Music in 2022 was a wild fucking ride, the type of sneaky-good year that will find memories a bit more favorable a decade on than we might be feeling at the moment. And that’s fairly on brand for the year that was, a period where we looked back in a fit of retro nostalgia while gazing forward towards an undetermined future. There was so much music, so much good music, that the avalanche of Best of 2022 lists decorating the month in a colorful glow are likely to not have much overlap once flung past the usual torch-bearers, whether it be Harry Styles in pop or Alvvays in indie. Those two are included here, but under the marquee resides a vast array of sounds that over the past 12 months turned our black hearts pink, hyped without doubt through a series of New Sounds and Fast Tracked columns. These are the 22 national — and often international — songs that made us appreciate the now in 2022.
Alvvays, “Easy On Your Own?”
If July’s “Pharmacist” was the wink, then August’s “Easy On Your Own?” was the nod. Alvvays‘ spectacular third album Blue Rev and celebrated return after a few years’ absence positions the Toronto band on plenty of these year-end recaps, kickstarted by the first single and then delivered with euphoric bliss on this second effort. “Easy On Your Own?” is a swirling, revved-up rollercoaster of a track, blissed out on Alvvays’ signature brand of tidal indie rock. It pulls us right in, its chorus like a warm hug from an old friend, and takes us places we weren’t sure we needed to go. Only Alvvays can make a question feel like a skeptical declaration, and “Easy On Your Own?” is a shining band exploring their sonic beauty at full blissful throttle.
Ava Max, “Maybe You’re The Problem”
If you didn’t place Ava Max’s “Maybe You’re The Problem” alongside Harry Styles’ “As It Was” on a summer playlist, did you even curate? Combining the pop smarts of Styles’ year-defining banger with a “Shake It Off”-level of rambunctious cruise control, the lead single of Max’s sophomore studio album Diamonds & Dancefloors is a dance-pop sparkler that gave us the necessary confidence to leave our lame-ass lover and find better days ahead. Between this and the pop singer’s Gaga-esque “Million Dollar Baby” (which could have easily filled this space if we were opening it up to more than one entry per artist), Ava Max finally rose to pop royalty — and gave us an excuse to leave behind any toxic situation. They’re the problem, not us.
The Bedroom Witch, “My Only”
Dark disco spent another year dancing between the shadows and the strobes, and “My Only” from The Bedroom Witch blurred the line between dancing on our own and dancing deep inside a packed nightclub. Summoned from the bewitching depths of October, the spiritual glide from performance artist Sepehr Mashiahof’s Los Angeles-based dark synth-pop project casts a hypnotic spell for confronting inner demons that’s fit for any time of the year. The Iranian-American invites us to her scarlet room for a spellbinding twirl of healing that begins from within and extends across the streaks of underground dance floors. “‘My Only’ is a song about coping mechanisms, like getting through difficult feelings through substance dependencies,” says Mashiahof. “It’s about those most honest moments of recognition of our own self-sabotaging behavior. We all go through it, but how do we get out of it? For me, it meant coming to terms with the fact that I am in this body, for this lifetime. Somewhere, there’s power in realizing you’re stuck with yourself.”
Boy Harsher, “Autonomy”
We’ll never shy from our love of New Order-core, and Western Massachusetts’ Boy Harsher captured the spirit Hook, line, and Sumner with “Autonomy.” The project’s standout effort on their own soundtrack for The Runner, the LUCY collab is a diamond-edged synth-pop spinner that makes us want to escape out to the middle of nowhere and shower ourselves in the type of exquisite confidence we always lack when trapped in society. “Autonomy” instantly felt like one of the defining tracks of 2022, and repeated listens effortlessly turn minutes into hour. “’Autonomy’ is a product of pandemic isolation,” says Boy Harsher producer Augustus Muller. “I was feeling lost, lonely, and loveless. ‘Autonomy’ was my escape during a period where I truly felt stuck.”
The Dare, “Girls”
If indie sleaze is truly ready for a comeback, then the bathroom stall bump manifesting itself in musical form arrives via the throat drip of The Dare’s rowdy electro-punk single “Girls.” Part The Rapture, part Peaches, part “W.A.P.”, this whorish banger from Brooklyn-based electronic music project from Harrison Patrick Smith (NYC’s Home Sweet Home, Turtlenecked) has us yearning for a return of reckless 2000s nightlife. “The Dare is my foray into the worlds of electroclash, techno, and house,” Smith tells Open Tab. “As far as separation between indie rock / club music, I love the early 2000s so much because there was so much fluidity — the Maison Kitsune remix EPs, the DFA remixes of Le Tigre or The Rakes, Diplo remixing Bloc Party, etc. There’s a feeling of optimism and openness in underground music from that time that I feel faded into genre camps again in the mid 2010s. I wanna bring that feeling back.” That’s a Dare worth taking.
Em Beihold, “Egg In The Backseat”
Back in July we hyped Em Beihold’s tumbling alt-pop romper “Egg In The Backset” as the sound of the summer, but here we are hopscotching down the keys of the Los Angeles artist’s piano through fall and into winter. The title track to Beihold’s feverish EP has a bit of Sara Bareilles and Tove Lo DNA soaked into its blunt-but-playful bounce, where a hypnotic low-end undertow pulls us deep into her colorful pop orbit. Other EP standouts like “Goo” and “Too Precious” dance out of the speakers with whipsmart lyricisms and a sophisticated alt-pop twirl, showcasing a spectrum reach that most artists spend years trying to capture. But it’s “Egg In The Backseat” that we keep returning to.
Fontaines D.C., “Jackie Down The Line”
The Irish alt-rock explosion continues to crank out a new crop of headliners (Inhaler, The Murder Capital, Sinéad O’Brien, etc.), but Fontaines D.C. may be the best of the bunch. The post-punk band from Dublin City create the kind of sardonic groove that connects through detachment, and “Jackie Down The Line,” the standout from April third album Skinty Fia, showcases their weathered knack for melodic grit. A 2023 North American tour with Arctic Monkeys awaits, and that stage should only entrench Fontaines D.C. as the new toast of Ireland, whether you, them, or anyone else likes it or not.
Grade 2, “Doing Time”
Modern day oppression is forever capitalism’s mistress, and the trappings of work culture allowing us only what we need to survive is the latest trick the devil ever pulled. So it makes sense that the longer your workday, the shorter your punk outburst. That’s the fury slung by English trio Grade 2, who in September fired over a new punk rock battlecry across the Atlantic and heard ’round the world in “Doing Time.” Clocking in at 1:39 and clocking out of a dead-end job, the rebellious shout-along thrasher rings the bell so loud we can hear it all the way from their native Isle of Wight. “Tongue in cheek, but delivered like a punch to the gut, ‘Doing Time’ is our response to the dead end, 9 to 5 rat race,” Grade 2 declare. Raise a fist, raise a glass, and raise hell towards the mundane carcass of office culture.
Hatchie, “Quicksand”
We’re not including albums in our Year in ReView coverage. But if we did, Hatchie’s brilliant Giving The World Away would reside near the top of a very short list. The April LP from Australian artist Harriette Pilbeam boasts a handful of jams fit for this list (including the dramatic title track and last year’s lead-in single “This Enchanted”, to say nothing of her propulsive stand-alone November single “Nosedive”) but it’s the vertical dream-pop ambition of “Quicksand” that gets the nod, furthering Pilbeam’s admirable quest to craft danceable shoegaze. “‘Quicksand’ is about dealing with the realization that you’ll never be satisfied,” she says. “I was feeling guilty and ungrateful for not being happy about a few different things in my life that were technically going well. I had to work through some tough learned thought processes and emotions that had been working away for years to try to understand how to be happy with my present, and stop fixating on my past and future.” Hatchie’s present is pristine.
Harry Styles, “As It Was”
Sometimes a song is just too hard to ignore — permeating spaces as distant as your niece’s Spotify playlist to indie rock radio to teen TikTok challenges to the organist booth at your local pro hockey game — and stands to define the year that was (apologies to Taylor Swift, by the way). Such is the case with Harry Styles‘ upbeat synth-pop bop “As It Was,” borrowing just enough from a-ha’s most popular hour and giving the former One Direction superstar his finest effort since 2017’s “Sign of the Times.” It rolls a fresh kind of new wave flair that sounds like something between ’80s pop, late-’10s bedroom indie, and what a dude from The Strokes usually sounds like when he releases a solo project. And that’s high praise coming from us; “As It Was” is a feathery tune that floats and goads along a springtime carefree, lavender breeze. We can’t say we paid rent to live at Harry’s House, but we did drop a few bucks to ensure “As It Was” became firmly planted in our 2022 recap.
Indigo Bay, “Bats”
Hello there, Indigo Bay. The fresh indie-pop band from the coastal English town of Grimsby dropped a propulsive single called “Bats” in August, and it’s a cruising track of Hook-ian basselines, somersault synths, and a lofty push that has the ability to rinse our souls clean. “‘Bats’ is about our attempt to try and create a name for ourselves in Grimsby,” the band admits. “There’s a drive to make it because of the negative reputation the town has been given.” Here comes the positivity. When vocalist Callum Minks casually, but emphatically, offers up the lyric “Give it a little life, give it some hype!”, well, we’re buying in. We’re all pretty much making do in decaying shitholes these days, from our side of the world to theirs. But Indigo Bay are the type of new band that gives us enough to keep going. Future superstars right here.
Kevin Morby, “This Is A Photograph”
The fevered title track to Kevin Morby’s May album, “This Is A Photograph” is timeless in its sonic nature. The stomping song, as well as the album that birthed it, was produced by Morby’s longtime collaborator Sam Cohen, known in northeast circles back in the day as a founding member of Berklee-born Boston psych-pop band Apollo Sunshine. There’s an inspired urgency to “This Is A Photograph” that moves fast around a simple snapshot of American life. “Sam and I wanted to throw everything at the wall with this one,” says Morby about the song. “It’s about the battle every family faces, that of chasing the clock, to live our lives and hold onto one another for as long as possible. That, and, the dreams that come with being a young family in America and where those dreams eventually end up.” Sing, shout, stomp, rinse, lather, repeat.
Momma, “Speeding 72”
We love nothing more than a new band we simply cannot wait to tell all our friends about, and it seems Momma was the act that fit that bill in 2022 — picking up right where Wet Leg left off last year. The Brooklyn crew give us something to shout about in April with a delectable ’90s alt-rock fuzzer called “Speeding 72,” the follow-up to February’s roaring “Rockstar” and one of a handful of head-turning tunes from Momma’s July third studio album Household Name. As the dust settles on the LP, and those Juliana Hatfield Three and Smashing Pumpkins influences take on a life of their own, Momma quickly approach the album’s ambitious moniker, filling us with a joyous fit of guitar-rock nostalgia.
The Murder Capital, “Ethel”
We’re not sure this really means much of anything, but The Murder Capital will always be the last band we saw and covered live before the pandemic came and wiped away our before-times lives, playing ONCE in Somerville back in March 2020 just before everything shit the bed. So the Irish post-punk band will always be a significant force in memories and playlists from those days, which both feel like yesterday and a hundred thousand years ago. In November, The Murder Capital returned with the plaintive and uneasy “Ethel,” a moody, meandering song with a contemplative nature that connects that era to this one, wondering aloud if past desires and priorities are still worth carrying on, or if they should be left behind. Like the pair of spectral singles that came before it, “Ethel” sets another dark tone for their forthcoming sophomore album, January’s Gigi’s Recovery. Make space in those Best of 2023 lists, yeah.
Precious Pepala, “Looking For Trouble”
Teenagers usually know how to cut through the static and get right to the heart of an issue, and that’s at play on “Looking For Trouble,” the epic October single from rising Sheffield pop artist Precious Pepala. Taking a cue from both Alessia Cara’s “Scars to Your Beautiful” and Courtney Barnett’s “Nameless, Faceless”, the 17-year-old’s latest centers around rape culture, victim blaming, and the universal fear women feel walking alone at night. “Looking For Trouble” boasts a steady build towards an anthemic crescendo as Pepala drops sharp lyricisms about our miserable reality with a warm and inviting tone that belies her years: “She’s cold and she’s drunk / A little red riding her luck in the hood / She’s asking for trouble / Oh that’s what they’ll say if trouble comes heading her way.” Pop on the surface and poignant at its core, Pepala hopes the song sparks a conversation, and she’s not afraid to start it. “[The song] addresses the unfortunately relatable feeling of fear when walking alone at night as a female,” she says. “The lyrics also address the way that victims of sexual abuse are all too commonly questioned about things such as their clothing, actions or level of intoxication as if to justify predatory behavior. I feel very passionately about discussing this subject matter through my music and I hope this song acts as a conversation starter, because these issues need to be discussed until we see change.”
Queen Kwong, “Without You, Whatever”
There’s something purely magical about Queen Kwong’s June single “Without You, Whatever,” an enchanting dose of lush dream-pop with two pretty interesting anecdotes lurking just under its intoxicating surface: One, it’s possibly the first “pop”-leaning song written by Los Angeles artist and songwriter Carré Kwong Callaway; and two, it was never intended to appear on Queen Kwong’s July third album, Couples Only. “Initially, it wasn’t even going to be on the record,” says Callaway. “When I recorded it, I was just trying to entertain [producer] Joe [Cardamone] by singing in falsetto and trying to imitate Bowie. When I sent the folder of tracks to [engineer] Tchad Blake, I said ‘Oh, don’t bother mixing ‘Without You, Whatever’ because I’m not going to release it,’ and Tchad basically said, ‘WTF? That’s your single! It’s nearly impossible for me to sing because it’s so high and out of my range, but I like that it’s extremely different from anything I’ve ever released.” It’s also one of the best tracks of 2022, possessing a dream-like art-pop quality that allows us to swandive into repeated listens without ever feeling smothered.
Sigrid, “It Gets Dark”
Death, taxes, Sigrid in our Year in ReView. And of all the things one can depend on, we prefer that last one the best. The Norwegian alt-pop star has been a constant in these digital pages since 2017, and we’re enjoying her steady glow-up to global icon status. In March she issued a rumbling new tune called “It Gets Dark,” a galactic jam that illuminated sophomore May album How To Let Go. On “It Gets Dark,” when Sigrid sings about going to space in order to leave it all behind, well, we feel that. “I believe you need to feel the lows in life to feel the highs, and you have to know what sucks to then properly appreciate the good stuff. ‘It Gets Dark’ is an ode to that,” says Sigrid. “I honestly don’t think I’ve ever been as excited about a single release before. It’s the first song that was written for my upcoming album, and I remember the joy and relief when we figured out the soundscape. I was like finally I know how this second record is going to sound!” Sounds fucking awesome is what it sounds like.
Sophie Kilburn, “20%”
Sophie Kilburn’s voice is like a beloved old friend you’re meeting for the very first time. So when the English singer-songwriter from Derbyshire invited us to her world via “20%” back in June, we caught back up for the very first time with a rousing alt-pop anthem with melancholic modern-rock vibes that’s all about finding the strength to live and love at maximum capacity. With musical moods that recall both Heart and Concrete Blonde, the single was inspired by a former love interest of Kilburn’s who justified their faded approach by claiming they can only love to a fifth of their capabilities. And that was enough for Kilburn to get out of there — and pen this necessary dose of self-empowerment. “’20%’ is about reaching the peak of your frustration and fighting for what you want,” Kilburn says. “On the surface, it seems like a Charlotte from Sex in the City ‘curse the day you were born’ vibe, but it’s calling out someone who is mistreating you and breaking free from being their emotional sponge and soaking up all their issues.” Feel the full charge of Kilburn’s brand of enchanting alt-pop.
Suede, “She Still Leads Me On”
If we were citing albums in this Year in ReView space, we’d have Autofiction atop the list. If we were recalling the best live shows of the year, we’d place Suede’s captivating spectacle at The Orpheum in Boston as the most compelling. But this is a singles roundup, so barnstorming Autofiction opener “She Still Leads Me On” gets the call here, as the British band reclaimed the magic that made them global icons all those years ago. Autofiction is a gritty, dark, and mature Suede record, their absolute finest after the celebrated opening trilogy (and ninth overall), and on this blistering and relentless track a re-energized Brett Anderson takes his piss n’ vinegar and points it skyward to his honor his departed mother. Suede are older now, and so are we; but the animal inside us still burns, and Autofiction is a glowing compass for those unsure how to navigate a world beyond youthful abandon. A brilliant, no-skip effort, kickstarted here with a primal punk rock fury and a ripened tenderness that can only come with age.
Telaport, “Don’t Wait”
We’ve long subscribed to a notion that music resonates with the seasons, and some tracks hit different depending on where we are currently on the calendar. So back in May after a wonderful New England weekend where spring finally felt truly in bloom and the outdoors welcomed us after a never-ending winter hangover, we vibed hard to “Don’t Wait,” the coruscating new electronic-pop cruiser from Dallas duo Telaport. As vocalist D’Lannie sings about feeling alright, doing alright, and feeling like herself, the enthusiasm in the music and relief in her voice is downright infectious. “Our passion is obviously music,” the states the duo, rounded out by Stevie Ray C. “And one of our goals with Telaport is to create an experience through telling stories and creating visuals to help express the themes of our music.” That certainly shines through on “Don’t Wait,” a nostalgic sun-splash of alt-pop vibrancy that reflects just how we’re feeling once spring fever takes hold. Turns out it sounds just as magnetic at the end of the year, as well, especially when positive light is needed to combat the darkness around us.
They Kiss, “Naked”
Sometimes, with all due respect, we don’t need to know everything about an artist. We just need that song — to get us through the night, to get us to a better place, to get us through the haze and static and into some clarity, however it need be defined. That’s not to say a backstory and context isn’t important; it’s just to say that sometimes art transcends, and finds its lane of necessity on its own drive and merit. That’s the case with August’s “Naked,” a seductive nocturnal beat of inspired discovery and passion from Los Angeles duo They Kiss. It feels like the soundtrack en route to a better place, a composition heard by the mind as much as the ears, one entrenched within us as we seek out something more; the type of song that plays on repeat without notice, care, or interruption, the body’s battery charged by moonlight as we roll from dusk to dawn. “’Naked’ follows two lovers on a sonic journey in an endless search for the perfect electronic vibe; dancing, kissing, loving,” the duo states. “Just living life on the dance floor and in their hearts.” What else could possibly be needed?
Working Men’s Club, “Circumference”
There’s something lurking just underneath the sound surface of Working Men’s Club that provides an unlikely embrace. The English band create the type of dark electronic-pop that elicits a different genre affiliation tag with each listen (or quite likely, each write-up), where moods emanate from empty spaces and emotions twist and crawl between crystalline synths, detached-cool vocals, and silver-tongued beats. It’s increasingly tough to stand out in this growingly crowded musical field pulled under by darker waves and whatever comes after punk, but Working Men’s Club find hope in the shadows and make a sharp case for distinction with their engrossing April single titled “Circumference,” off this summer’s sophomore album Fear Fear. “The first album was mostly a personal documentation lyrically, this is a blur between personal and a third-person perspective of what was going on,” says Working Men’s Club’s 20-year-old singer and songwriter Syd Minsky-Sargeant. “I like the contrast of it being happy, uplifting music and really dark lyrics. It’s not a minimal record, certainly compared to the first one. That’s because there’s been a lot more going on that needed to be said.” Put it to work.