2022 outliers (65/100) by 
DommeDamian 
- Chart updated: 07/13/2025 16:15
- (Created: 11/11/2022 12:23).
- Chart size: 52 albums.
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65/100
With an artist like FKA, I respect her more than I actually like her. Some of her music, particularly magdalene, grew off me quick but I still the value that she puts into the craft... even though a lot of it is relying on studio tricks created by her cast of co-workers. Also I have nothing but empathy for what she emotionally has gone through. Her new album well, it's definitely better. Musically and atmospherically speaking, Tahlilah moves like a half-stepping loner, in a world that is both adventurous and (kind of) boring lo-fi study. The idea behind the way these songs are pressed together is at little more interesting than the predecessor. When we are talking about content and long-lasting impression and emotion, it's a mixed bag, and compared again with magdalene, it's more inconsistent.
Though, they are many many more great moments which makes it far superior and actually my favorite project the fellow alien has created so far. Highlights including a soothing joint in Minds of Men. The dreamcore esque Ride The Dragon is the tone-setter and I love its pacing. The ethereal slow jam Careless (where she unintentionally shows how great she is at melodic balance) is probably my favorite FKA tune, it's so cozy and alien and feel like being comforted by a lost mother. The floaty instrumentation is enough to drown out a nervous breakdown. Papi Bones has a poppy yet semi-experimental groove: reminds me of Timbaland if he went more electronic). Also, the damn moody Meta Angel beats Charli XCX's hyperpop at her own game, and Thank You Song is Tahlilah doing what she does best. Oh My Love used to be one of the worst on the tape, but I've warmed up it and now realize it's kind of like a Chris Brown tune (a la Heartbreak On A Full Moon) but more artsy which is cool.
Lowlights are the boneless Jealousy (with a horrendously awkward feature), Tears In The Club which was a single I believe (understandable considering how sell-out it sounds), the much lesser attempt at hyperpop on Pamplemousse (which isn't my genre to begin with - but it's still clearly better than atrocities like 100gecs), and these interludes that mostly are more confusing than amusing - they are average though. The autotune can be too misplaced, but at least it's not overworked so much to where it's overshadowing the fact that she actually sing so well, how little of a compliment that must be.
That being said, those I mentioned as highlights, are some of the biggest masterpieces of the entire, they contain finesse that are worth coming back to gnomesayin'. In a way, this reminds me a bit of Democrazy although miles away from being as childlike, but it's FKA's cutest and most down-to-earth set of vibe. [First added to this chart: 11/14/2022]
With an artist like FKA, I respect her more than I actually like her. Some of her music, particularly magdalene, grew off me quick but I still the value that she puts into the craft... even though a lot of it is relying on studio tricks created by her cast of co-workers. Also I have nothing but empathy for what she emotionally has gone through. Her new album well, it's definitely better. Musically and atmospherically speaking, Tahlilah moves like a half-stepping loner, in a world that is both adventurous and (kind of) boring lo-fi study. The idea behind the way these songs are pressed together is at little more interesting than the predecessor. When we are talking about content and long-lasting impression and emotion, it's a mixed bag, and compared again with magdalene, it's more inconsistent.
Though, they are many many more great moments which makes it far superior and actually my favorite project the fellow alien has created so far. Highlights including a soothing joint in Minds of Men. The dreamcore esque Ride The Dragon is the tone-setter and I love its pacing. The ethereal slow jam Careless (where she unintentionally shows how great she is at melodic balance) is probably my favorite FKA tune, it's so cozy and alien and feel like being comforted by a lost mother. The floaty instrumentation is enough to drown out a nervous breakdown. Papi Bones has a poppy yet semi-experimental groove: reminds me of Timbaland if he went more electronic). Also, the damn moody Meta Angel beats Charli XCX's hyperpop at her own game, and Thank You Song is Tahlilah doing what she does best. Oh My Love used to be one of the worst on the tape, but I've warmed up it and now realize it's kind of like a Chris Brown tune (a la Heartbreak On A Full Moon) but more artsy which is cool.
Lowlights are the boneless Jealousy (with a horrendously awkward feature), Tears In The Club which was a single I believe (understandable considering how sell-out it sounds), the much lesser attempt at hyperpop on Pamplemousse (which isn't my genre to begin with - but it's still clearly better than atrocities like 100gecs), and these interludes that mostly are more confusing than amusing - they are average though. The autotune can be too misplaced, but at least it's not overworked so much to where it's overshadowing the fact that she actually sing so well, how little of a compliment that must be.
That being said, those I mentioned as highlights, are some of the biggest masterpieces of the entire, they contain finesse that are worth coming back to gnomesayin'. In a way, this reminds me a bit of Democrazy although miles away from being as childlike, but it's FKA's cutest and most down-to-earth set of vibe. [First added to this chart: 11/14/2022]
Year of Release:
2022
Appears in:
Rank Score:
307
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
7
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65/100
I don't even like reggae and this got game. Varied as well. Uplifting and gets the job done. Especially Mr Bassie and Easy Money are quite excellent.
I don't even like reggae and this got game. Varied as well. Uplifting and gets the job done. Especially Mr Bassie and Easy Money are quite excellent.
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65/100
Man, 2022 just takes a big dump on 2021 with more quality. Girl-groups also is more shining in 2022, just look at Camp Cope on this album. This is atmospheric indie rock with a subtle twist of poppy singer-songwriter. If this is Jangle Pop, then I wish more Jangle Pop had the same unique effect this record has. Though the quality ideas quickly run out in the second half, in comparison to how impressive the album begins - there is only 2 relatively weak songs on here but besides the wonderful ballad Sing Your Heart Out, it isn't classy either. Especially compared to the tracks Caroline (production almost indescribable), Blue (airy pop with carefully written words) and The Screaming Planet (likable country music in indie rock form). The record's masterpiece being the Evanescence-ish One Wick At A Time with its classy agility and utterly unique chord progression-family (if you can call it that) set to nostalgic Alt-Country. [First added to this chart: 11/14/2022]
Man, 2022 just takes a big dump on 2021 with more quality. Girl-groups also is more shining in 2022, just look at Camp Cope on this album. This is atmospheric indie rock with a subtle twist of poppy singer-songwriter. If this is Jangle Pop, then I wish more Jangle Pop had the same unique effect this record has. Though the quality ideas quickly run out in the second half, in comparison to how impressive the album begins - there is only 2 relatively weak songs on here but besides the wonderful ballad Sing Your Heart Out, it isn't classy either. Especially compared to the tracks Caroline (production almost indescribable), Blue (airy pop with carefully written words) and The Screaming Planet (likable country music in indie rock form). The record's masterpiece being the Evanescence-ish One Wick At A Time with its classy agility and utterly unique chord progression-family (if you can call it that) set to nostalgic Alt-Country. [First added to this chart: 11/14/2022]
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65/100
Maan I used to really dislike this album mainly since the story couldn't get through to me because the walls of purposeless reverb and overly long slowcore pop tunes, without good melody, carried it. But in 2023, I kept reading about the record; both Spectrum Pulse gave it a spunky 9/10 and a supreme review and Scaruffi gave it a 7 and claimed she has pioneered "a new kind of rock opera, of fictional storytelling with the limited instruments of popular music, and at the same time revived the character of the erudite singer-songwriter". Oh, and she is a fellow autistic so another spin at Preacher's Daughter is only fair on my end.
When I dug into the actual story told in this record, my curiosity rose and I thought I hadn't given it a proper chance. So I did, deciding to read the lyrics on Genius whilst listening. And it has really gone from bad to really good lemme tell ya. I still don't believe she is that good of a melody-writer, but she certainly is an outstanding story-teller. Her singing for the most part is clean, very poppy but also mostly knows the amount of emotion that should be displayed in what parts of the story. There was one part where she does an agility, and I thought it was the most out of place line to do it in the entire song. Generally, there are a lot of empty spaces on the album that doesn't fully work to its advantage the same way that, say, a Glow Pt.2 does, but I understand why it's done. Lowlight by far is American Teenager, a song I dislike now as much as when I heard it June 22. It just sound like a Taylor Swift song, but with a bit reverb and a more competent singer. I didn't like Gibson Girl either because of its reminiscent of soulless club music, but I do enjoy it more than that kind as its sound aesthetic illustrates that part of the story very very well (still as a song, don't like it). The album peaks both with Hard Times, an incredibly pristine written song that I can relate to, Ptolemaea which is one of the greatest most terrifying songs of the decade, alongside the two instrumentals not only because it's where Cain's atmospheric blossoms is fulfilled the most, but also cause the listener gets to dwell on the hellish thing they've just encountered (in a good way since it's a good record).
When you realize that an escape that you thought was safe, actually turns out just as horrible as your past, whilst simultaneously becoming your fate, and there is nothing you can do because you are already nothing, that's when the album hits close to home. [First added to this chart: 01/18/2025]
Maan I used to really dislike this album mainly since the story couldn't get through to me because the walls of purposeless reverb and overly long slowcore pop tunes, without good melody, carried it. But in 2023, I kept reading about the record; both Spectrum Pulse gave it a spunky 9/10 and a supreme review and Scaruffi gave it a 7 and claimed she has pioneered "a new kind of rock opera, of fictional storytelling with the limited instruments of popular music, and at the same time revived the character of the erudite singer-songwriter". Oh, and she is a fellow autistic so another spin at Preacher's Daughter is only fair on my end.
When I dug into the actual story told in this record, my curiosity rose and I thought I hadn't given it a proper chance. So I did, deciding to read the lyrics on Genius whilst listening. And it has really gone from bad to really good lemme tell ya. I still don't believe she is that good of a melody-writer, but she certainly is an outstanding story-teller. Her singing for the most part is clean, very poppy but also mostly knows the amount of emotion that should be displayed in what parts of the story. There was one part where she does an agility, and I thought it was the most out of place line to do it in the entire song. Generally, there are a lot of empty spaces on the album that doesn't fully work to its advantage the same way that, say, a Glow Pt.2 does, but I understand why it's done. Lowlight by far is American Teenager, a song I dislike now as much as when I heard it June 22. It just sound like a Taylor Swift song, but with a bit reverb and a more competent singer. I didn't like Gibson Girl either because of its reminiscent of soulless club music, but I do enjoy it more than that kind as its sound aesthetic illustrates that part of the story very very well (still as a song, don't like it). The album peaks both with Hard Times, an incredibly pristine written song that I can relate to, Ptolemaea which is one of the greatest most terrifying songs of the decade, alongside the two instrumentals not only because it's where Cain's atmospheric blossoms is fulfilled the most, but also cause the listener gets to dwell on the hellish thing they've just encountered (in a good way since it's a good record).
When you realize that an escape that you thought was safe, actually turns out just as horrible as your past, whilst simultaneously becoming your fate, and there is nothing you can do because you are already nothing, that's when the album hits close to home. [First added to this chart: 01/18/2025]
Year of Release:
2022
Appears in:
Rank Score:
487
Rank in 2022:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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65/100
And more folk (especially some floaty indie singer-songwriter) stuff that takes less effort than most genres out there for me to like. Sometimes with the singer, she doesn't sound too original nor to revealing to notch my emotions (really other than the glorious wonderful title track) yet she knows what great atmosphere is, and surely handles the sequencing very very well. [First added to this chart: 11/14/2022]
And more folk (especially some floaty indie singer-songwriter) stuff that takes less effort than most genres out there for me to like. Sometimes with the singer, she doesn't sound too original nor to revealing to notch my emotions (really other than the glorious wonderful title track) yet she knows what great atmosphere is, and surely handles the sequencing very very well. [First added to this chart: 11/14/2022]
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65/100
I dig the vibe and effect the guitar has (a mixture of 90s Dream Pop and 80s Indie Pop). Not everything strikes as frankly emotional, but the brief track lengths does not stop it from being forgivable in some cases. It also helps that there is 18 cuts, giving you better opportunities to choose which melodically and thematically hits the most. I would lie if I said I don't enjoy this more than a lot of 2022 albums that has had more effort in em. [First added to this chart: 11/14/2022]
I dig the vibe and effect the guitar has (a mixture of 90s Dream Pop and 80s Indie Pop). Not everything strikes as frankly emotional, but the brief track lengths does not stop it from being forgivable in some cases. It also helps that there is 18 cuts, giving you better opportunities to choose which melodically and thematically hits the most. I would lie if I said I don't enjoy this more than a lot of 2022 albums that has had more effort in em. [First added to this chart: 11/14/2022]
Year of Release:
2022
Appears in:
Rank Score:
1
Rank in 2022:
Rank in 2020s:
Average Rating:
Comments:
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65/100
On Fever Dream's best cuts, Cannons pretty much hits bulleye in the 80s revival synth pop that sooo many pop stars have failed. Maybe it's because they have some dope ingredients of dream pop in it too. [First added to this chart: 11/14/2022]
On Fever Dream's best cuts, Cannons pretty much hits bulleye in the 80s revival synth pop that sooo many pop stars have failed. Maybe it's because they have some dope ingredients of dream pop in it too. [First added to this chart: 11/14/2022]
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65/100
Tender music that sounds both DIY-esque and then sometimes gets overpowered by worthless guitar power pop that just doesn't fit and especially is unlikable if you're me. It's kind of like the Brimheim record, though with more highlights and a clearer artistic vision. And still, I accept and respect the effort cause it's not a bad album of course. [First added to this chart: 11/14/2022]
Tender music that sounds both DIY-esque and then sometimes gets overpowered by worthless guitar power pop that just doesn't fit and especially is unlikable if you're me. It's kind of like the Brimheim record, though with more highlights and a clearer artistic vision. And still, I accept and respect the effort cause it's not a bad album of course. [First added to this chart: 11/14/2022]
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65/100
This is like a crystal ball showing the future of you if you choose to follow Christ through a thick misty semi-psychedelic decade of blissfulness. [First added to this chart: 11/14/2022]
This is like a crystal ball showing the future of you if you choose to follow Christ through a thick misty semi-psychedelic decade of blissfulness. [First added to this chart: 11/14/2022]
Year of Release:
2022
Appears in:
Rank Score:
2
Rank in 2022:
Rank in 2020s:
Average Rating:
Comments:
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65/100
I just realized that when the album was halfway, every song has been listenable and it might be some of the most accessibly likable country music I have heard inna while.
Right before pressing play, I thought he looked familiar. Then I went to see his full face on the bio at the bottom of Spotify and I instantly recognized him from the YouTube channel Good Mythical Morning. One quick google-search confirmed my thoughts. Even though I haven't seen more than like 5-10 videos of them, every video I have loved (it's mostly been the "We tried every ___ in the world" ones, starting with Ben & Jerry's). Then when I listened I was 'okay James, you are both charismatic in front of the camera and charismatic as a songwriter'. With the exception of the directionless Kill A Man that never breaks free from its starting point, Human Overboard kept being that way. One song that lyrically stood out to me was In Vain, a song about Christians criticizing atheists for taking the Lord Jesus Christ's name in vain, when they do themselves alot. Musically speaking, the record has a pretty floaty (get it, from the cover) instrumentation though more smooth sentimental country floaty rather than dream pop floaty. James is not a great singer but like most singers on my list, he is not trying to be so as he has other ambitions that fits his musicality better. For example, setting a vibe which was a success.
The inward Where We're Going with female vocals came very close to being a masterclass in composing a modernized country ballad. Nonetheless, no song here is a "masterpiece" or blew me away, and it stayed in that good-great lane. [First added to this chart: 11/14/2022]
I just realized that when the album was halfway, every song has been listenable and it might be some of the most accessibly likable country music I have heard inna while.
Right before pressing play, I thought he looked familiar. Then I went to see his full face on the bio at the bottom of Spotify and I instantly recognized him from the YouTube channel Good Mythical Morning. One quick google-search confirmed my thoughts. Even though I haven't seen more than like 5-10 videos of them, every video I have loved (it's mostly been the "We tried every ___ in the world" ones, starting with Ben & Jerry's). Then when I listened I was 'okay James, you are both charismatic in front of the camera and charismatic as a songwriter'. With the exception of the directionless Kill A Man that never breaks free from its starting point, Human Overboard kept being that way. One song that lyrically stood out to me was In Vain, a song about Christians criticizing atheists for taking the Lord Jesus Christ's name in vain, when they do themselves alot. Musically speaking, the record has a pretty floaty (get it, from the cover) instrumentation though more smooth sentimental country floaty rather than dream pop floaty. James is not a great singer but like most singers on my list, he is not trying to be so as he has other ambitions that fits his musicality better. For example, setting a vibe which was a success.
The inward Where We're Going with female vocals came very close to being a masterclass in composing a modernized country ballad. Nonetheless, no song here is a "masterpiece" or blew me away, and it stayed in that good-great lane. [First added to this chart: 11/14/2022]
Total albums: 52. Page 1 of 6
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2022 outliers (65/100) composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Jack White | 2 | 4% | |
| Jairus Sharif | 1 | 2% | |
| Ethel Cain | 1 | 2% | |
| Marlowe | 1 | 2% | |
| Lupe Fiasco | 1 | 2% | |
| Autonoesis | 1 | 2% | |
| Skullcrusher | 1 | 2% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
27 | 52% | |
 |
8 | 15% | |
 |
7 | 13% | |
 |
1 | 2% | |
 |
1 | 2% | |
 |
1 | 2% | |
 |
1 | 2% | |
| Show all | |||
2022 outliers (65/100) chart changes
| Biggest fallers |
|---|
| Down 2 from 2nd to 4th Preacher's Daughter by Ethel Cain |
| Down 1 from 4th to 5th Quiet The Room by Skullcrusher |
| Down 1 from 5th to 6th Gateway by Adam Miller |
| New entries |
|---|
 Midnight Rockerby Horace Andy |
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| Top 32 Music Albums of 2022 | daCritic | 2022 year chart | 2025 | |
| Top 24 Music Albums of 2022 | Untitled | 2022 year chart | 2025 | |
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| Top 22 Music Albums of 2022 | Foxforce5 | 2022 year chart | 2025 | |
2022 outliers (65/100) similarity to your chart(s)
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