4 | 12% | |
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1 | 3% | |
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1 | 3% | |
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1 | 3% | |
| Show all | |||
Top 34 Music Albums of 2022 chart changes
| Biggest climbers |
|---|
| Up 3 from 5th to 2nd Skinty Fia by Fontaines D.C. |
| Biggest fallers |
|---|
| Down 1 from 2nd to 3rd The Car by Arctic Monkeys |
| Down 1 from 3rd to 4th Blush by PVA |
| Down 1 from 4th to 5th Caprisongs by FKA Twigs |
Top 34 Music Albums of 2022 similarity to your chart(s)
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Other year charts by DeusExMackia
(from the 2020s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 30 Music Albums of 2025 | DeusExMackia | 2025 year chart | 2025 | |
| Top 47 Music Albums of 2024 | DeusExMackia | 2024 year chart | 2025 | |
| Top 39 Music Albums of 2023 | DeusExMackia | 2023 year chart | 2023 | |
| Top 34 Music Albums of 2022 | DeusExMackia | 2022 year chart | 2023 | |
| Top 34 Music Albums of 2021 | DeusExMackia | 2021 year chart | 2023 | |
DeusExMackia has created 71 other 2022 year charts - click here to explore them all.
Top 34 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 1 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
| ! | 10/25/2022 18:54 | DJENNY | 4,365 | 100/100 |
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