The pandemic is finally over… is a sentiment that I would love to share in total sincerity. But with COVID still looming, a global supply chain in shambles, and inflation undergoing a historic rise, the 2020s have proven to be challenging at best, and devastating at worst. Still, in the midst of this turmoil, we found refuge in art. Musicians helped usher in “the new normal”, with fresh singles blaring from car speakers as we left vaccination appointments, and loved ones singing along to their favorite albums as gatherings resumed. These are unprecedented times, and although the next week seems as opaque as the next year, I remain confident that cultural guardians will continue to stand as forecasters, carrying us through the most catastrophic parts of the storm. This post is penned in honor of the five records that threaded stitch after stitch to hold me together.
But before we dive in, a list of phenomenal contenders:
SOS x SZA
Serpentina x Banks
CAPRISONGS x FKA twigs
Traumazine x Megan Thee Stallion
Midnights x Taylor Swift
age/sex/location x Ari Lennox
The Hardest Part x Noah Cyrus
DECIDE x Djo
Asha’s Awakening x Raveena
<COPINGMECHANISM> x WILLOW
Alpha Zulu x Phoenix
Duality x Luna Li
Are You Haunted? x Methyl Ethel
RAMONA PARK BROKE MY HEART x Vince Staples
Second Nature x Lucius
Preacher’s Daughter x Ethel Cain
Hypnos x Ravyn Lenae
El Renacimiento x Carla Morrison
MUNA x MUNA
You Still Here, Ho? x Flo Milli
1. Dance Fever x Florence + the Machine
“I need my golden crown of sorrow, my bloody sword to swing
I need my empty halls to echo with grand self-mythology
‘Cause I am no mother, I am no bride, I am king”
Florence + the Machine is done with restraint. Their third and fourth releases (How Big, How Blue, How Beautiful and High As Hope) were sonic and visual pivots toward the simplistic – a bold move for a group known for its indulgence in artistic excess. Now, with Dance Fever, it feels as if the band is revisiting its roots, à la albums one and two (Lungs and Ceremonials), and an eclectic obsession with both the magical and the mundane. This return to form has been long-awaited. The floodgates have come undone and the deluge that’s come forth is a thing of terrible beauty.
Frontwoman Florence Welch’s fascination with a wide array of inspirations, including horror films, pre-Raphaelite muses, gothic fiction, and, most notably, choreomania, meld in a way that’s consuming. Thematically, “King” and “Dream Girl Evil” confront the societal expectations placed upon women, while referencing angels and changelings. “Morning Elvis”, a tribute to a drunken misadventure prior to Welch’s sobriety, makes mention of both Graceland and the ghost of alcohol present getting paid his due. And while the fantastic plays an important role here, one of the biggest presences on Dance Fever is the pandemic.
On “My Love”, Welch sings, “So tell me where to put my love/Do I wait for time to do what it does?/I don’t know where to put my love/My arms emptied, the skies emptied/The billboards emptied”. The lines evoke images of a globe changed in an instant; isolated from partners, family, and friends; we were all made islands in an instant. As a performer, exile from a nomadic touring lifestyle was a unique hardship for Welch, which is highlighted on the track “Girls Against God”. The lyrics, “Crying into cereal at midnight/If they ever let me out, I’m gonna really let it out” cut deep, as she ruminates on being banned from, and clawing back toward, the stage. For many artists, live shows allow them and their fans the opportunity to form a unique bond, but even with the gentle ache for community, there’s an element of rage that flares up over the duration of the album.
Florence + the Machine, in all of their macabre wonder, normally produce work that includes some sort of silver lining, no matter how briefly. But in a universe that, increasingly, blinds those who attempt foresight, the bright side seems to grow dimmer and dimmer with each passing day. And instead of turning toward artificial sources of light, Welch is choosing to confront a moonless sky. With her willowy frame, long red hair, and titanic voice, she’s always presented herself as somewhat of a mythical creature, and now, with the scenery engulfed in flames, she’s never come across as more fabled. Siren, harpy, banshee, liken her as you will, but the sheer magnanimity of her ethos is undeniable. So, even with nothing but a handful of fading stars at her back, Welch is in her element. On Dance Fever she revels in the madness, soaks in the witching hour, and beckons every bump in the night to find her — if they dare.
Standout Tracks:
“King”, “Dream Girl Evil”, “Cassandra”, “My Love”, “Restraint”
2. EYEYE x Lykke Li
“Is this the part I’m gonna play?
Where I stay and you run away?
Done one too many takes, no”
Heartbreak is universal in its ability to humanize. Early on, it’s humbling and powerful; each emotion slamming against you like the wave of a tsunami. But, eventually, the pain transforms. The ocean’s wrath morphs into an open sea, deceptively quiet, and unnervingly calm. On EYEYE, Lykke Li has pushed herself to the brink of exhaustion treading water for a rescue that was never promised. But maybe slipping beneath the surface, succumbing to loss, is just a necessary part of mending the heart.
Li’s choice to revisit the ending of a relationship places a spotlight on her reflexes as she goes through the motions. This close examination is not focused on her former flame, but on her own mourning psyche. The telltale sign of many a breakup is a dependence on reliance fantasy, and Li’s cinematic recollections are built upon vivivd reveries. Her dream songs fixate on what should’ve been different, what she wishes she would’ve changed, and what could’ve shifted certain memories before they slipped away like sand between her fingers.
It can be difficult for some, impossible for others, to spin straw into gold when they find ourselves estranged from love. But EYEYE creates room for the agony that exists in these liminal moments. The space, hallowed and unflinching, holds up a mirror to the saddest parts of ourselves, and rather than encouraging us to flee, it bids us to look further into our own stares, excavating the dark within.
You can read more of my earlier review here.
Standout Tracks:
“NO HOTEL”, “5D”, “ü&I”
3. Hold The Girl x Rina Sawayama
“Put me together, thread a needle
So I’m like other people, without all of the evil
I’m trying to be normal, but trauma is immortal
And none of this is your fault”
Despite releasing her first project, the self-titled Rina, in 2017, it wasn’t until 2020’s similarly eponymous, Sawayama, that Rina Sawayama truly exploded onto the scene. Like many other artists whose records were unveiled during the first year of COVID, she contended with limited live promotion, rescheduled tour dates, and a fanbase relegated to private, in-home discos and shower karaokes. But with her new album, Hold The Girl, Sawayama has reemerged as a powerhouse in her prime. A chameleon with noted growth, this LP takes all of the fanged aspects of her previous work, and hones them until they’re sharp enough to kill.
Shifting away from her more grunge-fueled, rock-focused influences, Hold The Girl is a veritable delight built to showcase Sawayama’s brilliant pop sensibilities. As a producer and primary songwriter, her efforts exceed expectations that one might have for a sophomore work. Touching on themes including queer marginalization (“This Hell”), addressing through trauma (title track), and parent-child relationships (“Catch Me in the Air”), Sawayama is never more comfortable than during the mining of of her own id and ego. On paper, exploring these depths has the potential to lean into the banal or overindulgent. However, she manages to successfully share her own idiosyncrasies while also broadcasting the commonalities that prove to be universal experiences among her audience. Despite being a fresh 32, with the potential for a long career in front of her, pop artists of Sawayama’s caliber normally enter the music scene a bit younger. Superstars like Beyoncé, Britney Spears, and Lady Gaga erupted into public consciousness when they were in their teens or early 20s. Most archetypal pop musicians break through with debut eras containing anthems that, by and large, focus on first loves, relationships, and partying. While those topics have proven evergreen and simplistic, neither of which are negative qualities, Sawayama’s age and personal history demand that she approach her work with a different lens.
Being othered is, oftentimes, an undesirable feeling. For Sawayama, the pieces of her identity that could be ostracizing actually imbue her listeners, and the subsequent communities represented, with a sense of belonging. She’s upon her cross, regaling us with tales about her own destruction and reinvention, a constant evolution, and the imperfect message that comes forth isn’t weighed down by the sanctimony that can come with holiness. There’s no expectation of infallibility, but rather, the acknowledgement and celebration of missteps on the road to change. Sawayama, like her congregation, is far from pious, but openness toward life’s great mysteries is exactly what creates a gospel that could make anyone a believer.
Standout Tracks:
“Minor Feelings”, “Hold The Girl”, “Frankenstein”, “Send My Love To John”
4. Soft Spot x Chelsea Jade
“I’m gonna love you from the soft spot
Where the fruit begins to rot
Gonna love you
With the little love I’ve got”
The human body, even with its fortitude, is full of vulnerabilities. Like most animals, humans resist the urge to show their tender underbellies, even to those closest to them. But on Soft Spot, Chelsea Jade pulls apart her ribcage and encourages you to take a look at the many strings that, once pulled, could leave her undone. At only nine tracks spanning just under half an hour, the limited runtime betrays a resounding intensity, and the record, although an ode to tenderness, comes with a full set of teeth, ready to bare. The intimacy contained within is hyper-specific and unyielding, housing a trove of fragility that you can’t help but find captivating.
Soft Spot has a head in the cloud as much as it has feet are on the ground, so, instead of appearing as overly cynical or saccharine, Jade manages to find balance and emerge as some sort of prophetess. The backdrop is a mix of sun rays and white clouds, mired by the conflict below, and her tone speaks to a relentless hope in the face of the battlefield that is a relationship. Lyrics like “I slid under its skin all alone with a gasp/Gasp right from the back of my throat” and “Until it’s time to crack your teeth on a real pearl/And I’m that kind of girl, I guess” offer scintillating descriptions that awakens a certain physicality within you. The instant your heart enters your throat is a familiar sensation, and the record knows this all too well.
That doesn’t meant that her vision is entirely rose-colored, as songs like “Big Spill” and “Tantrum in Duet” ruminate on a human, imperfect connection. The art of give and take, the frustrations turning into stalemates and compromises, all of it comes into play when personalities clash. But joy outweighs sorrow, and her commitment to adoration is well-informed. Jade resists being caught off guard by the valleys, climbs to the mountaintop, takes in the view, and sucks the very marrow from the bones of love.
Standout Tracks:
“Soft Spot”, “Optimist”, “Best Behavior”, “Big Spill”
5. Renaissance x Beyoncé
“Please do not be alarmed, remain calm
Do not attempt to leave the dance-floor
The DJ booth is conducting a troubleshoot test of the entire system”
Between her iconic Coachella performance, snagging countless awards, live, collaborative, and soundtrack albums, and numerous other projects, Beyoncé has been booked and busy these last six years. And despite a number of notable career moves, prior to this past summer, the Houston legend’s last solo release was 2016’s Lemonade. It served as a milestone within her discography, set a tone for the culture as a whole, and still remains incredibly relevant. In spite of this, members of the Beyhive, myself included, were hungry for the next chapter from Knowles-Carter. She, in her peerless ability to tap into and deliver upon the needs of the zeitgeist, answered the call with Act 1: Renaissance.
This is both the best album of 2022 and the definitive Beyonce album.
Jubilance, ecstasy, love, blackness, womanhood, and self-exploration are navigated with incredible dexterity, drawing the listener into a world of pure bliss. Renaissance is as much a philosophy as it is a record; the preeminent mandate being the belief that you are deserving of every single good thing life has to offer. And while Knowles-Carter has always maintained that she is, to put it plainly, “That Girl™️”, this album is most unabashed in that belief. It’s Beyoncé explicitly stating that she is exactly who her fans have claimed she is since Dangerously in Love. It’s a victory lap for an artist who is more than deserving of her flowers — and she knows it.
Sharp, clever, tongue-in-cheek, Renaissance is swarming with line after line made meant to burrow into your brain and stir your spirit. Lyrics like, “You know all these songs sound good ‘cause I’m on that hoe — dead ass” and “If that’s your man then why he over here?” are but drops in a sea of similar flexes. Songs including “ALIEN SUPERSTAR” and “COZY” are bold in their declarations. “PLASTIC OFF THE SOFA” and, moreover, “VIRGO’S GROOVE” (her greatest vocal performance ever) showcase the prodigious vocal ability that has become one Beyoncé signature of many. Here, what could be (and for black women often is) perceived as arrogance, more correctly translates as an unshakable assuredness. The assertions aren’t overstated, or coming from a baseless braggart, because when Beyonce sings, “I’m one of one, I’m number one, I’m the only one/Don’t even waste your time trying to compete with me”, it’s objective truth.
Among all of her albums, Renaissance, uniquely, has positioned itself as her most anthemic to date. Thoroughly inspired by black music history, queer ballroom culture, and the disco era, the synthesis yielded is dazzling. The samples used, both deep cuts and tunes sang by the masses, combine with compositions destined to get you on your feet, mobbing the dance floor. On this record, Beyoncé is at her most persuasive, seductive, and hypnotic, offering chorus after chorus meant to eradicate every inhibition. It’s Club Renaissance, and here, everyone is a VIP.
Standout Tracks:
“ALIEN SUPERSTAR”, “CUFF IT”, “VIRGO’S GROOVE”, “HEATED”, “AMERICA HAS A PROBLEM“
Given recent events, 2022’s ups and downs felt true to form. The cries of pain and frustration were resounding, even as COVID infections, hospitalizations, and deaths trended upward. Even now, it feels like some sort of purgatory; holding our breath as we wait to see what comes next. But in this purgatory, there is joyous anticipation. Paramore, Kimbra, Chlöe, Ava Max, Sam Smith, Black Belt Eagle Scout, Ellie Goulding, Tennis, Kelela, Pink, Carolina Polachek, Aly & AJ, Raye, and many others are primed to make 2023 a phenomenal year for music, and with this, the building blocks for our next soundscape begin to take shape. The 12 months ahead of us are veiled, and though we may not know the weather, we can be confident that artists will continue shielding us from the most torrential part of the downpour. And if they’re in the trenches, joining with us in shouldering that burden, I’m sure we can count on them to be there at the end of the long night, as soon as the dawn breaks over the horizon.
