30: Charlotte Wessels - “Tales From Six Feet Under: Vol II”
Symphonic Metal
Gothic Metal
Charlotte Wessels is the former vocalist of Delain - the band just sort of dissolved in 2021 (and nobody is really 1000% certain why - whether it was amicable, or if everybody got mad at Martijn Westerholt for something). All we know is that Wessels moved on and released her first solo album later that year. Which…wasn’t all that great.
But she’s figured it out now. I haven’t looked into whether she found a new producer or something, or if Volume II of her “Tales From Six Feet Under” just had more time to cook. Whatever it is, this album is really good. She’s still definitely in the same Symphonic/Gothic niche that she was so good at with Delain, but in this album she’s added a layers of instruments and production that incorporate elements from an array of other genres, from electronic to hip hop to jazz to folk. Each track has received a lot of attention, which is surprising, given the quick turnaround from “Vol I” just a year before.
I am optimistic that her solo career can now reach meaningful, significant heights. Especially if she lengthens her production cycle and really pours herself into it. And doesn’t do another song like “Good Dog”. That one dragged the album down a bit.
29: Papa Roach - “Ego Trip”
Nu Metal/Alt Metal/Rap Metal
Yeah. Papa Roach is here. Like…I haven’t taken them seriously in like fifteen years. So I can’t really speak to how this album relates to their last few efforts, but honestly it’s better than the songs that they were known for in the mid-aughts.
Seriously. This shit slaps.
The whole album is an in-your-face auditory assault. I generally think of them more in the line of Alt Metal, but this is closer to Korn than Alter Bridge. Korn with some hip-hop attitude; hell, I’ve seen this album described as “rapcore” - that’s how strong the rap influence is on the album. And it *works*.
There is one genuinely slow song on this album. Just one. Others are more like ballads or anthems, slowing the pace slightly, but not all the way. Finally, I want to offer a possibly-heinous suggestion here for my fellow Linkin Park fans - this album at points channels Linkin Park HARD, and might help you scratch the itch a bit. Or might just make you sad. Seriously, listen to album opener “Kill The Noise” and tell me the intro isn’t Linkin Park. “Killing Time” is another that is straight-up just a Linkin Park song.
28: Tears for Fears - “The Tipping Point”
New Wave/Pop Rock
Yeah, there are some old bands on the list, but Tears for Fears takes the cake. Frankly, I wasn’t expecting much when I added this album to my list. But I was surprised by how good it is, and it grew on me a lot over the course of the year. Every song is good, and there are some gorgeous melodies here. There are occasionally elements that remind you that this band is rooted in the New Wave movement of the 80s, but it is largely an evolved Tears for Fears - older and wiser, but still incredibly capable - that dominates this album.
The title of the album also encapsulates the core motif that seems to be front-and-center on every track: the tipping point, the cusp of change, the anxiety of a world holding its breath and waiting to see how events will unfold. It’s a timely album for 2022, and honestly seems incredibly apt. If you haven’t listened to this one yet…what’s wrong with you? lol
27: The Chainsmokers - “So Far So Good”
EDM/Electropop
Maybe I’ve already said it a few times too many at this point, but no act on this Top 40 list encapsulates this better - I never thought I would be including The Chainsmokers on this list.
Much less beating out acts like Elder, Battle Beast, or fucking Tears for Fears in the ranking. Meanwhile, acts that have been consisten favorites for years like Bjorn Riis, Pinegrove, Bowling For Soup, Nothing More, Devin Townsend, The Goo Goo Dolls, and FUCKING BLUE OCTOBER miss the list entirely?? That shit’s bonkers to me. But here’s the thing…
The Chainsmokers’ first three albums were released annually - 2017, 2018, and 2019. This album, their fourth, they took three years to make. Their first three albums all had good songs, but as a whole weren’t worth much.
This one is fire. Like, this is the sort of album that defines a genre for the decade going forward. EDM may generally be seen as sort of “popcorn” music, but this sets the standard, and it’s proof of how seriously EDM artists take their artform. Moreover, it’s proof that taking a little more time is the easiest way to improve the quality of an album. It’s glossy, it’s boppy, and it’s full of interesting little auditory candy bits. 16 tracks spanning 55 minutes, and it’s all very good.
26: Larkin Poe - “Blood Harmony”
Roots Rock/Blues Rock/Americana
Larkin Poe is an act with a phenomenal name, comprised of a pair of sisters from Georgia. It’s Country-adjacent rock; Blues-infused Americana with a deep southern twang and a lot of energy. It’s not Southern Rock. Lynard Skynard could never.
This is better.
At times it rings of blues house bands, at times it’s grungy and dark. But it’s a wholly unique blend. At least, I’ve never heard anything like it. If you like blues rock or alt country, this is definitely an album you need to hear. If you’re looking for genuine Americana or down-home folk rock, this is it.
25: Carly Rae Jepsen - “The Loneliest Time”
Pop/Pop Rock/More Funk Than RHCP
Carly Rae can have my number after this album. Like, I’ve always liked her stuff, but this album blew me away. “Bad Thing Twice” is incredibly funky and groovy, “Beach House” sounds great while being hilarious, and “Go Find Yourself or Whatever” is this heartbreaking bit of melancholia. The album has 16 tracks and clocks in at 54 minutes, so it’s very close to - and just shy of - the average song length for the Chainsmokers album, above.
Without a doubt, this was an excellent year in Pop music. Jepsen’s album here is just the start of the really exceptional stuff. But it *is* exceptional.
24: Miranda Lambert - “Palomino”
Country
Miranda Lambert is one of the few “mainstream” country artists who I still follow. She’s just incredibly good. Further, it often feels like she is the last bastion of the “Western” portion of the “Country and Western” genre, as it used to be known.
Lambert’s album hits a number of different styles and vibes on this album. “Scenes” briefly pays homage to Fleetwood Mac as the speaker flees a toxic relationship and discovers all of the freedom; “Geraldene” is an homage to Dolly and a mock diss track; “Music City Queen” is a fun jam featuring the B-52s (and who doesn’t love the B-52s?); and “Carousel” is an incredible little sad story about love, loss, and life. There were a couple of songs I dropped, but, by and large, each track has its own personality, and the album is full of gems, several of which have been common go-tos over the course of the year.
23: Death Cab For Cutie - “Asphalt Meadows”
Indie Rock/Indie Pop/Emo
The challenge for any new Death Cab album is that it has to hold up against the songs from their early discography which are just…classic. And when those songs are “Soul Meets Body”, “I Will Follow You Into the Dark”, “Cath”, and “I Will Possess Your Heart”, among others… Well, that’s difficult.
Asphalt Meadows is full of new classics. “Here to Forever” is currently ranked second among Death Cab’s top ten on Spotify, outranking everything except for “I Will Follow You Into the Dark”. And, frankly, that’s underselling the album. “I Don’t Know How I Survive”, “Asphalt Meadows”, “Rand McNally”, and “I MIss Strangers” are all of equal caliber (and I didn’t even check the last few songs on the album here). This album feels like a Death Cab revival. It’s so good. I didn’t appreciate it enough on my first couple of listens, and listed it as Teal. It scrapped its way through half of the albums I had already dropped in the Blue bucket.
DCFC still has it. And if they can give us one or two more albums of this caliber before they retire, the world will be a better place.
22: Avantasia - “A Paranormal Evening with the Moonflower Society”
Power Metal/Symphonic Metal
Avantasia is a project/band that somewhat follows the Ayreon model, but not quite. There’s a core band, but they bring in outsiders for most of their songs as guest appearances, etc. This album is no exception, with guest talent the likes of Floor Jansen (Nightwish), Michael Kiske (Helloween), Jorn Lande (ex-Masterplan and about a dozen other things), and Geoff Tate (ex-Queensryche), among others.
And I am ALWAYS up to hear Jansen, Lande, or Tate in whatever songs they want to contribute to.
The album doesn’t seem to have any sort of straightforward story or through-line, though several songs deal with paranormal or magical elements. But it’s dark and brooding at points, soaring and majestic at others, and sometimes just right up in your face. Each song really has its own vibe, but the whole album is fun and filled with powerful performances, and it really seems to get better as it goes along - generally the songs near the middle are better than those at the beginning, and the last two, especially “Arabesque”, are among the best tracks on the album, overall.
This one just makes me happy.
21: Disturbed - “Divisive”
Heavy Metal/Alt Metal
Disturbed is back, baby. And they’re on the attack from the outset on this album, titled “Divisive”, with the first two tracks titled “Hey You” and “Bad Man”, and others throughout such as “Unstoppable”, “Love to Hate”, “Feeding the Fire”, “Take Back Your Life”, and “Won’t Back Down.”
That’s an energy *very* reminiscent of “Ten Thousand Fists”. And after the last several years, it’s really the vibe we need. If you’ve been generally pretty angry, like me, for the last 6-7 years, this album provides an incredible outlet for that mood. It’s great for riling up the mob before we go grab the guillotines.
There are no half-assed efforts on this album. It’s solidly glorious all the way through, and only slows momentarily for a duet with Ann Wilson (Heart), because even the vehement need to seek rest and comfort on occasion.