Hello from 2023! What better time for a "Best of 2022" list than in the following year when looking back is already completely passé. Timing isn't everything, is it? Oh, it is? It can't be too bad though, I've received no complaints from the internet so far. No compliments either. Everyone is perfectly content out there it seems. These best of lists always come out at the end of the year which seems a bit morbid. By definition, I suppose it's a prerequisite but it always feels like a bit of a eulogy. Maybe that's exactly what it is? There won't be a 2022 again until we invent some new calendar or method of timekeeping. That doesn't even guarantee the use of numbers exactly. This new system could get theoretical and use a system of pictograms instead. In this simulation that we live in though, numbers and math do seem pretty important. And we need numbers for this dumb best of list too. What am I talking about? Right, 2022. What happened this past year? There was an election and a new Avatar movie with Tom Cruise. What else? That might have been it. Personally, for me, 12 months went by and I even remember some of them. There were the times it was hot and then the times it was cold and even some times in between when it wasn't really either. Then there was the time I had Covid too. That was something.
People like to talk about tv shows, I could do that. Being that I was home for a large percentage of 2022 but less than 2021 and even less than 2020, there were some opportunities to check some things out. I'm drawing a blank. Tim Burton just made a show about the daughter in the 60s TV show The Addam's Family or was that a fever dream? It's a little too on the nose for Burton but I think I heard someone mention it when out in the real world. I'm willing to bet that's real. But I know, Rob Zombie directing a new movie about the Munsters was definitely one of those Covid fever dreams. I think, in my dream mind you, it was so bad the distributors just dumped it on Netflix and it didn't even have a theatrical release. Man, imagine if that was real? The funny part was, if the movie wasn't about the celebrated Munsters TV show, it might have just been a kitchy, dumb, light horror hearted trip all experiencing through the patented Rob Zombie lens. The weight of expectation would have been lifted and it would have just been what it was. Whatever that was; a fever dream apparently. There was also some tv show on a streamer about a hole in the ground and Josh Brolin being drawn to it like he's Dalton Wilcox. That was an odd one too. And that's about it. I think that sums up 2022 pretty nicely actually. Now, on to the next one! Wait. Actually, let's take one last look at the year we've already decided to collectively forget now that it's 100% in the rearview. Here it is, the patented Best of the Year for the ears around here. Better just get to it.
21
Russian Circles
Gnosis
Sargent House
The bottom of this top is the eighth full length record by these Chicago AND American instrometal titans, Russian Circles. Regionally fitting, their name comes from some sort of hockey formation that must be common knowledge in all the lands surrounding the Great Lakes. Which means you can stop what you're thinking in 2022. This band has no association with the Motherland currently threatening WWIII (aside from their mutual love of pucks on ice, of course) and doesn't need to have their records treated like Disco Duck at that infamous White Sox game in 1979. Gnosis is the name of the new record consisting of seven compositions that roughly average out to about six minutes a pop. While that seems long compared to pop radio hits, this record flies by so fast it feels like it's spinning at 78rpm. The title has a silent G but the guitars in this band do not. With this type of music, the guitars are instrumental (period and continue) in the songs having massive staying power. The sound going straight up your ear canal to that part of your brain that makes you hum songs when you're doing things like taking a shower or making a sandwich many hours and days later. The drums are pounded and present and the bass is ringing but the guitars are doing all the heavy lifting. Accordingly, these songs are damn heavy so the guitars sound like they've been juicing for a while now. Just barely containing their emotional core before exploding into many fits of pure aggression punctuated by contemplative moments in between. The experience a real modern day roller coaster ride. Not that old wood one in Coney Island that's a hundred years old, more like those superhero themed ones that seem to take out a family every now and then. Gnosis is Russian Circle's first new record in three years and their second record in six so take some time to appreciate that fact and enjoy this 2022 release as it's going to be a few years until the next one.
20
Occam's Laser
Phantasm
TimeSlave Recordings
Let's be real. This is a phantastic (on purpose, editors) name for a band. So much so, I don't even care that it's not even really a band and just one dude- Tom Stuart. This is retro 80's synth compositions mixed with some modern dance elements that produces songs that would move most anyone to the dance floor with or without the proper club drugs. There's an expert balance between the nostalgic AD's sound that makes you yearn for a time machine to relive your Reagan filled childhood (or the childhood your uncle won't shut up about) and the pop elements of this modern world that might even repel in a different context. All mixed together in a professional grade blender that makes you give in and just ride the upbeat wave on these sweet beats to that future shiny city on a hill the mythical St. Reagan promised us all. This sound is just pure release and bliss for anyone who remembers or, really, anyone who wants to forget too. Unbelievably, with all the American Century nostalgia these tracks produce, this Tom Stuart synthwaver is from the UK. Maybe that's what works so well? The dance elements have a more Euro vibe which makes the mix that much more alien (intergalactic & illegal) to my United States based ears. It's been long enough; the album cover should also be mentioned right now. Shamefully, I'll admit it became another non-musical sticking point for me after coming across the artwork. The magnificent red menace Phantasm depicted on the cover puts even most 2022 metal album sleeves to shame. As it wouldn't be hard to describe my tastes as being nowhere remotely in the vicinity of dance music, the fact that this record stuck in my mind's eye since its original June 2022 release as a cassette speaks volumes. Phastasm was released on TimeSlave Recordings which came into focus for me through their presence on Bandcamp. The record label falling into my section of the known internet through a release by Timecop1983, another similarly great one man project in this genre. Based on Occam's Laser and TimeCop1983 having long Discogs entries and then TimeSlave Recordings list of releases being even longer via a stable of tons more like minded artists, this appears to be a growth genre. Even with all that stellar competition, Occam's Laser stood out in 2022 with the complete package. On top of the rising label, the damn name and the stellar artwork all being on point, a defining work was delivered by Tom Stuart. Flawlessly blending together two very different worlds into one shining genre for a new city and unknown future still being sculpted. But definitely not the Metaverse, let's all agree on that. Thank you.
19
Bitchin Bajas
Bajascillators
Drag City
This is a weird one. I don't even like this band. Or at least, that's what I thought. Cooper Crain, the main dude in this band is also the main dude in another band, Cave. That band is more of a "rock band" than Bitchin Bajas who put in their work on mostly synths; I think anyway. It's been a bit since I had any interest in Cave, in fact I still don't if I'm being completely like Jeffrey Tambor (transparent). But who cares about my thoughts on Cave? And if you don't care about that, let me lay some more information you could care even less about- the shift key on the left side of my keyboard has stopped working and capitalizing words is becoming a real issue. Using the right hand shift key is like using a pair of left handed scissors for me. And as you have no idea right now, I'll also state for the record that I'm right handed. Though I feel like I'm slightly more ambidextrous than the average US citizen, it's still a damn challenge or, more accurately, a fumpkin inconvenience. Being fully Tambor, it's a mental hurdle to overcome to find any enjoyment in this process. I guess that's what I'm saying about Bitchin Bajas. Cooper Crain's presence was like a broken shift key to my allowing the musical capitalization that is Bajascillators in to my life. BB have been pumping out records for years now and my ability to ignore them all has been pretty fumpkin impressive. But then, a trusted friend (no, not the internet) recommended Bajascillators, saying it would appeal to the Reich side of my brain. As streaming music is now pretty much a painless experience, it was an easy test to see how much trust to put in this amigo from our simulated world. Turns out, the answer is a lot. The compositions, the production and the instrumentation are top notch. The meditative qualities are off the charts and that goes a long way nearly three years into a pandemic. This is a band that has obviously studied the giants of synth composition. They might even be ripping off every cool sound they create on this record but I haven't put in the time at the synth library to know. Even if so, it's fine as this is a love letter to Steve Reich either way and a beautiful and serene homage to the larger word of new age, electronic music. No one is making major bitcoin off this kind of music anyway, so let's all take a breath and decide not to care. It's perfect zone out music to help block the inner voices in your head while full on meditating and not falling asleep 9this guy gets it19 en route to achieving blissful inner peace. The kind with snoring and everything. 2022 is just the start of my reevaluation of Cooper Crain. While the album title makes it extremely hard to type this, I really like Bajascillators in spite of my preconceived notions. It's quite possibly my first step into a larger world as a fictional character via a knighted thespian once said in 1977.
18
Frog Eyes
The Bees
Paper Bag
Four or five years have passed since the last Frog Eyes record. I honestly thought they had called it a career but apparently not. Seems like that might be hard when the heart of the band is basically a husband and wife team that, from all outward appearances, are happily married. I'm not there, I have no real idea what's going on in their house. Nor should I. I just choose to believe like all that call themselves faithful to a hopeful and loving ideal. Is that too much to ask? Ridiculous. As I was saying... the desire to create something musically together is bound to come up for these lovebirds at some point. If I'm being truthful (which I always am as I'm from Truthtown), I can't say I thought about Frog Eyes all that much on their half decade or so hiatus. And if I'm being even more stereotypical Truthtownian, Frog Eyes time away from existence may seem even longer to me because I didn't pay much attention to their last record, Violet Psalms. According to their discography, it's been seven years since I last remember anticipating one of their releases. As it had been long enough for Richard Sherman via Tom Ewell to develop an itch, hearing main songwriter Carey Mercer's voice again after such a long spell threw me a bit. It took a few listens to embrace the uniqueness of his delivery and many affectations and yelps. That oddness needs to be mentioned as it's the main appeal of this band. Carey Mercer's voice or, more accurately, just Carey in general is the island this band has planted its flag on. This whole thing is his vision, so much so, that without Carey Mercer there is no band. His wife, Melanie Campbell, plays a distinctive style of drums and may have a larger role in the band than anyone realizes but even she would admit he's the engine of creativity. The lyrics are king here. And the almost theatrical performance of those thoughtful words are the overflowing meat in this highly stacked Carnegie Deli pastrami sandwich analogy. The music and production are more minimal on this record than I remember from the records of their prime or, at least, their youth (don't forget my youth too). It's a wonderfully odd world this band creates for these lyrics and songs to live in. From the rudimentary but inventive drum lines to the synth and guitar strings that lay the melodies for the vocals to zig and zag through, the recorded output always sounds like Frog Eyes no matter the small changes from record to record. On The Bees, it seems the edges have softened a little which actually makes this a great entry point in their catalog for a Frog Eyes beginner. For the longtime fan, it's just a treat to have another great record to dig through. This might even be Frog Eyes' last if they decide to hang it up for good this time. I wouldn't bet on that one though. The words can't be stopped from pouring out of this talented Canadian just like premium beer from a Molson tap at a curling match. Believe what you want but I'm just here to tell you the truth. Like I said.
17
Glenn Jones
Vade Mecum
Thrill Jockey
American Primitive back on another best of the year list. This time through the fingers of the infamous Glenn Jones. From Cul de Sac to Thrill Jockey, this career musician remains as relevant as he's ever been. While never a pop idol or even a radio staple, Glenn Jones has found a Glenn Jones shaped hole in the greater music world that he has been expert at filling. Once a protege, or something like that, to the AP legend John Fahey, enough time has passed that Jones has now become the elder statesman himself. A master of technique and tricks as well as stories of people and places now gone from the map. A gained knowledge from experience and life that allows the history of the craft to be baked into his compositions and, equally important, to have entertaining stories between songs during his live shows over the never ending tuning required for this type of music. Jones is mostly solo on this record, just one track has a guest sitting in (Ruthie's Farewell). But, as a whole, this is a singular creation crafted and practiced within the compositional guidelines of the genre. Less hard and fast rules, just a respect for the history and influences on the music itself is what creates the lane in which it sits. A magical zone and sound somehow found and followed by all AmPriv devotees. A fact that gives these songs a very comfortable familiarity even on the very first listen. There's just something very satisfying about an album meeting expectations and providing the high quality you know the artist has to offer. A welcome mediative and calming moment in a chaotic 2022 that desperately needed more of these momentary escapes from reality.
16
King's X
Three Sides of One
Sony Music
While the following is an embarrassment to admit, it is in fact 100% true. Now, depending on your opinions of this organization, you'll either agree to disagree with my shame. So, here goes. The company known as Record Store Day is fully responsible for the inclusion of King's X on this list in the year 2022. Over the past pandemic fueled couple years, Metal Blade Records has been reissuing King's X back catalog releases on multiple RSD dates. Oddly, this campaign doesn't appear to be an attempt to cash in on nostalgia as the records selected aren't from the height of their MTV years. Instead, these RSD reissues were records originally released during the Y2K end of the nineties through the Aughts of the new century and new millennia. To be honest, I personally had no idea King's X were even still a band after my interest waned in the early nineties. Needless to say, thanks to these reissues and the time at home created by a pandemic, King's X were reintroduced to my stereo. As I was too young to absorb any real details of the band from their initial MTV era successes, learning they were signed to Metal Blade and even opened for a Big 4 metal band like Anthrax back in the day gave them an instant and surprising creditability in the double 20s. Further diving brought to life the massive trail of music left by this talented trio over the years both as a band and as solo artists. And it appears solo work has been the norm in recent years. Previous to 2022's Three Sides of One, their previous new studio album was fourteen years ago with 2008's XV. Based on this new record (and every other record this King's X deep dive has resurfaced), it's obvious bassist Dug Pinnick, guitarist Ty Tabor and drummer Jerry Gaskill never lost their ability to produce their signature sound of layered harmonies, blistering guitar and thundering rhythm section. The metal edged aggression paired with Pinnick's soaring and strained vocals melds beautifully with the classic rock radio ready guitar solos usually paired with Tabor's turn at the mic. The balance King's X creates between these two extremes is tightly sealed together by the pleasing three part harmonies all three members create with ease. Jerry Gaskill's talent behind the drum kit (and in from of the mic) can't be undersold either as he expertly adds seamless stitching to every song. In 2022, King's X are an undervalued asset of rock music that just keeps delivering a solid rock experience. So, in a rare positive shout out to RSD, thank you for shining a spotlight on these guys. The pandemic years of 2020 and 2021 were a perfect time for discovering the lost history of King's X which really set the table well for this new record in 2022. Was this just really smart marketing or pure serendipity? I have my opinions but I'll let you decide for yourself. This is a total shock entry on this list for me in 2022. Even now, I'm a little surprised to see this included but it's much deserved.
15
Joel Ross
Parable of the Poet
Blue Note
Parable of the Poet is a 2022 Blue Note Records releases of a contemporary jazz musician. Now, I'm not saying that's exceedingly rare as it's actually a common occurrence for the label. Blue Note is not strictly an archival label and has multiple contemporary releases every year. It's true their ultra popular Classic Vinyl Series and Tone Poet Series may be the most heralded part of their yearly release schedule and could keep the label afloat for the foreseeable future, but that's not all they do. I don't have sales figures or stats to back this up, but it does feel like jazz is having a moment right now. The record stores I frequent in NYC (but mostly Brooklyn) that were always playing psych records or noise records or garage records over the years are now all playing jazz in 2022. The out stuff and the fusion stuff for sure but even some of the classic bop and everything in between. I've been listening to way more jazz since the pandemic as well. By more, I mean any. This was not my bag pre-2020. Sure, touches here and there with some Eric Dolphy and Don Cherry albums already in the collection. But, the staples and hidden gems of the genre, not so much and not even really part of my knowledge base. Blue Note making their classic releases and just impossible to find titles available again through their audiophile series has made a world of difference. The music is now out there and accessible to every level of collector and has seemingly revitalized the musical genre as a whole in the process. That is great news for contemporary artists like Joel Ross, Immanuel Wilkins and Julian Lage just to name a few. Jazz in 2022 is still vital, expansive and being played by highly skilled musicians. Joel Ross is a vibraphonist and band leader; an accomplished musician who released his third album Parable of the Poet for Blue Note in 2022. His compositions include varying degrees of vibes which allows for a usually calming and meditative tone that other instruments cannot convey as efficiently. This tone can even easily shift to haunting with slight modifications, in the hands of an expert musician such as Joel Ross, of course. There's space in these compositions allowing air for all of the various instruments to have moments to shine with plenty of horns mixed in and a solid foundation of piano, bass and drums to go along with the vibes. No matter your level of jazz comprehension, it's easy to notice the unique quality the vibraphones add to the texture of these songs and the record as a whole. The edges are softened when needed by that ethereal drift of sound that can be used to lull the listener into a certain level of dreaminess before jarring them back to reality with a well placed horn or drum break. Talent is really what shines through the most on this record. The structure, the solos and the interplay are all very impressive. Unlike all the historical and classic jazz artists you can discover on Blue Note, Joel Ross has a whole career ahead of him yet to be written. That's a cause for a renewed appreciation for being alive in 2022. There is a future history for jazz being created right here, right now in the year we are all currently living in and you shouldn't let it pass you by any longer.
14
Cola
Deep In View
Fire Talk
Now this is the record I always hoped Ought would write. Cola is half of Ought or perhaps the remains of the band Ought would be a better descriptor. And Deep In View is a tight, efficient post-punk record that is a pleasure to listen to. Cola has somehow done the impossible and managed to rein in the overly juvenile (or arty on a good day) and often highly repetitive lyrical outbursts of singer and guitarist Tim Darcy. That may sound like a harsh criticism, it's a needed observation and is meant as a compliment for this new band. The bass is high in the mix for the other former Ought member, Ben Stidworthy, which is actually pretty standard for most post-punk bands. Drummer Evan Cartwright from U.S. Girls brings the total band members to three as well as a confident backbeat. This record isn't breaking any new ground in the post-punk world but it's really just refreshing to hear this band make good on the promise of their previous outfit. In Ought, the theatrics were a little too pronounced, their youth was on display and the albums were a little too varied. Cola appears to have fixed all of these issues by keeping their song lengths efficient, gaining more experience through age and having a record that's a singular sound and vision. My first thought after hearing Deep In View was joy that Cola's sound is much leaner and disciplined than anything these musicians had previously written. Seriously, my apologies for mentioning Ought so much but my frustration comes from their having had so much potential for so many years. They just couldn't stop themselves from ultimately making records that were slightly annoying through lack of self editing; seemingly on purpose. Filled with unwanted left turns and expanded phrases/lyrics that had the habit of turning excitement or interest into boredom. With all that said, annoyance the byproduct because there was a spark somewhere in that band that wasn't catching. That frustration seems to have been resolved now after listening to Deep In View. While Cola's record fits well within the post-punk guard rails, I don't mind that at all knowing what the other option could be. This is a record made by a band that has come out the other end of something or just one that has finally found its musical footing. Might this be the only record they make? Will they feel the need to go in a different sound or direction entirely? I don't know. It's not up to me. All I can say for a fact is that 2022 was a good year for this trio and more good years for this band in the time to come would be a major accomplishment.
13.8
Marc Urselli's SteppenDoom
SteppenDoom
Magnetic Eye
Steppendoom are 13.8, on this list anyway. Before we even get into any kind of critical look into this record, let's just stop and take a moment to reflect. Think about this fact and how it may impact your decision about how we're living in a simulation- someone decided to make the combination of doom metal and Tuvan throat singing a reality. A truly bizarre and wonderful idea that shouldn't actually have happened as Florida and central Asia are pretty far apart. While a unique combination, it's a thought all metal heads must have had at some point in their lives, I know that I did. Or at least I feel like I did. The simulation is so hard to decipher sometimes. I mean, most black and death metal vocalists come pretty close to the throat singing sound at times. Most of these metal vocalists aren't even sure what they're doing other than growling in a low pitched voice. The rash of Cookie Monster vocals in the genre is all you need to know. Some professionally trained throat manipulators are exactly what metal needs in 2022. I believe this musical combination is just too good of an idea not to have been in the collective conscious since the birth of Sabbath style riffing (as throat singing is much older). But only this is a known fact in 2022, Marc Urselli was the one chosen by our simulator to take this idea and make it so like a true captain. He discovered the concept and invested real time, reputation and resources into getting this thing out to the world. Now that it's here, the question of "how did it take this long to exist?" is all the more pressing. It's actually insane how well these two styles of music blend together. The talents of these throat singers are just damn wild. The sounds they can create seem to be from another world at times. I've been a casual fan ever since that throat singing documentary came out fifteen or so years ago. I even had the soundtrack for that doc and foolishly thought I could almost sound like some of them. But, obviously, I never followed through on becoming a throat singer. I didn't even look into the art enough to know the names of famous throat singers. It was just a discovery and then appreciation for a very particular art form that stayed with me over the years. But Marc, he's the real deal. He not only knows the names of all the throat singers, he was able to make connections with them and pitch the idea. It appears he also knows a lot of heavy weights in the doom metal world as members of High on Fire, Neurosis and too many others to list out like an OCD victim reading the paragraph of ingredients on the back of a Pop Tarts box. In all of the world, it seems Marc was uniquely qualified to bring this record into existence. And this thing is a banger, when it wants to be. The two things I should mention before you dive in, this is a compilation of collaborative songs. In other words, it's a comp which means it's a bit of a rollercoaster ride. Some songs are better than others and some collaborations work better together than others. So keep that in mind before taking the ride. Thankfully, Marc made the right choice with the track sequence as the first one is the highlight of the record. The song does its job and draws you in for the entire ride. The second point to know is that the last track is thirty minutes long and seems to be included for spiritual or meditative purposes. It's an interesting closer for the album that seems to serve a purpose but is also a little atypical of the rest of the record. So much so, the vinyl version doesn't even include it. Though, that's more than likely due to time constraints with the amount of music possible on each side of a vinyl record. Bottom line, insanely great concept, great execution and a unique and powerful listening experience.
13
Nathan Salsburg
Landwerk No. 3
No Quarter
The third part in an ongoing series by Nathan Salsburg. Landwerk No. 2 made this list a couple years back and now Landwerk No. 3 joins in that distinction in 2022. I can't say I follow Nathan Salsburg musical career all that closely or even have any of his other records outside of this series. But that's how great this concept and records are. In fact, I don't even particularly like the label that puts these records out, No Quarter. That has more to do with their business practices than the music they press and distribute though. I mean, I placed an order through their Bandcamp site for the Endless Boogie boxset (which was reasonably priced, a point in NQ's favor) but when it came time to ship, they create the label and that's where the tracking begins and ends. I write to No Quarter a couple months later and the owner of the label tells me to wait as the post office has been backed up. I wait a couple more months as instructed, I then write to them one or two more times and get no response. The dude just stopped responding. Thankfully, it was through Bandcamp, and their customer service was awesome. They attempted to contact the owner for me and he wouldn't respond to them either. So, they refunded me the full amount which is great but my main takeaway was that the guy who runs the label kinda sucks. So, for me to actually buy this record from a label I have no respect for, it just illustrates how much this album and concept really works. Did I mention the concept? Nathan Salsburg uses looped pieces from archival 78rpm records and uses that as a base for his own compositional work. Something old, something new, something borrowed, something blue; this concept nails all of these and could easily offer a bride to be some really good luck. Over these three volumes, the compositions always turn out to be haunting or, at the very least, emotive. It's a beautiful concept to blend different eras of music, technology and artists. In a way, he is able to duet with ghosts of the past, gone and buried long ago yet still alive and collaborating in 2022. Resurrection in a manor of speaking. And Nathan makes out pretty well in this arrangement too as his instrumentation and composition are highlighted to an audience perhaps wider than his usual solo records. This all makes perfect sense as Nathan is someone who lives and breathes his art full time. In fact, his day job is curating the Alan Lomax Archive at the Association for Cultural Equity. For Nathan, music is life and, in this case, even life beyond death for his Landwerks collaborators.
12
John Carpenter, Cody Carpenter, Daniel Davies
Firestarter Soundtrack
Halloween Ends Soundtrack
Sacred Bones
2022 was an embarrassment of riches for the John Carpenter and sons fans out there in our simulated reality. The year marked the conclusion of the new Halloween trilogy of movies which, on film, absolutely destroyed the franchise but, on record, brought JC and The Shape back together in triumphant form. While it would be very generous it to say the movies were a bit underwhelming, the Carpenter clan deserves a huge congratulations and hearty handshake for a new trilogy's worth of new Halloween music forever in the archive for the rest of humanity's rein. The thrill of knowing there was a new JC Halloween soundtrack coming every couple years back in 2018 was one that had me thanking our simulator every day. John Carpenter appears to be making music mostly because he loves collaborating with his son and his nearly step-son which gives their creations a renewed vigor by the old man and a sense of the now from his two younger muses. If you think about it, Halloween soundtracks are mostly just variations on the main title and Laurie's Theme. That's fine with me, it's worked for years and the blueprint hasn't failed on any of these new trilogy soundtracks either. There is just something timeless about these Halloween records and, as the years go by, this past decade of their work is going to be seen as one of Carpenter's high points in his music career. Even more better (it's just a great phrase if not grammatically correct), is the branching out of the JC & Sons to other movie franchises. The announcement of their work on the 2022 Firestarter remake was a huge and welcome surprise. Again, the soundtrack was the highlight of the cinematic experience. These 21st Century remakes of films from the nineteen hundreds do not have a good track record. Though, they do have good soundtrack records (right?). The Firestarter soundtrack was a confirmation that this Carpenter team is still very much in the soundtrack business even once the Halloween remakes and sequels come to an end. Not only that, the same spark and inventiveness is still there like a through line across all their releases. Also, this partnership between John Carpenter and Sacred Bones Records needs to be spotlighted and congratulated for the amazing work they have released together in this new century and millennia. Whether there is a movie to soundtrack or not, John Carpenter has found his home for any music he sees fit to release. 2022 had a lot of great releases but a twofer from the master of horror soundtracks was just too generous. All hail the great simulator and the wonders he bestows on us! Just to cover all my bases, let's not forget, Jesus was a Carpenter too.
11
Oneida
Success
Joyful Noise
What in the hell is this? I had to double check this was actually Oneida the first time I heard this record. A trusted buddy of mine (no, not the internet), who has been an Oneida aficionado for longer than anyone I know, has called this record "pure garbage". I understand the idea behind the sentiment. However, I don't agree with the assessment at all. This is an odd Oneida record which is really saying something given their career and constant explorations in their sound. But also not really all that odd as it's seemingly pretty easy to identify what they're trying to do on this record. Success is Oneida's rock n' roll record. Big dumb and basic with squealing guitar solos and monotone leaning vocals that seem to be a throwback to something from the late seventies or early eighties. It's not trying to be contemplative or purely avant-garde or overly serious, just loud and fun and something that seems like a blast to play. I should not that it's seven songs over forty one minutes so it's not all three minute rock radio ready tracks either. Half of the tracks are upwards of seven minutes which means the more traditional Oneida history and sound are still intact on this record. They're just mixed in with some rockers that follow a verse/chorus structure that seem conventional in comparison. But venturing into this common territory, they find a pretty neat sound that is reminiscent of bands like Devo, Yo La Tengo and The Cars mixed with a more aggressive and rough around the edges production and playing style. It's really damn good, if I'm being honest. This may not be the sound you expect or even want from avant experimenters like Oneida but get over yourself. There are still the longer tracks on this record that indulge the avant kraut aspects of their sound and can get you back to a more familiar zone for Oneida. Getting something this alive and immediate from Oneida in 2022, twenty five years into their career is a revelation. Honestly, this might be their best record in years. No, Success is their best record in years.
10
Reeking Aura
Blood and Bonemeal
Profound Lore
As the press release states, Blood and Bonemeal is a concept album centered around the caretaker of a desolate agricultural property and that persons struggles with morbid psychosis." So, you're probably asking, what's not to like? This is the debut full length album by Reeking Aura but they aren't just any new band on the local scene. Reeking Aura consists of some longterm players in the New York/New Jersey metal scene from band's you've never probably heard of. Unless you already know them which means I would just be telling you something you already know, so another reason not to list them all out. Paramount in this band grabbing my attention in 2022 is the inclusion of vocalist Will Smith (who may appear again later on this list). The vocals really matter in death metal, and this dude is consistently captivating with an almost concussion inducing low level growl. You're not passively lulled to where the day takes you, Smith's vocal presence has a focus that commands you to his intended path. This album was made in America but this concept record's overall tone and story feels alien and other worldly. Not a wholly different world, there's just six degrees of separation from our current reality. The swings on this record are big in terms of content and musicality that make for an insanely listenable experience, but don't get it confused. This isn't a pop record with mind numbingly mundane lyrics about good girls and bad boys or whatever sells these days; the song title "A Vegetative Mush That Melts Among The Shelves Lined With Meats of Indeterminate Origin" pretty much says it all. This music is dense and heavy and, honestly, perfect for this wintry and hibernating time of year. The shortest days of the year with darkness creeping in earlier and earlier are the perfect backdrop to soak this record in. Although, it will be interesting to see how this record feels in the heat of the bright summer sun over an independence day barbecue or long beach weekend in 2023. My prediction is enjoying this winter's tale as a summer beach (think attacking shark) tale should go off without a hitch and this record will be on the turntable year round no matter the season. I'm fully ride or die with this one. In fact, Blood and Bonemeal is so solid, it really shouldn't be limited to listeners who mostly fall into the category of angry young (and middle aged) men in black attire, any of whom could easily be considered an enemy of the state or have an FBI file that rivals the size of John Lennon's or Muhammad Ali's. Plus, I'm not here to stereotype, the twenty twenties are proving to be the wild wild west in terms of niche interests becoming mainstream. Why not death metal? Why not a concept album about agriculture and morbid psychosis? My hope is Reeking Aura become the legend that takes this genre to the masses. Will that happen? Probably not but what a refreshing slap in the face that would be for rock.
9
Makaya McCraven
In these Times
International Anthem
I was a passenger in a small fender bender on a main road not that far from my house. It was basically our fault as my friend hit the car in front of us from behind. It was stop and go traffic and he took his eyes off the road for just a second. He went to turn the volume knob down for the music that was playing as he wanted to say something to me. The traffic wasn't really moving so it looked like he just tapped the gas to move forward as he was looking down at the volume knob. My friend looked up pretty quickly but the car in front of us was way too close. That car must have just hit their brake in that same second. Our brakes were slammed, the wheels locked up but even with a slowing down, our front bumper hit their back bumper. Thankfully, the car behind us didn't hit our car so the only issue was with the car in front. Even at a slow speed, the experience is a bit of a shock. Even more shocking, we watched this bumpered car in front of us just drive off down the road forgoing numerous lefts and rights and just completely leave the scene. The driver had no interest in turning into a parking lot to inspect their car or swap insurance information. In most cases like that, the car you hit has someone jump out and hem and haw about the minor to non-existent damage to their bumper. Not this guy, he just drove off down the road until he was out of sight. Pretty lucky. We even pulled over using one of those lefts, or no- it was a right, to inspect our car for damage and wait around a bit to see if the other car came back. Why am I mentioning this? It would make sense if the music that was playing when my friend turned the volume knob down (which set the bumper cars in motion) was In These Times. But it wasn't. I'm not even exactly sure how it correlates but there is an association in my mind. Mostly because Makaya McCraven's music doesn't do what's expected just like that driver. And I don't mean that Makaya is creating his music without a license or insurance, it's that his music is a crazy patchwork of sounds. I don't know how to interpret what I'm hearing or have a sense of what's "real" and what is manipulation. Makaya has a concept for his work that is seemingly unlike any other jazz musician, that I'm aware of anyway. He takes live recordings of his playing with skilled and talented musicians performing his compositions and then chops them up in his studio afterward making what sounds like aural collages. At its heart, the music is contemporary jazz. With his second sessions at the home lab with these songs, he makes something that was new and alive in concert even more brand new in the studio. Art on art. Art with art? It's disorientating at times, uplifting at others but, mostly, just really enjoyable. Makaya McCraven has found a way to take an established art form that usually embraces history and the conventional and created his own singular voice. His albums are definitely not car crashes but Makaya does do the unexpected and take pieces that should be in certain places and move them around to create twisted mash ups that... hmmm, maybe that whole car accident angle was unnecessary? Oh well, I'm not changing it now. Plus, that's more for you to decide but I think the analogy holds. But, with absolute certainty, I can at least say we were fortunate to bump into that drunk or generous driver and to bump into Makaya McCraven's In These Times in 2022. Both possible signs that maybe the world still has some positivity and goodwill to offer from time to time. Both memorable moments of the year to be thankful for even if for completely different reasons.
8
Kevin Morby
This is a Photograph
Dead Oceans
Kevin Morby on this list is strange for me. Before This is a Photograph, I knew who he was and, quite frankly, I had my opinions on the guy. I wouldn't even describe myself as a casual fan. Yet, on every one of his records, there is always a song or two or three that just get stuck in your head. On Sundowner, his last record, the title track stuck with me for the longest time (it still pops in my head from time to time). Even with his ability to write a memorable song, his records never made it into a best of the year category... around here anyway. Morby's albums always start to drag at some point with a few songs that deftly counteract the highlight moments. He really has a knack for making a carbon neutral listening experience once the final notes of the last song ring out. Sundowner was really close to breaking that cycle but some of the songs were just a little too long or felt a little too self indulgent. But that's the territory you live in when writing really honest and heart felt songs. And it's a delicate balance to weigh everything out just right to accomplish the emotional heft needed without crossing some invisible boundary into the over wrought. Morby seems to get inspiration from the darker end of the spectrum of life's offerings. This album is no different as it was written in response to a medical emergency his father experienced. The thing is, this album isn't all dread and hopelessness, there is a joy and celebration mixed in which is that much more uplifting when it shines through given that disparity. The majority of the songs on This is a Photograph are undeniable. The music is calming when it wants to be and rollicking when the lyrics call for it. Morby's vocals are distinctly his own, his cadence and timber are not exactly standard but he owns it beautifully. Not sure why but I think of Bob Dylan when I listen to some of his songs. Now, he doesn't have the lyrical capacity of the greatest song writer of our time, so I guess he's more of a dumbed down Dylan. That's a compliment, by the way. Honestly, I didn't expect to like this album as much as I do. I might have even not wanted to like it. Yet, here we are at the end of the year, and this record cracked the top ten and was a go to record on my streaming service as much as anything released this year or any year previous. Unlike Morby's past releases, This is a Photograph expertly balances the emotional needs of his compositions along with making a fully realized and enjoyable listening experience. And not on just one song or two songs, I'm talking throughout the entire record. This record affects your mood whenever and wherever you listen to it. The subject matter touches on some deep rooted ideas and observations about life and death even if the content of the lyrics remain in the shallow end. It doesn't matter, it all works beautifully on every song on this damn thing. This is easily the best Kevin Morby record in his catalog and it's also his latest. Not that many bands or artists have that going for them in 2022.
7
Built to Spill
When the Wind Forgets Your Name
Sub Pop
Right from the jump, let me say the production on this record doesn't bother me at all. In fact, I didn't even know it was a point of contention until I read some comments on a Reddit thread. The love to hate is a top five love in this insane world. If you love to hate that last sentence, I might join you. But anyway, 2022 brought a resurgence to the Built to Spill catalog. This is the strongest release by Doug Martsch and company since... I don't want to say. It's his best since the 90s heyday might be a better way to express it. Or should I say, it's THEIR best as Doug is joined by two collaborators who are equally as responsible for this uptick in quality as the one man show that is DM. While not aware of the details of the story, the line up of Built to Spill for this record forgoes the Caustic Resin/PacNW players he usually calls in for his recordings. His rhythm section (and various other instruments) are handled by a Brazilian duo who have a band of their own, Oruã. Somehow Doug came into contact with these two dudes and they made the album by recording in both Brazil & Idaho, two places that have never been uttered in the same sentence before. As odd a pairing as that makes (though potatoes are a through line), the songs that result are some of the best in BTS's entire catalog. When streaming this record, I've mistakenly thought the album had ended and the streaming algorithm was playing their greatest hits from previous records afterward. More than once actually. The solos are expectedly big and obviously played by the hand of Doug Martsch. On When the Wind Forgets Your Name, his guitar tone and riffs feel as comfortably in the pocket of Built to Spill's sound as his familiar and signature world weary vocals. But that familiarity is mixed with the energy and abilities of his Brazilian bandmates with a loosely solid rhythm section and added production touches and keys that really stand out on songs like Elements and Alright. The result is an amplified dreaminess that Doug has not been able to reach on any of his previous compositions. This collaboration is one of the best of the year and I had never even heard of Oruã before this record. It's truly a bummer this version of the band isn't able to tour (so far anyway). Although, Doug has continued to expand his horizons with new collaborators in the form of an all female rhythm section for his latest tour. The word is they sound pretty great as well. At the age of 53, Doug Martsch has gone and made another classic for his catalog through the most interesting of left turns in his approach to the band. 2022 was the year he was able to show the world his hard work during the pandemic years, crafting a mammoth record to the surprise of most anyone paying attention.
6
The Lord
Forest Nocturne
Southern Lord
A record that was a Record Store Day "RSD First" release making a best of the year list gives me mixed emotions. But this review isn't about Record Store Day, it's about the Lord half of Southern Lord, Greg Anderson purveying a sonic doom. First of all, it should be stated up front that Sunn and Stephen O'Malley are the top things that come to mind when I hear Southern Lord Records. Earth and Dylan Carlson are probably third. My guess is that Greg Anderson is the fourth name on that list. Now, he's half of Sunn and Southern Lord Records, so he should be closer to the top of that list. However, I've just never connected with the man outside of his main associations; being a part owner of one of the world's best labels and being in one of the world's best and most important bands. His other career highlights just never worked for me even as hard as I tried. Which is what makes The Lord and especially the album Forest Nocturne so surprising. Absolutely love this record. I mean, listen to this blurb from the press release and tell me you wouldn't at least be in line at midnight on your computer at home in bed ready to buy this record- "...an eight song collection of dark, heavy cinematic-inspired darkness taking cues from legendary composers Bernard Herrmann and John Carpenter, and injecting lethal doses of early '90s Scandinavian Death Metal. Very special guest vocalist: Attila Cishar lends putrid vocals to the track "Triumph of the Oak"." That might be the write up I would use to describe what I would like my own band to sound like. This is the write up that may be describing the best album ever made. I'm right now questioning how this record is only number six on this stupid list. I also love that they use dark twice in the description (dark, cinematic inspired darkness). They essentially said the music is dark darkness which is grammatically wrong but also exactly right in every other way. I'm actually done explaining the sound of this record because Southern Lord nailed it with that press release. I have nothing to add except to say that the actual record delivers on that promise. Atmospheric, cinematic, dark darkness and very welcome vocals by Attila on the last track seal the deal. Oh yeah, if it drives you crazy like it did for me, the underlying chord progression on the track Lefthand Lullaby, Pt. 2 is from a Led Zeppelin song. Not just any Led Zep song, but one from their greatest record LZIII. This song is Friends, friends. It's a brilliant move to take that particular piece of music that was more of a subtle, background part of the Friends and magnify it in the most Southern Lord way imaginable. Also of note, The Lord also put out a collaborative record with vocalist Petra Haden in 2022 and a trio of singles with other collaborators online (William Duvale, Robin Wattie & David Pajo). More is promised for 2023 and I'm here for it all as I hope Julian Cope is as well.
5
Blood Incantation
Timewave Zero
Century Media
There's a recent YouTube clip of Blood Incantation doing "What's In My Bag?" for Amoeba Records, the California record store chain that is somehow still in business given the number of episodes in this series. The whole premise seems to be that musicians and other music adjacent celebrity types are allowed to just run wild in their store and take a bag full of free stuff. The caveat being the musicians & celebs need to discuss what they picked and why on camera. I often wonder if they have a limit placed on the number of free items or a dollar amount they can't go beyond. Or do the bands just have to pay for what's in their bag or just get like 10% off? Nah, why would any band do it then. Plus, they all usually look pretty excited about their selections so I'm guessing it's free but to a point. Something tells me it might just be a free for all for the A listers. Which means Blood Incantation was definitely given a dollar amount where it stopped being free. That's my guess anyway. But, the point of bringing this up is less about Blood Incantation's finances and more that this video was shot after Timewave Zero was released. A record that marked a major shift in sound from their other records. For good reason, this was billed as their ambient record in advance to let anyone looking for a repeat of their ground breaker, Hidden History of the Human Race, to mellow out and just enjoy the atmospheric drones and tones of their multi-synth attack. This isn't a new direction for the band, it's more of an additional talent to add to their resume. The tone is masterful, the journey is of a perfect length and the musicianship is top notch. It's obvious this record is one born out of a respect for ambient, new age and/or electronic music and not just a lark into unknown territory. Case in point, back to the Amoeba YouTube clip where all four band members have bags to explain; lots of progressive metal, death metal, and psych rock, of course. But also the much hoped for jazz/jazz adjacent selections from a metal band because, it's true, they are two genres that have more in common than you think. Yet, far and away, the most telling picks were the electronic and ambient artists like Bernard Xolotl, Steve Hillage (for that one record), Pauline Anna Storm, Karma Moffett, Michael Stearns and Klaus Schulze. These last two names, Stearns and Schulze being name dropped specifically as huge influences on their own compositions for Timewave Zero. I mean, to quote the President, "C'mon, Man"! Damn, these dudes are the real deal. They're trying to ace the test if anyone is looking to administer one. Especially BI's singer and guitarist Paul Riedl who has a whole solo life outside the band that is heavy into this field of music. The influences on this band are myriad and their sound is anything but one dimensional. Is it weird that I want to hang with this dudes and have a couple beers? I'm stating it for the record, I'm a lifer with this band and just really looking forward to the next one whenever and wherever.
4
Artificial Brain
Self titled
Profound Lore
Sometimes it feels like a record seeks you out, as if you have no say in the matter. 2022 and Artificial Brain will forever be linked for me. 2022 was the year I first heard this technical opus of a record Artificial Brain, the first year I even heard of the band Artificial Brain and the year in which Artificial Brain basically disbanded. That's a big year! The details of their demise are still a bit murky; but I think Artificial Brain will continue to be a band. They will just be missing one of their premier talents, vocalist Will Smith. As promised in the previous Reeking Aura review, Smith returns for a second and final appearance on this list. As much as I love this punishing, melodically dense and intricate death metal record, that is how much I will lament the end of this version of Artificial Brain. I'm not a musician but I do know a few and they have nothing but superlatives to say about the musicianship and writing on this record. As an obsessive music fan, I know that it's great but sometimes it's validating to get confirmation from those who know how to play the instruments involved. The piece of their sound that jumped out to me the most from the very first listen were the vocals by Smith. Are they processed in some capacity? The range displayed in the growling low end style that is death metal vocals has been expanded or at least mastered by Smith with remarkably consistency that adds and never subtracts. Death metal can have the "Cookie Monster" tag placed on the vocals but Artificial Brain never crosses that line. Smith deftly moves within his own self imposed boundaries and makes this band a hundred times more listenable than the standard vocal fare out there. But, on top of the vocal prowess, the musicianship became apparent after multiple listens. Sure, I have an admiration for Smith's technique but something was drawing me back to this record throughout the year. Turns out that it's the three tier guitar attack in Artificial Brain with both soaring and buried leads and riffs that do their damn job and stick in your real brain. These songs are loaded with solos, breakdowns and left turns that make the band's sound varied and not just some monolith of pummeling chords and kick drums (which it is at times). This record never lets you forget this is progressive music. And nothing makes that more apparent than the drums which shine through this swamp of proficiency with the aforementioned workhorse kick drumming, tempo switching twists and even detailed cymbal work. There is nonstop talent on display behind the drum kit from the first track to the last. The heavy bass is being laid down expertly, holding the whole thing together with that low end glue. Touches of synth and other instrumentation vary the sound even more to make this not only a standout death metal record in 2022, but also just a standout record in 2022. It's a bummer the band parted ways with Smith as this record is both their peak and their end. This band is insanely talented though and will most likely continue on with a new vocalist. And 2023 may just bring more Artificial Brain related surprises. Smith already pumped out a stellar record with Reeking Aura, now it's AB's turn to follow suit in the years ahead. While all that sounds promising, I'll be listening to this record in the meantime hoping for a reunion. For a farewell transmission, this was a damn great one.
3
Viagra Boys
Cave World
Year0001
I'm just gonna say it, this record is fun. That may not be the most refined descriptor but it's what I think of when trying to sum up this album in some sort of concise fashion. The theme is dark and the overall message isn't that uplifting but, damn, this music has a danceability (coming from someone who doesn't dance) and a sense of humor that shines through brighter than any other quality. Not that this is a Tenacious D record, it definitely isn't so get that thought out of your head. Not that there's anything wrong with that. Cave World is a massive step up from Viagra Boys last record Welfare Jazz. The reasons for that step up aren't really that clear to me as I didn't have an urge to relisten to Welfare Jazz at all. That's really all I need to say. The Boys first record, Street Worms, was a revelation with a great mix of humor, Touch and Go style rock and dance worthy touches (again, not me but other people). Cave World takes that promise their first record offered and ramps it up a hundred percent and sticks the landing. There is an almost Devo-esque quality to some of the tracks, mostly the song Troglodyte if I'm being honest but the feeling lingers. Punk Rock Loser is a great track too which could have come across as a horrible joke of a song if the swagger of this band didn't just lift it up to the stratosphere. Man, that song Ain't No Thief had me actually audibly laugh out loud (yeah, I wrote it out) for the first time I truly paid attention to the lyrics. The vocalist of this band just has a range of deliveries (anyone else hear some Gibby Haynes at times?) that endlessly drips with charisma. Not the charisma of some alpha sports team captain but more in the style of someone who doesn't give a damn. Yet, he really does as these lyrics expertly seem to encapsulate the anxiety and southern direction of the world in 2022. Mixing doom and humor in the lyrics on top of some almost poppy sounding musical choices (block rockin' beats?) creates an enjoyable listening experience with just a touch of concern by the time the record ends. But Cave World is a rock record, no matter the levels of electronic bounce or beats. Beating underneath the layers of rock and dance, this thing has the heart of a punk record. You know, this band is kinda confusing now that I'm thinking about it. They have a unique sound that is a mixture of genres and their instrumentation continues to evolve every record but they never lose the thread of their genuine selves. I'm writing this as the song Big Boy is playing in the background. What the hell is this song really? What's the through line with the rest of the record? I don't know but I love it and have no interest in skipping it. Cave World is a fully realized record and the best thing Viagra Boys has ever recorded. I'm hard pressed to think of another band doing what these guys are trying to accomplish. While not sounding all that similar, maybe Melbourne's Tropical Fuck Storm is guided by the same playfulness and overall attitude? But who cares, really. I have nothing left to say, I guess. This is a rough around the edges, slightly obnoxious jerk of a band with an hidden intelligence, dry sense of humor and an heart of gold beneath all their anxious bravado. Their sound is grimy yet all too real with a surprisingly strong people pleasing ability that you wouldn't expect at first glance. They're like wrinkled, stained and worn clothes that were once the cleanest thing in your closet. Lived in, sweaty and slightly bloody from an all nighter that started at the bar. Viagra Boys still have their edge and Cave World just made it that much sharper.
2
Worm
Bluenothing
20 Buck Spin
What is it about Florida and metal? Scandinavia being a metal stronghold makes perfect sense. Is it the extremes they have in common? These two regions couldn't be more different if you picked any two places on Earth. Well, that's a bit of an exaggeration but not by much and it makes the point. Hot AND humid, I might need to scream some into a microphone at some point too. What the hell am I talking about? Worm! Their 2022 release Bluenothing is short; in fact it's just an ep. To be fair, for this band, whether it's a full length or an ep, you always want it to be longer so it doesn't really matter. And Worm is officially a band now, Bluenothing continues to move them lightyears ahead in terms of production, instrumentation and number of band members compared to their (or maybe just his depending on far back you go?) early home recorded black metal blasts. Worm's sound continues to be just the right balance of synth laden passages with soaring guitar leads, plodding doom riffs and beats, funeral doom highlights and full bore blackened death domination. Just like most of the other metal bands on this best of list, the vocals are a standout on Worm releases. It's the same recipe as Artificial Brain, the vocals bring you to the party but the musicianship keeps you there. Bluenothing seems to expand upon the more ethereal parts of the Worm sound deliberately. There are times you forget you are listening to a metal record. The atmospherics and cinematic qualities of these songs are bigger and stronger than any previous Worm release. Adding the clean guitar lines on top of that synth work is somehow reminiscent of or a throwback to 80s horror or fantasy soundtrack work or just evokes the era generally. The dual guitar or double tracked guitar (to my ears anyway) on these songs really reminds you of a bygone era. Yet, the complete album sounds as current as 2022 can in 2023. I'm not quite sure what else you would want from a record. This thing shifts between passages seamlessly and takes you on a rollercoaster ride over the full course of the record. From beautiful serene passages to naked aggression to nonsecular spookiness all held together by the putrid perfect vocals on display throughout these songs. I've said it before and I'll say it again, when black/death metal vocals are on the right side of the invisible dividing line of quality, this music can hold up to any finished products instruments have to offer. Worm are excelling at making music that a lot of other bands are trying to achieve in this decade. This band has an innate sense of timing, balance, quality and production. Their music is both accessible and dark simultaneously; agreeably dark? However you describe it, Worm is onto something big. Between this ep and their last record, Foreverglades, they have the beginnings of an all time run on their hands. If their sound continues to evolve in the direction of Bluenothing, they will have a very long career. Even if they don't and head back into the blackened death heart of doom, I'm all for it as it will still be a varied, layered and inventive take on whatever niche metal subgenre they tackle. Incredible album, incredible band.
1
Cloakroom
Dissolution Wave
Relapse
This record was a slow burn for me; a really slow burn. Dissolution Wave had a release date back in January 2022, with Relapse most likely offering a couple singles online in late 2021. I don't remember exactly as that was over a year ago now, that's why I make lists like this. Once your memory goes, all we have is the present and the impending and relentless dread of the unknown future. That's what aging is all about though, the fretting (that's an autocorrect but I'm keeping it) and the forgetting as who wants a full pristine deck as you continuously plod your way to the final years of your Earthly existence. No matter your age, writing helps to capture your youth, your excitement, your stupid younger mind and all the hopes and frivolous cares of your past days (no matter how many or few you've had). It might be that song writing is the same way. I have no idea as I am not a song writer but I bet main Cloak, Doyle Martin, has a solid grasp on the concept. This guy is currently pulling double duty with Cloakroom and as a new member of the more successful Nothing (also on Relapse). I, and probably most other people discussing Dissolution Wave, will say the Nothing experience is rubbing off on Cloakroom via Doyle. Maybe? I'm not sure I'm the most qualified to confirm that assumption. Both Nothing and Cloakroom came into focus for me in 2022. They were periphery bands in my musical eyeline that held a mild interest but never really came into full view. Nothing was nowhere in my record collection and were never going to be. The same was true for Cloakroom. That is until 2022, when in January, it turns out I bought the new Cloakroom record, Dissolution Wave, but then promptly never listened to it and just filed it away. The Spring and Summer passed without much fanfare in my household for either band. Then the world started to go into hibernation again in the Fall. In that season, for some reason, Dissolution Wave came back into my life. I'll defend myself by claiming this record has no place in the brightest and heat of the summer. Yet somehow feels completely necessary in the dark and cold of fall and winter. So, for the last few months I've been diving into the back catalog of Cloakroom but not too far as it's a pretty shallow pool; just an ep and a couple full lengths. Further research found me heading over to the most recent record by Nothing, The Great Dismal. Naturally, that lead to a deeper dive into their catalog too which was slightly deeper but way less satisfying. After a couple listens to all of Nothing's albums, it was easy to tell that The Great Dismal was the only one that held any real interest for me. Not that the rest were bad, I actually have a new respect for the band. It's just The Great Dismal was twice as good as anything else in their catalog. So, in a longwinded kind of way, I think what I'm saying is the power of Doyle Martin affected Nothing's sound more than Nothing affected Cloakroom's sound. And what a sound it is. If you dig 90s shoegaze, grunge, radio rock, metal or, let me put it this way, if you have a respect for 90s twinged heavy, doomed and dazed rock, look no further. Speaking of Further, unlike the releases after, Cloakroom's first record seemed to have a heavy David Bazan influence with the vocals that has dissipated over the years. Their sound has not exactly taken major shifts on every record but has become more well defined and more their own each time. That being said, Dissolution Wave is by far the most complete and strongest record Cloakroom has ever made. No disrespect to Further or Time Well but this is their masterpiece. The vocals on Dissolution Wave seems to have reached a professional radio ready kind of timber that, at times, even can sound alt country (ex. Doubts, A Force at Play) or some version of slightly polished calm rawness. And the production on this record is top notch, every song sounds washed in a coating of perfect haze. I'm probably not the first person to say this either but I get very strong vibes of True Widow from this band. Which I think makes this doomgaze or is it stonegaze? On some tracks anyway, especially Lambspring for example, but not the whole record. There is a welcome and unifying throughline to the quality of the record as a whole but the individual songs are actually quite varied. Speaking of the album as a whole, the fact that Dissolution Wave is a concept record needs to be mentioned. A description of the concept comes straight from their Bandcamp page as follows: "Dissolution Wave is a concept- a space western in which an act of theoretical physics- the dissolution wave- wipes out all of humanity's existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and the Ward of Song act as a filter for human imagination: Only the best material can pass through the filter and keep the world turning." Damn. That sounds like something that can only be produced by an overly intelligent group of friends in a northern Indiana home partaking of some substances that are legal in other states in their own country. In a Redditt AMA the band did just as this record was being released, someone asked whether the ending of the track Dissembler (and the ending of the record itself) where the song abruptly ends in a strange warping sound was the Spire and the Ward of Song either accepting or rejecting their music. The band's answer was "It's all true. What a great and very thoughtful interpretation". Not exactly a firm yes but an endorsement of the idea which is awesome to see. In that same AMA, these dudes came across as the kind of band you want to see succeed. On display was a quiet intellect and confidence with a great sense of humor and sense of their place in the hierarchy of music history. Dissolution Wave has layers and it feels dense when you want it to and light as air when you bring that energy to it as well. The songs are heavily calm with a fuzzy sheen, not to mention the occasional synth laden touches and overly warm layered vocals at just the right moments. It took me 9 months from it's January 2022 release date to fully appreciate how epic, thoughtful and well made this record truly was. The record of the year was right there all along; there were only 27 days of 2022 that went by without Dissolution Wave a part of it. Now, it will be a part of all the years to come. Or at least for the time the Spire and the Ward of Song keep the Earth spinning on its axis.
No comments:
Post a Comment