2022 outliers (60/100)
by 
DommeDamian 
- Chart updated: 5 days ago
- (Created: 10/04/2022 21:06).
- Chart size: 88 albums.
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60/100
First time listening, it both is hard not to ignore and hard to turn off. These songs use casualty to bend the listener to the throwback feel in the end, or at least after hearing it for the third time. Simultaneously, the downside is that the songs feel undercooked: there is something missing that makes these tunes stick in your mind. After six listens, it's still not as instantly recognizable as their influences. This music is up my alley. Good tuning with no complains about the musicianship. And yet, half of it sounds almost there but not quite there. Maybe it's because the songs, especially the one with shoegaze guitars, sound a liiittle bit like some dated alt pop rock music that dominated the 2000s airwave.
Outside the underwhelming Guayaba (after the segueing from Prism of Feeling, the song ends just as it's about to start), there's not a song I couldn't enjoy. And this is still an enjoyable record. On every listen, my two favorites were two of the singles: Prism of Feeling (where the shoegaze blends in the best with the rest of the poppy composition. It makes for an actually intriguing indie rock song despite being as straightforward as possible) and Burden of Desire (a sense of longing, mixed with the most romanticized pathos, enhanced by a honey-like melody).
I actually liked how I didn't think much of the alt-rock melody-line in First Breath Back, but how hypnotically it won me over by repetition (and that harmony was also nice). 9090's momentum is of the record's highest until a sleepy male vocalist damages it but not ruins it. Other than the great songs, the most memorable were A Brighter Summer Day, because those guitar being the most hard-hitting, and Love Being for including an uplifting riff we've heard a thousand times. She sounds passive sometimes, but every syllable sung is sincere. [First added to this chart: 05/18/2025]
First time listening, it both is hard not to ignore and hard to turn off. These songs use casualty to bend the listener to the throwback feel in the end, or at least after hearing it for the third time. Simultaneously, the downside is that the songs feel undercooked: there is something missing that makes these tunes stick in your mind. After six listens, it's still not as instantly recognizable as their influences. This music is up my alley. Good tuning with no complains about the musicianship. And yet, half of it sounds almost there but not quite there. Maybe it's because the songs, especially the one with shoegaze guitars, sound a liiittle bit like some dated alt pop rock music that dominated the 2000s airwave.
Outside the underwhelming Guayaba (after the segueing from Prism of Feeling, the song ends just as it's about to start), there's not a song I couldn't enjoy. And this is still an enjoyable record. On every listen, my two favorites were two of the singles: Prism of Feeling (where the shoegaze blends in the best with the rest of the poppy composition. It makes for an actually intriguing indie rock song despite being as straightforward as possible) and Burden of Desire (a sense of longing, mixed with the most romanticized pathos, enhanced by a honey-like melody).
I actually liked how I didn't think much of the alt-rock melody-line in First Breath Back, but how hypnotically it won me over by repetition (and that harmony was also nice). 9090's momentum is of the record's highest until a sleepy male vocalist damages it but not ruins it. Other than the great songs, the most memorable were A Brighter Summer Day, because those guitar being the most hard-hitting, and Love Being for including an uplifting riff we've heard a thousand times. She sounds passive sometimes, but every syllable sung is sincere. [First added to this chart: 05/18/2025]
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60/100
A swinging album in quality but the quieter songs feel tender and she shines like a bright star far away from Planet Earth.
Even though a couple of songs makes my stomach churn, the four (actually five) best songs here should have been an EP. I had inner goosebumps just listening to them. Those being:
- Restricted Account (quintessential dream-pop in 2022, even at the end when her beautiful voice gets swallowed in a windy distortion)
- Underwater (typical singer-songwriter stuff up my alley)
- Medals (reminds me of Kirin J Callinan's Telling Me This but way less adventurous and more backwatery)
- Oh My My My (combination of dream-pop reverb and singer-songwriter mannerisms)
- Morning Silence (lo-fi guitar me likey, plus harmonizing intimately, there's no way I wouldn't love this). [First added to this chart: 10/11/2022]
A swinging album in quality but the quieter songs feel tender and she shines like a bright star far away from Planet Earth.
Even though a couple of songs makes my stomach churn, the four (actually five) best songs here should have been an EP. I had inner goosebumps just listening to them. Those being:
- Restricted Account (quintessential dream-pop in 2022, even at the end when her beautiful voice gets swallowed in a windy distortion)
- Underwater (typical singer-songwriter stuff up my alley)
- Medals (reminds me of Kirin J Callinan's Telling Me This but way less adventurous and more backwatery)
- Oh My My My (combination of dream-pop reverb and singer-songwriter mannerisms)
- Morning Silence (lo-fi guitar me likey, plus harmonizing intimately, there's no way I wouldn't love this). [First added to this chart: 10/11/2022]
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60/100
I want me some Shoegaze and Dream-Pop in 2022, and only a few songs did RAY deliver on Green. But man do they have potential. Lots of potential. [First added to this chart: 10/10/2022]
I want me some Shoegaze and Dream-Pop in 2022, and only a few songs did RAY deliver on Green. But man do they have potential. Lots of potential. [First added to this chart: 10/10/2022]
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60/100
This starts derivatively but finds its way quickly and becomes yet another album of indie and post-hardcore cleanness with moments that are high but the less replayability makes the entire album (which is good) a little less impressing. [First added to this chart: 11/18/2022]
This starts derivatively but finds its way quickly and becomes yet another album of indie and post-hardcore cleanness with moments that are high but the less replayability makes the entire album (which is good) a little less impressing. [First added to this chart: 11/18/2022]
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60/100
If we imagine that the first and last two songs doesn't exist, then this is how you make a tight indie rock project in 2022. [First added to this chart: 10/05/2022]
If we imagine that the first and last two songs doesn't exist, then this is how you make a tight indie rock project in 2022. [First added to this chart: 10/05/2022]
Year of Release:
2022
Appears in:
Rank Score:
2
Rank in 2022:
Rank in 2020s:
Average Rating:
Comments:
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60/100
I will say that TBT has much more heart put into their bluegrass than anyone else. They believe what they're saying and make the listener believe what they're saying. They also include a whole lotta more competent and rich musicianship to the table. That being said, Bluegrass is still a least favorite genre of mine, and beside the fantastic opening song It's So Hard To Move On, i don't really come back to this. [First added to this chart: 10/31/2022]
I will say that TBT has much more heart put into their bluegrass than anyone else. They believe what they're saying and make the listener believe what they're saying. They also include a whole lotta more competent and rich musicianship to the table. That being said, Bluegrass is still a least favorite genre of mine, and beside the fantastic opening song It's So Hard To Move On, i don't really come back to this. [First added to this chart: 10/31/2022]
Year of Release:
2022
Appears in:
Rank Score:
1
Rank in 2022:
Rank in 2020s:
Average Rating:
Comments:
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60/100
Pessimistic power pop with plastic riffs that doesn't pucking poppy care? Yeah this has solid things in it! [First added to this chart: 11/26/2022]
Pessimistic power pop with plastic riffs that doesn't pucking poppy care? Yeah this has solid things in it! [First added to this chart: 11/26/2022]
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60/100
I love how the guitar is engineered on Little Green House, very heavy and reminds of some Burzum. Sad to say, the meagre song topics, the complete anonymous songwriting, the repetition (other than the acoustic interlude Wayne) along with the unconvincing singing gets the best of it too soon. [First added to this chart: 10/05/2022]
I love how the guitar is engineered on Little Green House, very heavy and reminds of some Burzum. Sad to say, the meagre song topics, the complete anonymous songwriting, the repetition (other than the acoustic interlude Wayne) along with the unconvincing singing gets the best of it too soon. [First added to this chart: 10/05/2022]
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60/100
It's easy to get swallowed in the attention to detail in the production and most of musicianship during the baroque moments mixed with classical on Centrifics. But some mediocre and even disastrous moments keeps it on the "pretty good" scale overall. I will point out that New Song Rising is a standout song of the year; metaphysical baroque dream pop glory. [First added to this chart: 10/13/2022]
It's easy to get swallowed in the attention to detail in the production and most of musicianship during the baroque moments mixed with classical on Centrifics. But some mediocre and even disastrous moments keeps it on the "pretty good" scale overall. I will point out that New Song Rising is a standout song of the year; metaphysical baroque dream pop glory. [First added to this chart: 10/13/2022]
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60/100
Melodies are important. If you put a gun up to my head, I’d probably say Titanic Rising is the best acclaimed baroque pop record of its respective decade. It’s not punk, but it is flawless. Weyes Blood nailed the fundamentals of writing a good album: unforgettable melodies which dance seamlessly over highly emotive chord progressions, delivered by a beautiful vocalist with charming lyrics. With a highly cohesive album structure and a magical atmosphere that delivers non-stop excitement, she put together a modern classic that even punk fans and metalheads can’t help but love. So, with the release of her sophomore album, I’m all ears.
And in the Darkness, Hearts Aglow does not hide the fact that it is a sequel to Titanic Rising. With an album cover drenched in blue, a similar psychedelic ensemble of strings and synths, and a healthy dose of reverb, Weyes Blood works through a collection of melancholic chamber pop tracks glued together with lush ambience right out of the Titanic Rising extended universe. It is a sequel which stays loyal to the original, which is fine with me given how great the previous material was.
So with all the same ingredients of Titanic Rising incorporated into And in the Darkness, why then do I find this record so outwardly lackluster? It’s a question that has bothered me since my first listen, but at this point I'm certain it comes down to the fundamentals. For all the pretty ambience and lovely vocal crooning, this is ultimately pop music, and pop music without remarkable chord progressions and melodies is bound to be unremarkable overall. In Titanic Rising, every melody was precious. And every chord was precious. And the way each chord progression complimented each melody was astounding. But the same cannot be said about anything in And in the Darkness.
Contrary to Titanic Rising, the lack of melodic distinction between the verses and choruses creates such an aimless listening experience it is nearly frustrating. Weyes Blood will incorporate Beach Boys choral arrangements and fancy disintegrations into earthy ambience to help the listener know what part of the song is supposed to be important, but it doesn’t come intuitively. Many of these songs feel linear when they actually aren’t, and when they are in fact linear they lack the appropriate crescendos or progressions to make it all worth it. I really don’t want anything too flashy like Movies; I’d just like a melody with at least half as much charisma as Andromeda. For all the clever studio tricks going on in these 46 minutes, this album just doesn’t have that.
I think the contrast between this album and Titanic Rising makes for a great case study of the critical importance of melodies in pop music. It sounds extremely banal and obvious, but it is seriously important. Every song on Titanic Rising would be enthralling even if played as a minimal arrangement on piano and vocals. The same cannot be said of And in the Darkness. Pumping up an album with the same atmospheric beauty of Titanic Rising is nice, but it is not nearly enough to compensate for skimping over the basics. This is a fine album, but it will be aggressively overshadowed by its predecessor.
That being said, the musicianship is far superior and extremely competent as opposed to Titanic Rising's pretty humble shortcomings. The last leg of Hearts Aglow, Natalie takes elements of big music (see ya at RYM) and classical orchestra and makes it flow very baroque-y. It fits, but still melodies are absent here, yet quintessential for making pop music period, which is why it's landing at a very solid huge 60 for me. [First added to this chart: 11/26/2022]
Melodies are important. If you put a gun up to my head, I’d probably say Titanic Rising is the best acclaimed baroque pop record of its respective decade. It’s not punk, but it is flawless. Weyes Blood nailed the fundamentals of writing a good album: unforgettable melodies which dance seamlessly over highly emotive chord progressions, delivered by a beautiful vocalist with charming lyrics. With a highly cohesive album structure and a magical atmosphere that delivers non-stop excitement, she put together a modern classic that even punk fans and metalheads can’t help but love. So, with the release of her sophomore album, I’m all ears.
And in the Darkness, Hearts Aglow does not hide the fact that it is a sequel to Titanic Rising. With an album cover drenched in blue, a similar psychedelic ensemble of strings and synths, and a healthy dose of reverb, Weyes Blood works through a collection of melancholic chamber pop tracks glued together with lush ambience right out of the Titanic Rising extended universe. It is a sequel which stays loyal to the original, which is fine with me given how great the previous material was.
So with all the same ingredients of Titanic Rising incorporated into And in the Darkness, why then do I find this record so outwardly lackluster? It’s a question that has bothered me since my first listen, but at this point I'm certain it comes down to the fundamentals. For all the pretty ambience and lovely vocal crooning, this is ultimately pop music, and pop music without remarkable chord progressions and melodies is bound to be unremarkable overall. In Titanic Rising, every melody was precious. And every chord was precious. And the way each chord progression complimented each melody was astounding. But the same cannot be said about anything in And in the Darkness.
Contrary to Titanic Rising, the lack of melodic distinction between the verses and choruses creates such an aimless listening experience it is nearly frustrating. Weyes Blood will incorporate Beach Boys choral arrangements and fancy disintegrations into earthy ambience to help the listener know what part of the song is supposed to be important, but it doesn’t come intuitively. Many of these songs feel linear when they actually aren’t, and when they are in fact linear they lack the appropriate crescendos or progressions to make it all worth it. I really don’t want anything too flashy like Movies; I’d just like a melody with at least half as much charisma as Andromeda. For all the clever studio tricks going on in these 46 minutes, this album just doesn’t have that.
I think the contrast between this album and Titanic Rising makes for a great case study of the critical importance of melodies in pop music. It sounds extremely banal and obvious, but it is seriously important. Every song on Titanic Rising would be enthralling even if played as a minimal arrangement on piano and vocals. The same cannot be said of And in the Darkness. Pumping up an album with the same atmospheric beauty of Titanic Rising is nice, but it is not nearly enough to compensate for skimping over the basics. This is a fine album, but it will be aggressively overshadowed by its predecessor.
That being said, the musicianship is far superior and extremely competent as opposed to Titanic Rising's pretty humble shortcomings. The last leg of Hearts Aglow, Natalie takes elements of big music (see ya at RYM) and classical orchestra and makes it flow very baroque-y. It fits, but still melodies are absent here, yet quintessential for making pop music period, which is why it's landing at a very solid huge 60 for me. [First added to this chart: 11/26/2022]
Year of Release:
2022
Appears in:
Rank Score:
1,121
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
Total albums: 88. Page 1 of 9
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2022 outliers (60/100) composition
| Artist | Albums | % | |
|---|---|---|---|
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| Röyksopp | 1 | 1% | |
| JDM Global | 1 | 1% | |
| Worm | 1 | 1% | |
| Band Of Horses | 1 | 1% | |
| Ari Lennox | 1 | 1% | |
| L.S. Dunes | 1 | 1% | |
| Mary Halvorson | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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| |
47 | 53% | |
 |
9 | 10% | |
 |
5 | 6% | |
 |
4 | 5% | |
 |
4 | 5% | |
 |
3 | 3% | |
 |
2 | 2% | |
| Show all | |||
2022 outliers (60/100) chart changes
| New entries |
|---|
 Owl & The Moonby Alan Gogoll |
| Leavers |
|---|
 The Ailing Facadeby Aeviterne |
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| Mojo Albums of the Year 2022 | Mojo | 2022 year chart | 2022 | |
| The 50 Best Albums of 2022 | Treble | 2022 year chart | 2022 | |
2022 outliers (60/100) similarity to your chart(s)
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