Pleaser’s 2022 Albums of the Year
It’s been a big year for Pleaser Magazine and an even bigger year for the music industry. Now that the eventful year has finally come to an end, we asked our team to share their favorite albums of the year.
Moss by Maya Hawke
Made up of 13 songs, Maya Hawke’s sophomore album Moss is a definite winner for my album of the year. With high anticipation, I worried that the record would not live up to my expectations after my immense obsession with Blush--her debut album. However, I was pleasantly surprised, and Moss even succeeded my expectations. Complete with three perfect singles, the album explores themes of self identity and love so delicately, it is hard not to get hooked right away. The lead single, “Thérèse” is possibly one of the strongest songs on the album I have seen in recent years--perfectly capturing the folk/indie essence of the whole album, whilst simultaneously delivering angelic vocals. The album has been on repeat since release day, and I look forward to hearing the songs live when Maya visits London next year! — Laney Gibbons (Writer)
Uncanny Valley by COIN
COIN has been my top artist for the past two years since discovering their music during the pandemic, so it's no secret that their music has a big influence on me. Uncanny Valley came out in March of 2022 in a time where I was going through a lot of life changes and needed a soundtrack to get me through. This entire album has no skips from top to bottom. I can listen to it when I'm happy, sad, anxious or anything in between, it never fails to put me in a good mood no matter what the day brings. I can confidently say, 8 months after its release, I still have the same warm feeling listening to this album as I did the first time I heard it and for that reason it is my album of the year. — Zayne Isom (Photographer/Writer)
This album is my album of the year because it is a masterpiece that has an amazing story. The way the first song is learning & the last is loving and the bands motto is “learning & loving” really tied the knot on the album. COIN always takes their albums into a deeper dimension & this album really shows off their songwriting skills & tells the listeners what uncanny valley really means to them :) - Cassidy Brohl (Writer)
American Heartbreak by Zach Bryan
Zach Bryan is, simply put, the best artist in modern country music. His raw vocals, poetically strung together lyrics, and typically simplistic guitar instrumentals, combine for the perfect mix between classic, outlaw style country, modern folk music and Americana styles. With a whopping 34 tracks, American Heartbreak covers all of the bases in terms of mood and content. Not a moment on the album feels dry or bare, which is impressive considering its mass. There is lost love, forgiveness, sobriety, and newfound love. My personal favorite on the record is “Morning Time,” a beautiful track that I think is criminally underrated. Bryan has had a fantastic year (including a snowy sold-out Red Rocks show--iconic), and I can't wait to see what 2023 brings for him. — Sydney Hise (Managing Editor/Photographer/Writer)
DECIDE by Djo
For me, this album really stood out as super cohesive from top to bottom. There isn’t a single skip on this album! It’s also really awesome to see an artist who had such an amazing debut album—Twenty Twenty—top what they have done before! The vibes of this project are truly unmatched. — Lindsey Dadourian (Editor in Chief)
Harry’s House by Harry Styles
For anyone who knows me, it’s no surprise that Harry’s House takes the #1 slot for my album of the year. Ever since its release in late May, Harry’s House has completely dominated my Spotify listening history with its catchy rhythms, nostalgic melodies, and playful lyricism. Carrying 13 songs, the album spans across multiple sub-genres of pop with subtle dashes of funk and rock, all while staying sonically cohesive. After gaining major commercial success with sophomore release Fine Line, it was hard to imagine anything topping the Grammy-nominated record. However, Harry’s House had no trouble following its predecessor's footsteps with standout tracks such as “Music for a Sushi Restaurant,” “Late Night Talking,” and “Little Freak”. Much like his previous works, Styles takes the time to illustrate to his listeners a mere glimpse into his world--inviting us inside his home--and how he perceives love and intimacy, navigates fame, and finding yourself in times of change. It’s easy to get lost in his vocals as they smoothly glide from track to track, guiding us through personal mementos; whether it be black-and-white film cameras and yellow sunglasses, or walks on Sunday afternoons. In short, Harry’s House is overall a fun, feel-good album. It’s utterly infectious and quite impossible to not sing along to every word. To say that 2022 was his year would be an understatement. It’s Harry’s world, we’re all just living in it. — Amy Tang (Social Media Manager)
No Rules Sandy by Sylvan Esso
I feel like I was raised by Nick Sanborn and Amelia Meath of Sylvan Esso. Sylvan Esso's music accompanied me during emotional ups and downs through high school, college, and now my 20's. Each album they put out resonates with a different part of me, and their 2022 release No Rules Sandy is no different. Sylvan Esso weaves folk melodies and feelings with heavy production and electronic backing. I've never felt as much comfort from electronic music as I have with Sylvan Esso. In all transparency, when I saw them on tour in 2021 I cried. Meath's vocals are raw, and Sanborn produces in a way that feels all encompassing. Tracks like "Coming Back to You" are stripped down and sentimental, while others like "Sunburn" are more dance-heavy. The duality of the band is unmatched and No Rules Sandy is their most honest, organic LP yet. — Nadya Barghouty (Writer)
Motomami by Rosalía
A perfect, BEAUTIFUL blend of hyperpop, flamenco, hip-hop, reggaeton - Motomami by Rosalía, who spent more than a decade training in flamenco, is quite possibly the most genre-bending project I’ve heard in quite some time, especially in 2022. I can’t believe an album like this exists in the world; it is beyond profound. The bangers absolutely bang, the ballads leave you emotionally yearning for more, The jazz breakdown in “Saoko” in the midst of the chaos was chef’s kiss, “Como Un G” leads you through an entranced dream, and the dirtiness behind “Hentai” sounds so dreamy with a touch of melancholy, and yet the list goes on. “Hentai” is a perfect example of the emotion Rosalía vocally pulls from deep within herself. With her flamenco-trained voice and writing this song in G minor, she’s perfectly captured the rawness and realness of the sentimental sadness that is sometimes quiet deep in everyone’s gut. Using G minor provided a darker, richer sound that acoustically, and coming from Rosalía, leaves you speechless. Just when her vocals, production, writing, instrumentation, etc. wasn’t enough…she pushes beyond every musical boundary and even took it to the visual world through many mediums, where it’s arguably even more impressive than the music. The personal handwriting, the literal creation of a Motomami, the music videos, the overarching theme, the distinct red touch, her stage set up on tour, I mean it doesn’t end there. But the music videos and visuals are some of the best visual works I’ve ever seen for an album. I need those concepts compiled and made into a Motomami movie. Her mind is incredible and she has truly outdone herself with the Motomami project. When the music goes beyond the music, my interest is peaked. Rosalía is an awakening in music and creativity. Her sound is pioneering and I imagine it’ll only excel from here. Motomami’s footprint will forever be deeply embedded in the music world. — Sierra Sevier (Photographer)
NATHAN by Brotherkenzie & Can Mary Dood the Moon? by Peach Fuzz
I had to choose both of these since Can Mary Dood the Moon was a four song EP and didn't feel meaty enough to be album of the year. However, both of these projects have at least one thing in common: excellent storytelling. Both having ties to the Hippo Campus Cinematic Universe (HCCU, if you will), it doesn't surprise me that they both share not only incredible storytelling qualities with the lyrics, but also production and musicality.
Every project that the HCCU has a hand in, I can almost guarantee I will enjoy. Nathan Stocker being a founding member in Hippo Campus, the connection is more direct with his side project, Brotherkenzie. For years, it seemed as if it was merely just an outlet for those songs that wouldn't fit the Hippo Campus mold, but it is evident that Stocker put more stock (haha) into NATHAN as a whole. In NATHAN, all the songs are so unique from one another, yet tell still feel cohesive as a group. My favorite tracks are "GET ON IT" and "SPRING PEELS”—both on opposite ends of the spectrum as "GET ON IT" is poppy, upbeat, and satirical in nature, and "SPRING PEELS" is soft, introspective, and reverent, even if he throws in a jab like “had you not drained another ocean just for fun?” I loved how the album explored different sounds, tones, and pushed the boundaries of the instruments—you'll never feel bored listening to it. Having been a fan of the Brotherkenzie project for almost 4 years now, I've always lauded Stocker as a superb storyteller within his lyrics—being able to say a lot with a little. NATHAN is a prime example of that gift. Yes, even in highly satirical songs like "DADDY." I think the songwriting is most impressive in "OVERGIVER”; it almost has a third person POV even though it is written in the first. It reminded me of Paul McCartney tunes in its structure and production—I would say most akin to McCartney’s highly acclaimed album “Ram.” Lyrically, it reminded me of “Eleanor Rigby” with the dark undertones, assuming one’s intentions and inner thoughts. I read that the main motif for this album was indulging the ego and inner demons, while simultaneously making fun of them. It's evident this was cathartic, but also a serious project to push himself. I think NATHAN is a cumulative product of his growth not only as a musician, but a person over the years.
With Can Mary Dood the Moon?, I think it is the perfect girl-pop EP. Produced by Jake Luppen of Hippo Campus and Lupin, as well as Caleb Wright of Normal Parents, it was destined for greatness from the get go. The voices of Samia, Raffaella, HANK, and Ryann blend seamlessly into each other, creating angelic harmonies while also letting each other shine individually. There’s playfulness in the songwriting—taking inspiration from awkward social encounters to a silly name for a cracker company. That’s not to say there aren’t more serious notes to the EP. It’s most evident in “I Saw the Moon” where it’s stated “we got along like a house that’s on fire, I’ve just been sparking the lighter.” Even then, it feels like a pleasant statement, by the way it’s delivered. I find myself coming back to this EP often, still just as refreshing as the first time I listened. It’s an excellent palette cleanser that doesn’t take itself too seriously, while also finding yourself relating to and pondering over the characters in each song. — Sarah Dean (Creative Director)
Preacher’s Daughter by Ethel Cain
“American Teenager” is the second track of Preacher's Daughter, and was my anthem this past summer. Eventually I got around to listening to the whole album, and had an 'Oh shit!' moment as I realized I'd been missing out. Preacher's Daughter is a phenomenal album with gorgeous melodies, intricate lyricism, and a cohesive story. The album follows a preacher's daughter who runs away from home and gets cannabalized—dark material, made even more haunting by Cain's voice and poetic lyrics. This album is stunning and convinced me to listen to more of Cain's music—which is just as jaw-droppingly good. — Aiden Nelson (Writer)
grow your hair long if you're wanting to see something that you can change by Field Medic
Field Medic is one of those artists I feel like I've been growing with since finding a passion in the music scene. It was him that gave my my first chance to take my camera into a show, where I took photos of him. The album he released this year really hit home to me with such bare and realistic lyrics. Through his instrumentals, you can really hear his growth. — Madalyn Schaller (Photographer)
MUNA by MUNA
MUNA is the band I never knew I needed but always longed for. I first became aware of them in 2017 when they opened for Harry Styles on his first solo tour post-One Direction. I was blown away by how much emotion lead singer, Katie Gavin, put in to every part of her performance. Since then, MUNA have continually put out stellar album after stellar album and it was no different when they released their self-titled project this summer. The second "What I Want" filtered into my ears I knew it would be my Song Of The Year. With a dance beat so infectious and lyrics that are equally enticing, I still get goosebumps every time I play it. With more directly alluring songs like "No Idea" and softer emotional ones like "Kind Of Girl", MUNA has something for everyone. MUNA is a genre all their own and have such a good grasp on what it means to make music that is so deeply personal and still has the power to affect people en masse. MUNA, you will always be famous. — Allyson Clayton (Writer)
Tell Me That It's Over by Wallows
Dominating my Spotify Wrapped completely by taking #1 artist of the year as well as my top 5 songs, it's pretty clear that my album of the year is Tell Me That's It's Over by Wallows. While their debut album, Nothing Happens, is about entering your 20s and exploring adulthood, their sophomore album touches on a variety of themes about being in your mid-20s and the different highs and lows of relationships. Tell Me That It’s Over features singles “I Don’t Want To Talk,” “Especially You,” and “At The End Of The Day”. We can also find heartfelt songs like “That’s What I Get” and “Guitar Romantic Search Adventure”. When Nothing Happens came out, I was going through entering adulthood while finishing my first year of college, so I undoubtedly related to their debut record. Once again they haven’t missed out in the case of Tell Me That’s It’s Over. In the past weeks, Wallows has been teasing new music and I already can’t wait to listen to many new beautifully written songs in the future.
