Year in Rock 2022

 

Well, that was quite the year, huh?

While the impact of Covid is still being felt, the gradual relaxation of lockdowns and mandates allowed for 2022 to feel like a proper "back to business" year in the world of music; whereas a great number of albums saw delays in the immediate wake of the pandemic, by the beginning of 2022 the floodgates were beginning to open. Several in-the-works releases that otherwise could have seen releases in 2020 or 2021 ended up coming down the hopper this year, as evidenced by the record-setting amount of reviews I posted (nearly a hundred, up from a previous record of 70). Not only that, there were also plenty of artists with pent up creative energy going super-sized with their output in 2022, whether deciding to split their projects up into portions, going for double albums or, in one notable case, repeating an outlandish stunt of releasing five albums in the same year.

Of course, the outside world played a huge part in the records that came out in 2022, with many more of the "pandemic records" that started trickling out in late 2020 and steadily picked up steam in 2021. It should be obvious, then, that the choices I was faced with in terms of my top 20 albums, Song of the Year, etc. would be much more difficult, given the sheer number of artists, songs and albums to choose from. However, it didn't really happen that way, as what I found 2022's most prevalent theme to be was disappointment.

Whether it was burnout and exhaust from all the pandemic talk that stubbornly continued to manifest on sleepy records, bands hobbled by the adjustment in collaboration and failing to maintain their urgency and/or simple cases of not putting forth their best effort, the sharp uptick in releases brought with it an even sharper uptick in letdowns. With that said, the first section of my year in review has to address some of these in a controversial exercise in snark that I haven't partaken in for about a decade. Oh well, might as well.

The 5 Biggest Disappointments of 2022

5

THE MARS VOLTA

S/T

Released September 16

Returning from a decade-long absence, one of rock's all-time greatest prog/jazz/fusion/hardcore/potpourri bands came back with a more stripped down, mature take on their sound, which they're well within their rights to do; that said, with an end result that's about as far removed from what Omar Rodriuguez-Lopez and Cedric Bixler-Zavala had done before, this sounds much less like a "bold new beginning" for The Mars Volta, and more like a "tasteful auditory sleep aid".

4

WEEZER

SZNZ

Released in four parts (on the first day of each respective season)

I know, I know, "but the Winter EP hasn't even come out yet, how can you call it a disappointment?" Easy; if anything, Weezer's low hanging fruit that, by rights, I shouldn't be classifying as a disappointment because that implies I had expectations to begin with. Nonetheless, with the right handling and some good old fashioned focus this project could have been more of a fun experiment in style and tone and less of the half-baked, scattershot, "throw everything in with the Chia Pets and cancelled Broadway residency and hope this keeps our heads above water" publicity stunt it is.

3

MUSE
Will of the People

Released August 26

While I long considered myself somewhat of a Muse apologist (I even defended Simulation Theory, a decision that was perhaps a little too forgiving in hindsight), but Will of the People finally made an unbeliever of me; with its inability to pick a lane, overwhelming dependency on clichés and liberal use of the entire aesthetic of other people's songs, not to mention the typically overblown production and palpable air of pretension, Will of the People is the sound of Muse becoming a parody of themselves, then parodying the parody, then completely giving up on the idea that what they're creating could be actually meaningful in any way and ripping off Somebody's Watching Me for the memes.

2

ARCTIC MONKEYS

The Car

Released October 21

There seems to be a trend in critical/social circles in recent years that rewards artists for taking chances and minimizes our criticism of said chances, even when the end result isn't all that good; the consensus, seemingly, is that as listeners we should forego judgment when a band we love tries something totally different, embracing change and rejecting the urge to call it out when it's not up to snuff. Indeed, that's the crux of my disappointment with The Car; the easy response that gets the most pushback is "their older stuff was so much better", but the truth is much stickier because I generally do want my favourite bands to chase their inspiration wherever it leads. At the end of the day, though, it shouldn't be a sin as a consumer to commend the ambition while not enjoying the end product; their older stuff really was so much better, not because they sounded like this band or that but because there was a genuine energy and interplay at the heart of those earlier records. Now, with their second record in a row occupying this dull space, it seems as though that heart has definitively stopped beating.

1

RED HOT CHILI PEPPERS

Return of the Dream Canteen

Released October 14

This isn't the story of a bad band or a bad album; unlike a growing number of listeners, I still like this band, and I think moments on this record are perfectly fine. No, this is the story of gluttony and greed, of a band that built up some goodwill with returning hero guitarist John Frusciante and a surprisingly satisfying album (Unlimited Love) in April, before shoving out a haphazard, inconsistent compilation of cutting room floor cuts as a completely separate and just as important album six months later, all while swearing that these were no mere leftovers because they purposefully held back some songs originally intended for the first album for inclusion on the second; not to mention that both of these albums were released as super-sized 17 track albums (I do understand that this band has never met an editor, just making my point). So, essentially, rather than release what could have been one shockingly good comeback album, they intentionally released a version of that album that wasn't as good so they had an excuse to release a mediocre companion album under questionable circumstances and charge all of their adoring fans double. The rich really do get richer.

Year in Rock 2022: Song of the Year

I don't really go all that deep into thought when handing out my Song of the Year honours, and I know that the few of you who have read this far are just here to find out what my Album of the Year is, but I feel as though I should probably acknowledge that individual songs can impact listeners in a major way; just as a great album can turn you into a lifelong fan of an artist, a great song is usually required in order for you to check that album out in the first place. Combine this with the increasing frequency of standalone singles, and it becomes more and more clear that this is a category I should probably keep around in some capacity.

So, without further ado, my 2022 Song of the Year is...

...from an album. Anticlimactic, I know, but the lead single from black midi's insane third album Hellfire (which we'll talk about more down below) feels like not just the dizzying, confusing, perfectly unpredictable harbinger to what they would attempt on said album, but is in many ways the auditory equivalent of the chaotic, unsettling mess that was the year 2022.

Year in Rock 2022: Album of the Year

Here we go, everyone: yet another Top 20 Albums of the Year list by an aging, increasingly scatterbrained and irrelevant white guy who vainly considers himself an authority on music and is seen as such by five or six people in the world. Seriously though, I have a lot of fun making these lists around this time each year, even if I freely admit that my mental capacity for it has a disturbing tendency to shrink with each year that passes. 2023 could be the year I start ranking these things based on how many colours are on the cover or how many Tik Toks they inspire, so let's enjoy this moment, shall we?

Time to count 'em down.

HONOURABLE MENTIONS (In chronological order by release date):

COMEBACK KID Heavy Steps (January 21)

ZEAL & ARDOR S/T (February 11)

FRANK TURNER FTHC (February 11)

THE DIP Sticking With It (March 4)

PUP The Unraveling of PUPTHEBAND (April 1)

PUPPY Pure Evil (May 6)

JOYCE MANOR 40 oz. to Fresno (June 10)

THE BLACK ANGELS Wilderness of Mirrors (September 16)

DEATH CAB FOR CUTIE Asphalt Meadows (September 16)

SPORTS TEAM Gulp! (September 23)

20

THE WONDER YEARS

The Hum Goes On Forever

Released September 30

Hailed as one of emo/punk's most influential bands (based in no small part on their monumentally revered 2013 album The Greatest Generation), The Wonder Years' seventh album injects a healthy dose of maturity and adult insight into their nervously energetic sound; the result is a thoughtful, open-hearted batch of songs that provide invaluable lessons and rewards for fans who chose to grow up with them.

19

SUPERCHUNK
Wild Loneliness

Released February 25

After unleashing the vibrant, angry What a Time to be Alive in 2018, it makes sense that Superchunk's follow-up would dial things back a bit. There's no less concern for the world on Wild Loneliness, but the frustrations are filtered through lenses of hope, reflection and collaboration. Indeed, this is a much more open and inviting record, one that's more in line with what listeners would expect as the twelfth studio album by a band well into their fourth decade of making music.

18

GREG PUCIATO
Mirrorcell

Released July 1

When you're known for your unhinged performances as the frontperson for one of rock history's most volatile and shapeshifting acts, the thought of a consistent album could be perceived as a massive disappointment waiting to happen. In Greg Puciato's case, the opposite is true; by refining his wild impulses and allowing his songwriting to stay in one general area for a while, Puciato's second solo record serves as a remarkably digestible version of his blinding talent.

17

VIAGRA BOYS
Cave World

Released July 8

Having already carved themselves a unique niche with their loose, mischievous brand of indie rock, Viagra Boys' third record finds them free of any inhibitions that may have remained, resulting in a fierce, darkly funny examination of modern society that manages to relentlessly criticize the many shortcomings of humanity while winking, grinning, and making it all seem like one massive, fuck-it-let's party manifesto.

16

SLOAN
Steady

Released October 21

On lucky album thirteen, legendary Canadian power poppers Sloan forego the lazy nostalgia and diminishing returns that, after thirty plus years, they've honestly earned; instead, an increased focus on collaboration and a batch of predictably sharp hooks marks Steady as not just a pleasant surprise but indeed one of the best albums of their long and storied career. 

15

CLUTCH
Sunrise On Slaughter Beach

Released September 16

Speaking of a revered group still releasing bangers on their thirteenth album more than thirty years into a career during which they haven't lost an original member, Sunrise On Slaughter Beach does admittedly lag just a little behind their previous handful of records; still, when your album's biggest crime is that I wish there was a little more to it (nine tracks and 33 minutes is pretty slight in my opinion), suffice to say Clutch is still out here doing the lord's work.

14

TITUS ANDRONICUS

The Will to Live

Released September 30

Known for sprawling epics and lean, anxious ditties in equal measure, Titus Andronicus go with more of what brought them to the dance on their seventh album; more specifically, they pay respects to their influences in a way they haven't quite so explicitly done before. The results speak for themselves over the course of a wildly entertaining batch of killer tunes that employ the group's often celebratory tone as a vehicle for pure rock n' roll catharsis.

13

THE MOUNTAIN GOATS
Bleed Out

Released August 19

The pandemic didn't really slow John Darnielle down; if anything, it allowed for his unbridled creativity to blossom further. Case in point: Bleed Out, a loose concept album based around the classic action flicks Darnielle binged during lockdown. The album these creative urges spawned is one of The Mountain Goats' most thrilling, energetic and overall engaging record in years.

12

BIG THIEF
Dragon New Warm Mountain I Believe in You

Released February 11

Finally allowing their prolific creativity to result in a double album fifth time out, Dragon New Warm Mountain carries the same burdens that most doubles do; there are a few too many ideas, and the multiple recording sessions yielded some fairly disparate styles, resulting in an uneven and somewhat overlong listen. If all of this sounds bad, why is it here then? Well, when they hit their stride and open up their sound, it's well worth sifting through a little bit of chaff.

11

THE SMILE
A Light for Attracting Attention

Released May 13

Given the personnel, it's nigh impossible not to listen to The Smile's debut album through Radiohead-sized expectations. To be clear, this is not a Radiohead album in any way, shape of form. What it is, however, is the most rock-centric release to bear Radiohead members' names in quite some time, the closest thing we're likely to get to a new Radiohead album any time soon, and most importantly a very strong set of songs that prove just how potent Thom Yorke can be, even at this advanced stage in his career.

10

THE BETHS
Expert in a Dying Field

Released September 16

Sometimes a snappy beat and a pleasant hook is all you need to impress, and The Beths have spent the better part of their first five years doing just that. On third album Expert in a Dying Field, however, there are hints of experimentation, tentative steps into a larger sound that hint at a true breakthrough waiting in the wings; considering they've managed to crack my Top 20 with two consecutive albums now, the prospects have my mind racing.

9

THE SADIES

Colder Streams

Released July 22

Though at the time of creation no one knew that it would tragically be the last Sadies album recorded before the untimely passing of Dallas Good, Colder Streams plays out like a definitive culmination of all that they had done leading up to this point. Pieces of all of their past works and inspirations live in the grooves of this record, a staggering achievement in Canadian music regardless of the tragedy that surrounds it.

8

FONTAINES D.C.

Skinty Fia

Released April 22

On their third album, Fontaines D.C. seem to have accepted their anointed role as one of the UK's most important young bands, and Skinty Fia addresses the pressures and anxieties that come with being held to such a lofty standard. With subtle sonic expansions and a greater emphasis on dynamics, this could be the record that fans look back on years from now as the moment when Fontaines D.C. really started to get interesting.

7

SPOON
Lucifer On the Sofa

Released February 11

While there have undoubtedly been some ups and downs along the way, I feel it's worth mentioning the overall consistent quality of Spoon's discography; there are one or two mediocre records mixed in there, but the majority of what this band brings to the table slays. Lucifer On the Sofa isn't their strongest record, but that doesn't mean it's not strong; if anything, it's a testament to just how incredible some of those other Spoon records are that their tenth album ranks somewhere in the middle for me.

6

ARCHERS OF LOAF

Reason in Decline

Released October 21

Coming back from a long absence is always at least a little dangerous; you run the risk of sounding like a shell of your former self and/or damaging the legacy of your original run. What to make of Reason in Decline, then, a record that comes almost a quarter century after its predecessor and finds its creators moving away from their roots and settling into a thought-provoking, well-read interpolation of the troubled times we live in? If you're me, you worry about the legacy of the original run because this makes those records look rather quaint and dated by comparison.

5

KING GIZZARD & THE LIZARD WIZARD

Ice, Death, Planets, Lungs, Mushrooms and Lava

Released October 7

Putting out five albums in one calendar year is a truly attention-grabbing stunt, especially when all five of said albums have merit and aren't just slapped together for the sake of the stunt. When KGLW accomplished that very feat in 2017, everyone assumed they'd go about their regular business of only one or two albums per year going forward; and yet, in 2022 they not only did it again, but did so with an arguably better set of records. At the very least, we got to hear them at their jammiest on this thrilling and groove-filled set of songs that prove that virtually any genre or idea can be bent to the will of these incredible musicians.

4

COHEED AND CAMBRIA

Vaxis II: A Window of the Waking Mind

Released June 24

Don't ask me how it happened because it defies logic in many ways, but Coheed and Cambria have improbably withstood the changing tides of popularity, tweaks to their sound that caused some fans to recoil in terror, taken both a reduction in stature and a change in labels in stride and come out the other side with a new story arc as the best version of themselves that I've ever heard. That was in 2018 with the first installment of Vaxis (which finished just outside my Top 5 that year); on Vaxis II, they keep things markedly leaner while managing to cover even more sonic ground and play to their hook-laden strengths before a closing section that blows the doors off of the hinges and reminds us of just how potent their attack can really be. If you've listened in the past but drifted away from Coheed and Cambria for whatever reason (including but not limited to that admittedly goofy cover), perhaps you owe it to yourself to hear what you've been missing.

3

black midi

Hellfire

Released July 15

Nobody, but nobody, is making a racket quite like black midi these days; from the cacophonous indie squalls of 2019 AOTY winner Schlagenheim to its gloriously unhinged follow-up Cavalcade, Hellfire comes just 14 months later and wildly hacks away at the boundaries yet again. With their unique brand of chaos becoming less and less controlled as we've gone on, it's arguable that things do get a bit sketchy occasionally on Hellfire due to the band trying to fit way too much luggage into the overhead compartment. Still, if this divine noise is the sound of black midi flying too close to the sun, I've got to know whether they burn up or not and, if so, what kind of aural insanity might come of it.

2

ALEXISONFIRE
Otherness

Released June 24

If you'd laid out a list for me on January 1, consisting of the fifty or more albums on the radar for 2022 that I'd personally consider anticipated, chances are Alexisonfire's reunion album would have been near the bottom of the list. Even after pre-release singles came and went, indicating a heavy Dallas Green influence, I would have pegged it as a slightly louder City and Colour record and moved on with my life. A funny thing happened along the way, though; this new, emotionally charged version of AoF, the one that saw the pandemic as a chance to reconnect with each other as friends and create the most honest music they could, was much more than the vision of them I had in my head. Yes, this is a gentler incarnation of the band and yes, you can hear a lot of City and Colour in the slower tunes; but, crucially, these songs don't have to scream at you, travel at breakneck speed or bludgeon you with a tidal wave of riffs to be effective, because these songs don't need to overcompensate for weaker songwriting to grab you and this album doesn't need to retread the past to be their masterpiece.

1

BLACK COUNTRY, NEW ROAD
Ants From Up There

Released February 4

The emotions surrounding this record for me are deeply personal and wholly unique; having well established myself as a person who enjoys the sad, tortured side of the art form, I was already drawn to this record before I learned of Isaac Wood's departure citing struggles with mental health. Couple that with the album releasing just days before what would have been my mother's 80th birthday and I was but a mere vessel ready to receive all of what Ants From Up There would offer. As it turns out, not even these factors prepared me for the gut-wrenching exploration of personal trauma and anxiety that plays out over this record's 58 incredible minutes; alongside a more colourful sonic palette and a lean ever so slightly toward the accessible, Wood's pained lyrics are clearer and more heart-clutchingly effective. The only thing that could have brought this album closer to home was a break-up, which I just so happened to conveniently be involved in just days before posting this article.

I realize that this record won't be to everyone's taste, and I seriously doubt others will have quite the same experience with it that I did; that said, I could tell during my first listen that Ants From Up There was something special, the kind of record I will come back to in times of need for the rest of my life. That alone is reason enough to award it this honour, but a greater honour to me would be if you take my advice just one time and give this album a spin; you may not learn anything new about yourself by doing so, but if I've ever awarded an album that spoke for me at its corresponding moment in my life, it's this one.

As always, thanks for showing an interest in my dark, dorky corner of the internet; keeping up with all of this music can be a little daunting at times, but I'm proud of the way things eventually turned out this year. Here's hoping that 2023 will bring more quality and less quantity. Thank you for reading, listening, and especially for welcoming my words back after a year off. I look forward to getting back at it (perhaps with some new ideas involving presentation) in January. Until then, spin something you love.