Top 97 Music Albums of 2022
by 
babyBlueSedan 
- Chart updated: 12/18/2022 20:45
- (Created: 02/12/2022 22:19).
- Chart size: 97 albums.
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Electric hoedown
The first singles from this were polar opposites for me. "Little Things" is a twinkling, synthetic, organic cascade of guitars and sounds. If not for "Not" it would be my favorite thing Big Thief have released. "Sparrow" was a chore, a plodding repetitive chug. I was worried that this album would sound mostly like "Sparrow," but to my relief it sounds mostly like "Little Things."
Another comparison: in 2019 Big Thief released two albums. One, UFOF was full of studio polish, still an "outside" folk album but one that felt pristine. Two Hands was a rough cut of that, something born from a log cabin with edges that needed sanding down. I didn't care much for Two Hands, outside of "Not," but I thought UFOF was beautiful. This new album is a set of Two Hands's spiky, splintery songs run through the varnish of UFOF.
You can't really call this folk or rock, I'd almost call some of these songs - like "Little Things" - some kind of krautrock. The main question with this album is if 80 minutes of it is too much of a good thing. My first listen breezed by, as did subsequent listens. I feel pretty confident now saying the length isn't a problem, as it allows the band to play around with lots of different styles, from the robotic hypnotism of "Time Escaping" to the bouncy hoedown of "Spud Infinity" to the almost indietronica of "Wake Me Up to Drive." Even "Sparrow" sounds good in the middle of all of it. [First added to this chart: 02/23/2022]
The first singles from this were polar opposites for me. "Little Things" is a twinkling, synthetic, organic cascade of guitars and sounds. If not for "Not" it would be my favorite thing Big Thief have released. "Sparrow" was a chore, a plodding repetitive chug. I was worried that this album would sound mostly like "Sparrow," but to my relief it sounds mostly like "Little Things."
Another comparison: in 2019 Big Thief released two albums. One, UFOF was full of studio polish, still an "outside" folk album but one that felt pristine. Two Hands was a rough cut of that, something born from a log cabin with edges that needed sanding down. I didn't care much for Two Hands, outside of "Not," but I thought UFOF was beautiful. This new album is a set of Two Hands's spiky, splintery songs run through the varnish of UFOF.
You can't really call this folk or rock, I'd almost call some of these songs - like "Little Things" - some kind of krautrock. The main question with this album is if 80 minutes of it is too much of a good thing. My first listen breezed by, as did subsequent listens. I feel pretty confident now saying the length isn't a problem, as it allows the band to play around with lots of different styles, from the robotic hypnotism of "Time Escaping" to the bouncy hoedown of "Spud Infinity" to the almost indietronica of "Wake Me Up to Drive." Even "Sparrow" sounds good in the middle of all of it. [First added to this chart: 02/23/2022]
Year of Release:
2022
Appears in:
Rank Score:
3,122
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Indie noise pop
Prior to this the most recent Death Cab album I had listened to was Plans, though I've been meaning to listen to Narrow Stairs for a while. I read good things about this though, and was on a kick where I listened to Transatlanticism and Plans and wanted more. And this was a very pleasant surprise. There's nothing here that's pushing any boundaries, even compared to what the band has done before, but for a band entering their third decade it's a very inspired set of tunes. There's a bit of noise pop influence, some straight indie rock, and the kind of indie pop songs like "Pepper" that have always been my guilty pleasure among the band's songs (seriously "Sound of Settling" is so good). And of course there's the centerpiece "Foxgloves Through the Clearcut" which combines poetic spoken word verses with those shimmery choruses.
I was a little more lukewarm on this the second time I listened to it, but I expect to keep coming back to it. [First added to this chart: 10/29/2022]
Prior to this the most recent Death Cab album I had listened to was Plans, though I've been meaning to listen to Narrow Stairs for a while. I read good things about this though, and was on a kick where I listened to Transatlanticism and Plans and wanted more. And this was a very pleasant surprise. There's nothing here that's pushing any boundaries, even compared to what the band has done before, but for a band entering their third decade it's a very inspired set of tunes. There's a bit of noise pop influence, some straight indie rock, and the kind of indie pop songs like "Pepper" that have always been my guilty pleasure among the band's songs (seriously "Sound of Settling" is so good). And of course there's the centerpiece "Foxgloves Through the Clearcut" which combines poetic spoken word verses with those shimmery choruses.
I was a little more lukewarm on this the second time I listened to it, but I expect to keep coming back to it. [First added to this chart: 10/29/2022]
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Uncanny valley country
Back in my 2019 chart I said that Orville Peck's debut album sounded "like a classic country artist was sucked into an evil plane for about two weeks and then came back and wrote a dark album about their experiences." It was also an album that, despite liking it a lot, I felt sounded like it was made by an artist who was capable of much more and would release better albums in the future. Peck has proven me right here, but he's done it by going in a bit of a different direction stylistically. His debut felt like a classic country album in the vein of Hank Williams or Marty Robbins, but twisted. That was an effective sound but the album suffered a bit from a lack of variety. Bronco draws from a more varied set of influences, with country rock and pop songs mixed in amongst the ballads. That makes sense considering this is Peck's major label debut, and it definitely sounds like a major label debut from a former indie artist, in a good way.
The majority of this is only barely country, it's one of those albums where if the artist's voice wasn't a bit twangy it would just be called pop rock, but I don't think that hurts the album. Opener "Daytona Sand," which I'd say is the highlight, mixes in galloping drums and the kind of lyrics copy pasted out of classic country tunes and exemplifies the type of style that works best on this album. The ballads work too though, I think "Trample Down the Days" is the only one I really didn't like. There's a good amount of humor mixed in with the heartbreak that permeates most of the album too, my favorite moment is on "Outta Time" where he sings "She tells me she don't like Elvis / I say, I want a little less conversation, please."
Also, it was only while typing out this review that I noticed that both of his album's + his EP are named after different types of horses. Bronco is a very appropriate name for this one. Pony is a little inaccurate, I get that it's because it's his debut but I think Shadowmere would be a better name. [First added to this chart: 04/09/2022]
Back in my 2019 chart I said that Orville Peck's debut album sounded "like a classic country artist was sucked into an evil plane for about two weeks and then came back and wrote a dark album about their experiences." It was also an album that, despite liking it a lot, I felt sounded like it was made by an artist who was capable of much more and would release better albums in the future. Peck has proven me right here, but he's done it by going in a bit of a different direction stylistically. His debut felt like a classic country album in the vein of Hank Williams or Marty Robbins, but twisted. That was an effective sound but the album suffered a bit from a lack of variety. Bronco draws from a more varied set of influences, with country rock and pop songs mixed in amongst the ballads. That makes sense considering this is Peck's major label debut, and it definitely sounds like a major label debut from a former indie artist, in a good way.
The majority of this is only barely country, it's one of those albums where if the artist's voice wasn't a bit twangy it would just be called pop rock, but I don't think that hurts the album. Opener "Daytona Sand," which I'd say is the highlight, mixes in galloping drums and the kind of lyrics copy pasted out of classic country tunes and exemplifies the type of style that works best on this album. The ballads work too though, I think "Trample Down the Days" is the only one I really didn't like. There's a good amount of humor mixed in with the heartbreak that permeates most of the album too, my favorite moment is on "Outta Time" where he sings "She tells me she don't like Elvis / I say, I want a little less conversation, please."
Also, it was only while typing out this review that I noticed that both of his album's + his EP are named after different types of horses. Bronco is a very appropriate name for this one. Pony is a little inaccurate, I get that it's because it's his debut but I think Shadowmere would be a better name. [First added to this chart: 04/09/2022]
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Arena chamber pop
While listening to opening track "You In Everything" I had a feeling that this was going to be a life-changing album for me. It's an incredible track, one that blends Nationals-style chamber indie with Maori chanting and impactful lyrics that make varying and emotional use of the title phrase. It may be my song of the year, non-Big Thief division.
The rest of the album didn't hold up on my first listen, as I mostly thought a lot of the tracks played around with the same sound and formula. It's an interesting formula though. I've heard comparisons to U2 and while I get those in terms of the arena rock sound I think The National / Summerteeth-era Wilco feel more apt. Mix in a little heartland rock and it's a formula I'll eat up. On my second listen I enjoyed it more and I think this one will end up soundtracking some long drives this summer.
The story behind this album is incredibly interesting too. It's a death album, focusing on the death of frontman David Le'aupepe's father. But it's so much more than that too, as around the time his father died Le'aupepe learned that his father had lied about his age and left behind a second family that thought he died years ago. "Brothers" is a heartbreaking but hopeful song about the family members he never knew about, and the highlight outside of the opening track.
Third listen thoughts: nevermind this is just indie U2, but it's fucking awesome. "Brothers" makes me bawl my eyes out. [First added to this chart: 03/15/2022]
While listening to opening track "You In Everything" I had a feeling that this was going to be a life-changing album for me. It's an incredible track, one that blends Nationals-style chamber indie with Maori chanting and impactful lyrics that make varying and emotional use of the title phrase. It may be my song of the year, non-Big Thief division.
The rest of the album didn't hold up on my first listen, as I mostly thought a lot of the tracks played around with the same sound and formula. It's an interesting formula though. I've heard comparisons to U2 and while I get those in terms of the arena rock sound I think The National / Summerteeth-era Wilco feel more apt. Mix in a little heartland rock and it's a formula I'll eat up. On my second listen I enjoyed it more and I think this one will end up soundtracking some long drives this summer.
The story behind this album is incredibly interesting too. It's a death album, focusing on the death of frontman David Le'aupepe's father. But it's so much more than that too, as around the time his father died Le'aupepe learned that his father had lied about his age and left behind a second family that thought he died years ago. "Brothers" is a heartbreaking but hopeful song about the family members he never knew about, and the highlight outside of the opening track.
Third listen thoughts: nevermind this is just indie U2, but it's fucking awesome. "Brothers" makes me bawl my eyes out. [First added to this chart: 03/15/2022]
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Robot dance
In my opinion, Everything Everything's 2015 album Get to Heaven is pretty much the pinnacle of quirky-but-catchy alternative pop, mixing unexpected tempo shifts and wild lyrics into songs that don't lose any of their pop sensibility to those qualities. The follow-up to that album was still pretty good, but I thought they lost the plot entirely with their 2020 album that saw them trying to be a Radiohead-inspired art rock band; pretty much all catchiness was gone. The singles for this one were really promising, and the album has lived up to my hopes. A few songs in and I was pretty sure this was their second best.
The sound on this is subtly different from Get to Heaven, leaning more on robotic synths that kind of remind me of Kraftwerk in the kinds of sounds they use. The band has always written a lot about technology, modern life, and politics, so the synthetic sound fuses well with that. It occurs to me that I usually hate it when bands try to preach about the ills of technology but when these guys do it it someone works so much better. There are lyrics here like "have a coke, have a pepsi" that I'd probably pillory another band for writing, but here they're knowingly silly while still having a purpose behind them. Not to mention that they way they fuse into these choruses and verses that flow together seamlessly just works so well. [First added to this chart: 06/12/2022]
In my opinion, Everything Everything's 2015 album Get to Heaven is pretty much the pinnacle of quirky-but-catchy alternative pop, mixing unexpected tempo shifts and wild lyrics into songs that don't lose any of their pop sensibility to those qualities. The follow-up to that album was still pretty good, but I thought they lost the plot entirely with their 2020 album that saw them trying to be a Radiohead-inspired art rock band; pretty much all catchiness was gone. The singles for this one were really promising, and the album has lived up to my hopes. A few songs in and I was pretty sure this was their second best.
The sound on this is subtly different from Get to Heaven, leaning more on robotic synths that kind of remind me of Kraftwerk in the kinds of sounds they use. The band has always written a lot about technology, modern life, and politics, so the synthetic sound fuses well with that. It occurs to me that I usually hate it when bands try to preach about the ills of technology but when these guys do it it someone works so much better. There are lyrics here like "have a coke, have a pepsi" that I'd probably pillory another band for writing, but here they're knowingly silly while still having a purpose behind them. Not to mention that they way they fuse into these choruses and verses that flow together seamlessly just works so well. [First added to this chart: 06/12/2022]
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Not very lonely pop
I was pretty worried about this after the first couple singles. "Western Wind" was nice enough, but it wasn't really the direction I wanted from CRJ. "Beach House" was an absolute mess. However, "Talking to Yourself" is quickly becoming one of my favorite CRJ songs, and to my relief the album sounds more like that song than either of the other two. This is an album with much more variety than anything I've heard from her before though, with "Western Wind" not really being comparable to anything else and the last couple songs showing a much more subdued, ballad style. The dance pop songs are really good though, I think the opening trio is impeccable. The two last songs are also really great, and surprisingly "Beach House" has really grown on me in all of its corniness.
I finally got around to putting together a 40 minute cut of my favorite tracks from Dedicated sides A and B after admitting I wasn't a huge fan of either of those as a full album. But this one is much better than either of them and shows some nice growth while still bringing out the qualities that I loved about her music up until this point. [First added to this chart: 11/18/2022]
I was pretty worried about this after the first couple singles. "Western Wind" was nice enough, but it wasn't really the direction I wanted from CRJ. "Beach House" was an absolute mess. However, "Talking to Yourself" is quickly becoming one of my favorite CRJ songs, and to my relief the album sounds more like that song than either of the other two. This is an album with much more variety than anything I've heard from her before though, with "Western Wind" not really being comparable to anything else and the last couple songs showing a much more subdued, ballad style. The dance pop songs are really good though, I think the opening trio is impeccable. The two last songs are also really great, and surprisingly "Beach House" has really grown on me in all of its corniness.
I finally got around to putting together a 40 minute cut of my favorite tracks from Dedicated sides A and B after admitting I wasn't a huge fan of either of those as a full album. But this one is much better than either of them and shows some nice growth while still bringing out the qualities that I loved about her music up until this point. [First added to this chart: 11/18/2022]
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History book rap
In 2019, after Hiding Places came out, I proclaimed billy woods to be one of my favorite rappers of all time. Almost immediately, woods started releasing music I had almost no interest in. This was partially because, as I've probably said on here countless times, I've never gotten into the flow of his close collaborator Elucid, which makes listening to Armand Hammer albums a chore. But his more away from the kinds of beats on Hiding Places and earlier albums, which had drums and hooks, also pushed me away, as I've never gotten into the kind of beats that rappers like Roc Marciano and Ka use. I was worried about this one because Preservation is in that same musical sphere, but to my pleasant surprise I'm actually pretty into this. These aren't bangers but there's enough going on that I can get into these songs musically and not get bored, and there are moments - like the kind of screaming vocal flourishes between verses on my favorite track "Remorseless" - that really drawn you in.
One reason the stark production challenged me was because woods is a rapper you have to pay constant attention to or risk losing the story, and when I found myself uninterested in the beats I drifted off and found it hard to follow him. That's not the case here, because woods is only getting more cutting and complex as his career progresses. He's packing even more into his stories, though the overall themes remain the same. These are songs where following along on Genius certainly helps, but it's not required to have a good time. The guests on this album are also amazing - Boldy James, El-P, and Despot all turn in incredible verses. [First added to this chart: 05/10/2022]
In 2019, after Hiding Places came out, I proclaimed billy woods to be one of my favorite rappers of all time. Almost immediately, woods started releasing music I had almost no interest in. This was partially because, as I've probably said on here countless times, I've never gotten into the flow of his close collaborator Elucid, which makes listening to Armand Hammer albums a chore. But his more away from the kinds of beats on Hiding Places and earlier albums, which had drums and hooks, also pushed me away, as I've never gotten into the kind of beats that rappers like Roc Marciano and Ka use. I was worried about this one because Preservation is in that same musical sphere, but to my pleasant surprise I'm actually pretty into this. These aren't bangers but there's enough going on that I can get into these songs musically and not get bored, and there are moments - like the kind of screaming vocal flourishes between verses on my favorite track "Remorseless" - that really drawn you in.
One reason the stark production challenged me was because woods is a rapper you have to pay constant attention to or risk losing the story, and when I found myself uninterested in the beats I drifted off and found it hard to follow him. That's not the case here, because woods is only getting more cutting and complex as his career progresses. He's packing even more into his stories, though the overall themes remain the same. These are songs where following along on Genius certainly helps, but it's not required to have a good time. The guests on this album are also amazing - Boldy James, El-P, and Despot all turn in incredible verses. [First added to this chart: 05/10/2022]
Year of Release:
2022
Appears in:
Rank Score:
662
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Lo-fi drug dealing rap
Another excellent album from woods, I'm unsure whether I like this or Aethiopes more so I'm putting them one after the other for now. This doesn't have the clattering, murky feel that Aethiopes has but it still feels claustrophobic, only with jazz elements replacing the horror score elements in the beats. It also has two incredible songs in Pollo Rico and Magdalene which surpass anything not titled Remorseless from its predecessor. [First added to this chart: 12/18/2022]
Another excellent album from woods, I'm unsure whether I like this or Aethiopes more so I'm putting them one after the other for now. This doesn't have the clattering, murky feel that Aethiopes has but it still feels claustrophobic, only with jazz elements replacing the horror score elements in the beats. It also has two incredible songs in Pollo Rico and Magdalene which surpass anything not titled Remorseless from its predecessor. [First added to this chart: 12/18/2022]
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Strut indie
For years I thought Spoon was severely overrated, but over the past couple weeks I think I may be coming around. My main gripes had, I think, mostly boiled to their guitar sound and how they felt a little sterile, mostly turning out three minute indie rock tunes on 40 minute indie rock albums that strayed here or there but never too far from their central sound. People praised them for being consistent, but Jeff Mathis is a consistent hitter. I think there must be some kind of element to their songwriting that only hits you if you're super tuned in, so maybe as I've gotten older those qualities have become more apparent to me.
Whatever the case, I'm always down for indie rock that claims to be influenced by ZZ Top and has kind of a big dumb rock feel. That's not true of everything here, but it's definitely true of the "Hardest Cut" and even the Smog cover "Held." "Wild" is a great pop song that ends way too early. This all sounds very nice and while it's a nice listen for now it still kind of sits in that "nice but not blowing me away" space that most of Spoon's stuff sits in. I hope it's a grower. [First added to this chart: 02/23/2022]
For years I thought Spoon was severely overrated, but over the past couple weeks I think I may be coming around. My main gripes had, I think, mostly boiled to their guitar sound and how they felt a little sterile, mostly turning out three minute indie rock tunes on 40 minute indie rock albums that strayed here or there but never too far from their central sound. People praised them for being consistent, but Jeff Mathis is a consistent hitter. I think there must be some kind of element to their songwriting that only hits you if you're super tuned in, so maybe as I've gotten older those qualities have become more apparent to me.
Whatever the case, I'm always down for indie rock that claims to be influenced by ZZ Top and has kind of a big dumb rock feel. That's not true of everything here, but it's definitely true of the "Hardest Cut" and even the Smog cover "Held." "Wild" is a great pop song that ends way too early. This all sounds very nice and while it's a nice listen for now it still kind of sits in that "nice but not blowing me away" space that most of Spoon's stuff sits in. I hope it's a grower. [First added to this chart: 02/23/2022]
Year of Release:
2022
Appears in:
Rank Score:
739
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Conscious street rap
I've largely fell out of keeping up with new hip hop albums over the past few years. Part of it is my pandemic brain having no attention span for listening to lyrics, and part of it is a disinterest in many recent hip hop trends. I never got into trap, and the drumless stuff that's becoming more common bores me to death. So I've largely ignored what's coming out of the Griselda crew, mostly unfairly because I knew it wasn't aligned with either of those scenes. I read good things about this one though, and boy am I glad I gave it a listen. The beats are great, Conway's flow is calm but dead serious, and the guest appearances are terrific. Not a groundbreaking release but an album that excels completely at what it's trying to do, and it mixes the gangsta rap shit talking with conscious lyrics really well, eventually turning into an entirely conscious record by the end. This makes me want to go back and listen to the rest of his stuff. [First added to this chart: 03/15/2022]
I've largely fell out of keeping up with new hip hop albums over the past few years. Part of it is my pandemic brain having no attention span for listening to lyrics, and part of it is a disinterest in many recent hip hop trends. I never got into trap, and the drumless stuff that's becoming more common bores me to death. So I've largely ignored what's coming out of the Griselda crew, mostly unfairly because I knew it wasn't aligned with either of those scenes. I read good things about this one though, and boy am I glad I gave it a listen. The beats are great, Conway's flow is calm but dead serious, and the guest appearances are terrific. Not a groundbreaking release but an album that excels completely at what it's trying to do, and it mixes the gangsta rap shit talking with conscious lyrics really well, eventually turning into an entirely conscious record by the end. This makes me want to go back and listen to the rest of his stuff. [First added to this chart: 03/15/2022]
Total albums: 97. Page 1 of 10
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Top 97 Music Albums of 2022 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Brockhampton | 2 | 2% | |
| Billy Woods | 2 | 2% | |
| Courting | 1 | 1% | |
| Fleshwater | 1 | 1% | |
| Muna | 1 | 1% | |
| Alvvays | 1 | 1% | |
| The Soft Pink Truth | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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| |
49 | 51% | |
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18 | 19% | |
 |
6 | 6% | |
 |
5 | 5% | |
 |
5 | 5% | |
 |
2 | 2% | |
 |
1 | 1% | |
| Show all | |||
Top 97 Music Albums of 2022 chart changes
| Biggest fallers |
|---|
| Down 8 from 72nd to 80th TM by Brockhampton |
| Down 8 from 73rd to 81st Trouble The Water by Show Me The Body |
| Down 8 from 74th to 82nd Shake The Feeling: Outtakes & Rarities 2015–2021 by Iceage |
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Other year charts by babyBlueSedan
(from the 2020s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 19 Music Albums of 2023 | babyBlueSedan | 2023 year chart | 2023 | |
| Top 97 Music Albums of 2022 | babyBlueSedan | 2022 year chart | 2022 | |
| Top 88 Music Albums of 2021 | babyBlueSedan | 2021 year chart | 2022 | |
babyBlueSedan has created 71 other 2022 year charts - click here to explore them all.
Top 97 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).
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N.B. The average rating for this chart will not be reliable as it has been rated very few times.
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| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
| ! | 11/26/2022 21:36 |  travelful | 208 | 99/100 |
| ! | 11/15/2022 17:11 |  DommeDamian | 1,004 | 89/100 |
| ! | 10/30/2022 20:43 | DJENNY | 4,365 | 100/100 |
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