The 55 best albums of 2022

On their 2019 album, the 1975 sang about how "sincerity is scary." On this year's release, frontman/lyricist Matty Healy poured out of his heart every feeling he has about allowing oneself to be sincere, giving yourself over to love, and what masculinity means in this day and age. In the most 1975 way possible, that comes across in playful, snarky witticisms and shameless admissions ("Part of the Band," "The 1975," "When We Are Together"), and damn perfect pop songs ("Happiness," "Oh Caroline," "I'm In Love With You") that capture the effervescent feeling of love in sheeny guitars and synths. With each verse that makes you stop in your tracks to either laugh or tear up, you'll feel a little more sincere, too. —Sadie Bell

Alex G’s ninth studio album, God Save the Animals, is further proof that he's the Brian Wilson of the millennial generation. The 13-track release finds him once again covering considerable sonic ground, from introspective folk, hyperpop, emo, and ‘90s alt rock that almost feels cinematic in scope. Whether he's modulating and pitch-shifting his voice or stripping his arrangements down to their bare bones, Alex G’s music is as beautiful as it is unsettling. Even when he ventures into strictly instrumental territory with tracks like “S.D.O.S,” he still conveys so much emotion and meaning. God Save the Animals is Alex G at peak form — defying any creative limitations in pursuit of constant exploration. —Alessandro DeCaro 

It’s rare for a band to come back in style after 13 years and release their best work to date, but Canadian rock veterans Alexisonfire did just that. Otherness is proof that sometimes you need to go back to basics to discover who you really are. The LP contains elements of the band’s classic post-hardcore sound, but with a more raw, organic approach that toes the line between classic rock and atmospheric psych-rock — along with three distinct vocalists — to create a sound that could be their own genre at this point. Upon first listen, it's clear that Alexisonfire are firing on all cylinders, sounding more in sync as collaborators and more confident than ever before. —AD 

Canada's Alvvays tend to take quite a few years between records — and that might just be because every time, they cook up nothing less than indie-pop perfection. Named after the Canadian alcoholic beverage Rev, Blue Rev is bubbly and intoxicating, with its shoegaze and power-pop guitars, and varied — at times dreamy and others warped — production. One sip of singer Molly Rankin's poetic musings about heartbreak and growing older and you'll be buzzed on the sheer dreaminess that is Blue Rev. —SB

Architects have consistently been the precursor for what British heavy metal sounds like; they write a riff, and five years later, it’s the only thing you hear on the radio or live. Their 10th studio album is no different, offering the similar themes of nihilism and existentialism you know of the band, but with an optimistic, lively approach. Experimenting with makeup and fashion in music videos, seamlessly blending technical metal verses with pop choruses, Architects still find their artistic challenges to overcome with this release — and in doing so, help to elevate British heavy metal to a mainstream level. —Yasmine Summan

Just when you thought Arctic Monkeys couldn't get more stylish, the English indie titans do the damn thing. On their 2018 record, Tranquility Base Hotel & Casino, frontman Alex Turner positioned himself and the band as a lounge-pop act rather than one of the biggest rock groups in the world. Here, they keep up the act, but in a way that somehow exudes even more glamor. It sounds pristine, and the sexy, funky moments beg to be heard beneath "a mirrorball." As Turner sings in falsetto about fame, love, and heartbreak over cinematic tracks, they paint a world of panache you can't help but get lost in — much like a vintage romance (perhaps specifically one that plays out in a '70s club that's drenched in velvet). —SB

The pop-punk revival has dominated the early 2020s, with comebacks from industry mainstays, paired with exciting new artists bursting through the seams. It could arguably feel impossible for acts to break through all the nostalgic noise — but for the reigning pop-punk princess Avril Lavigne, it’s no sweat. Love Sux is like the cooler older sister to 2007's The Best Damn Thing, touching on similar topics from a matured perspective, with a strong experience in the field, and more to deliver. And yet, it still manages to connect with the younger crowds, offering collaborations with Machine Gun Kelly and YUNGBLUD. Grammy snub or not, Love Sux should be praised in pop-punk history. —YS

Puerto Rico’s gift to the world has bottled summer and its intricacies in a cross-genre affair that spans dream pop, grimy dembow, merengue, house, and trap. This masterclass in Latin alternative features assists from fellow Boricuas the Marías and Buscabulla, and Colombia’s Bomba Estéreo. Bad Bunny’s latest proves the future of popular music (in any language) lies in the alternative approach. —E.R. Pulgar

For their third studio album, THE DEATH OF PEACE OF MIND, Bad Omens made a conscious effort to prove that they are so much more than a metalcore band, and it certainly shows. From the opener “CONCRETE JUNGLE,” which blends moody synths pads, dance beats, and R&B-esque vocals in the vein of Post Malone or the Weeknd to the radio-ready rock anthem “Nowhere To Go,” Bad Omens make every track feel like its own entity while still retaining cohesion. Those who love their heavier material will be satiated just fine with “Artificial Suicide” and “IDWT$,” where the band flex their aggression in compelling new ways. Ultimaely, THE DEATH OF PEACE OF MIND is a record that redefines experimentation in modern metalcore. —AD

Ever since his debut, Bartees Strange has propped the door open to another galaxy. It’s one that seems to stretch infinitely, with possibility and experimentation reigning supreme. On his sophomore album, Farm To Table, he continues to subvert and challenge how people think about music, from the indie-trap of “Cosigns” to the exuberant dance-pop of “Wretched.” Strange has undergone a momentous year, the type that’s joyful to witness from an artist who continues to evolve and enrapture through sheer curiosity. —Neville Hardman

The disco reverbs, electronic funk breakdowns, and vogue beats are turned to 100 on Beyoncé’s latest knockout. Renaissance is a study of nightlife’s queer fringe, featuring samples from legends like Donna Summer and Robin S., production by Chicago house icon Honey Dijon, and appearances from Grace Jones and Big Freedia. Virgo’s groove indeed. —ERP 

While beabadoobee's 2020 debut Fake It Flowers was rife with grunge and the teen angst of a coming-of-age soundtrack, Bea Kristi's sound became more expansive in this year's follow-up Beatopia. Less concerned with genre, the Filipina-British singer toys with fizzy guitar-pop and string-flanked ballads with less of a focus on wooing fans with catchy hooks. Instead, Beatopia finds Kristi more confident in experimentation and less worried about fitting into a nostalgic box. —Ilana Kaplan

Since his days swapping bars with Malik B. in the Roots, Black Thought has been a consistently great rapper. With Cheat Codes, the collaborative album between the visionary MC and producer Danger Mouse, his indelible command is being put in a new light. The album’s 12 tracks are a satisfying display of their combined powers that rattle in your chest, from the nocturnal pleasure of “Saltwater” to the radiant funk of “The Darkest Part.” —NH

There is still so much to be angry about, but on their third record, Camp Cope choose to replace the fury of their past with tender vulnerability. Folk-rock and fresh pop-country melodies accompany the feeling that the Australian trio have assembled newfound self-acceptance. Singer Georgia Maq treats emotions gently and never takes herself too seriously. She swallows her pride to double text a crush or forgives someone before they’ve even apologized. Running with the Hurricane reminds us that there is always room for reinvention. As Maq declares on the title track, “The only way out is up.” —Natalia Barr

Throughout the promo of CRASH, hyperpop princess Charli XCX joked that it was her "major label sell-out record" and that she was ready to sell her soul to the industry. It was all very cheeky, coming from the alt-pop experimenter — and it ended up feeding into the record in fascinating ways. CRASH as a whole sounds like a love letter from one of pop's brightest and most attentive students, infusing her future-minded production with '80s disco and Y2K bubblegum elements. But that's just Charli, baby: an innovator who's always been a main pop girl at heart, and thank goodness for that. —SB

After years of releasing R&B-tinged power ballads and pop records, Demi Lovato returned to her rock roots with HOLY FVCK. Her eighth studio album was flanked by hard-rock choruses and pop-punk anthems, brimming with religious imagery and sex. But the anchor of the record has been the song "29," a defiant rock ballad that grapples with consent. For Lovato and her fans, HOLY FVCK is a new beginning and a return to form. —IK

Denzel Curry would rather stay silent than put out the same album twice. The animated MC thrives on unpredictability and pushing boundaries, and with his fifth studio album, he succeeds. On Melt My Eyez See Your Future, Curry’s love of jazz, anime, and poetry coalesce, resulting in an eccentric brew. Surprises are abundant, from a Thundercat collab that draws from To Pimp A Butterfly material (“The Smell of Death”) to a Mac Miller shoutout (“X-Wing”). Through it all, Curry’s ambition rivals that of Jiraiya going up against the Six Paths of Pain. —NH

DE’WAYNE’s sophomore album, My Favorite Blue Jeans, is a reflective, coming-of-age narrative that chronicles the charismatic singer-songwriter’s journey to stardom thus far after moving to the City of Angels to pursue his dreams. Sonically, the album is loaded with earworm choruses, infectious vocal melodies, and a host of high-profile features (Good Charlotte, grandson, POORSTACY) that makes the entire experience feel like one big party. DE’WAYNE wears his influences proudly, whether that’s with the classic Ramones-tinged ripper “GOOD MOOD” or the suave indie-rock stylings of “SIMPLE.” And though DE’WAYNE created an album that feels like an eclectic playlist, it still remains entirely cohesive. —AD

On Drug Church’s fourth studio album, Hygiene, the hardcore quintet are further expanding their foray into more accessible and anthemic territory. It's not unlike their genre counterparts Turnstile — and with a record this strong, it wouldn't be surprising to see the band reach similar crossover success. Vocalist Patrick Kindlon, who's as charismatic as he is enigmatic, uses his voice to lean on melody, which suits his direct and brutally honest lyrical approach brilliantly. Tracks such as “Super Saturated” and “Million Miles of Fun” are timely anthems that tackle the anxieties of life in an overstimulated society, while songs like “Detective Lieutenant” and “Athlete On Bench" take time for personal introspection. —AD

While 2019’s Feet of Clay had listeners trodding through inscrutable metaphors and soupy jazz loopings in order to hear his testaments, Earl Sweatshirt’s Sick! is not only his most accessible music in years — it’s lyrically some of his sharpest. Sweatshirt sounds poised as he ruminates on COVID-19 and newfound fatherhood, providing an album full of intellectual musings so crystal clear, it reaffirms his place as one of rap’s most compelling lyricists. —Mackenzie Cummings-Grady

Preacher’s Daughter conjures images of endless Midwestern plains, Gunne Sax, sweet tea, scorned housewives, and empty Southern church pews, save for one woman looking for salvation. With the record, singer-songwriter Ethel Cain created a gorgeous, tragic world that both looks lovingly, but also with disdain, at Americana. At times, she goes pop ("American Teenager"), and others, she taps into her goth and rock influences ("Family Tree," "Gibson Girl"), and even hymns ("Sun Bleached Flies"), all to tell the story of the character Ethel Cain's journey on the road, only to die at the hands of a cannibalistic killer. Throughout it all, she's as vulnerable as she was on the second floor of that "house in Nebraska." It's an album that's sure to go down as a modern classic in American gothic. —SB

Capricorns are arguably one of the most overlooked signs of the zodiac, as they're often unfairly judged for being too independent and hardworking. Cap suns like FKA twigs know just how special it can be to have the seagoat rule your chart — so much so that the R&B innovator dropped a mixtape inspired by it in the midst of Capricorn season. Where much of her work features sparse, heartbreaking stunners, CAPRISONGS is an arty pop record pulled together with dancehall rhythms and beats and full of thrilling features. Even as it's making you cry "tears in the club," this is a record for someone who both trusts that the planets will align perfectly for them and is very much in control of their own destiny. —SB

Don't remind certain fans that Avery Tucker and Harmony Tividad are putting their indie project Girlpool to rest after nine years; for some, the news was gutting. Thankfully, the duo ended on a high note with the sonically bold and utterly heart-wrenching Forgiveness. A record for midnight brooding or when you lay awake pining, it explores brutal thoughts about devotion, infatuation, and giving into toxic behaviors time and time again over romantic and harsh synths. The dance between Tucker and Tividad's voices has never been so captivating, so it's sad to see their partnership come to an end. At least fans are left with gorgeous tracks like "Faultline" that help to bring out unbridled emotions like only a Girlpool song can. —SB

The world of Harry Styles is teeming with glitter, retro jumpsuits, and glorious dancing. On Harry's House, it all comes together in a spellbinding amalgamation of sticky synth-pop, funk, R&B, and tender ballads. Whether he's singing about sex (“Keep Driving”) or a child who needs to leave their home behind ("Matilda"), Styles is open-hearted, and the result is perhaps his most confessional album yet. —IK

Released 1,855 days after his last album DAMN., Kendrick Lamar’s Mr. Morale & The Big Steppers argued there was an important reason for K. Dot’s absence: He was working on himself. With a stocky, 78-minute double album, Kung Fu Kenny turns the critical eye away from the political stratosphere and looks deep within, using the project’s expansive, jazz-infused backdrops to explore his most uncomfortable tendencies. —MCG

It’s almost unbelievable that we get to witness musical history with a band like L.S. Dunes. The group — made up of prominent scene legends Anthony Green (Circa Survive, Saosin), Frank Iero (My Chemical Romance), and Travis Stever (Coheed and Cambria), along with rhythm section Tucker Rule and Tim Payne (Thursday) — melded their collective strengths as songwriters and players to craft Past Lives, a product of friendship and camaraderie during the darkest times imaginable. From the vulnerable, hypnotic opening track “2022” to the frenetic “Permanent Rebellion” and the subtle doo-wop elements of the tender closer “Sleep Cult,” L.S. Dunes blast through 11 tracks of compelling rhythms, dueling guitars, and electrifying vocals, where every member performs as if their lives are depending on it. —AD

About a year after going viral for a performance of their song "Racist, Sexist Boy," teenage punks the Linda Lindas returned in 2022 with their debut full-length. The fierceness and forward-thinking energy of that video that instantly made fans fall for them didn't subside on Growing Up — in fact, it's amplified. Singing of the challenges of growing up, as well as wanting to enjoy their youths and believe in a more perfect world, and several cat references, for good measure, it's a wholesome, punk-as-hell, pop-fused effort from the foursome. How lucky the teens and tweens of today are to grow up along with them! —SB

Louis Tomlinson's highly anticipated sophomore album, Faith In The Future, was a chance for the former One Directioner to get out of his comfort zone. While his debut Walls played it safer with tender rock numbers, Faith In The Future leaned into stadium-sized anthems, indie sleaze homages, and soaring choruses. If anything, Faith In The Future fully laid the groundwork for Tomlinson's evolution beyond his pop roots. —IK

While Megan Thee Stallion has previously hidden behind her numerous alter egos (Hot Girl Meg, Tina Snow, etc.), her rise these past few years, from buzzing Houston talent to cultural icon, has been polluted with harassment, mourning and misogynistic scrutiny. On Traumazine, Stallion sheds these fabricated skins in favor of her own, as she offers a poised yet frustrated look at the heartache she’s endured, and at a racist and sexist culture that seems intent on dismissing her. —MCG

Following the exhausting virality of Be the Cowboy, Mitski stepped back from music and touring in 2019. In the opening lines of her sixth album, she cautiously picks up where she left off: “Let’s step carefully into the dark. Once we’re in, I’ll remember my way around.” With her bearings in place, Mitski offers glimpses of her seclusion: the minimal synth work of “Everyone,” the jazz keyboard of “Heat Lightning,” and the irresistible ‘80s pop centerpieces “The Only Heartbreaker” and “Love Me More.” Internally, she’s exploring power dynamics: within relationships, the music industry, and the artist herself. —NB

Brooklyn-based indie-rock band Momma's latest is a cheeky play on the Gen Xer-sounding sentiment that these days, rock bands just don't get as big as they used — played out in massive-sounding guitars, songs like "Rockstar," and down to the title. They sure sound like fucking rock stars, though! Household Name is a blast and includes everything that makes a great rock record: driving songs ("Speeding 72," "Motorbike"), huge hooks over lustful lyrics ("Medicine," "Callin Me"), and an attitude that says they're going for it. Get this group in stadiums ASAP. —SB

With a title like Scoring the End of the World, Motionless In White certainly delivered in terms of writing dystopian-minded anthems that possess an exciting, new, cyberpunk-esque dimension. Tracks like the opener “Meltdown” and lead single “Cyberhex” find the band fusing djent metal with industrial electronics and theatrical effects that feel straight out of a blockbuster film or triple-A video game soundtrack. Additionally, there's a host of features — Knocked Loose’s Bryan Garris (“Slaughterhouse”), Beartooth frontman Caleb Shomo (“Red, White & Boom"), and famed Doom composer Mick Gordon (“Scoring the End of the World”) — that make the record feel like a celebration, even when the world is seemingly falling apart. —AD

MUNA have become experts at making space for art that is unapologetically queer. Their self-titled release is no different, yet oscillates between psychedelic country ballads and blistering synth-pop anthems. And they're clearly having fun while doing it — take their viral Phoebe Bridgers-assisted hit "Silk Chiffon," for instance. MUNA's first record without RCA and under Bridgers' imprint Saddest Factory Records proves that the band aren't done evolving just yet. —IK

Nilüfer Yanya’s PAINLESS is an album for loners and introverts. Her whispery, cooly controlled delivery (one that she used to try sounding bigger but ditched when the words came out “forced and ugly”) guides listeners through a record rife with introspection and heartsick melancholy. Behind all of her rhythmic and subdued songs, however, is a woman acting on the wrong impulses — wrestling with obsession (“belong with you”), writhing in loneliness (“try”), pulling all-nighters (“stabilise”) — that results in a heady swirl. —NH

English rock duo Nova Twins finally got the attention they deserve in 2022, collaborating with their idols Oli Sykes and Jason Aalon Butler and releasing their second studio album, Supernova. Coming from a duo that were still relatively unknown to the world only two years ago, it's easy to discuss what so incredibly stands out on the record: the production quality, the vicious punk guitars edging you with every lick, and singer/guitarist Amy Love’s vocals piercing through the veil. But the overarching win for this album is how it resonates with Gen Z. Through their inclusive messaging and stance against inequality within the rock scene, they’ve cultivated and empowered an audience of young people, and that’s something to be praised. —YS

The prince of Latin alt-pop comes into his own with his genre-hopping debut record, Ivory. Veering between traditional Mexican corridos, fuzzy garage guitar, and funked-out synth pop, Omar Apollo has given himself space to experiment. His voice is the main sell here: his honey-tinged falsetto stretched to its logical extreme teeming with heartbreak and future romance. —ERP

sore thumb wasn't supposed to exist as it does. But when Jade Lilitri, the brainchild behind the beloved Long Island emo project Oso Oso, lost his cousin/guitarist/creative partner Tavish Maloney, who had been helping him record new tracks in 2021, he felt compelled to put them out — no changes necessary. It diverges from the band's power pop to be a bit more subtle and strange, but the hooks still arrive, and do so exuberantly. Ultimately, it rages with Lilitri's sweet, bro-y motto that Oso Oso's become known for: that nothing will ever be better for the soul than hanging out with your friends. Kick back, pour one (a gatorade, obviously!) out, and let the inside jokes (and maybe a few tears) roll. —SB

With honest lyrics, fast punk beats, and shredding guitars, Love Me Forever is an impeccable debut for Baltimore punks Pinkshift. Vocalist Ashrita Kumar is a fiery and versatile presence, unafraid of calling out anyone who's done them wrong (“GET OUT”) while also remaining vulnerable enough to display their deepest insecurities (“i’m not crying you’re crying”). However, the most remarkable part of the record is the band’s unique arrangement skills that pair classic punk with glam-rock guitar solos, and ‘90s-inspired post-grunge and nü-metal-esque vocal stylings (“Trust Fall”). With such a range, their sound should feel accessible and relevant to a wide array of listeners. —AD 

On Remember That You Will Die, Polyphia offer exceptional musicianship in the form of virtuosic guitar lines, mathematical time signatures, and world-class arrangements that marry organic instrumentation and modern production. The record sounds luxurious, as if it was made to be played while driving in a foreign sports car. For the ambitious release, the band enlisted a series of powerful collaborators, including Sophia Black, who has a breakout performance on the energized track “ABC,” as well as some of their biggest influences, like famed guitarist Steve Vai (“Ego Death”) and Chino Moreno of Deftones (“Bloodbath”). With a healthy dose of indulgence and swagger, Polyphia have accomplished the seemingly impossible task of making guitar virtuoso music cool again. —AD

The Spanish experimentalist takes a sonic tour of the Caribbean while still proclaiming herself a flamenco cantaora. Whatever eyebrows this raises aesthetically, one cannot doubt she has done something groundbreaking. Rosalía’s voice soars, expands, and contracts into new sonic terrain, molding jazz breaks, underground electronic, bachata, dembow, and flamenco into startling new forms. —ERP

Nowadays, being in one's "slut era" can not only be hot but also extremely empowering, thanks to the term being reclaimed by many. That energy is all over British singer-rapper Shygirl's debut album, with songs like "Coochie (a bedtime story)," “Shlut," and more. With stylish production that ranges from hyperpop sounds, like on the Arca-produced "Come for Me," to more muted, dreamy tracks, and sexy, forward lyrics delivered in Shygirl's signature soft voice, it's an intimate fantasy of a record. —SB

For their 11th studio album, Misery Made Me, Canadian post-hardcore mainstays Silverstein made their most musically diverse record yet. The record's 11 songs contain their heaviest material to date, as well as their most accessible and delicate. Whether it’s the experimental and abrasive two-part track “The Altar/Mary” or the straightforward hardcore on “Die Alone,” Misery Made Me celebrates their most grandiose musical ambitions. Other standout tracks include “Ultraviolet,” a song that's tailor-made for active rock radio, or the somber ballads “Cold Blood” and “Misery,” which prove Silverstein can still pull on our heartstrings after a two-decade-plus career. —AD

Pessimists know that Radiohead are as good as over, but the Smile — featuring Thom Yorke, Jonny Greenwood, and Tom Skinner (Sons of Kemet) — are a whole new beast. On their debut album, A Light for Attracting Attention, Yorke and Greenwood seem to have found reprieve from their other bands' asphyxiating hype. Longtime producer Nigel Godrich sits at the controls, blanketing each song with a supernatural intensity. Best of all is Skinner, who can slither between skittering drums or a motorik beat to emphasize Yorke’s ghostly pleas and raucous sneers. —NH

Soccer Mommy’s Sophie Allison spent years hinting at darkness beneath bubbly grunge melodies. Sometimes, Forever unfurls the emotions that have grown out of proportion. “I don’t know how to feel things small, it’s a tidal wave or nothing at all,” she sings on the album closer "Still." Growing up can feel like a tsunami, but Allison treads through the absurdity. With production by Oneohtrix Point Never’s Daniel Lopatin, Soccer Mommy explores sounds of industrious grit and psychedelic shoegaze. She navigates her mind’s darkest corners to uncover demons, blood, and ghost stories. For the first time, she offers us a blood-curdling scream. Finally, relief. —NB

No matter how busy cities are, sometimes they can feel downright isolating — like after a difficult breakup, for instance. It's what North London indie-rock band Sorry explore on Anywhere But Here, from how haunting it can be that your ex might be in somebody else's bed on the other side of town to the tragedy of seeing other lonely people passing by. The band, led by longtime friends Asha Lorenz and Louis O’Bryen, have always been known for their moodiness, and their sophomore album is all mood in the best way possible, as it explores the whole gamut of emotions that comes with heartbreak and translates that with arresting guitars and production. —SB

With their highly anticpated debut LP, Rouge Carpet Disaster, British experimental, post-hardcore newcomers Static Dress bottled up the distinct sonic world and aesthetic they'd been developing in the years prior into one concise, compelling body of work. Led by vocalist and creative director Olli Appleyard, Static Dress take listeners on a journey through a series of panic chords, stuttering electronics, ASMR elements and unforgettable vocal melodies that blend aggression and palpable despair seamlessly. Rouge Carpet Disaster is a release that sounds like nothing you've ever heard before while also inserting a shot of eerily placed nostalgia. —AD

Inspired by a bad breakup, Steve Lacy’s second record is confident and grandiose, full of rich fusions of funk, jazz and R&B. Ditching the GarageBand solo ventures of his debut, Gemini Rights’ collaborative fanfare makes heartbreak sound enticing. The viral, chart-topping earworm “Bad Habit” is a perfect example. Its optimistic guitar rifts contrast Lacy’s beseeching vocals as he pines for someone toxic. Filled with equal parts empathy and desperation, Gemini Rights is a too-relatable, all-consuming cocktail. —MCG

Sudan Archives conjures magic with a flick of her violin bow. From the jump, her spectacular sophomore album, Natural Brown Prom Queen, puts you under a spell, offering an excursion through many of the things that Archives succeeds at so well — boundless creativity, maximalism, and love and precision for her craft. Through the record’s 18 tracks, Archives exudes confidence and charisma at every turn as she sings of home, sexuality, and Blackness. It’s the ultimate hallucinogenic soundtrack for the prom you might’ve missed out on. —NH

SZA still gets it. On her debut, the singer intimately described insecurities without any hint of shame or secrecy. Her new album, SOS, reminds us that those intrusive anxieties never truly disappear, but maturity makes them easier to swallow. Across 23 tracks, there is no limit to the shapes SZA’s voice can take. She soars on the pop-punk-driven “F2F,” creeps alongside Phoebe Bridgers on “Ghost in the Machine,” and destroys and conquers on the opening track. “And all the petty shit aside/All the funny shit aside/I just want what’s mine,” she asserts. SZA, it’s all yours. —NB

Taylor Swift is a master of reinvention, crafting eras, personas, and expertly curating genres throughout her oeuvre. You could say, she's somewhat of a mastermind. On her 10th studio album, Midnights, she proves that, setting an atmosphere of late nights drenched in regret, drinks, and self-loathing. Throughout the album's 13 songs (and eight bonus tracks), Swift uses synth-pop teeming with reverb, delicate balladry, and catchy pop hooks to deliver some of her most soul-baring lines, with a smile and a wink. —IK

Leave it to forever sad boy the Weeknd to make a concept album that plays out like the radio show you hear en route to the afterlife — and also make it an absolute banger. While the concept might sound bleak, it's the R&B hitmaker at his most playful, reuniting with frequent collaborator Daniel Lopatin of Oneohtrix Point Never for many tracks to create a glittery, retro-pop universe. If the '80s-inspired dance-pop synths on "Take My Breath" are what purgatory sounds like, dancing until you're dead doesn't sound bad at all. —SB

Your mid-to-late 20s can be a weird time; when some friends are getting married, you might still feel like you were 21 just yesterday, and can't fathom what's next. So bless Rhian Teasdale and Hester Chambers of the Isle of Wight-based indie group Wet Leg for uniting two years ago to write about all of those feelings — and doing it in the most lively, post-punk way. From parties where the vibes feel off to being in love to rejecting less than what they deserve and craving something more, Wet Leg dives into it all, with a delightful helping of arty arrangements, hooks, and silly one-liners. You can tell they're having fun, and it's a reminder at how fruitful life can be when you feel it all and take it as it comes. —SB

Natalie Mering, who performs as Weyes Blood, has called her latest album And in the Darkness, Hearts Aglow a thematic follow-up to 2019's Titanic Rising — with that album sensing catastrophe was in the air, and AITDHA reporting what it's like in the thick of it. Even as Weyes Blood sings of isolation, societal collapse, and disastrous heartbreak, there's a glimmer of optimism, relayed in her vivid lyricism and atmospheric, chamber-pop melodies. As she sings on "God Turn Me Into a Flower," there's beauty and, more importantly, hope to be found in vulnerability. Those sentiments shine through, and even the softest of moments are stunners. —SB

You cannot deny that WILLOW released one of the best rock albums of 2022, which is sure to be looked at as a blueprint to study for years to come. With her fifth studio album, <COPINGMECHANISM>, it seems WILLOW experienced a renewed sense of musical freedom, which includes an embrace of hard-rock and nü-metal elements that allows the vocal powerhouse to shine on every front. Whether it’s heavy arena bangers (“ur a <stranger>”) or upbeat pop rock (“hover like a GODDESS,” “curious/furious”), WILLOW avoids filler and puts heart, soul, and intentionality behind every track. —AD

After a series of marriages, births, tragedies, and a pandemic, the Wonder Years had more than enough material for their seventh album, The Hum Goes on Forever. The record is largely a return to their classic sound, albeit with newfound wisdom that's applied brilliantly (“Wyatt’s Song (Your Name),” “Old Friends Like Lost Teeth”). Though the record touches on topics of loss and societal collapse, it comes to a heartfelt conclusion. “You’re The Reason I Don’t Want the World to End” makes peace with madness and serves as a touching reminder that sometimes all we all need to do is lean on our loved ones whenever the world feels like a scary place. —AD