Behind the Scenes of the Sounds and Times: Music Reviews and Screeds

My Top 30 Albums of 2022 (and other great recordings)

For a Spotify playlist of all my favourite songs from 2022, click here!

Well, here we are in June and my 2022 year end list is only now appearing.  For posterity, and so on.  As has become tradition, a quick send off to some people who left us:

RIP 2022

So many musical luminaries left us in 2022:  Jet Black (drummer, The Stranglers), Christine McVie (Fleetwood Mac), Bunny and Tabby Diamond of reggae greats The Mighty Diamonds, Andy Fletcher (Depeche Mode), Gord Lewis (Teenage Head), Keith Levene (The Clash/PiL), Gary Brooker (Procol Harum), Alan White (drummer, Yes), and Gary Roberts (guitarist, Boomtown Rats), among others. 

I was hit a little harder by the passing of Mark Lanegan (Screaming Trees).  I read his autobiography, Sing Backwards and Weep, and it is pretty harrowing and a bit of a miracle he was still with us to begin with.  Another gut punch was the death of Terry Hall, singer/co-founder of The Specials.  He was an incredible man, providing the teenage me with an education in British politics and a bridge from punk to reggae. 

Mimi Parker - Low

But most heart wrenching was the premature death of Mimi Parker, one-half the the husband and wife duo Low.  I can say with confidence that Mimi was my all-time favourite female vocalist.  She was an angel, an incredible songwriter, a sweet person, a strong woman, a devoted mom.  What a loss.  Her voice and her songs will be an enduring gift to me. 

My Top 30 Albums of 2022

Yes, 30 albums, not 25 or 20, as I have done in the past.  There were simply too many albums of high quality to eject some while retaining others.  In fact, there were many others (which I briefly list later) that could have made the list.  The volume of great music continues unabated, as so many small and worthy projects can now make it to our ears with ease through digital channels. 

30.  No Age – People Helping People

Every single No Age album seems to make my corresponding year end list.  Their consistency is only matched by precious few artists who have the same longevity and pace (New Pornographers immediately comes to mind).  It’s been some time since the definitive noise-pop moment of 2007’s Weirdo Rippers and its been full steam ahead ever since.  People Helping People is yet another tremendous record of indie/punk/noise that never sacrifices melody.  Their approach may not gain new fans (and their absence of year end lists is notably sad) but it’s noise-rock solid.  Choice track: “Rush To The Pond”.

29.  Northern Portrait – The Swiss Army

Northern Portrait is literate and lush indie pop from Copenhagen, taking obvious cues from Belle and Sebastian, Camera Obscura, and the like.  The crooniness also calls back to the 80’s indiepop new wave underground of Aztec Camera, Style Council, Go-Betweens, and Lilac Time.  This is no naïve bedroom indiepop.  The instrumentation is rich and varied, the vocals are pitch perfect, and production is gorgeous and meticulous.  If this is your thing, you should also check out similar acts 3 A.M. Again and Love, Burns, also on this list.  Choice track: “Business Class Hero”.

28.  3 A.M. Again – Cherry Street

Subjangle, a South African-based DIY label, is the labour of love of Darrin Lee, founder of the Jangle Pop Hub blog.  I’ve found the blog indispensable in its consistent reviews and endorsements of mostly under the radar acts.  Subjangle takes this passion and breathes life into it, releasing numerous CD EPs and LPs of its most favored acts.  Through this little unpretentious label I have discovered so much great music, such as The Photocopies, Cozy Slippers, fine., Umbrella Puzzles, and Radio Field.  A particular stand out to me is 3 A.M. Again, the bright guitar pop of Massachusetts-based English teacher, Michael Telles.  Sumptuous, spritely strummed acoustic guitar, Beach Boys vocals, and summery melodies give Cherry Street a boundless and welcome energy.  Telles also sounds a fair bit like Noah Lennox (aka Panda Bear of Animal Collective) and its nice to have that airy sort of voice fronting such strong melodies.  The CDs from Subjangle are super limited and I am going to have a rough time collecting them…but I shall, as music as strong as this needs a physical form.  The Cherry Street release is actually a quick turnaround 2023 reissue with bonus tracks, many of which are just as strong as the rest of the original 2022 album.  Choice track: “What’s Hurting You”.

27.  Flasher – Love Is Yours

Flasher keep evolving out of their D.C. punk roots (with members formerly of Priests).  2018’s Constant Image was a favourite of mine, with its taut new-wavey post-punk.  Love Is Yours is more open, accessible, and danceable, with similarities to Stereolab, Komeda, Hazel English, and the like.  Super cool and well-crafted retro-future dance pop with enough indie rock guitar edge to keep it honest. Choice track: “LittleThings”.

26. OMBIIGIZI – Sewn Back Together

Daniel Monkman (Zoon) and Adam Sturgeon (Status/Non-Status, formerly WHOOP-Szo, see #19) both produce explosive, heady music in their own acts, running the noisy gamut from shoegaze to doom metal.  Here they join together to create more meditative and gentler songs, while exploring their Anishnabek identities and experiences. Sewn Back Together is spacious, emotional, and warm (mostly – there’s some harder numbers).  You can hear the production influence of Broken Social Scene’s Kevin Drew and perhaps the influence of fellow Canadian Daniel Lanois.  An excellent record. Choice track: “Ogiin”.

25.  Panda Riot – Extra Cosmic

Panda Riot fly under an already low radar of shoegaze pop – I rarely see their name among other similar favourites, such as Ringo Deathstarr, Eternal Summers, Winter, and Soft Science.  This seems arbitrary, as they have been undeniably consistent in the ability to put out super quality, hyper-catchy tunes, all with that woozy overlay of bending fuzz.   And this time around things are a wee bit more straight down an indie rock path, suggesting you may be hearing a new Alvvays or Wolf Alice track (or an older Breeders b-side).  Choice track: “1000%”.

24.  Beach House – Once Twice Melody

Beach House have bee surprisingly prolific, if only because their catalog is so “samey” – floaty midi synths, drum loops and pixie-dusted vocals.  Even though it’s all very good, to the point of becoming emblematic of this certain form of dream pop, I can tire of it, or at least stop paying much attention. They switched things up a wee bit with 2017’s 7, introducing a bit more shoegaze to the mix.  Once Twice Melody has the band moving into the slightly dancey territory of M83 and School of Seven Bells, with some well-placed motorik drums, some welcome guitar, and evolving layers of sound.  It may be their best album.  It suffers from being a little long (a double album with almost all tracks topping 4 minutes) but it rewards when you give it the time it demands.  Choice track: “Sunset”.

23.  Weird Nightmare – Weird Nightmare

Weird Nightmare serendipitously shuffled onto my headphones based on some Spotify logarithm and I nearly skipped over it, hearing some initial pop punk strains that were rubbing me the wrong way.  But the energy, urgency, and overall tightness won me over and I kept listening.  It just got better and better from there, followed by a creeping familiarity.  After a quick search, I was happily surprised to discover that WN is the new vehicle of Metz’s Alex Edkins.  I’m a big fan, with the caveat that I need to be in a specific sort of mood to enjoy their fiery brand of frenetic post hardcore (truly one of the heaviest bands I listen to).  Weird Nightmare seems to be an outlet for Edkins to pursue a poppier structure – it’s still heavy and fuzzy and fierce, but it’s just as close to Green Day as it is to The Jesus Lizard.  Think Bully (Alicia Bognanno of Bully guests on a track), Sugar/Husker Du, and the early outings of Buffalo Tom and The Lemonheads.  Choice track: "Darkroom" 

22.  Winter – What Kind of Blue Are You?

Winter is Samira Winter, a Brazilian dream popper now residing in L.A.  This one took me by surprise.  It is a definite bedroom indie feel, similar in sound/ethos to Sasami, Jaysom, or Palehound, but the self-assuredness and intentionality of the production is striking – fuzzy and rough in the right places, mixed perfectly into ringing reverb and funky drum loops, all in service of her confidently pretty vocals.  I hear contemporaries Wolf Alice and Hazel English, but also old school Sundays and Cocteau Twins.  Can’t wait to hear more.  Choice track:  “Lose You”.

21. Yves Jarvis – The Zug

Jean Sebastian Audet, aka Yves Jarvis (and formerly Un Blonde) continues to stun me with his challenging fusion of folk, soul, rock, and jazz.  Each of his albums has landed on my year-end list since his incredible 2016 LP Good Will Come To You.  His approach is kind of inscrutable.  He could easily and effortlessly produce mainstream RnB/Soul hits if he was so inclined, but he’s not.  Experimentation appears to be a central aim, potentially befuddling the listener with unexpected time/rhythmic changes and quirky vocal runs/refrains/repetitions.  The melodies are often oblique and frustrating to access, but these are punctuated by moments of perfect pop that draw you back in.  It’s slightly frustrating – the most hooky track (and my favorite, “Prism Through Which I Perceive”) – comes in at one minute, leaving me severely wanting. But deeper listens lead to new discoveries.  I’d guess one might call it “progressive folk” but it feels more tangible to describe The Zug as a free associated recording session of Yes, Queen, and Prince.  Or, a more obscure reference, a kindred spirit to the freaky folk/soul of Luke Temple (of Here We Goes Magic). Worth emphasizing are Audet’s vocals, which are luminous and impossibly pristine.  They are conveyed like an intimate whisper but with perfect clarity.  Such a talent.  Choice track: “Prism Through Which I Perceive”.

20.  Velveteen – Empty Crush

In terms of faithfully mining the foundational sounds of My Bloody Valentine and Slowdive, Velveteen are 100% successful.  In fact, I think this is closest cloning of MBV I have heard, and there have been many attempts over the years.  This earns Empty Crush the title of my favourite shoegaze album of the year (eclipsing Winter, #20 above).  The ingredients:  Hazy, woozy, layered “glide guitar” over top gossamer vocals, given form and meaning by exceptional melodies.  If you buy one shoegaze record this year, make it this one.  But generally, my recommendation is that you buy lots of shoegaze records.  Choice track:  “If You Could”.

19. Status/Non-Status – Surely Will Travel

In 2021, Guelph, Ontario’s WHOOP-Szo changed their name to Status/Non-Status to draw attention to the legal distinction that impacts the identity politics and experiences of Canada’s Indigenous population.  With the new name comes a new sound and approach, moving away from WHOOPS-Szo's psychedelic doom guitars to an eclectic and satisfying indie rock. Lead singer Adam Sturgeon sounds like a comforting mix of Lee Mavers (The La’s), Tim DeLaughter (Polyphonic Spree), and Dave Bidini (Rheostatics).  In the music itself, I hear Out of Time/Monster-era R.E.M., Built To Spill, Rheostatics, and occasionally the anguished anthems of Silver Mt. Zion.  Quite a year for Sturgeon, who also appears on this list as one-half of Ombiigizi, with Zoon’s Daniel Monkman.  This is a great album, top to bottom, and although I miss the intensity of WHOOP-Szo, there is more to dig into here, lyrically and sonically.  Choice track: “Mashkiki Sunset”.

18.  Love, Burns – It Should Have Been Tomorrow

I’ve always loved the jangle pop genre, but I’ve been way more intentional in my pursuit of that perfect combination of acoustic guitar, cleanly reverbed electric guitar, earnest (sometimes naïve) lyricism, and up-tempo beats.  In the last few years, I’ve been smitten with the likes of Ducks Ltd., Massage, Red Pinks and Purples, Chime School, and The Shop Window.  Love, Burns (essentially the solo output of Phil Sutton of Pale Lights and Cinema Red and Blue) lands nicely in this group, but with a smidge more soul and instrumentation, suggesting a persistent lineage that harkens back to Lloyd Cole and the Commotions through to Belle and Sebastian and Ladybug Transistor.  Sutton has a insistent croon that gives the songs greater weight and soulfulness than you might otherwise find on straight up jangle.  It’s a grower and a keeper.  Choice track:  “Dear Claire”.

17.  Alvvays – Blue Rev

Despite a 5 year hiatus, Alvvays have re-entered the indie rock world and immediately returned to their lofty positions on everyone’s year end lists.  It’s remarkable and almost arbitrary.  Bands like Alvvays are more often likely to ride a rather temporary buzz and fall back down just as rapidly to a more modest fan base.  And by “bands like Alvvays”, I mean the peppy indie rock bands that I hold dear to my heart, like Veronica Falls, Dum Dum Girls, Melenas, Pains of Being Pure at Heart, Bully, etc.  There is some sort of can’t-put-my-finger-on-it quality to Alvvays that might matter, though, like a near-perfection sonic recipe that is part 80’s guitar pop (Go-Go’s, Primitives), part shoegaze/dreampop (Lush), and part fuzzy indie rock (Throwing Muses, Breeders).  The production is tremendous, balancing the edge, fuzz, and sheen in equal parts, with Molly Rankin effortlessly punching through it all with her fabulous range.  Choice track:  “Belinda Says”.

16.  Ribbon Stage – Hit With The Most

Take Alvvays, above, strip off a few years of experience and put them in the basement with some basic gear and you have the lo-fi indie/fuzz pop of Ribbon Stage.  Bands like this hit me in that melodic DIY sweet spot, like old Primitives, Bangles, Popguns, The Clean, and The Icicles (and newer acts like Aiko El Grupo, Kids on a Crime Spree, EggS, and Petite League).  It is basic and scrappy and happy, music for music’s sake, full of noisy spirit.  If I heard this in 1985, they’d be a revelatory favorite, that sort of hidden gem that you only find because someone’s cool brother bought an obscure mail order 12 inch.  Choice track: “Playing Possum”.

15. Widowspeak – The Jacket

In 2020, I rated Widowspeak’s Plum at #3 on my year end list and suggested it may be better than any record by their primary influence, Mazzy Star.  Again, not said lightly, because Mazzy Star is an all-time favorite of mine.  2022’s The Jacket is 100% of the same ilk, and almost of the same calibre.  Singer Molly Hamilton exudes that sexy-sad-cool style mastered by Hope Sandoval, while the laid back guitar lines chill the listener into submission.  While Mazzy Star suffered from a sort of samey-ness at times, Widowspeak always keep things interesting and varied, albeit within their own folky, softly psychedelic boundaries.  Perhaps not as grand as Plum, this one still has lots on offer and warrants repeated listens. Choice track: “While You Wait”.

14. Horsegirl – Versions of Modern Performance

I first heard Horsegirl via their single “Billy”, which immediately evoked Yo La Tengo, Pavement, and Matador records of the 90s.  Sounds like a concocted, self-serving story given this young band named dropped both these bands in their pressers and, like clockwork, were signed by Matador for their debut album, Versions of Modern Performance.  While I can be smug about naming their influences, they really do channel that 90’s indie rock aesthetic defined by albums like Electro-Purra, Slanted and Enchanted, and a bit of Liz Phair’s Exile in Guyville (and Guided By Voices, Sebadoh, Archers of Loaf, Versus, etc.).   It is sooooo encouraging to see teenagers/twenty-somethings discovering 90’s alternative and going out forming bands that emulate the sounds.  Horsegirl do it so well -- hooky melodies and chord progressions but with that detached, slacker, arty bent that makes it more interesting than straight up pop/punk.  Excellent debut.  Choice track:  “Billy”.

13.  Bonny Light Horseman – Rolling Golden Holy

Eric D. Johnson has not only been incredibly prolific in the recent times, he seems to be, after 20 years of Fruit Bats releases, at the very top of his game.  2021’s Pet Parade was my album of the year and will forever remind me of the hazy, lost times of the pandemic.  I assume its gotten its share of critical accolades but it remains underappreciated – I’ve exhorted to anyone who will listen that this album would be considered Bob Dylan’s greatest achievement of his career if the old man dropped it instead of Fruit Bats.  Johnson also put out a fabulous outtakes double album this year and also had time in 2021 quietly release a brilliant interpretation of Smashing Pumpkin’s Siamese Dream.  In addition to all of this, he launched the side project, Bonny Light Horseman, with Anais Mitchell and Josh Kaufman in 2020.  “Deep in Love”, from their eponymous release, was my song of the year.  The band reconvened for Rolling Golden Holy and it is another gorgeous folk rock triumph.  Mitchell is a beautiful counterpoint to Johnson’s countrified delivery and one is reminded of Fleetwood Mac, Richard and Linda Thompson, and summery 70’s yacht rock.  Consider my heartstrings pulled.  Choice track:  “California”.

12.  Kiwi Jr. – Chopper

Toronto’s Kiwi Jr., with their third album Chopper, appear as the rightful heirs to Halifax’s power pop veterans Sloan.   Granted, Sloan had a different trajectory, enjoying a meteoric rise to North American fame with the unexpected hit “Underwhelmed” and the endorsement of then powerhouse label Geffen; whereas Kiwi Jr. is still a modest outfit that does their thing in rather big ocean of indie bands.  But the Sloan-like quality is undeniable, with catchy-as-hell guitar pop, creative/sardonic lyrics, and terrific harmonies.  They are also heavily influenced by that slackified brand of arty indie rock, like Pavement, Jonathan Richman, and Boyracer – they would pair nicely on tour with Parquet Courts. Their debut, Football Money, was so accomplished, Sub Pop signed them for their follow ups and the critical reception has been fairly gushing.  Produced by Dan Boeckner (Wolf Parade, Handsome Furs), Chopper may be their best yet.  Give indiepop gem “Clerical Sleep” a listen and tell me your toes didn’t tap.

11.  Angel Olsen – Big Time

I’ve long been a fan of Angel Olsen, starting with 2014’s Burn Your Fire For No Witness, and sang her praises back then as channeling the varied sounds of PJ Harvey, Hole, Linda Perhacs, and Mazzy Star.  In the interim, all her records have been solid, good-to-great representations of that undefined genre of indie singer-songwriter.  With a few listens of Big Time in my head, I had the pleasure so seeing Olsen on tour with Sharon Van Etten and Julien Baker and realized fairly quickly that she is now something much grander.  Now the touchstones are entries in the great Americana songbook, such as Carole King, Dolly Parton, Dusty Springfield, and Patsy Cline.  On Big Time, Angel Olsen sings her heart out in such a mature and refined manner (with just enough alt.music feels) that she seems larger than life, like a country music heroine with platinum records and red carpets rolling out with each of her steps.  Every song is gorgeous.  Choice track:  “Go Home”.

10.  Cozy Slippers – Cozy Slippers

Cozy Slippers is an indiepop outfit from Seattle that, at first listen, immediately reminded me of the Bangles and other rich guitar pop with female leads, like The Sundays, Go-Go’s, Wild Strawberries, Crash Vegas, and 10,000 Maniacs – there is most definitely a late-80’s/early-90’s feel.  The vocals seem to be an equal part mix of Susanna Hoffs and Natalie Merchant which, prima facie, makes Cozy Slippers amazing.  The songwriting and production more than back up the quality vocal performances, with jangly guitars, keyboards, and an overall anthemic hookiness pulling you in over the course of its too-short 35 minutes.  I wonder if they are fans of Amelia Fletcher’s numerous incarnations (Heavenly, Talulah Gosh, Tender Trap, Catenary Wires) as I hear a lot of her royal indiepop influence here. This is such an assured debut and I can’t wait to hear more.  Choice track: “Boat House”.

9.  Black Country, New Road – Ants From Up Here

I’ll never comprehend how a 22 year-old, with so precious little time on this earth, can conjure the sort of artistic tour-de-force on display on BCNR’s Ants From Up Here.   I am speaking of Isaac Woods (and the rest of the band) who’s intimate and often harrowing lyrical self-flagellation seems way beyond his years, like he’s some reincarnated old soul who in past life won a Pulitzer prize for poetry.  Others might feel the same incredulity of when first hearing The Decemberists, Bright Eyes, Arcade Fire, or Wolf Parade.  But Woods seems beyond even these luminaries, joining the ranks of savant geniuses like Jeff Mangum and his fever dream fantasies with Neutral Milk Hotel; or a young Nick Cave or Bob Dylan.  There would normally be the risk of experiencing these songs as self-pitying and tiring indulgence but Woods, in his seasoned baritone, seems to capture the darkest feelings of most young people in a way that comes off as universal.  It's just that it is a very rare person who possesses the emotional depth, conceit, and tenacity to put those feelings into words and song.  Incisive and clever turns of phrase give novel insights into daily microaggressions, self-doubt, fear, loathing and the occasional moment of cautious optimism.  What makes the artistic statement of Ants From Up Here so profound is the coupling of Woods lyrics and world-weary voice with the accompanying music.  “Post-rock” is the catch-all term that is most often used, but, like Neutral Milk Hotel, it is the pre-rock flavors that surprise – improv jazz, klezmer, showtunes, and classical forms put this album out of time/place so fundamentally that it is hard to grasp the musical objectives at times.  This makes things unsettling, tightly wound, and occasionally frustrating to listen to.  Which makes the melodic, anthemic, crescendoing moments all the more rewarding and satisfying.  This is not a record to throw on piecemeal – it demands an attentive listen, beginning to end, and probably alone.  Woods left the band four days before the release of this album.  He was unhappy and one might predict that his unhappiness, as contritely described to fans, is probably profound and crippling in actuality.  Like an inevitable casualty of genius, like Jeff Mangum disappearing into eastern Europe soon after In The Aeroplane Over The Sea blew up.  Choice song: “Concorde”.

8. Petite League – Thrill Seekers

Since the release of No Hitter in 2016, the New York (and baseball) obsessed indie rockers Petite League have lost exactly zero steam, slamming in excellent LPs year after year.  To keep the baseball metaphor going, the band has perfected it’s swing and does not seem inclined to change their form.  Yes, perhaps they could switch things up in an attempt to go bigger and aim for bleachers, but why mess with such a great hit percentage?  They remain consistent in their approach, weaving clever stories about their city and the people in it over top of peppy, fuzzy guitar.  The production choice to treat Lorenzo Cook’s vocals so it sounds like he is coming out of handheld transistor radio remains.  This is a good thing – along with his nasally/scratchy quasi-punk vocal style, this IS the sound of Petite League and it never gets old to me.  Ever since hearing “Hang the Cowboy” (on 2019’s Rattler) I’ve been a fan and bloody impressed that every single song is good to excellent.  Fun fact:  Lorenzo Cook offered a limited number of Instagram friends to throw him a song that he would cover for a small fee.  I gave him my very own “Forest For Trees” (on 2019’s For Fear, under my moniker Green Palm Radiation) and he didn’t disappoint.  So amazing to hear it through the Petite League filter.  Choice song: “Nite Stairs”.

7.  The Loyal Seas – Strange Mornings in the Garden

I completely lost track of post-Belly Tanya Donelly and in the interim she’s apparently gone through some magical musical transformation.  The Loyal Seas may be best described as countrified orchestral folk pop and modern comparisons could maybe include Sharon Van Etten and Angel Olsen (“Early Light” is a good example).  But so much more seems to be going on here.  This album took me completely by surprise and I struggling with my superlatives.  These are gorgeous and sublime ballads buoyed by Abbey Road level production.  There is a mature 70’s AOR depth, with Fleetfood Mac feels.  I neglect to mention that Loyal Seas is a duo of Donelly and Brian Sullivan (Dylan In The Movies), the latter of whom I know nothing.  His dulcet baritone is right in your ear and is maybe even jarring at first.  He sounds a little bit like Ken Griffin (Rollerskate Skinny, Favourite Sons) and a lot like whoever sings lead for The Mink Lungs.  Donelly, meanwhile croons and soars with a measured skill that simply wasn’t present in her Belly days.  There is rich instrumentation throughout, with piano and strings joining acoustic guitar and jangly electric chords and arpeggios.  Sometimes the tempo shifts up to catchy indiepop territory, as with title track (and first single), an amazing highlight that eschews the country for Belle and Sebastian/The Ocean Blue vibes.  This record is not on Spotify (good for them!) but I sure hope people find it on Bandcamp.  It may be the greatest hidden gem of the year.  Choice track:  “Strange Mornings In The Garden”.

6. fine. – Love, Death, Dreams, and the Sleep Between

Went back to my initial notes on this:  “Wow…what a find!  Kind of Quivers, Weepies, great big pop choruses.  Every song is great, many are fantastic.”  Months later, my first impressions have held firm.  Subjangle Records does it again (the THIRD entry into my Top 30 from this modest little label) with England’s fine. (yes, this band's name is unnecessarily lowercased with a period, making them annoying to write about and even more difficult to search online.  Herein, they will be more simply called “Fine”).  This is rich and upbeat jangle pop, albeit with a more vocals heavy, Phil Spectorish wall of sound production.  It opens gently and with a choral arrangement style that invites some sort of specific adjective that does not exist.  I was immediately reminded of “Invisible Republic” by Young Galaxy and the all-hands-on-deck vocal approaches of Broken Social Scene, Stars, New Pornographers, Architecture in Helsinki, and Arcade Fire.  It’s not that annoying gang vocal approach that has been adopted by many indie bands and car commercials – but nonetheless it is multiple voices belting out melody with close harmony with a combination of fervor and precision.  Every song has a catchy verse and chorus, lovely build ups and breakdowns, and usually some irresistible crescendo.  Fine may indeed get lost in the overly crowded world of contemporary indie, especially as its hard to pinpoint who the audience is here.  Whoever is still listening to Belle and Sebastian maybe? (I know I still am). I think the band would have been better positioned in 2004 or so to garner a following (a fledgling Pitchfork.com would have drooled over them, and would probably dismiss them today, as their reviews are now often inscrutable and asinine).  Also throwing back to the early 2000’s is the number of tracks – we are treated with 19 (!) songs, all strong, as if they have been stockpiling them for this release (another reason CDs are great). I hope they get some press.  This is a GREAT record and they deserve some recognition. Choice track: “(Breathe Out) Dreams II”.

5. Papercuts – Past Life Regression

Because of my love for spritely indiepop on the one hand and woozy shoegaze on the other, many of my favorite albums land right in the middle, and are best described as “psychpop”.  Bands like Apples in Stereo, The Minders, High Dials, Mantles, Woods, Brian Jonestown Massacre and many, many others, come to mind.  Papercuts – which is essentially the work of San Francisco’s Jason Quever – have been active for almost 20 years, with the 2004 release of LP Mockingbird.  I’ve discovered Papercuts late in the game and only now am I accessing their rich discography.  On Past Life Regression, there is a jangly foundation but it is enhanced by a warm psychedelic vibe – some MBV glide guitar, vintage organs treated with tremolo, and airy sounding vocals that sound similar to Anton Newcombe, who himself mines the sounds of British 60’s sounds of the Rolling Stones and Zombies, and others of that era.  Sometimes they sound like Luna and share the deep-rooted influences of the Velvet Underground.  “I Want My Jacket Back” sounds like a Left Banke song.  All the comparisons aside, why this album is so highly rated to me is that every song is engaging and interesting while producing a palpable nostalgia for summers of love.  Choice track: “Sinister Smile”

4.  Jaguar Sun – All We’ve Ever Known

There is a hard to describe brand of indiepop that that deftly and subtly uses swirling keyboard backdrops, drum loops, and copious reverb to create a chill, breezy, summery sound.  See, that sentence does not quite capture it.  I’d say “chillwave”, but that invokes bands like Washed Out and Small Black that have roots in electronica and dance.  If you instead add a folky foundation – with airy guitars, straight up verse/chorus structures, and attentive singing – you get closer.  Examples include Real Estate, Yot Club, Cayucas, Candy Claws, Toledo, Tennis, Day Wave, Wild Nothing, and Amber Arcades.  Toronto’s Jaguar Sun have appeared to have created the quintessential album in this hard to pin down subgenre.  I’m smitten.  If I were to recommend an album in order to sonically describe this particular indiepop formulation, it’s All We’ve Ever Known.  Every song captures the essential qualities just described.  It’s calming, almost hallucinatory, a true thing of beauty, and perfectly done.  I highly recommend everything on this list, but I somehow feel like Jaguar Sun needs the most love.  Search it out.  Choice track:  “Midnight Man”. 

3. EggS – A Glitter Year

In their recent history, France’s EggS propagated a mystery, with a scarce online footprint and stories of presumed band members denying their membership, followed by hasty retreats.  There are stories of blank dismissals of record labels seeking to represent them, with inscrutable evasions and misdirects.  Perhaps this approach was all intentionally concocted to build interest, or perhaps it never happened at all.  Whatever the case, I first heard the lead track “Local Hero” on A Glitter Year courtesy of a Youtube clip posted by Sam (aka, the Vinyl Douche) and I was immediately obsessed.  I was lucky enough to score a copy of this now hard-to-get LP and it quickly shot up the ranks of my favorite 2022 releases.  It is rollicking, revved up indie pop/rock, with rough fuzzy edges, impossibly catchy melodies, and cathartic boy/girl vocals.  It’s a uncut diamond in the rough fields of common indie rock, with a sort of proletarianism at work.  On every dimension of this well-worn genre, EggS is superior, which sort of blows my mind – how is it possible?  There are intangibles here and certainly personal taste (which is pretty much indescribable) plays a huge role.  Is it because they put a sax part on almost every song? A big deal for me are the vocals. Charles Daneau’s voice is ragged and unrefined, the sort of high energy, from the gut, punk-adjacent style that makes Titus Andronicus or the Thermals so thrilling. But wait, those female vocals?  At first listen, the familiarity was flummoxing.  Turns out both Margaux Bouchaudon and Camille Fréchou of En Attendant Ana are core members of EggS.  En Attendant Ana may be my most favorite newer band (Juillet from 2020 was a revelation) and it’s no wonder I’m so taken by EggS.  I want more more more!  Choice track: “Local Hero”.

2.  Florist – Florist

Florist opens with a rather grating singing saw soundscape that sounds like an old Neutral Milk Hotel outtake.  It’s off-putting and an inauspicious opener (one might call it brave, but I just think it’s merely ill-advised).  It does, however, introduce the artistic conceit of the album, namely, short and experimental instrumentals alternating with fully formed pretty folk songs and ballads.  This works because each conventional song includes in their backdrop a range of oscillating waves, field recordings, and other atmospherics that are on full display in the brief instrumental pieces.  And I love it.  This track ordering breaks up the soft folk pieces, which may otherwise wear thin back-to-back-to-back, while giving them a unifying ambience and thematic feel.  The conventional songs themselves are gorgeous and creative, with measured finger-picked guitar, sweet understated vocals, and occasional horns and woodwinds.  The experimental sounds therein do not make this a “folktronica” record – there are merely interesting accoutrements that enhance the experience and tell you that Florist is not your basic folk act.  You will hear tape hiss and bird songs, with the group recording most of the tracks on screened in front porch.  You can almost hear the bucolic surroundings.  The songs are sad, lonely, regretful, and pregnant with emotion – it’s one of those few records in which I orient immediately to the lyrics.  I think I heard all the words the very first time I heard “Red Bird, Part 2 (Morning)” and got goosebumps.  In hearing Florist, the first comparison that came to mind was Mutual Benefit, a criminally underrated orchestral folk group that has put out some of my most favorite albums over the past three years.  The Weepies and Adrianne Lenker (Big Thief) are also in the same category of beautifully sung, plaintive folk.  Florist took me completely by surprise.  I hadn’t known them even though they have been going since 2013 under the leadership of Emily Sprague.  Now, after happening upon them due to an intriguingly high Metacritic score, and I will certainly be exploring their back catalog.  Choice track:  “Red Bird, Part 2 (Morning)”.

1. Big Thief – Dragon New Warm Mountain I Believe In You

Adrianne Lenker and Big Thief continue their run of exemplary and eclectic albums with the oddly named Dragon New Warm Mountain I Believe In You (shouldn’t there at least be a comma in there?).  Largely gone is this overdriven indie rock sounds of their early work; but neither do they revert to the soft and plaintive approach present in Lenker’s solo acoustic work (and much of 2019’s UFO-F).  And it is a gigantic double LP, coming in at 80 minutes.  Lenker’s voice naturally cries out for countrification and the band gives it their all on a bunch of old-timey tunes.  “Red Moon” is such a delightful romping hoedown that makes me want to spin in circles.  There is some pretty and spare folk throughout but also lots of interesting creative indie rock.  “Time Escaping” with its found sound drum patterns and electo-pulses sounds like a Juana Molina track.  “Little Thing”, with its flanged/tremoloed guitars and circular chord progression is like a brilliantly hypnotizing Here We Go Magic track. “No Reason” is a plea for collectivism and, with a children’s chorus, sounds like it could have been on the Free To Be You and Me soundtrack of the early 70's (I say this with reverence, I can’t believe how perfectly this is done).  There is so much to enjoy here, but if I were to say there was singular influence, I would say The Band.  It’s a heady mix of Americana storytelling that is expertly played and sung.  There are many incredible albums on this list, but Dragon is ahead of all the curves and easily the best Big Thief album to date, asserting them as one of the most important contemporary American bands producing music today.  Choice track: “Red Moon”.

Other Amazing Albums and Releases from 2021

Every year there are often more albums than are on my year end list that I would nonetheless highly recommend.  All of these are in the “A” range (at least 8/10 on my personal rating scale) and are all definitely worth checking out.  It’s an exercise in splitting hairs to put some of these below rather than on the main list.

Air Waves - The Dance

Air Waves – The Dance.  Nicole Schneit’s unassuming  indiepop returns with its characteristic charm and naiveté.  Slightly more sheen this time, but it’s this bedroom sound that makes it so attractive, like Lomelda and Hand Habits.

Beth Orton – Weather Alive.  Orton’s vocals have become a little strained and gnarly, but there are gorgeous moments that remind me of Daniel Lanois’ early records. Overall, a solid album.

The Beths – Experts in a Dying Field.  Catchy, high-energy and pop/punk comparable to Bully, Veronica Falls, and The Muffs. 

Bill Callahan – Reality.  Somewhat inconsistent in keeping my attention, but enough stellar tracks on here to make this yet another worthy addition to Callahan’s impressive discography.

Built To Spill – When The Wind Forgets Your Name.  Welcome back Doug Martsch and company!  The veterans of 90’s indie rock show that they are still masters of their era.

Frankie Cosmos - Inner World Peace

Ex-Void – Bigger Than Before.  Often furious, scuzzy indie rock/punk in the same ballpark as early The Men and Cloud Nothings.

Frankie Cosmos – Inner World Peace.  Lovely, interesting, and effortless folk/indiepop.

Gold Dust – The Late Great Gold Dust.  Kindling’s Stephen Pierce continues to explore his own personal psychedelic folk rabbit hole.

High Water Marks – Proclaimer of Things.  Norweigan fuzz pop band (along with American Hilarie Sidney, formerly of Apples in Stereo) gives another toe-tapping record worthy of the Elephant 6 legacy (i.e., compares favorably to the best Minders, Elf Power, and Beulah records, and of course Apples in Stereo). 

Jim Nothing - In the Marigolds

Jim Nothing – In The Marigolds.  Velvet Undergroud-inspired indie rock from Christchurch NZ in the manner of Twerps, Sonny and the Sunsets, Butterglory, and all things David Kilgour-related.  This one pushes the main list.

Kids On A Crime Spree – Fall In Love Not In Line.  Basic fuzzy indiepop and more quality fare from Slumberland records.

Lavender Blush – You Are My Moonlight.  Excellent indie rock through a shoegaze prism, similar to Whimsical and Panda Riot.

Lightning In A Twilight Hour – Overwintering.  Bobby Wratten’s (Field Mice/Trembling Blue Stars) new project focused on slowed down, forlorn indiepop.

Model Shop – Love Interest.  Bouncy jangle pop forming out of indiepoppers Math and Physics Club.

Nurse and Soldier - Let's Spend the Day Together

Modern Nature – Island of Noise. Moody and spare emo-jazz dirges and hushed tales revolving around the saxophone. Not my favorite instrument, but it works here. Cousins to American Analog Set, Morphine, and Arab Strap.

Nurse and Solider – Let’s Spend the Day Together.  Bobby Matador (Oneida) and partner Erica Fletcher continue to make understated, minimalist pop tunes with synths, fuzz, and love. 

The Orielles – Tableau.  Contemporary indie/art/goth fusion, The Orielles are at times difficult but cinematic and always interesting.

Peel Dream Magazine – Pad.  Loungey, spacey pop that takes their cues very directly from Stereolab and High Llamas.

Pink Mountaintops – Peacock Pools.  Stephen McBean (Black Mountain) returns with his other psychedelic rock outfit.  Another fiery salvo of rawk, this time with some gothy/post-punk elements.

Smut - How The Light Felt

Smut – How The Light Felt.  I’m not sure what “smut” sounds like, but it’s not this.  This is instead pretty indie folk / dream pop that recalls The Sundays, Wolf Alice, and Mae Moore.

The Stargazer Lilies – Cosmic Tidal Wave.  A pretty apropos title, as one is likely to be overwhelmed by the waves of psychedelic noise (and they actually have chilled out a bit!). But if you like this kind of drowning, do jump in.

The Stroppies – Levity.   Catchy indie-rock with some post-punk signposts (think Wire or Pylon) and great melodies/harmonies.

Sunnsetter – All Watched Over By Machines of Loving Grace.  Beautiful, ambient meditations similar to Jónsi & Alex (or Sigur Ros) and Eluvium.  My favorite ambient album of the year.

The Shop Window – A 4 Letter Word.  Reverb heavy, 80’s informed jangle pop that has its origins in British bands like Housemartins, Lloyd Cole, The Go-Betweens, and Crowded House.

Tess Parks – And Those Who Were Seen Dancing. Parks’ tobacco and whiskey soaked vocals weave together a series minimalist psychedelic jams reminiscent of Spaceman 3, Mazzy Star, Lightning Dust, and Opal.

Toledo - How It Ends

Toledo – How It Ends.  Was waiting patiently for the full-length follow up to their EP Jockeys of Love.  More summery, pristine indiepop that somehow references every decade of music.  And it’s smooooooooth. 

Trademark Issues – Eight.  Power pop, a bit of 90’s indie rock, a bit of other things; a different times I hear old Dandy Warhols, Fountains of Wayne, They Might Be Giants, and Beat Happening (and all done in a bedroom).

Weyes Blood – And In The Darkness, Hearts Aglow.  Natalie Mering follows up my #2 album of 2019 (the sublime Titanic Rising) with another great record.  Not the same heights, but still an excellent revival of Karen Carpenter and 70’s AM radio gold.

Whimsical – Melt.  Impossibly pristine and pretty vocals front an overdriven, reverb-heavy shoegaze. 

Yot Club – Off The Grid.  At first listen, this sounds like you’re in for some keyboardist new wave pop but, while the MIDI-loops are there, this is all riding on incredibly tight guitar performances that sound pre-programmed.  Also, great vocals - reminds me Andy McCluskey of OMD.  Catchy as shit.

Young Prisms - Drifter

Young Prisms – Drifter. Underheard shoegaze act returns with another stellar record that bows at the altars of Slowdive, Curve, and My Bloody Valentine.  I think they also must listen to Lovesliescrushing.  I keep returning to this and feel like this should have maybe made the main list.

I can also confidently recommend the 2022 releases of Submotile, The Photocopies, Say Sue Me, Wild Pink, Resplandor, Hurry Up, Reds Pinks & Purples, Rolling Blackouts Coastal Fever, and Sharon Van Etten.

Other 2022 Releases of Note

We were treated with comprehensive b-sides/outtakes/retrospectives from Joe Strummer, PJ Harvey, and Fruit Bats, all treasure troves.  Dummy reissued their first two EPs on vinyl, which was great to acquire.  Also have to call out a compilation put out by The Photocopies, which pulls together all their recent digital singles and eps onto a limited CD – an amazing number of great fuzzy, janglepop songs.

Besnard Lakes - Are The Prayers For The Death of Fame 

It is really hard to keep up with single releases on digital platforms, as they arrive at an untenable pace.  I check things out as much as possible, but try to stick to physical releases if available or take note and wait (some bands only release digitally, but are so good and force my hand).  Numerous singles and EPs got my attention this year.  Some EPs I recommend are Besnard Lakes (Are the Prayers for the Death of Fame), Stephen’s Shore (Green), Aluminum (Windowpane), Umbrella Puzzles (On the Meadow), Persian Leaps (Machines for Living), Mo Dotti (Guided Imagery), The Radio Field (Simple), and a split EP of Buddhist Bubblegum and Wiggly (Dreaming of the Desert).

I was also so happy to get some new music from Light-Heat (i.e., Quentin Stoltzfus, formerly under the name Mazarin) – an EP and two singles digitally via Bandcamp (and not Spotify). I love his stuff so much.  A couple singles worth nothing:  Nation of Language (two 7 inch singles, Androgynous and From the Hill) and Seablite (Breadcrumbs).

And that is that.  I’m writing this well into 2023 and there is much to be excited about musically:  New En Attendant Ana, Yo La Tengo, Zoon, Fruit Bats, Jess Williamson, Bully, Angelo De Augustine, Mutual Benefit, Soft Science, and Jenny O. to name a few!

Be well all.

Jay