Previously,
The Best 20 Albums of 2020: My Picks
The Best 20 Albums of 2021: My Picks
20.
Ethel Cain, ‘Preacher’s Daughter’
A life full of whiskey but I always deliver
Jesus, if You’re listening, let me handle my liquor
And Jesus, if You’re there
Why do I feel alone in this room with You?
In the balmy depths of Florida’s humid air and amidst the ethereal echoes of slowcore and dark pop, Ethel Cain’s debut album Preacher’s Daughter stands as a spine-tingling saga that holds the listener captive from its haunting prologue to its harrowing denouement. Preacher’s Daughter is a concept album that skillfully navigates between reality and the macabre. The narrative follows Cain, the titular preacher’s daughter, through a tragic trajectory marked by familial dysfunction, religious fanaticism, and ultimately, a gruesome fate at the hands of a cannibalistic partner. This narrative depth sets Preacher’s Daughter apart, as it transcends traditional musical boundaries to create an immersive experience. The story isn’t merely a backdrop but the very marrow of the album, turning each song into a chapter of Cain’s unsettling journey. Sonically, the album spans a variety of genres—slowcore, Americana, dark pop—without ever feeling disjointed. Preacher’s Daughter is a grim yet poignant exploration of the American psyche, rendered in lush, haunting soundscapes that linger long after the final note has faded. In a world where the line between artist and alter ego can blur, Anhedönia’s creation of Ethel Cain stands as a testament to the power of music as both a personal catharsis and a universal narrative.
19.
Mitski, ‘Laurel Hell’
Heat lightning, watch it from my doorstep
Sleeping eyelid of the sky, flutters in a dream
Well, I’ve held on but feel a storm approaching
Trees are swaying in the wind like sea anemones
Mitski’s sixth studio album engages with broader, arguably more polished soundscapes that interplay 1980s synth influences with her characteristic emotional depth, reflecting an artist at odds with her burgeoning success and the pressures accompanying it. The lyrical landscape of Laurel Hell is multifaceted, weaving narratives of personal turmoil and professional skepticism. Tracks like Working for the Knife and Love Me More are filled with existential questioning, grappling with the toll of relentless ambition and yearning for validation. Mitski, known for her cutting vulnerability, retains her lyrical precision here, although there’s a notable brevity to many of the verses. Laurel Hell is characterized by a sonic cohesiveness rooted in 80s-style synth-pop, new wave, and electronic rock, a significant departure from Mitski’s previous guitar-driven soundscapes. Laurel Hell is a complex and captivating body of work that showcases Mitski’s growth as an artist willing to navigate uncharted territories while confronting personal and professional turbulence. The album’s reflective lyrics, juxtaposed with bright synth-laden production, encapsulate the dualities central to Mitski’s experience: the beauty and danger of limelight, the comfort and isolation of self-exploration, and the tension between public persona and personal authenticity.
18.
The Smile, ‘A Light for Attracting Attention’
Devastation has come
Left in a station with a note upon
Now there’s never any place
Never any place to put my feet back down
The Smile’s debut album, A Light for Attracting Attention, isn’t merely an offshoot but a tapestry of intricate soundscapes echoing the understated brilliance of their work with Radiohead. The album is a blend of sonic meditation and existential reflection, captured under the seasoned production of Thom Yorke, Nigel Godrich, and Jonny Greenwood, musicians renowned for their work with Radiohead. The conceptual undertones of A Light for Attracting Attention delve into familiar Yorke terrain—existential dread, societal critique, and a lament over the state of the world. Yet, it refracts these themes through a slightly brighter lens, hinting subtly at cautious optimism. The title itself evokes curiosity and metaphysical pondering. As Yorke’s introduction at their first gig suggested, the Smile isn’t about superficial cheerfulness but the pervasive, often insidious, motifs of modern life. Musically, the album traverses a rich sonic palette, incorporating elements of post-punk, post-rock, jazz, progressive rock, math rock, Afrobeat, and electronica. The sonic diversity is immediately evident in tracks like The Smoke, which juxtaposes Afrobeat-inspired rhythms with understated funk, creating a mesmerizing, almost sensual auditory experience. The instrumental interplay between Yorke and Greenwood remains as compelling as ever. Greenwood’s orchestral arrangements appear sparsely but decisively, imbuing tracks like Pana-vision with a grandiose yet intimate feel. Speech Bubbles, meanwhile, sees the band exploring more ambient territories, with its delicate acoustic foundation allowing Skinner’s percussion to subtly drive the narrative
17.
Jockstrap, ‘I Love You Jennifer B’
Jockstrap’s debut album, I Love You Jennifer B, is a deeply conceptual record, one that thrives in the interstitial space between the universally relatable and the intimately personal. The album’s title itself invokes this dichotomy, juxtaposing a broad declaration of love with the specificity of a personal connection. As suggested by the title, the album is an exploration of love in its many forms, intertwined with reflections on mental health and the epiphanies spurred by urban living and romantic entanglements. Further accentuating its conceptual depth, the album is filled with moments of introspection, as seen in tracks like Angst. Ellery poignantly describes what seems like a breakdown using a metaphor of pregnancy: “My organs bob about in the dark/In a mustard mist/In my stomach-vase”. This theme of painful self-awareness and inner turmoil recurs throughout the album, providing a vivid narrative thread that underpins much of the duo’s lyrical content. Sonically, the album is marked by unexpected shifts and genre-defying transitions that simultaneously challenge and captivate the listener. From the opening track Neon, which begins with spare guitar chords before taking a sharp turn into distorted soundscapes, to the multi-layered construction of the title track Jennifer B, which melds clinical key jabs and robotic spoken interludes into a coherent whole, the album is nothing if not a testament to Jockstrap’s willingness to push boundaries. Behind the scenes, Taylor Skye uses an 18-piece orchestra, lending a grandiosity to the record’s already expansive sonic palette, which ranges from baroque pop to gnarly electronica. Tracks like Glasgow highlight this superb orchestral integration, with its crystalline harp and radiant sincerity allowing Ellery’s lyrics to shine through with an almost cinematic quality.
16.
Harry Styles, ‘Harry’s House’
Harry Styles’ third studio album, Harry’s House, marks a mature evolution in his solo career, blending introspective themes with a vibrant spectrum of modern pop, funk, and synth-pop. Inspired by Joni Mitchell’s 1975 track Harry’s House/Centerpiece, in which Mitchell croons about a tranquil escape, Styles’ Harry’s House is a metaphorical space where the artist explores notions of home, love, and self-discovery. Harry’s House thrives on the concept of home as both a physical and emotional space. It’s a sanctuary where the listener can relax and process daily intricacies alongside Styles. The album navigates between the highs and lows of personal connections, romantic escapades, and self-acceptance. Compositionally, Harry’s House is a tapestry of genres and influences, drawing heavily from the sounds of the 1970s and 1980s. The album’s production, spearheaded by Styles’ collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland, is polished and sophisticated, blending elements of funk, synth-pop, and R&B seamlessly. The opening track, Music for a Sushi Restaurant, sets a vibrant tone with its scatting, scene-stealing horns, and a litany of food references that evoke a sense of playful indulgence. Late Night Talking follows with smooth, early-80s rhythms that add a layer of nostalgic charm to the album’s soundscape. Daydreaming stands out both compositionally and through its clever sampling of The Brothers Johnson’s “Ain’t We Funkin’ Now,” lending a retro-funk vein to the album. This 2023 Grammy AOTY album resonates with an easy charisma that makes it accessible for casual listening, yet its intricate production and lyrical depth invite closer inspection. Styles’ ability to craft songs that are both sonically adventurous and emotionally resonant makes Harry’s House by far the finest work in his discography.
Continue Reading:
The Best 20 Albums of 2022: My Picks #15-11
The Best 20 Albums of 2022: My Picks #10-6
The Best 20 Albums of 2022: My Picks #5-1