2022: Album of the Year

2022 definitely was an LP-year for me. The good stuff just went coming and coming, and there nearly wasn't enough time to give every album the time it may have deserved. Saying that, it's mindblowing how many awesome records didn't make my Top 10; records that scream "Top 10-material" to me! Besides the 15 to 20 really really great albums of 2022, there also was a lot of depth to be found. I didn't have a problem to come up with 40 albums at first, but there's always those two or three records that fall behind... so I've decided to go with a "Top 50" for 2022. My longest list ever. As a sheer tribute to this year's LP qualities.

"I have always felt that full lengths are rare air - 

even prolific bands don't put out THAT many, 

So to have completed another is a sacred thing." 

(Keith Latinen of MT. ORIANDER/PARTING)

xxx

50 // SOUL GLO // Diaspora Problems
[Epitaph Records]

I didn't expect this record to pop up so soon, cause going in it, "Diaspora Problems" was an AOTY-contender to me. I loved what SOUL GLO were doing before, but their new style of writing lengthy (3-4 minutes) songs just doesn't work for me. There's definitely good stuff to be found here and I'm more than happy that they seem to break out with this new record, though personally I don't feel it.

49 // KOCHKRAFT DURCH KMA // Alle Kinder sind tot
[Uncle M]

These germans definitely work better with visuals. I first got to know them with their "Influencer:innen hassen diesen Trick-video" and shortly after saw that awesome set at WDR Rockpalast and was hyped as fuck. The new record itself was a mixed bag to me. When they're more on the Punk-site of things (just like on the predecessor "Endlich Läuse"), then everything works out fine, but when they're doing too much at the same time or too much of their Techno-thing, then I'm out most of the time. Also, the record is a tad bit too "produced" for my own sake. The songs are hit or miss throughout, and range from instant classics like "Influencer:innen hassen diesen Trick" to annoying pieces like "Tanz mit Attitüd'". So, yeah, they're at least consistent in being crazy!

48 // EN GARDE // Debts
[Count your Lucky Stars]

I was a huge fan of EN GARDE's "Debtors" from last year, but somehow I couldn't connect as much to "Debts". Basically it's in the same manner of Math-Rock-going-Emo-and-Post-Hardcore, and just like the EP  it was also recorded in 2012. There are dozens of cool moments here and a handful of tracks that work very well, though as a whole it was a bit too heavy on Math-Rock for me in its nearly 40 minutes of playtime. I preferred the shorter format from last year, still this is a pretty good record! [Review]

47 // CATALYST // Pomona
[Larry Records]

A totally refreshing attempt at Screamo/Emo/Hardcore. These youngens out of Providence, Rhode Island blend harsh, Emoviolence-like screaming with pure HC/Punk on on site and melancholic, melodic sections on the other site. The songs tend to get a bit samey at times, but if they can work it out they could be huge in no-time. The cover artwork might be my favourite of the year!

46 // NERVER // Cash
[The Ghost is Clear/Knife Hits]

At first you get the impression that NERVER are walking in the footsteps of UNSANE with their noisy, destructive, ugly, repetitive Post-Hardcore, but eventually they add just enough variation to keep things interesting. It's still a fucking reduced version of the AmRep-style but currently there are not many bands around doing it better than the three-piece out of Kansas City, Missouri. [Review]

45 // AZZACOV // Fragmente
[Coxinha/Middle-Man/Tomb Tree]

German Screamo and Emoviolence has a rich history and AZZACOV from Nuremberg carry on with that legacy. On their debut album they seem to be aware of their country's tradition and deliver a passionate and intense string of 13 tracks with heavy blasts as well as apocalyptic melodies. 

44 // MR. PRINCESS //  Ikigai
[Flowerpot Records]

While being more into "older waves" of Emo I dig "Ikigai", the debut album of MR. PRINCESS, very much. Yeah, you get your noodly guitars, but they do it in a soulful kind of way I actually enjoy. Instead of going all freaky like lots of other, newer Emo-bands, they rely on sensitive melodies, skilled singing and some catchy, near Pop-moments. Also, MR. PRINCESS never lose their sight on the structure of the songs. More, please!

43 // THOUGHTCRIMES // Altered Pasts
[Pure Noise Records]

The new band by former DILLINGER ESCAPE PLAN-drummer Billy Rymer takes a few tricks from the ex and combines them with some Alt-Metal/Rock-moments and Chino Moreno-flavoured singing. While the result isn't groundbreaking, the record is enjoyable in all of its 34 minutes.  

42// R.A.P. FERREIRA // 5 to the Eye with Stars
[Ruby Yacht]

For quite some time now, FERREIRA is in his own league when it comes to jazz-y, rather abstract Hip-Hop. His delivery is unusual, just like the instrumentals, and overall he's just a creative head doing creative things. His fourth album is a middle-of-the-road-thing. While it doesn't disappoint, it's not exactly what it could've been. I do love the relaxed feeling of those tracks, yet sometimes they're just a bit too loose. In the end, "5 to the Eye with Stars" is well above "Bob's Son", but can't quite beat his other 2021-album "The Light Emitting Diamond Cutter Scriptures". "Mythsyizer Instinct" is one of his best cuts yet and should be checked out!

41 // HUMAN INVENTION // Vanity Project
[DIY]

On their "Vanity Project" the Brighton, UK-outfit takes multiple influences to create a homogeneous and pretty catchy sound. From Post-Hardcore to Indie-Rock, from Garage-Rock to Post-Punk and pure Punkrock. The result is full of energy, fast, danceable and crammed with hooks. It's somewhere in the middle of HOT SNAKES, MILLION DEAD, THE HIVES, LACK, SUPERCHUNK & THE NATION OF ULYSSES. Quite the interesting names here for a fresh and worthwile debut album!

40 // DE FACTO ENSCRIPTURE // 

Sardonic Entropy Nexus
[Middle-Man Records]

I really don't know what went wrong here, from my immediate excitement to some sort of disillusionment?! Or wait, maybe I know! The concept is cool and unique, using 26 different Screamo-vocalists for the 28 present tracks. The thing is, that everything was written by Edie Quinn (Middle-Man Records, COMA REGALIA) and despite I love their and/or the stuff by Tom Schlatter, the record tends to get a bit samey. That's also due to the fact that "Sardonic Entropy Nexus" is too long, clocking in at 34 minutes. My instant hype faded, and the record couldn't quite hold up with other Screamo-calibers of 2022. [Review]

39 // 84 TIGERS // Time in the Lighthouse
[Spartan Records]

I fully understand those who think that the Reed-brothers (SMALL BROWN BIKE, ABLE BAKER FOX) are playing it safe with their new project. And indeed, they don't take any risks and do what they do best, even more polished and streamlined than everything they ever did with SMALL BROWN BIKE. While it was clear to me in no-time that 84 TIGERS' debut album doesn't have any chance to grow beneath a good, solid record, I appreciate "Time in the Lighthouse". The production is crisp and on point, the songwriting is a timeless formula and despite the age of these guys, they transport enough passion and emotion. [Review]

38 // LONG DISTANCE RUNNER // Shadow
[DIY]

Interesting debut album by the Screamo-act from New Zealand. This is noisy, destructive Screamo in the vein of Deathwish-era LOMA PRIETA or KAOSPILOT, though they even incorporate more Noise-Rock-elements in their sound. Their songwriting is not exactly what you would call "dynamic", and that might turn off some listeners. But I think the chopped up character of the songs really adds to the overall miserable, desperate and disruptive mood. This is an intense Screamo-record that would've deserved more attention...

37 // TO BE GENTLE // A Haunting Admission
[DIY]

Putting out 6 albums, 2022 was TO BE GENTLE's most productive year ever. I also could've put "Love is the only Way out", "Unbroken" or "It always hurts and one Day it will win" on this list, but essentially those records all were kinda similar to one another and with each release I lost some interest in TO BE GENTLE's stuff. What they do is impeccable tho, and they might be one of my favourite acts combining Screamo with Post-Rock. "A Haunting Admission" was the trio's second record of the year, and it worked perfectly for me as the shorter and more straight forward version of their first 2022-album "Wounded".

36 // MEAT WAVE // Malign Hex
[Big Scary Monsters]

This is MEAT WAVE's fourth album, but somehow I was new to them. Their style is totally up my alley, being in the middle of Garage-Punk and Noise-Rock, of SHELLAC and HOT SNAKES. They also know how to write cool melodies and harmonies and while these moments ("What would you like me to do" or "Waveless") are sparse, they add to the personality of the three-piece. An ambitious record and definitely my 2022-favourite in this certain kind of style.

35 // SIGNALS MIDWEST // Dent
[Lauren Records]

While I never was their biggest fan, I always appreciated SIGNALS MIDWEST. For a band in their 15th year they managed to stay surprisingly relevant. On "Dent" they get even more than before involved with Pop-/Melodic-Punk, but it's something that suits them well. The production on here is simply perfect, it's powerful and clean, yet the band gets their passion across. Another thing I like is that the songs are fast throughout. "Dent" isn't a consisent record though, or let's put it this way: Some of these songs are just too good and the band wasn't able to write 10 of those. Somewhere in "Dent" is an "EP of the Year", no doubt. The pairing "Sure of it" / "Love and Commerce" is the most breathtaking, touching thing these guys have ever done. The first is some sort of intro/reprise for the latter, where everything culminates. I get why they didn't put both of them next to another on the tracklist, though combined they form their own masterpiece...

34 // COMA REGALIA // il evectes
[Middle-Man Records]

After 6 albums, nearly 30 splits and well over 100 recorded songs, it's definitely hard for COMA REGALIA to surprise their listeners anymore. You pretty much know what you get, when Edie Quinn's band drops a new record. The lineup (with Wolpert on drums & Schlatter on bass) is the same as with 2020's "Marked". This collaboration works smoothly as I already liked this record and I feel the same about "il evectes". It may be no revolution to their core sound, but COMA REGALIA tried something new with this one. While "Marked" was their shortest album yet, "il evectes" is their longest, clocking in at roughly 30 minutes. The songs take more time to build, they focus more on melodies and have a melancholic tone to them. Also, the three-piece tries something new with harmonic vocals, just like at the beautiful "Paid in Teeth". Nearly 13 years after its creation, COMA REGALIA still matters...

33 // DENZEL CURRY // Melt my Eyez see your Future
[Loma Vista Recordings]

DENZEL CURRY is a rapper that is able to reinvent himself from record to record and... he did so again with his fifth album. Many call it his "defining work" or his "masterpiece", though I can't fully agree. And the fuck, it's even hard to explain why! To put it short, I just don't feel this album. It probably is a tad bit too bold for my own taste and at times I find it to be quite "gimmick-y". Also, the second half is pretty lackluster and doesn't hold a candle to the great first half. That being said, there's lots of good stuff to be found on "Melt my Eyez see your Future". The production is modern as as modern can get and ZEL's delivery is flawless as usual...

32 // OSO OSO // Sore Thumb
[Triple Crown Records]

Some records happen by accident. SUNNY DAY REAL ESTATE's second LP wasn't meant as it used to be, when the band had some conflicts and didn't want to finish the recording process. THE GOD MACHINE's second LP also wasn't a 100% due to the passing of their bassist. Both turned out to be great records and in a weird kind of way took a profit from their circumstances. OSO OSO's "Sore Thumb" was released in a similar kind of fashion, when Jade Lilitri's cousin Travish Maloney died before they had finished the songs. Lilitri decided to release the record as it is and while it's not on the same quality level as the two records mentioned above, the raw and seemingly unfinished character of those recordings has its charme. It's hit or miss though, but some of these cuts are Emo/Indie-Pop at its finest!

31 // ALWAYS WANTED WAR // 

A Glaze in the Northern Sky
[Moment of Collapse/Tief in Marcellos Schuld]

This was a surprise release for me, cause ALWAYS WANTED WAR disbanded six years ago. I enjoyed their "C.R.E.A.M."-EP from 2013, but never bothered to check out their other releases. Shame on me, but at least I got to know their comeback record. A record that is a breath of fresh air in 2022, with its groovy and straight stop'n'go-Hardcore. They mixed in some Screamo and Post-Hardcore and wrote a tight record for everyone into this pretty nostalgic sounding brand of Hardcore. Here's to hoping they stick around! [Review]

30 // OVERO // Waiting for the End to begin
[Middle-Man/Pundonor/sncl/zilpzalp]

OVERO always seem to slip under the radar of some, eventhough their present discography is quite impressive. Their splits are worth it, their debut album from 2019 was great and their sophomore album "Waiting for the End to begin" is on the same, high quality level. With their style they don't fit in anywhere correctly. They're too soft be called "Screamo", they're too scream-y and rough to be called "Midwest-Emo", and heck, they're probably too melodic and anthemic to give them references like INDIAN SUMMER or STILL LIFE. Though, the feeling of their recordings is quite similar. However you put it, "Waiting for the End to begin" should please everyone into either Post-Hardcore, Screamo and/or (Midwest-)Emo. 

29 // VILLAGES // Excessive Demand
[It's Eleven Records/Pike Records]

This is the "odd one in", as VILLAGES' "Excessive Demand" is a pretty unique record. A record with a lot to discover and one I couldn't fully get a hold of, coming from stupid-simple HC/Punk. It's heavy on fantasticly sounding electronics, with cold synths and a billowing rhythm section, here to create the coolest, most mysterious and also most fascinating Sci-Fi-atmosphere I've ever came to witness. Somewhere in there there's still an emotional Rock-band. That and multiple other influences as well as the vast compositions make "Excessive Demand" a pretty huge, challenging, but also fuckin' captivating album. File under: Broadening of horizons. [Review]

28 // ELDER JACK // Elder Jack Longplay
[Larry Records/Chillwavve Records]

Jacob West aka SUMMER 2000 delivered one of the finest Emo-records of 2021, so you could put some hopes into his new band ELDER JACK. While the feeling of this record may be similar to West's solo stuff, the tone is quite different. This is not as experimental, the songs are more defined, while still maintaining a loose character. The tracks are all over the place and they are born out of many different but mostly loveable ideas. From raw Screamo-attacks to reduced Lo-Fi-sections, from playful Jazz-y stuff to Post-Rock-epicness, "Elder Jack Long Play" bears a lot of great moments. A remarkable debut!

27 // BLACK STAR // No Fear of Time
[Luminary]

Sadly, this was kinda fucked from the beginning, being released exclusively on a podcast. With that decision the comeback record of MOS DEF & TALIB KWELI didn't get the buzz it'd have deserved. The two of them delivered one of the best Hip-Hop-records of the late 90s under their moniker BLACK STAR, and then focused on their solo stuff. Their comeback album is both a letdown and a positive surprise. In essence this isn't exactly on the same level as their first album, and that's also due to their different approach. "No Fear of Time" is a small, sparse and experimental album. MADLIB as a producer had a huge influence on the outcome, but in the end the record sounds damn cool. The MCs thrive in that setting and flow extremely well over those dark and gritty beats. 

26 // TO BE GENTLE // Wounded
[I.Corrupt Records/Larry Records]

The first album these guys put out in 2022 and to me, their best work yet. The blend of desperate Screamo-attacks and moody Post-Rock-parts works perfectly just like the composition of the whole record with shorter and more epic pieces. "Impulses" is awesome and I also like the Ambient/spoken word-track "Hell is real and it rots in my Brain" paving the way for the title track, that closes the record. [Review]

25 // PEMBROKE // All the Brightest Pictures
[Handstand Records]

The debut album by these NY-veterans was criminally underappreciated/ignored, at least by those into fast, melodic Hardcore. PEMBROKE took various influences -from NYHC to 80s HC/Punk, from D.C.-Postcore to most Dan Yemin-related bands- and nonetheless put together an entertaining record full of Oldschool-HC vibes. [Review]

24 // SILENT DRIVE // Fairhaven
[Equal Vision Records]

The release of this album is a sensation of its own, 18 years after SILENT DRIVE's debut album. What's even more sensational is, how this record turned out to be. I declared it "the best disappointment ever" and would stand to it. While "Fairhaven" doesn't really hold a candle to "Love is worth it" (not many albums generally do in my perception), it's a surprisingly great record. They did everything right with it, as it's bascially the middle ground of "serving their fans" and "doing something new". This breathes a lot of the old spirit, yet they stray away a bit from Pop-Punk/Melodic Hardcore and dive more into Metal(core) and symphonical harmonies. "Fairhaven" is a feel good story, a happy ending of some sort, after a long and dry period. [Review]

23 // NAS // King's Disease III
[Mass Appeal]

No doubt, NAS' collaboration with HIT-BOY does wonders for him and he really rekindled his flame since then. It's interesting to see a seasoned rapper like him clash with a rather young and hungry producer, that manages to bring something new to the table while staying true to the Boom Bap-formula of the 90s. NAS deliverance is smooth as ever and his view on things -while not free of repetition- is interesting. "King's Disease III" is the worthy peak of the trilogy and contains some of NAS' best material ever, though it doesn't quite top last year's "Magic". While "KDIII" is not overly long at 52 minutes, it's the difference in runtime that holds it back against its predecessor. If you could cut off 10 to 15 minutes in the middle and near the end, "KDIII" would top "Magic" in my books. Nonetheless this is still fuckin' impressive for an MC in his 50s! 

22 // EASY PREY // Unrest
[Hellminded Records]

EASY PREY's transformation from a Noise-Rock-act flirtig with Post-Hardcore to a full-fleshed Post-Hardcore-act in the middle of emotionally crafted outbursts and precise soundscapes is quite impressive. And that's also what I like most about "Unrest". In its stoic, introspective character this reminds me of bands like NATIVE, SHELLAC or UNWOUND at times, yet they manage to cleverly walk the thin line between this calculated and the more insecure and intense moments. [Review]

21 // INJURY TAPE // Songs I mailed to myself
[ungulates]

I couldn't find out much about the japanese act INJURY TAPE, but it seems like this is their debut record and sole release. They probably must've some experience in older bands, or maybe they're just genius? "Songs I mailed to myself" is one of the best 90s-Midwest-/Indie-Emo-revival-records I've came to know so far. This band breathes the same air as legends like MINERAL, SUNNY DAY REAL ESTATE, BRAID or TEXAS IS THE REASON and wrote a record full of nostalgic, goosebumps inducing moments. [Review]

20 // CITY OF INDUSTRY // Spiritual West
[No Funeral Records]

I haven't been familiar with CITY OF INDUSTRY, despite "Spiritual West" already being their fourth album, but No Funeral Records gave them a platform for me. The canadian label normally puts out quality Screamo, yet CITY OF INDUSTRY get constantly tagged with Crust or Powerviolence. Honestly, this isn't my favourite kind of HC/Punk, though I like it in those small doses. The three-piece out of Seattle takes just as much from Screamo/Emo, with moody and toned-down parts throw-in, some hopeful, longing melodies and desperate, emotional screaming. They gave a fuck about all those (sub-)genre borders and wrote a powerful record.

19 // PROPER. // The Great American Novel
[Father/Daughter Records]

PROPER.'s Erik Garlington seems to be a special kind of person and this shows on his bands' third album "The Great American Novel". His storytelling is brilliant in its honest, harsh, self-reflecting manner and the topics he touches range from interesting to important. The music surrounding the stories is the kind of music that's impossible to categorize, with influences from Emo, Pop-Punk, Post-Hardcore, Pop or Prog-Rock, so I'd just call it "emotional Rock-music". It's an extravagant composition, with smaller moments, bigger moments, strange moments, some lows and many many highs... but ultimately extremely meaningful as a whole. [Review]

18 // SOCIAL CATERPILLAR // When you woke up 

to Dances of Light
[Softseed Music]

Dave Norman of Zegema Beach Records is one of the most important figures of the Screamo-scene, but in addition to that he recently started Softseed Music to release music that is more "out there". Music like SOCIAL CATERPILLAR's "When you woke up to Dances of Light". They call it "Psychedelic Chamber Folk" themselves, and indeed their music fits this description. It's soft and thoughtful, and also playful, with a violin, a cello, horns, a piano and multiple samples. The mood is something else and the overaching theme of death and existentialism made me think about these topics multiple times. A beautiful record, that raised one question: Is my music bubble too small sometimes? [Review]

17 // MUTTERING // Great.
[Beth Shalom Records]

MUTTERING had me by the balls the first time I've heard "Soap Box", though it's not guaranteed you'll like them, hearing only one of their songs. They're certainly no one-trick-pony! While they somehow settle in between Post-Punk and Indie-Rock most of the time, they seem to have a broad taste in music and that comes through on their record. In the barely 30 minutes of "Great." they offer a lot of different styles, from destructive Post-Hardcore to hymnic, radio-friendly (Pop-)Rock to sensitive acoustics-trips. The one thing that's always there, is the excellence of their songwriting accompanied by the simple, but oh-so-true lyrics and the charismatic, urgent voice. These guys have a lot of talent and it's sad, that not more people will hear their songs. Tracks like "Only Destructive", "21st Century", "Tallest Buildings" or even the kinda-cheesy "Modern Living" would've made them a big deal in the hype of british Rock-music some years/decades ago.

16 // CHAT PILE // God's Country
[The Flenser]

This record already got celebrated among various scenes and... rightfully so! CHAT PILE single-handedly made Sludge and Noise-Rock a thing again for a broader audience. No doubt, they're a special band, combining fucked up, ultra-destructive music with psychopatic yet extremely charismatic vocals and lyrics that are as brutal as poetic. The album itself is a bit too frontloaded for my own taste to be called a flawless masterpiece. The opening-string of "Slaughterhouse"-"Why"-"Pamela" remained my favourite thing about the record. Talking abut "Why", this is one of the most important songs ever written. These guys have to succeed big time!

15 // BRIGHT, LITTLE STARS // Haunting my Dreams
[DIY]

Besides some other good stuff I discovered in the Bedroom Skramz-community, BRIGHT, LITTLE STARS' debut album definitely was my personal highlight. I can't really say that the one-man-band does something different, but the way how it's done, touched me. The special thing about this record to me are not the screams, the electronics or the crazy arrangements, nah, it's the sentiment of the record. The guy from Texas knows how to write touching harmonies and I too love his incorporation of samples. "Haunting my Dreams" is a tight, moody and sincere record, full of neat ideas and small, but very emotional moments. [Review]

14 // MASSA NERA // Derramar | Querer | Borrar
[Zegema Beach Records]

MASSA NERA's "Derramar | Querer | Borrar" is a pretty nostalgic record. It reminds me of the time where the blend of Screamo and Post-Rock was at its absolute peak with FUNERAL DINER, ENVY & CITY OF CATERPILLAR at the forefront, followed by various european -mainly french- acts. MASSA NERA follow that tradition closely and found the perfect compromise between Screamo and Post-Rock. Despite all their technical prowess they never sacrifice their rage, their emotion and their energy in favor of their playfulness... and that lifts "Derramar | Querer | Borrar" on the same pedestal as the classic records from the aughts. [Review]

13 // NNAMDI // Please have a Seat
[Secretly Canadian/Sooper]

NNAMDI's progression is quite amazing. The reason why everyone was into him in the first place was the fact that he unusually blended Math-Rock with Hip-Hop, Pop and Electronica. With every new record the Math-Rock-aspect seems to fade out. It's still there and implemented well in some of the songs, but with "Please have a Seat" NNAMDI's talent as the writer of this year's best Pop-songs moves into the spotlight. Sometimes these Pop-songs are quirky as fuck, with the Math-Rock or silly electronics takin' over, but other than that "Please have a Seat" is his most accessible work up to date, with clear cut hits like "Anti", "Touchdown", "I don't wanna be famous", "Dedication" or "Benched". NNAMDI hasn't compromised though, and that makes "Please have a Seat" his deepest and most versatile effort so far. His talent is exceptional and he deserves everything out of it... 

12 // COOL LIVING // Adult Contemporary
[Fresh Outbreak/I.Corrupt/Konglomerat Kollektiv/
Sad React/Saltamarges/Shalosh Cult]

Germany has a rich history when it comes to Midwest- and Indie-Emo and COOL LIVING add another chapt.... or... no, scratch that! Not exactly. Not at all. Germany had some cool bands "back then" but somehow it all went downhill when the heydays of Defiance Records were due. Therefor, having a band like COOL LIVING in the year of 2022 is special. A band, that takes something from the days of PALE and ONE MAN AND HIS DROID, something from the era of SUNNY DAY REAL ESTATE and TEXAS IS THE REASON, and just adds a whole lot of their own to the mix. The outgoing vocals as well as the imaginative lyrics stick out, but their songwriting holds up every minute of it. They smoothly balance gentle and crushing parts and wrote some of the best songs in 2022. [Review]

11 // MINDFORCE // New Lords
[Triple-B Records]

As a sucker for groovy, moshy, straight-to-the-point Hardcore I just need this one record a year to fuck everything up to and bounce through my flat like crazy. In 2021 it was FEVER STRIKE's "Spin", and in 2022 -bless the almighty HC god- MINDFORCE were there to save the party. Their ability to pack fast Hardcore, Thrash, classic Metal-leads, chugga chugga, passionate shouting, powerful crewshouts and (not to forget!) the grooviest of groovy breakdowns into 100-second-long songs is amazing. It might come off as simple and primitive to many, but there's so much finesse in this, that only those into HC will understand the art behind this album. 

10 // SABA // Few Good Things
[DIY]

The start of the music-year ist the most boring phase, so this was my first highlight in 2022, being released in early February. It took some time to grow on me, though. Being new to SABA was probably a benefit, cause many felt like "Few Good Things" was a letdown after the beloved "Care for me" from 2018. However you put it, I can't imagine hating on that record? This is versatile, extremely catchy and also thoughtful Pop-Rap at its best. "Few Good Things" flows excellent throughout, to the point where I'm not even able to name specific highlights. The most astonishing thing about this album is the fact, that 12 of the 14 tracks got featured artists, and SABA managed to incorporate everyone one of them smoothly to keep up the coherence of the record. I can't imagine that its two predecessors are any better, but eventually I'll find out soon...

9 // ATAMEO // It sure is sad to hope for the Best 

while expecting the Worst
[Middle-Man/Zegema Beach Records]

These gentlemen out of Israel got me, the first time I heard their album and with each spin it grew more on me. What I like most about ATAMEO is their raw intensity. From the desperate, near-collapsing screams to the outstanding guitar tone to the brave rhythm section, that battles against the sheer wall of sound, this reeks of soul and devotion, from the first beats of opener "It's not real" to the screeching guitar-feedback on "Why did you leave me behind? Now it's gone forver", 24 minutes later. Within this time span ATAMEO do their own thing of playing a fragile kind of Emoviolence, that is always surrounded by Post-Rock. In two of the songs the Post-Rock takes things over, but doesn't change the overwhelming, at times deeply depressing and upsetting sentiment of the record. I love albums like these that get me totally lost in them...

8 // GILLIAN CARTER // Salvation through Misery
[Skeletal Lightning]

To me it's still unreal how good this album is. Call it bias or whatever, but a band that is active for 17 years now (that's like 117 in Screamo-years) shouldn't be able to deliver such an excellent record. GILLIAN CARTER took some time off after 2018's "...This Earth shaped Tomb", but they came back stronger than ever. As we all know, the last few years were kinda fucked, though it seems like this band channeled all their rage and all their frustration to put it onto an album. It's a masterpiece in Screamo and Emoviolence, scattered with bits of Noise, Emo, Metal and Post-Rock, chaotic and dark at some times, melodic and melancholic at other times, but always full of emotion, power, and intensity. The bumpy, turbulent feeling of the artwork fits perfectly to the music itself, as "Salvation through Misery" is one hell of a ride. Now give them a star on the "Skramz of Fame", already!

7 // OTHER HALF // Soft Action
[Big Scary Monsters]

"Soft Action" is everything that made 2020's "Big Twenty" such a great record and then some. There's really no arguing about the music or the production site of things, as the trio packed a ton on top. Their brand of Post-Hardcore, Garage-Punk and Noise-Rock shines even brighter, the sound is more well-defined and the songwriting is more consistent, while also discovering new grounds. It's a different story with the lyrical content, as I was sceptical about it. "Big Twenty" had a cool, coherent storyline, while "Soft Action" seemed more cracked at first (site note: Cal currently reveals a lot of song-details on their Twitter). But if you open yourself for the lyrics, they hit home consequently. OTHER HALF are great storytellers and the "punchlines" on "Soft Action" are some of the coolest in a long time. I don't know why this record or OTHER HALF's music in general makes me always feel like I'm caught in a dark and dirty place filled with grubby characters?! It must be their imaginative writing and the musical adaption to it. Once again, this is oustanding stuff! [Review]

6 // MT. ORIANDER // Then the Lightness leaves 

and I become heavy again
[Count your Lucky Stars]

If it wouldn't be for this album, Keith Latinen's biggest accomplishment in 2022 would be wearing a different shirt every day of the year. #shirtaday. Props for that, but it has nothing on "Then the Lightness leaves and I become heavy again". Once again, Keith makes it look easy writing eleven songs full of Midwest-Emo-greatness. It's the kind of record, where you could ask 15 people about their favourite tune and would get at least ten different answers. Yeah, the album is that weighed out and that's something I really love. You don't get any surprises, but you get high quality throughout, a sincere and touching vibe, breathtaking lyrics, Latinen at his absolute best and a simply perfect usage of guest musicians. It's a magnum opus of Midwest-Emo and basically already a modern classic... even if that might sound dumb, two and a half months after its release. [Review]

5 // KENDRICK LAMAR // Mr. Morale & The Big Steppers
[pgLang/Interscope/etc.]

A new KENDRICK LAMAR-album is an AOTY-contender per default. To me, he's the most important Hip-Hop-artist musician of the last 10 years, putting out three borderline classics in a row. Yeah, I love "Damn" too. While I don't know if "Mr. Morale & The Big Steppers" is quite on the same level, it is way different, and that's something important for a heavyweight like KENDRICK. Every critic would shred him in no-time if he would repeat himself in any way. In direct comparison to the reduced "Damn", his latest album is bigger, bolder, more versatile and last not least, more artistic. Yeah, "Mr. Morale & The Big Steppers" is a huge step for KENDRICK, the artist. He's the biggest thing in Hip-Hop for a long time now, so what's there left for him to gain? With "Mr. Morale & The Big Steppers" he does his best at being an outstanding "artist". He has a lot to say, and he serves his stories with amazingly produced and performed music. Personally, I'm not all too much in the last string of tracks, when it comes to the music, tho these compositions are remarkable in terms of topics and perfectly showcase LAMAR's transition from a "pure", fuckin' talented Hip-Hop-musician (think "Section.80" or "good kid, m.A.A.d city") to an unparalleled artist. As I said before, I don't know if this is on the same level as the three albums prior, but does it really matter? KENDRICK LAMAR is on his own level anyway, and "Mr. Morale & The Big Steppers" is another important addition to one of the most impressive discographies ever.

4 // PIRI REIS // Ritma
[Framecode/Moment of Collapse/

React with Protest/Zegema Beach]

The year in Screamo was one for the books, though it was PIRI REIS' "Ritma" that somehow remained my personal favourite among all the other bangers. So, the fuck... why? I can't even answer that properly. "Ritma" is no bling-bling-shiny, arty-farty kind of Screamo-record. There are no real innovations to be found. There's no overaching lyrical theme to render this some sort of "intellectual" masterpiece. And there are probably dozens of other Screamo-records that most would consider more "epic". So, what's it all about?! Easy, it's about Screamo. It's 11 tracks in 22 minutes. It's all intensity and emotion and pushing-it-to-the-max. It's about all those parts that let me -as a listener- totally freak out. It's about the Emo-version of ORCHID. Somewhere, sometime I spontaneously called this record "ORCHID kissed by KADDISH", and I still like that phrase. It's that simple. It's that effective. It's everything I love about Screamo. [Review]

3 // NEAL SHARMA & THE SAGEBRUSH // 

Shiver in the Sun
[Vitriol Records]

What I like most about my "relationship" with music is the fact, that I discover some of my favourite records by pure coincidence. I can't really say, that I'm a big fan of Vitriol Records, but I love DANGER's "Anger", which wasn't even released on the label in the first place. However, since then Vitriol is on my radar, but it's not like they're releasing much music anyway. But they released the last two albums by NEAL SHARMA & THE SAGEBRUSH, and also this one here, "Shiver in the Sun". NEAL plays the bass in the HC-outfit GHOSTLIMB. A band I basically never cared about, despite knowing them since their very beginning. Back then, I was a loyal customer to Adagio 830, the label that put out GHOSTLIMB's early stuff. So, that was another valid point that should speak against checking out "Shiver in the Sun". And yeah, even if it might sound totally superficial, but I also didn't like the band name at first. Then, yeah, then I'm not all too much into Indie-Rock, at least I can't hold my own in an argument about PAVEMENT. But somehow, anyhow, I cared enough to check out "Shiver in the Sun". If I can remember correctly, it was a pretty dry phase for new releases. Holding all these "facts" against it, I normally should've skipped the record a few minutes in, but somehow, anywhow I pulled through. Through and through and through and now I gotta say: Fuck the "facts". Fuck the bias. This is music. This is one of the best Indie-Rock-records I know. But what do I know about Indie-Rock? [Review]

2 // MOMMA // Household Name
[Polyvinyl Records]

Since discovering their "Rockstar"-video I initially developed a soft spot for MOMMA and somehow they grew more on me with each single being released. Still, it was crucial for them to deliver a quality album. With a pure style like this, "Household Name" could've easily become a record with two or three hits surrounded by fillers. But everything turned out fine and this, the consistency, is one of the big strengths of the record. Surprisingly, there's no filler to be found, and the string from opener "Rip-off" to "Brave" (track number 8) is paaaaacked with songs that grew to personal evergreens in no-time. Categorizing MOMMA isn't as easy as it seems, and personally I was never down with most of their listeners labelling them as "90s Indie-Rock" and drawing comparisons to the PIXIES, NIRVANA or THE BREEDERS. Sure, tone-wise, this is Indie-Rock. And yeah, MOMMA seem to be the spiritual successor to all these 90s legends among some others, yet their songwriting is pure Pop-genius. It's like THE BREEDERS stopped being weird and decided to write the most catchy, to-the-point tunes ever. The songwriting is the perfect compromise of gutsy Indie-Rock and ear-friendly Pop-music. On top of that you get two charismatic girls at the mic, that complement each other perfectly, while maintaining their own character. Not to forget the outstanding production by their homie Aaron. "Household Name" feels right, sounds right, and oozes tons of charme and personality. An instant classic, no doubt. [Review]

1 // SPITE HOUSE // Spite House
[New Morality Zine]

When New Morality Zine dropped the SPITE HOUSE-promo in February, it was love on first note for me. Something deeply connected to me right away and it got even deeper, when they released their debut full length in late August. I've already listened the hell out of the promo, hence the 7 "new" songs needed some time to grow on me as much... and... they did - especially the breathtaking opening-double of "Awake" & "Deep enough" as well as "Hope" and "Dying Leaves". Basically there's no lost moment to be found, it's 29 minutes and 29 seconds of pure passion and dedication, of playing your heart out, whatever the cost. The record transports these feelings ideally. SPITE HOUSE are a trio and that's really crucial to their sound, as they act extremely tight. They built massive walls of sound, tho their songs are never what you would call "Noise", it's just loud, fast, emotional and punch-y Punkrock. It's hard to pick a "standout" cause every instrument (guitar, bass, drums & "voice") contributes the same amount of awesomeness. The drumming is some of the most brutally and energetic I've heard in a long time, the guitar is essential to give these songs hopeful melodies and their hypnotic feeling, and the bass is the foundation to the width of their sound. Singer Max Lajoie might not be the most technically gifted, but he comes up for it with all of his emotion and the mix of the record is perfect. The voice nearly got buried in the mix and constantly battles against the storms of sound. One one hand, this stylistic element grants the album even more intensity, on the other hand it's some sort of metaphor for the whole sentiment of the record. This sentiment is what ultimately turns SPITE HOUSE's debut album into a masterpiece of emotionally crafted Punkrock-music. It's like going through the storms of bad times to finally see a glimpe of light at the end of the tunnel. It's saddening, thought-provoking and massively painful... but you'll get your share of relieve while battling through that storm. It's bittersweet. Actually, it's both sides of bittersweet... the dark one, but also the bright one... [Review]

xxx

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