A definitive, very objective list of the best albums of the past year
DISCLAIMER: I am aware that there is a strong contingent of Taylor Swift fans at Osgoode—the omission of Midnights from this list is solely because I have not listened to it yet (please forgive me).
Renaissance – Beyonce
I’ve hinted about my unabashed love for this album throughout previous Obiter articles, so regular readers may not be shocked by this album’s placement on the list. Renaissance sees Beyonce do the most radical thing a Black person can deign to do in public—have fun. This joy is palpable in the pulsating synths and Moi Renee outro on “PURE/HONEY,” the positive affirmations throughout “ALIEN SUPERSTAR,” and even in her hilariously outdated slang usage on “CHURCH GIRL.” A song that has grown on me considerably in the months following Renaissance’s release is “HEATED.” A perfect distillation of the vibe that Drake failed to capture on Honestly, Nevermind, this track is an effortlessly slick afrobeats masterclass, rife with the type of flexes someone only of Beyonce’s stature could pull off (“Got a lot of bands, got a lot of Chanel on me/I gotta fan myself off”).
Spirituals – Santigold
The notoriously reclusive Santigold emerged from a six-year hiatus with Spirituals, a chaotic and eclectic return to form. Not one to remain in the confines of a discernible genre, Santigold flips seamlessly between electro-pop (“Nothing”), reggae (“No Paradise”), and even alt-rock (“Fall First“) at a moment’s notice. Songs like “Ushers of the New World” and “Shake” see Santigold delve into explicit political messaging, whether it be attempts to change broader narratives about meritocracy (“Is it survival of the fit/Of the smart or of the rich?”), or the demands of resistance (“It might take you down/You’ll rise back up if you just shake”). Spirituals’ standout “High Priestess” sees Santigold lean into the pop sensibilities that made songs like “Disparate Youth” and “Unstoppable” hits of the 2000s, while redefining who belongs to nobility (“Now bow down, don’t freak out in the presence of a queen”).
I NEVER LIKED YOU – Future
Though the antics depicted in his lyrics are a bit unbecoming of someone well into middle age with familial obligations, Future has unquestionably perfected the hitmaking craft. Such mastery is evident throughout I NEVER LIKED YOU: A boastful, magnetic project that cements his place on Atlanta rap’s Mount Rushmore. Future sneers his way through each track, mixing verses about personal turmoil and relationship dissolution (“It’s my love from my grandmother make me gentle when I care for you”), with the most grandiose of flexes (“Black foreign automobiles, Wakanda”). The latter quote is from album standout “CHICKENS,” which features a particularly inspired verse, 2PAC shading (?) verse from EST GEE.
SOS – SZA
It’s been a while since we’ve got a full-length project from SZA, but she has simultaneously satiated public demand and stoked the fanfare around her with a bevy of singles and guest features (Frank Ocean, take notes!). Despite the almost insurmountable hype, SZA delivers on SOS, a sprawling, genre-bending opus. On what she has proclaimed to be her final album, SZA tries her hand at everything and succeeds—a compelling Haley Williams impression on “F2F,” impeccable, angsty flows on “Smoking on my Ex Pack,” and dreamlike R&B on “Kill Bill.” The down-bad anthem of 2022 “Nobody Gets Me” is SOS’s clear standout track, where SZA flexes her gift for songwriting, and a unique willingness to share the most unvarnished of truths “If I was you, I wouldn’t take me back/I pretend when I’m with a man it’s you”).
Sometimes, Forever – Soccer Mommy
An adept songwriter with a near-prodigious gift for tapping into the catharsis of the masses, Sophia Allison’s immense talent shines through on Sometimes, Forever. Following in the sonic footsteps of artists like Mitski and PJ Harvey, Allison sings all too relatably about the perils of growing up (“Feel It All The Time”) and relationship insecurities (“Bones”). The production on this album, enhanced by the gratuitous use of synths, is a marked step forward from the subdued sonic palette and mixing on 2020’s color theory. This improvement is most apparent on “Shotgun,” an obstensibly upbeat song with a tinge of macabreness that only Soccer Mommy could pull off (“Whenever you want me I’ll be around/I’m a bullet in a shotgun waiting to sound”).
Heroes & Villains – Metro Boomin
Rap’s best superproducer’s reputation precedes him at this point. A kingmaker in his own right, Metro’s work has provided the soundscapes for some of Atlanta’s greatest sonic exports to the world (i.e. Future’s “Mask Off,” Migos’ “Bad and Boujee”). On Heroes & Villains, Metro makes the most inane and uninspired vocal performances sound spectacular with his out-of-the-box, trap-informed production (looking at you A$AP Rocky on “Feel The Fiyaaaah”). “Metro Spider” has infinite replay value, which sees Young Thug rap with a level of urgency I’ve never heard before, over a menacing piano loop and hard-hitting hi-hats.
Time Skiffs – Animal Collective
Dense and experimental, the 2000s alt-pop pioneers resurfaced in 2022 with arguably their best work since Merriweather Post Pavilion. From the slow-burning Grizzly Bear-esque “Royal and Desire” to the downright folksy “Strung with Everything,” each track on Time Skiffs sees Animal Collective craft novel and majestic soundscapes seemingly out of thin air. The band’s knack for infectious hooks and outstanding, psychedelic harmonies is ever-present on “Prester John,” a song carried by powerful bass lines and churning piano riffs.
Lyfë – Yeat
With a rabid fanbase, and a myriad of Minions-related memes, Yeat became the focal point of rap discussion online throughout 2022. Make no mistake, his music is wholly derivative. Yeat should be giving a considerable percentage of his streaming royalties to Playboi Carti, the pioneer of the raging, ethereal rap that the Oregon rapper earns his coin from. Nevertheless, Lyfë’s near-majestic production and sticky melodies would cause considerable harm to the eardums of a Victorian child. Lyfë’s high water-mark is its introductory track “Flawlëss” (Yeat is a big fan of the umlaut), where Yeat coaxes a truly generational verse out of Lil Uzi Vert.
Honourable Mentions: Mr. Money With The Vibe – Asake, Hypnos – Rayvn Lenae, Reset – Panda Bear & Sonic Boom, Laurel Hell – Mitski, And In The Darkness, Hearts Aglow – Weyes Blood, Mr. Morale and the Big Steppers – Kendrick Lamar, Luv 4 Rent – Smino, Dollar Menu 4 – Mach Hommy