Honorable Mentions

Big Thief – Dragon New Warm Mountain I Believe in You

Ethel Cain – Preacher’s Daughter

DeepChord – Functional Designs

Hitsujibungaku – Our Hope

BabyTron – Bin Reaper 3: Old Testament

Fellowship – The Saberlight Chronicles

Zach Bryan – American Heartbreak

Della Zyr – 비타민과 우려 Vitamins and Apprehension

Elder – Innate Passage

Nduduzo Makhathini – In the Spirit of Ntu

The Top 25

25. Albany – XXX

An unfortunate consequence of hip-hop trends is how quickly they can become stale. Despite having so many styles like Digicore, Plugg, Rage, and Hyperpop evolve in the late 2010s, very few producers and rappers are able to capture what makes the sounds so addictive. Look no further than every Pierre and Carti clone missing the mark the past few years. As a result, the hidden gems are often overlooked because it’s so overdone. Spanish rapper Albany’s XXX is a perfect example of an album that flew under the radar and still managed to nail its distinctive Rage sound. Opening with the massive “xXx” which carries the identical buzzing waveforms and crisp 808s as Carti and Trippie’s “Miss the Rage”, Albany’s autotune-drenched vocals echo a past relationship and newfound confidence.

Importantly, Albany’s vocals feel vital to the progression of each beat. Artists usually falter here but she makes use of every inch of empty space within the production. She strikes a balance between giving the beat room to ride out by using Jvcki Wai-style adlibs or taking full control of a song with distorted yet melodic vocal effects. The production is pristine and fully plays up the future bass influences of rage with low-freq oscillators. Clever samples like the “Locked out of Heaven” one at the beginning of “Chobits” and the mix of Pokemon and Serial Experiments Lain in the interlude round out the energetic production. Albany’s prowess in melodic intuition keeps XXX from feeling predictable and allows her to put a fascinating spin on Rage.

Must Listens: xXx, Chobits, (?)

24. JER – Bothered/Unbothered

Listen, I know we’ve been joking about the ska punk revival for years but I mean at this point, is it even a joke anymore? I happened upon JER when watching Jeff Rosenstock playing Ska Dream live and while they’ve flown under my radar, they’ve been a big part of the ska revival in the past few years. Playing trombone in We Are the Union and doing cool covers as Skatune Network, JER finally branches out with their solo record Bothered/Unbothered. Linking up with fellow bandmate Reade Wolcott and Jeff Rosenstock, JER delivers a fantastic addition to the new ska punk resurgence that pulls out something unique at every turn.

Much of Bothered/Unbothered centers around the concept of identity. Speaking from the heart, JER tackles their struggles with racism, mental health, and living as an artist. Under the blaring trombones and saxophones, JER’s delivery is almost contradictory in its subtle anger and feelings of exhaustion. “I’ve been dreaming of an alternate reality/free of colonizers severing our histories” JER sings on “Decolonize Yr Mind”, a slower anthem with rhythmic horns. They also bring out their unbothered side on songs like “Nobody Can Dull My Mind” with plenty of vigour: “Got better things to do/Better places to be/I can’t be bothered by you/Wasting my energy”. JER embodies the best aspects of the genre and if the ska punk revival is around the corner, Bothered/Unbothered should lead the charge.

Must Listens: Bothered, Clout Chasers!, Nobody Can Dull My Sparkle

23. Bandmanrill – Club Godfather

With the TikTok and Instagram obsession over breakneck-paced dance challenges, it’s easy to see how Jersey club rap has risen to mainstream consciousness so quickly. Propelled by the triple kick drum and ceaseless energy, Bandmanrill spearheads one of rap’s newest subgenres. Igniting a trail of viral singles through 2021, he’s quickly become a breakout star thanks to the insane sample flips his producers employ. I mean the man has used Madcon, the ED from “Rascal Doesn’t Dream of Bunny Girl Senpai”, bassline house, “Pissy Pamper”, and Beethoven’s 5th symphony. Every song sounds like it’s teetering on the edge of collapsing on itself but Bandman’s intuitive rhythm keeps them breathing.

On Bandman’s first full-length project Club Godfather, he takes the relentless hammering of Jersey club up a notch. Of course, sample clearance issues on a major label means that some of the magic dissipates but there’s enough ambition on the album to keep it pumping. The two Sha EK features in particular feel natural as the weighty shake of Brooklyn drill meshes with club beats. “Don’t Mix” sees Bandman slowing down for autotuned croons and shuffling drums but while the experimentation is interesting, it’s still the sinister energy on songs like “Lurkin” that sets Bandman apart. Unyielding in its catchiness and intensity, Club Godfather showcases the true potential of a genre still in its infancy.

Must Listens: Lurkin’, Copy and Paste, Jiggy in Jersey

22. DIM – Steeped Sky, Stained Light

To be honest, I’m not usually a big fan of dungeon synth. While the fantasy concepts and orchestral textures are interesting, the muddy reverb and lo-fi production that remained from the black metal influences didn’t resonate with me. On Steeped Sky, Stained Light though, Nova Scotian native DIM brings together new age, medieval folk, and neoclassical darkwave influences into the foundations of dungeon synth. Featuring a much cleaner sound than typically expected of the genre, the album also incorporates Christian liturgical imagery and aesthetics into the sprawling sanctuary it creates.

There’s an ambient quality to the majority of songs that stretch out the synths and chamber instrumentation in its haunting atmospheres. The sounds of nature like a river flowing or birds chirping round out the hymnal and choral work on songs like “Hued Sunbeam”. Touches of warmth radiate from the songs and with their tranquillity, it’s easy to become immersed in the world it creates. Steeped Sky, Stained Light is truly divine, a deviation from the traditions of dungeon synth that slowly unravels its inner peace and takes you along its path toward illumination.

Must Listens: Earth Hears No Hurtle, Tolling Iron Bells, Hued Sunbeam

21. Sobs – Air Guitar

Singaporean indie pop trio Sobs make their long-awaited return on Air Guitar and actualizes the ambition laid out in the groundwork of their past projects. While their original bedroom-pop sound explored playful hooks and addictive melodies, it always felt like Sobs was a rather conventional approach to the genre. Fast forward four years and they have done a complete turnaround on their sound by fully embracing new ideas. While Air Guitar is still steeped in the charming melodies that made them popular, they aren’t afraid to experiment with stylistics from twee pop to new wave.

Air Guitar is still hopelessly romantic and light-hearted but their use of powerful hooks and colourful instrumentation gives them more room to develop. The crisp production is a departure from their past dreamy atmospheres and highlights the album’s biggest moments. “Air Guitar” is a celebratory pop-punk jam that explodes into a colossal crescendo while the grungy hums of “Burn Book” hide regret behind the distorted chords. “Friday Night” even culminates in an incredible drum n’ bass outro with shimmering synths. Despite the short runtime, Sobs manage to calibrate all of their ideas into an unforgettable compilation of love, heartbreak, and delicate melancholy.

Must Listens: Air Guitar, Friday Night, Burn Book

20. Fievel is Glauque – Flaming Swords

One thing I will always appreciate about Fievel is Glauque is how little pretentiousness there is in their brand of jazz. They love to take on prog and avant-garde elements but never wank around with dizzying solos and extended passages. The 37-minute runtime on Flaming Swords is straightforward and feels like a nice change of pace. Ma Clément’s nimble vocals create mini-hooks that drift between the pockets of intricate time signatures and airy rhythms. With rapid-fire bursts of energy and snapshot solos, Flaming Swords is a tight ball of energy that always pushes forward.

Even when they slow down on songs like the atmospheric “Porn of Love” or the spoken-word grooves of “Boîte à Serpents”, the compositions have a kinetic weight. It maintains the sharp precision of traditional jazz but ebbs and flows into emotionally captivating moments as well. Drummer Gaspard Sicx is critical here as he engages with some of the most insane tempo changes at the drop of hat. With a sense of perpetual restlessness, each song operates as a tiny permutation of their style of jazz. Tiptoeing on the edge of chaos and rigidity, Flaming Swords is a dazzling journey that perpetuates itself on pure ambition.

Must Listens: Save the Phenomenon, Porn of Love, Clues Not to Read

19. Static Dress – Rogue Carpet Disaster

Static Dress are unabashedly revivalists: they take clear influence from bands like Underoath, Saosin, and Glassjaw in their style of post-hardcore. Yet unlike so many other bands that try to resurrect the 00s strain of metalcore, they avoid falling victim to overplaying their hands. The appeal of Static Dress relies as much on aesthetic as it does sonic: the mysterious music videos filmed against a backdrop of green stripes, the comic book companion with their EP, and the worldbuilding of their universe all contribute to their distinct Y2K nostalgia. On Rogue Carpet Disaster, they extend this ambiance into fully-fledged concepts.

The band has always revolved around frontman Olli Appleyard’s vision and the album is no different with his shrieking vocals and soaring melodies carrying pure, raw emotion throughout. The blistering riffs and pounding drums blend together with Appleyard on the ebb and flow in moments like “Push Rope.” Transforming into the mellower moments of “Attempt 8”, it eventually explodes into the searing screams of “Courtney, Just Relax.” The songs bleed into one another meticulously and the lingering melancholy remains with you as the restrained vocals burst from the seams. Rogue Carpet Disaster is emphatic in its dedication to its influences but at the same time, the authenticity and poignant delivery elevate Static Dress beyond their contemporaries.

Must Listens: Push Rope, Di-sinTer, Marisol

18. The Weeknd – Dawn FM

A concept album that acts as a companion to After Hours, Dawn FM revolves around being trapped in an existential purgatory with nothing but a radio station to keep us company. The Weeknd has always loved to play up the themes of the party and its subsequent comedown. If After Hours was the spiral toward self-destruction, Dawn FM is its inevitable end: a journey toward oblivion. Taking his signature synth-pop sound, the album uses glossy overtones and refined mixing to create a punchy, retro style. The Weeknd’s crooning and tenor falsetto sound at home with the crystalline synths and pulsating drums.

The journey toward death on Dawn FM sees a man tortured by regret and an air of nihilism underscored by failing relationships. Experimenting with deeper, gothic vocals on “Gasoline”, The Weeknd laments a meaningless existence without his vices. “It’s 5 AM, I’m high again/And you can see that I’m in pain/I’ve fallen into emptiness/I want you ’cause we’re both insane.” Dancing on the precipice of annihilation, the self-reflection is philosophical yet pitiful. Though his hedonistic desires remain, he also yearns for rebirth. Dawn FM finds The Weeknd’s anti-hero persona at its most compelling: incredible worldbuilding and a hint of cosmic dread bubbling underneath the pristine production.

Must Listens: Sacrifice, Out of Time, Less Than Zero

17. Organ Tapes – 唱着那无人问津的歌谣

Every previous Organ Tapes release feels like a different trajectory for Tim Zha as he explored styles of deconstructed club, emo rap, indie rock, and dancehall. Each release is bound by his lo-fi, autotuned vocals that peer from the surface of his pop melodies. On 唱着那无人问津的歌谣, his focus shifts once again as he moves towards guitar-driven music and acoustics. Forming a singer-songwriter relationship much like Sufjan or Elliot Smith, there’s a delicacy and intimacy that invokes a melancholy of something out of reach. Surrounded by a haze of reverb and drowsiness, Zha’s vocals are often indecipherable yet hint at a deep longing.

What captivates me most is how natural his British-Chinese identity arises in his songwriting. It’s the subtle touches: a scattered Mandarin ad-lib or an aching for a sense of community here and there. The fragility in his voice gives way to a genuineness that isn’t forcing anything onto his listeners. Instead, it’s simply a stroll around his scattered memories and distant emotions. The album title loosely translates to “Sing the Song that No One Cares About” and as the name suggests, the songs slowly drifts away into an ethereal void. Anchored by Zha’s arpeggiated chords and wistful lyrics, 唱着那无人问津的歌谣 is a gorgeous composition of mournful yearning and fragmented sentiment.

Must Listens: Heaven Can Wait, Submission, 忘了一切

16. Daniel Avery – Ultra Truth

“Ultra Truth finds me in a different place to where I’ve been before. My previous albums have all focused on the idea of music being an escape or a distraction from the world but that’s not the case this time. For me this album is about looking directly into the darkness, not running away from it.” Daniel Avery has always been masterful at manipulating his densely layered style of ambient techno but on Ultra Truth, it goes deeper than ever before. Melded tightly with breaks and atmospheric DnB, his familiar uplifting sounds have become more reserved and tucked away in the spaces of colder atmospheres.

For the most part, Ultra Truth serves as a reflection, an inward struggle of facing reality. The misty synths and ethereal vocals hint at a tenderness bubbling underneath the layers but during the downtempo moments, there’s still an overwhelming feeling of isolation. Even in the most animated moments like “Chaos Energy”, the echoing vocals instill a human component into the shuffling drums. Reaching the same heights as his debut did nearly a decade ago, this album is simultaneously a reinvention and familiar ground for Avery’s sound. Hidden among the darkest corners of Ultra Truth is the lingering breath of life, a beauty buried within the details.

Must Listens: Wall of Sleep, Lone Swordsman, Chaos Energy

15. Thaiboy Digital – Back 2 Life

While Drain Gang had a solid year of releases, it was Thaiboy Digital that surprised me most with Back 2 Life. A follow-up to his debut Legendary Member, Thaiboy polishes his distinct style while making small adjustments to his vocals and production choices. Even in the earliest days of Drain Gang and Sad Boys, Thaiboy had a discernably different approach from the rest. Always brimming with positivity, his energy is a constant beam of light that stood in contrast to the depressive, frozen atmospheres of early Yung Lean and Bladee. Lyrically, Thaiboy hasn’t changed as he continues to flex designer swag, a love for his wife and homies, undying loyalty, and a constant need to say his name. Though he’s never deviated from this formula, it connects surprisingly well on Back 2 Life.

Back 2 Life is easily one of the best-produced albums in the Drain Gang canon as Loesoe, Rok, Whitearmor, Mechatok, and Lusi all contribute upbeat, synth-driven beats. Every aspect of the production and mixing is pristine. The whistling melodies on “Alive” and echoing vocals on “3 Star Reunite” give plenty of space for Thaiboy to throw up nonstop affirmations and hopeful musings. As always, Thaiboy brings the other DG/SB guys in as features and his flexibility allows them to shine with him. Lusi’s buzzing EDM synths on “The Kingdom” is reminiscent of Bladee’s The Fool while the buoyancy of “True Love” leads into an ascendant entrance from Yung Lean. Thaiboy’s love for life is incredibly contagious and on Back 2 Life, it’s impossible to resist his charisma.

Must Listens: Alive, True Love, The Kingdom

14. Lexie Liu – The Happy Star

If there was an award for the most improved artist of 2022, it would be Lexie Liu hands down. Her first few projects featured an overdone formula of pop rap and R&B that barely showed hints of personality. Reinventing her sound on The Happy Star, Lexie leans into the electropop side of things and embraces the revivalist movement of blending nostalgia with futurism. Singing in both Mandarin and English with flourishes of Spanish, she’s shifted from Mandopop towards an accessible, hook-heavy sound. The stylistic elements are familiar: Grimes-like chants on “3.14159”, outrun synths on “Magician”, and Nine Inch Nails influences on “Diablo”, but her production takes a life of its own.

The album’s arc is interesting as it transforms from dance pop bangers into moodier, R&B ballads. While her previous projects have followed similar trajectories, the diversification of sounds gives room for the narrative to flow naturally. Though there will always be songs of love and heartbreak, Lexie’s songwriting on The Happy Star has mirrored her growth as an artist: a critique of China’s 996 work culture on “Ganma” and philosophical ponderings of fate on “Fortuna”. Despite keeping the core components of Lexie’s sound together, The Happy Star has a scope that goes far beyond her previous works and showcases her natural talent in lyricism and production.

Must Listens: Fortuna, Magician, RRR

13. Fleshwater – We’re Not Here to Be Loved

As other genres begin to circle back to their roots, it’s only natural that alternative metal hearkens back to the late 90s and early 00s. With bands like Loathe bringing back the nu-metal-tinted riffs of Deftones and Incubus in full force, it’s not surprising that a Vein.fm side project would do the same. With a heavier emphasis on vocal harmonies and melodic riffs, We’re Not Here to be Loved is an explosive dive into murky depths. The shoegazing elements with flashes of metalcore that transition into breakdowns are absolute rippers. Despite wearing their influences on their sleeves, Fleshwater brings a fresh spin to the familiar sound.

The most gripping aspect of We’re Not Here to be Loved, however, is the perfect balance of vocal harmonies between Anthony DiDio and Marisa Shirar. The crooning melodies of Shirar set against the frenzied screams of DiDio give a sense of claustrophobic urgency. On anthemic tracks like “Kiss the Ladder”, the call-and-response vocals bury pain and emotion within the crisp blast beats and distorted riffing. Together, the sounds form a unique gravitational pull that keeps you on the edge of your seat. Constantly chugging forward, their instinctive mastery of melodies helps pave way for big moments like their cover of Björk’s “Enjoy.” We’re Not Here to be Loved might tread familiar ground but the effusive vocal performances and dizzying atmospheres push them far beyond what you might expect.

Must Listens: Kiss the Ladder, Enjoy, The Razor’s Apple

12. betcover!! – 卵

It’s rare for a band to release phenomenal albums in back-to-back years but for betcover!!, it’s as natural as breathing. On 卵, they refine their unique blend of jazz and art rock as they slowly become more expressive. Where 時間  felt influenced by punk and experimented with chaotic time signatures, this album takes a more straightforward route. Diving headfirst into jazzier riffs and emotive vocals, there’s an enduring wistfulness imbued within the songs. Frontman Yanase Jiro in particular has opened up his repertoire by varying his delivery between the frantic “超人” and the somber “鉄に生まれたら”.

The other band members have also stepped up their game on 卵 as the instrumentation glides from track to track. Their experimental flourishes are still there: the acoustic strumming on the title track that leads to distorted scales or the off-kilter drumming with a funky bassline on “イカと蛸のサンバ”. At the same time, there’s a more natural approach to balancing the vocals and instruments. While their last album had everything colliding into one another, betcover!! space out the passages so that every band member has their own chance to shine. Their intuitive sense for underlying melodies hasn’t disappeared and most importantly, they aren’t afraid to experiment. You’re never quite sure of the direction that they head next on 卵 but strangely enough, it somehow always sounds natural.

Must Listens: 超人, イカと蛸のサンバ, 卵

11. Hatchie – Giving the World Away

We’ve reached this point of oversaturation in 90s genre revivals where artists have to either bring something new or in Hatchie’s case, perfect the base foundation and play off that. Dream pop influenced by shoegaze hasn’t changed much since Slowdive and the Cocteau Twins but on Giving the World Away, every moment feels unique thanks to its expansive, vivid production. Though the music is firmly rooted in its influences, Hatchie’s enchanting hooks and sentimental vocal harmonies give it a surprising depth as well. The ebb and flow of the tracks bleed into one another with ease as they burst with technicolour.

Hatchie’s emphasis on the pop side of things rather than the dream side is really what makes Giving the World Away so interesting. The irresistible choruses on “Quicksand” and “This Enchanted” are never buried under the downpour of synths and though the neon production is ethereal, it’s not smothered with dream pop’s signature haziness. It lends room for Hatchie to build each song toward a lofty climax that swirls together with her ballads of love and longing. Giving the World Away doesn’t venture into new territory but its starry-eyed approach to dream pop is one that feels truly sincere and that’s what makes Hatchie so captivating.

Must Listens: This Enchanted, Quicksand, Til We Run Out of Air

10. MJ Lenderman – Boat Songs

Boat Songs initially surprised me because it has been constantly ascribed with the alt-country tag when the fuzzy riffing and lo-fi production feel much more inclined towards slacker rock or noise pop. Regardless, I think labeling MJ Lenderman does him a disservice because while it contains a little bit of everything, nothing can really capture what makes Boat Songs tick. His strangely indifferent vocals that teeter on the edge of apathy nevertheless seem to hold a weight of passion. As he mumbles drowsily about emotional scars, fragility, and suffering, his matter-of-factness sounds like nothing more than a dinner table conversation.

It’s this in-between feeling of bitterness and warmth that helps Boat Songs feel so extant. He’s grounded in his own levity, simultaneously uncaring yet ready to reveal his deepest melancholy on a whim. “You Have Bought Yourself a Boat” sees him reflecting on that juxtaposition: “Every year on your birthday, They gave this hurricane your human name/How many more bug bites, And other subtle misfortunes can I withstand tonight?”. MJ Lenderman’s magnetism is a subtle one, something that creeps up on you unexpectedly and pulls you toward its synthesis of bliss and misery.

Must Listens: Hangover Game, You Have Bought Yourself a Boat, Toontown

9. The Beths – Expert In A Dying Field

With so many albums that go left-field in their genres these days, it’s nice to have something like Expert In A Dying Field which is about as straightforward as power pop can get. A simple composition of two guitars, bass, drums, and vocals might be formulaic but The Beths prove that if you play them right, nothing else matters. The endless hooks, dazzling guitar riffs, and airtight drumming don’t mask a single gimmick underneath. While other bands struggle to innovate or play it too safe, The Beths let their cohesion do the talking.

It’s difficult to describe what makes the band so compelling when they are so direct. Maybe it’s Jonathan Pearce’s lead riffs that punctuate every melody. Maybe it’s Elizabeth Stokes whose warmth permeates lyrics of self-loathing and breakup regret with a tinge of auto-biographical familiarity. Maybe it’s the sequencing that shifts the songs from addictive anthems to heartfelt ballads that perfectly balance out. Maybe they just know something that we don’t about making music. Whatever the case, Expert In A Dying Field is undeniably fun and proves you don’t need anything fancy as long as you execute well.

Must Listens: Expert In A Dying Field, Head in the Clouds, I Told You That I Was Afraid

8. Culprate – αριθμός τέσσερα

On Culprate’s first full-length album in nearly 8 years, he takes his folktronica-inspired IDM sounds found on 2014’s Deliverance to new heights. Though he has experimented with plenty of new genres and sounds through EPs and singles, it seemed that he had more or less shelved the ideas on Deliverance. With the release of αριθμός τέσσερα though, his eerie skill of transforming digital sounds into something organic comes alive again. Underneath the layers of glitch and wonky rhythms, you can hear distinct flutes, cellos, congas, flamenco guitars, and saxophones. Though they are fleeting, they breathe life into the amalgamation of sounds found on the album.

While every song is a journey in their own right, it’s on “Jalaana” that Culprate pulls out all the stops. Quite possibly one of the best songs that he’s ever produced, it’s a slow burn that meshes classic Hindustani music together with breakcore and drum n’ bass. Led by bansuri melodies and chopped samples, each microtone is laser-engraved into the constantly evolving time signatures. Jumping into the flamenco guitars of “Muerte De La Dama” right after, αριθμός τέσσερα is a testament to how far you can take the boundaries of electronic music. Daring and innovative in every way, αριθμός τέσσερα cements Culprate as one of the most talented producers today.

Must Listens: Fly, Jalaana, Muerte De La Dama

7. Soul Glo – Diaspora Problems

Diaspora Problems is unapologetically vicious, a chaotic storm of industrial buzzing, hip-hop influences, and instruments that transform into a monolith of sound. They’re everything you could hope for from a hardcore punk band that has no off button once the ignition goes off. Featuring a new coat of polish, the raspy screams ricochet clearly off the thundering drums and punishing riffs. Despite the nonstop carnage though, the melodic structures are so damn catchy. Opening right out of the gate with ballistic riffing and a repetitive challenge of “Who gon beat my ass?”, Diaspora Problems is a nonstop clash of sounds that still manages to get stuck in your head.

Lyrically, Soul Glo hasn’t changed from previous projects as they continue with themes of anti-capitalism, generational trauma, racism, and state-sanctioned violence. Their fervour hasn’t changed but with a cleaner sound and bigger audience, Diaspora Problems is an emotional catharsis for those who feel like they’re slowly being ground to dust. The delivery from Pierce Jordan is impeccable on Diaspora Problems as he bounces from rapid-fire rapping to guttural screams. He reinforces the anger behind Soul Glo’s music; frustration with the powers that be as they shift towards the singular question: “Who will survive in America?” The corrosive sounds give way to Soul Glo’s uncompromising truths and let’s be real, it goes hard as fuck.

Must Listens: Gold Chain Punk (whogonbeatmyass?), Jump!! (Or Get Jumped!!!)((by the future)), Spiritual Level of Gang Shit

6. Sudan Archives – Natural Brown Prom Queen

Sudan Archives has garnered plenty of critical acclaim for her talent as a violinist on her debut album Athena with the orchestral-tinged R&B sounds placing the instrument front and center. Yet in her followup Natural Brown Prom Queen, she dramatically decentralizes that focus away in favour of experimentation and conceptualization. Dipping into influences of house, hip-hop, electronica, and art pop, the album weaves together a tale of a Cincinnati girl on a journey to make it big in Hollywood. Touching on themes of family, desire, and belonging, the loose but straightforward narrative gives plenty of room for Sudan Archives to push her sound to the limit.

The most impressive aspect of the production is how the number of beat switches never displace the cohesion of the album. Each song is filled to the brim with new ideas: hazy synths, footwork beats, slap bass, multitrack harmonies, you name it, it’s there. They’re grounded by the violin melodies but they merely act as accents rather than a focal point. On “ChevyS10”, the 6-minute centrepiece of the album, the drifting synths slowly morph into echoing vocals that get chopped against her floating vocals of cruising freely. It’s the small intricacies that make all the difference on Natural Brown Prom Queen as they coalesce into a stunning new dimension for her sound.

Must Listens: Home Maker, ChevyS10, Freakalizer

5. Jyocho – Let’s Promise to be Happy

Jyocho’s intersection of mathy emo with J-Pop isn’t a new concept but their ability to convey emotion is unparalleled. Underneath the technical riffing, the mesmerizing melodies bring sentimentality and a hint of nostalgia to the surface. The balance struck between Daijiro Nakagawa’s impeccable finger-tapping and Netako Nekota’s airy vocals is perfect. Remaining in constant sync, they form an individual arc for each song that fluctuates between the notes. Jyocho are masters of breathing life into even the most complex rhythms and on Let’s Promise to be Happy, they continue to evolve their emotional resonance.

The album’s centrepiece is the lush “All the Same” with a gorgeous flute melody from Hachi that swirls together with breathy falsettos. The piano and flute sections feel much more defined on Let’s Promise to be Happy as they begin to converge on the central harmonies. The new drummer is flawless on Let’s Promise to Be Happy with the time signature changes yet they somehow manage to breathe an element of human imperfection into the fills. There is always a touch of delicacy to Jyocho’s chamber instrumentation that very few math bands try to incorporate into their music. Each song is heartfelt, with an effusive explosion in every cascading note. Making the most of its short runtime, Jyocho craft another breathtaking journey that stays with you long after the final riff.

Must Listens: All the Same, Gather the Lights, The End of Sorrow

4. 454 – Fast Trax 3

It’s not surprising that Florida native 454 is a rising star: his debut album 4 Real was unlike anything you’ve ever heard before, a cross between Quasimoto-pitched vocals and Pluggnb beats. Collaborating with the likes of Frank Ocean and Denzel Curry, his music spread like wildfire on social media and blogs. What is surprising though is how deep his production credits reach. Remember that ethereal, mind-blowing PlayStation 2 sample on Playboi Carti’s “Yungxanhoe?” 454 had originally produced that beat under his producer moniker, Sqvxlls. With that in mind, it’s not surprising to see how 454’s talent for production and melodies come in full force on his third installment of the Fast Trax mixtape series.

With his chipmunk-pitched vocals darting alongside the playful synths and wobbly 808s, Fast Trax 3 is the perfect soundtrack for meandering summer nights. The bright piano chords and shimmering melodies on “Love Me, Hate Me” form a nostalgia-tinted song of relationship troubles that eventually gets pitched down to reflect regret. The sample chopping is immaculate and they’re linked together so intricately that each song feels like an immersive experience. If Fast Trax 3 could be distilled into a feeling, it would be nonstop bliss. It’s an experience that’s inexplicable until you listen to it first-hand.

Must Listens: Stitch + Lilo, Love Me Hate Me, 8Teen

3. Naked Flames – Miracle in Transit

While I was pretty hesitant on the last Naked Flames album, Miracle in Transit upends every single one of my expectations. With the lo-fi haze finally gone, the newest album has a brilliant shine to its kaleidoscopic sounds of outsider house, techno, and drum n’ bass. Miracle in Transit calls back to the nostalgia of the early 2000s with arcade synths and hyperactive drumlines. The songs sound straight out of a PS2 soundtrack in the best way possible and the nonstop grooves blur the line between fantasy and deja vu. It’s a redefinition of club music into something more sentimental, a neverending dance that blends retro and futuristic components alike.

Naked Flames is an expert at laying a strong foundation for each song to continuously evolve. It’s clearly influenced by the atmospheres of trance music but with recurring motifs and spellbinding transitions, Miracle in Transit occupies its own universe. The chunky bassline on “Tennesse Transit” and squelchy synths on “Carrot Car” continues to propel the album’s momentum forward at all times. The vague emotional connection that’s formed refuses to let go and you can’t help but lose yourself to its feverish pacing. There’s a certain elegance to its simplicity and looped rhythms that make it so addictive. I’m certain that no one else can make their music sound like lucid dreaming about Mario Kart on speed.

Must Listens: Pan Matsuri, Carrot Car, Tennessee Transit

2. Ghais Guevara – There Will Be No Super-Slave

There Will Be No Super-Slave’s name comes from a Jonathan Jackson quote to George Jackson in his book Blood in My Eye. “While we await the precise moment when all of capitalism’s victims will indignantly rise to destroy the system, we are being devoured in family lots at the whim of this thing. There will be no super-slave. Some of us are going to have to take our courage in hand and build a hard revolutionary cadre for selective retaliatory violence.” Ghais Guevara is not one to shy away from loudly proclaiming his communist ideals and scorching critiques of complacency and non-violent revolutions. Yet it’s his manipulation of dense samples in his production that truly makes his sound stand out. Pitching and contorting these samples beyond recognition, the glitchy production and sudden beat switches drive forth a sense of urgency.

Featuring so many samples that it almost feels like a plunderphonic work, Ghais Guevara plays with different vocal pitches, cuts, and loops over the 44-minute runtime. Revolutionary recordings, Silk Sonic songs, the PS4 startup sound, the Coach Carter speech, and more get chopped and chipmunk-pitched. It’s a barrage of sound that’s a throwback to the early 2000s while retaining its modern approach to experimental hip-hop. Though Ghais Guevara usually takes on a frantic flow to match the whirlwind production, he also has a strong intuition for hooks. “Stomp a Nazi in my Prada/Swear we everything you not/All the shootas in Valhalla/Watching all they children smile” digs its way deep into your head as the beat on “Shirk” marches forward. Unapologetic and a chaotic ride from start to finish, There Will Be No Super-Slave exceeds all expectations and positions Ghais Guevara as one of the best independent artists right now.

Must Listens: #FREEMIR, Face/Off, Shirk

1. Asunojokei – Island

Going off the album cover, I thought this would be a relatively straightforward J-Pop or J-Rock album. Imagine my surprise when the opening track, Heavenward, started with shoegazey riffs and blistering screams as it erupted into blast beats. Blackgaze was the last thing I expected from its unassuming cover but it quickly became my favourite album this year. The four-piece band hails from the Taito ward in Tokyo and released their full-length debut Awakening in 2018. Asunojokei roughly translates to “The scenery of tomorrow” and while the rough edges of black metal permeate their music, the hint of nostalgia bubbling below the melodies also gives way to beauty. Thanks to acts like Alcest, Deafheaven, and Sadness, blackgaze has exploded in popularity within the past decade and Asunojokei leverages their own influences to continue evolving the sound.

With pristine production, nimble guitarwork, and even upbeat rhythms, Island doesn’t even feel like it plays into the black metal side at times. Sure, there are guttural growls and screams that border the dissonant breakdowns. But even the fiercest wall-of-noise on songs like “甘き渦の微笑” slowly transform into simmering melodies that peak into massive crescendos. Of course, much of this balance heavily depends on guitarist Kei Toriki as he shifts from arena-rock solos on “Chimera” to the mathy arpeggios of “Gaze”. Together with the eternal unclean vocals of Daiki Nuno, the band forms an equilibrium of contrast. Even in the most serene moments of instrumentation, Daiki’s screams only become more intense. The turmoil seeping within blackgaze has been combined with soaring determination and the warmth of light. Taking the melodic intuitions of J-Rock, Asunojokei meld it with post-hardcore vocals and blackgaze riffing. Island has a sense of tranquillity peeking out in a sea of bleak dissonance that mirrors the lyrics of hopefulness in the face of apocalyptic sorrow.

Must Listens: 臨界 (Heavenward), キメラ (Chimera), 甘き渦の微笑 (The Sweet Smile of Vortex)