PAINLESS is an imperious album. It’s effortless in its ability to capture. you. Many of the other great albums of the present work with intricate details. PAINLESS just finds the right grooves, adds the right textures and is rightly confident in their ability to keep you captivated. Yanya then adds to this with insistent and undeniable storytelling that runs as a dark whisper underneath the shimmering dream pop.
In something like the standout “L/R”, the narrative both powerful and sparse. “Sometimes it feels like you’re so violent, autopilot” is a strong line for the chorus and contrasts very satisfyingly with the languor of the music.
Similarly “anotherlife” is buoyant, dreamy and resonant and then it will absolutely lacerate you the moment you let it in. “try” is very compelling and very relaxing music and Yanya’s voice is perfectly restrained and sublimely emotive.
PAINLESS is a consistently cohesive album. There’s nothing here that detracts from the vision or compromises the quality and both are unparalleled.
The second month of 2022 saw the release of quite a few good albums. There was Laurel Hell, the much-anticipated follow-up from indie-folk singer Mitski, as well as new records from stalwarts such as Animal Collective and Spoon. There were also new tracks from artists such as Fontaines DC, Caroline Polachek and more. Read on for our top five picks from February 2022!
“The Loop” by Toro y Moi
We covered the delectable “Postman” with its fun Pharrell-esque vibe, in last month’s Monthly Playlist – and this month, Toro y Moi has treated us once again to a great track. Unlike the upbeat vibes of “Postman”, “The Loop” is much more laidback, and much more jazzy almost. Subtle basslines mesh with Chaz Bear’s playful vocals, leading to a track that’s perfect for spring days that almost, almost feel like summer. Both “Postman” and “The Loop” are precursors to Toro y Moi’s upcoming album Mahal, out on April 29th.
“Held” by Spoon
Technically, “Held” is a cover of a track by eclectic singer-songwriter Bill Callahan under his Smog avatar. We definitely don’t blame you for never having heard of Callahan, Smog or the original “Held”, but do yourself a favor and check out the cover by Spoon on their latest album Lucifer on the Sofa (released Feb. 11th). Spoon’s cover of “Held” is raw, bluesy, and full of the kind of modern-day cowboy vibes that seep through a lot of Lucifer, for which this track serves as a worthy album opener. “For the first time in my life / I let myself be held like a big old baby / And I surrender to your charity,” ruminates lead singer Britt Daniel, and the way he drawls and draws out his thoughts make you ruminate along with him. “Held” was apparently battle-tested by the band in live shows for many years, and it shows – Spoon truly owns this track.
“Crip Ya Enthusiasm” by Snoop Dogg
Snoop Dogg had a fantastic February. On February 10th, he made the surprise announcement that he is now the new owner of the acclaimed Death Row Records, the label which famously launched his very career. A day later, on February 11th, Snoop announced “Crip Ya Enthusiasm”, the first track from his new album (also released on the same day) quite suitably titled Bacc on Death Row. If “Crip Ya Enthusiasm” sounds to you like a reference to Curb Your Enthusiasm, then you’re exactly right. The track starts off with a sample of the meme-worthy theme song from Curb that is then masterfully spun into the song’s catchy backbone. The rest is standard Snoop flow – as cool as a cucumber, but don’t underestimate the verbal gymnastics of the West Coast OG. Also of particular note is the verse break (“These are words coming from the Dogg / And everything I do is lit / Hoppin’ right along, tryna get my party on / Call my n*, let’s go bust a bitch”) that Snoop actually sings along to the Curb song.
Oh, and on February 13th, he performed at the highly-lauded Half-Time Show at Super Bowl LVI. Not a bad February!
“Kissing Lessons” by Lucy Dacus
Lucy Dacus is a young singer-songwriter with a couple of well-received albums under her belt: her debut No Burden (2016) and two follow-ups Historian (2018) and Home Video (2021). Apart from her own music, she’s also well-known for being one-third of the group boygenius, formed with fellow indie rocker girls Julien Baker and Phoebe Bridgers. Lyrically, “Kissing Lessons” is a short-and-sweet song about a childhood queer romance – an older girl in elementary school called Rachel that gives Lucy the titular lessons. While Rachel moves away by the end of this sub-2 minute track, Lucy still keeps a memento of her childhood more-than-a-friend. We also liked the wall-of-sound guitarwork that almost competes with Dacus’ vocals for the listener’s attention. A true indie rock song, albeit with a sweet edge.
“Angelica” by Wet Leg
Wet Leg’s debut album was one of the five albums that we were anticipating the most out of 2022 at the start of the year, and the Isle of Wight band has just released one more proof point for our case. “Angelica”, released on the last day of February, is in line with the indie rock sensibilities on their runaway hit “Chaise Lounge” and strong follow-up “Wet Dream”. The track is about a cool it-girl called, well, Angelica, who’s observed by the narrator at a party that they’re both attending. Angelica arrives (with lasagna, to boot) and quickly dominates the room, making the narrator wonder why she’s still hanging around with a person like Angelica in the mix. It’s all very young-person ennui, and Wet Leg’s characteristically catchy, upbeat guitars and drums pair well with the subject matter. The two-piece have a big month coming up, headlining as one of the notable acts at SXSW 2022 and performing in about half a dozen venues in the city of Austin during the 10-day festival. All of this buzz is in preparation for their release of their debut album on April 8th – as we’ve said before, we’re looking forward to this one.
Big Thief has always been a band for whom I’ve had more respect than liking and there have been plenty of albums where I’ve had neither one. This is the first album of theirs that I really enjoy. It is somehow both deeper and more detailed than their previous work. It’s more intelligent and a little off-kilter as in the spectacular “Simulation Swarm.”
More enjoyably though, it’s also much more fun than their earlier work. The two hands clapping in “Time Escaping” is hilarious and on just the right side of camp and the song itself is nothing short of excellent. The country twangs that never move too far into the background of “Spud Infinity” are similarly just funny.
With this humor and humanity, they are more poetic than their usual and more resonant as well. This is really good music with none of the remoteness that often plagued their earlier albums. In fact, it’s hard to think of any real flaw to hold against the album at all.
There are few artists that have maintained a certain level of quality over several decades – Bob Dylan or Red Hot Chili Peppers, for example – but perhaps the most underrated of these unerringly consistent artists is Austin, Texas-based Spoon.
Founded by singer and guitarist Britt Daniel and drummer Jim Eno in 1993, the band has remained a force in their hometown, with notable presence at SXSW, ACL and other cultural touchpoints that the city has to offer. The other members of the band have gone through several rotations, but the current roster includes Ben Trokan (bass / keyboards), Alex Fischel (keyboards / guitar) and Gerardo Larios (guitar).
Since their inception almost 30 years ago, the band has released a steady stream of great albums, notable of which include 2001’s Girls Can Tell, 2005’s Gimme Fiction, and many more. (In fact, ask a group of Spoon fans what their favorite album is from the band’s discography and you’ll likely get different answers from each – that’s how consistently good Spoon is.)
Now, the band is back with their 10th studio album, Lucifer on the Sofa, which, we are happy to announce, continues the band’s lifetime streak of catchy and highly-listenable albums.
Although we loved the band’s previous album – 2017’s Hot Thoughts – it was one of the more divisive albums in their discography; with old-time fans discouraged by the decidedly electro-pop edge that the album took. Lucifer on the Sofa is a back-to-basics rock album, almost as a direct rebound from Hot Thoughts. While both auras of Spoon have their musical highlights, the band definitely sounds more at ease on Lucifer.
The album starts off with “Held”, a cover of a 1998 track by Bill Callahan in his Smog avatar. “Held” serves as a perfect starting point to Lucifer, with a bluesy live-recording vibe that permeates the rest of the track-list. In fact, so good is their cover that you would not be remiss in thinking that it’s a Spoon original. “Held” melds coolly into “The Hardest Cut”, the best track on the album (and lead single) that easily made our end-of-year list upon its release in 2021. Here, Spoon take on the rock-and-roll mantle further than almost any other active band today – close your eyes and you can see this track in a Cadillac commercial in place of Led Zep’s “Rock and Roll”.
There are a few others here that come close to the vitality on “The Hardest Cut” – for example, the devilishly-good blues-rock track “The Devil & Mister Jones”. Another great track is “Feels Alright” with its melodious hooks and warm guitars, where we find Daniel’s charisma at a maximum. Jangly second single “Wild” is an homage to wanting to break free, which Britt Daniel expresses through some well-wrought lyrics. “I got on fine with modern living, but must I be such a citizen?” he asks, before confessing on the chorus: “And the world, still so wild, called to me.”
In fact, many of Spoon’s songs have to do with this feeling of restlessness – wanting to leave, skip town, run away and so on. Some others deal with his general sense of nostalgia and introspection – for example, the keyboards-driven classic indie rock track “On the Radio” – while still others are (surprisingly enough for a slick rock band) sweet love songs. The vaguely 1960s-tinged “Satellite” is one such song, with Daniel calling himself the namesake satellite to his lover.
Lyrically, though, the soul of the album lies in the title track and album closer, “Lucifer on the Sofa” – which is essentially a stream-of-consciousness poem of what it was like to wander through mid-pandemic empty streets. “Looking through the windows as you’re passing by / And I’m chasing every thought / And I’m walking over water / Thinking about what I lost,” he croons – and who can’t relate to their own experiences in 2020. Also, the song is very much set in Austin with references to Lavaca Street, West Avenue and others. “Lucifer on the Sofa” also clarifies the meaning of the namesake devil: a manifestation of the negativity in our own minds, freezing you into a disheveled state to the extent that it literally feels like an unwelcome guest crashing on your sofa.
With few drawbacks throughout the track-list – the weakest being perhaps “Astral Light” and “My Babe” – Lucifer on the Sofa is a thoroughly entertaining rock record.
I certainly didn’t expect such a relaxed Saba on Few Good Things. I’m used to a rapper more caught up in the throes of emotion. Here, we see him stretch out a little. He broadens his musical range as a result. “If I Had A Dollar” has him channel Kendrick and “Soldier” brings in something of an Outkast feel. He does well enough with both of them and with the album as a whole. There’s nothing here with much heft, but also nothing here that misses the mark.
Where CARE FOR ME was passionate and heartfelt, Few Good Things is much more muted. Saba is talented enough to make solid music nonetheless, but the album still ends up unfocused and unmemorable.
Laurel Hell will cut you if you let it. It’s a quiet album and that just makes the cuts deeper still. “Working for the Knife” is painfully sharp and very resonant. It’s great indie rock and pairs clever, evocative rock with clever, evocative lyrics. Her storytelling is top-notch throughout and unmatched in its subtlety. There’s something persistently elusive in the story of “Should’ve Been Me.”
Her music also doesn’t particularly worry about being noticed. The details are often stunning though. She tries sounds that are just a little off-kilter and puts a lot of care into some very small pieces. It’s unfortunate then there are also broad swathes of music that just don’t do anything particularly interesting and not all that much that truly transcends into the magnificent. However, there is still a lot that is quite good and some parts so clever they cannot help but linger.
2022 is well underway with new albums from The Weeknd, FKA twigs, Mitski and more. We’ve already covered our picks for the most anticipated albums (that we know of) in 2022. Below, we take a closer look at the top five songs of January. Read on and let us know your thoughts!
“Strung with Everything” by Animal Collective
Animal Collective released their new album Time Skiffs in the early days of February. Prior to the album release, the experimental pop group released three singles: “Walker” and “Prester John” earlier in 2021, and the new track “Strung with Everything” in January. The song begins with a slow build-up that introduces key motifs – randomized percussion, the meandering keyboard melody, and the echoing guitar notes. Suddenly, amidst the meditative elements, the song bursts into full focus, complete with surf-rock style drums, guitars and vocals. Although “Strung with Everything” could have used tighter editing (meandering at almost 7 minutes long), the track highlights Animal Collective’s career-long skills at walking the line between commercial and experimental.
“papi bones” by FKA twigs feat. Shygirl
“papi bones” is an energetic Afro pop-tinged track from FKA twigs’ January mixtape entitled CAPRISONGS (full review here). The track highlights the British pop star’s sensibilities at arranging a song for maximum impact: hype-men introducing a club-friendly beat, a sparse dancehall-esque couple of verses from FKA twigs, and finally a joint verse between her and the excellent Shygirl. Readers will recall that we loved British artist Shygirl’s collaboration with another nouveau British export – slowthai – last year, and her energy is just as plucky and vivacious here. All in all, “papi bones” is a fun and infectious track that’s a perfect starting point for FKA twigs’ new mixtape.
“Jackie Down the Line” by Fontaines DC
We talked about this new track from Irish post-punk band in our recent roundup of 2022’s most anticipated albums, and for good reason – “Jackie Down the Line” is a great track that heralds the beginning of the band’s Skinty Fia era. Fontaines DC has proven that they’re an act that keeps busy, quickly following up their 2019 debut Dogrel with the well-received A Hero’s Death in 2020. But don’t think they’re just churning out run-of-the-mill tracks: the band has used both albums to build up a definitive Fontaines DC sound. What does this sound consist of? Well, there’s the fulsome drum beats, rumbling basslines, and (more than anything), lead singer Grian Chatten’s unapologetically Irish vocals – lyricism, accent, idioms and all. “Jackie Down the Line” is a continuation of this same style. In typically Chatten style, the lyrics are poetic, somber and rather difficult to decipher; but we gather that it’s a meditation of the loss of Irish culture (a common theme in the band’s lyrics) as represented by “Jackie” or Jackeens – Irish fans of the Union Jack.
“Sacrifice” by The Weeknd
Although The Weeknd’s new album Dawn FM failed to blow us away (full review here), there were certainly a couple of bright spots on the track-list. One, of course, is the masterpiece that is “Take My Breath” (even better on the album’s extended version), but we already knew that. Of the new songs that were introduced on the album this month, “Sacrifice” really stands out. Here, Abel utilizes a chunky, disco bassline and funky modulations on his vocals, all resulting in a catchy addition to the megastar’s dance-pop repertoire. You’ll be humming this song in no time.
“Postman” by Toro y Moi
“Postman” is a funky, fun track that was released alongside the announcement of Mahal, the seventh album from American lo-fi dance-rock proponent Toro y Moi. Musically, “Postman” is almost like a stripped-down Pharrell song, pairing a bouncy bass and catchy drums with semi-sung vocals – think something along the lines of a very chillwave “Blurred Lines”. The music video is equally fun and plays homage to Toro y Moi’s Filipino heritage – definitely check it out.
FKA Twigs has made a habit of going from strength to strength over her career, a fact made even more incredible by how much she adds with each iteration and how strong she started in the first place. A mixtape like CAPRISONGS is naturally not going to be her strongest or most consistent work, but it is a space for her to stretch out and experiment a bit and it’s delightful for that.
To start with, she brings Afrobeats into the mix. “papi bones” is a lot of fun and has a lot of infectious energy to it reminiscent of Rihanna in her peak Barbados phase. However, there’s lots of innovation even in the more straight-edged pop. She brings in a fascinating high pitch for “minds of men” that elevates the track from merely good pop to something memorable. Similarly, while “ride the dragon” does have a slightly cliche flute and name tag, it’s mostly very intriguing music.
CAPRISONGS is also just good at being good music. “oh my love” is an excellent track and the chorus is a lot of fun. It is “tears in the club” though that is the real standout. Her collaboration with The Weeknd is a true superstar single. Both of the singers are absolutely at the top of their powers and they work so well with each other.
It’s far from a perfect album. The interstitials alone do more than enough to keep it from that. However, it is a lot of very good, very interesting music. FKA Twigs is always doing something new and always doing it very well and it’s a pleasure to try to keep up.
As we near the end of the first month in this new year, it’s as good a time as any to flashforward to the rest of the year. What will 2022 bring? Will we see the end of the pandemic? Will life start returning to the old normal from late 2019, or is that gone forever? Whatever the answers may be for these deep questions lurking around, one thing we know for sure: 2022 is already shaping up to bring a ton of great music.
We skipped ahead to the rest of the calendar to see what’s on the radar. Below are our top five picks for the most anticipated albums of 2022 in chronological order; plus a few rumored releases with no dates just yet (doesn’t hurt to dream!).
Agree? Disagree? Missed something? Be sure to let us know in the comments.
Animal Collective – Time Skiffs
Release date: February 4
Time Skiffs, the 11th full-length album from the experimental pop group Animal Collective, is set to come out in just a few days. The album has been heralded through a couple of great singles already: the almost 60s-inspired “Prester John” and the sparkly “Walker” and in 2021, followed by the energetic “Strung With Everything” earlier this month. According to their label Domino Records, Time Skiffs is expected to be similar in sound to the well-received Strawberry Jam almost 20 years ago, which started off the band on their rise to fame. Here’s hoping that’s the case!
Spoon – Lucifer on the Sofa
Release date: February 11
Austin-based rock band Spoon is set to release their tenth studio album Lucifer on the Sofa on February 11th. So far, two songs have been released from the album: the jangly “Wild” from earlier this month, and last year’s hard-hitting “Hardest Cut” – which was also one of our favorite songs of the year. The album was recorded in Austin – in drummer Jim Eno’s own studio Public Hi-Fi, no less – and the band has indicated that the city will feature in spirit. “We just wanted to do a different thing this time, and experience the vibe of a city,” said singer Britt Daniel in a recent interview with the magazine Texas Monthly. If the first two tracks and this backstory are anything to go by, Lucifer on the Sofa should be a fantastic addition to Spoon’s already legendary repertoire.
Charli XCX – Crash
Release date: March 18
English pop star Charli XCX is set to release her fifth album Crash on March 18th. Charli’s been teasing the album for the past four months, starting with the synth-heavy “Good Ones” back in September 2021. That dancefloor-ready track was followed in November by “New Shapes”, a stop-start song that featured fellow female pop singers Christine and The Queens and Caroline Polachek. If these two tracks are anything to go by, Crash is going to be impactful as the name suggests.
Wet Leg – Wet Leg
Release date: April 8
Despite having barely four songs to their name, British two-piece Wet Leg have built up a level of hype that you don’t see very often. Rhian Teasdale and Hester Chambers – ex-college mates and decade-long friends – released their first track, the post-punk track “Chaise Lounge”, in June 2021, and haven’t looked back since. The disaffected, slackerish track became somewhat of a viral hit last year, and the band followed it up with the equally good “Wet Dream” in September. Wet Leg released the last two of their four songs so far in November 2021, the same day that they announced the release of their debut album Wet Leg on April 8, 2022. So far, the band has set the hype bar high; let’s hope the debut album lives up to it.
Fontaines DC – Skinty FIa
Release date: April 22
Fontaines DC, the Irish post-punk band, has announced the release of their new album Skinty Fia on April 22, following the Grammy-nominated sophomore album A Hero’s Death and incredible debut album Dogrel. Along with the album announcement, the band released the first single “Jackie Down the Line” – a heady track that juxtaposes lead singer Grian Chatten’s hypnotic vocals against jangly instrumentals. Both albums from Fontaines DC so far have been meditative yet catchy works that pay homage the band’s Irish heritage – we hope Skinty Fia is cut from the same mould.
Expected 2022 Releases
Arctic Monkeys
Matt Helders, the drummer for Sheffield-based indie rock mainstays Arctic Monkeys, made news in November last year with the admission that the band’s new album is “pretty much” ready for a 2022 release. They’ve also released a tranche of tour dates, including the first-ever Los Angeles version of Barcelona’s storied Primavera Sound festival. A new album does seem imminent – personally, we hope that it’s of a different flavor than 2016’s Tranquility Base Hotel & Casino.
Rina Sawayama
After a fantastic debut album that blew us away in 2020, Japanese-British pop star Rina Sawayama is expected to release a sophomore album later this year. Ms. Sawayama has kept busy since her debut through joint tracks with the likes of Elton John and Charli XCX. In a Tweet last year, she seemed to indicate that a new album will drop in “late summer” 2022 – no word since, though.
Kendrick Lamar
Kendrick fans have been waiting a long time since 2017’s DAMN. (which, fun fact, is the only non-jazz or classical album to ever win the Pulitzer Prize for Music). There hasn’t been a confirmation that a new album is set to drop in 2022, but Kendrick is set to perform at the Super Bowl LVI half-time show in a few weeks – that’s got to be a sign, right?
Cardi B
Shockingly, for all the time that she regularly spends in the public discourse, Cardi B only has one album to her name – her fantastic debut album Invasion of Privacy (2018). Of course, in the intervening three years, she’s had world-dominating hits like “WAP”, “Up”, and the recent collab with Lizzo called “Rumors”. There’s no indication yet that a new album is set to drop, but surely she has enough material to release one soon?
Lizzo
On a similar note and for similar reasons, Lizzo is also due for a follow-up album, especially after her chart-busting track “Rumors”. 2019’s Cuz I Love You gave her a much-deserved public spotlight – here’s hoping she takes advantage of the attention with a new album soon.
Superstardom was always a strange fit for The Weeknd, but Dawn FM is him conceding all the best parts of his music for it. Trading R&B for disco-pop isn’t necessarily a bad thing and he gets some good music out of it but the result is his weakest album yet.
The style works well for things like the extended and extremely danceable “Take My Breath.” It’s absolutely top-tier synth-pop and Abel gets to use his voice to its full effect in it. Similarly, “Best Friend” is a very good song and an excellent showcase for just how well The Weeknd can sing.
Going disco has highlights, but substituting it for the previous R&B really hurts something like “Less Than Zero” which ends up simply boring and bland. He’s also lost a lot of his edge here. He glories far less in self-destruction now that he’s won a Kids Choice Award.
Even something like the still quite good “Is There Someone Else” doesn’t carry the emotion that he once brought to bear. There’s no bite to this album. He’s much less scary and less debauched than he once was. I like what Wayne does in “I Heard You’re Married” and Abel has moments in there too, but it has replaced his razor blades with safety scissors. Also, while I love Jim Carrey, the interludes are the kind of bad poetry I expect at amateur singalongs.
The strangest thing is that The Weeknd has always been an artist defined by singles and not albums and this album has no single for me to really come back to. Dawn FM does come together in a way that none of his previous albums ever really came close to doing but that doesn’t do enough without the musical peaks that he once had. There used to be gold with the dross. Dawn FM is instead a pretty consistent bronze.
Top Five Records 