Author: Matthew Emmons

I probably say this every year but 2023 was an all-timer year for movie-going. From wholly original blockbusters to stunningly intimate indie hits, there was truly something for ever film fan. I could just as easily do a top 20 list – after all, how can I not talk about May December, Priscilla, OR Across the Spider-Verse?! But I’ve decided to spare you all the extra entries and distill this down to my favourite ten films of the year. Hope you enjoy and, if you haven’t seen them, check out some of these incredible works!

10. Barbie (dir. Greta Gerwig)

A cultural phenomenon that has been talked about to death (so why not add a few more words?). More than just femininity in pink, Gerwig’s Barbie uses its Mattel-backed budget and not so subtle toy (and car?) advertising capabilities to interrogate the silly building blocks we use to form our identities to avoid confronting the truth about the human condition. It’s a concept that shouldn’t work on any level – a huge ad and PR-spin with heart; a toy who teaches us all how to be human and “think about dying” without letting our heels touch the ground for too long. But miraculously, Gerwig does it again.

9. Passages (dir. Ira Sachs)

Passages blew me away with its stunning simplicity. It’s a bit like the chaotic evil version of the Past Lives “love triangle” if they were all trying to undermine one another continually. And, yet, there’s something so delectable about watching it all happen, specifically the use of crop tops as a power move. Fashion and sex in general seem to take on gladiatorial qualities, replacing the expression and intimacy that typically accompany such things. But then there are also moments of genuine love, remorse, and humanity. It’s strange how such a terrible portrait of romantic love can still feel so real and compelling in a way I can’t stop thinking about.

8. John Wick: Chapter 4 (dir. Chad Stahelski)

Among the awards season contenders and overlooked indies is this action juggernaut (at least in my list)! The John Wick series has consistently been some of the most exciting action filmmaking of the last decade and somehow Stahelski found a way to level up this concluding chapter in every possible way. The cinematography stuns, the stunts are some of the grittiest in the history of the action genre, and John… well he’s still a man of few words. Perhaps it’s fitting just to leave this at an emphatic “yeah”.

7. Past Lives (dir. Celine Song)

A quiet and gorgeously rendered debut. Celine Song is a filmmaker to watch, beginning first as an award-winning poet before embarking on the creation of this semi-autobiographical love story. Although, calling it a “romance” may be quite a stretch. Greta Lee’s down-to-earth Nora isn’t necessarily in love with the childhood crush (Teo Yoo) she reunites with after several years. Still, in a stunningly gracious turn, Nora’s husband (John Magaro) encourages her to begin to make peace with the possibility of what could’ve happened if she had never immigrated. Together, the three dive into an unexpected and beautifully poetic ode to love and loss that may just leave you in tears in its final moments.

6. Poor Things (dir. Yorgos Lanthimos)

After its knockout premiere at Venice, Poor Things quickly became one of my most anticipated films of the year – and it didn’t disappoint. It’s hard to recommend for a variety of reasons but if you’re willing to bear witness to the utter mess of obtaining personhood for two and a half hours you might just find some unexpected grace in the midst of it. It may even just be worth it for Emma Stone’s legendary performance alone, nevermind the gorgeous and surreal production design from Shona Heath and James Price.

5. The Boy and the Heron (dir. Hayao Miyazaki)

The Boy and the Heron is Miyazaki’s most complex film to date, finally finding a way to match his fantastical outer sprawl to his protagonist’s inner world. In a year when Across the Spider-Verse seemed to revolutionize the possibilities of the art of animation, Heron one-ups the action flick by doubling down on the storytelling capabilities that truly capture the hearts of film fans. The titular “Boy” – Mahito – often stands rather unfazed as the world around him literally tears apart at the seams, but there’s a sense that his journey (as well as that of his family) are refracted parts of Miyazaki’s own psyche, propelled by his own imagination as he brutally wrestles with what to make in the face of unexpected grief and the terror of mortality.

4. Oppenheimer (dir. Christopher Nolan)

The second half of the Barbenheimer cinematic phenomenon that invigorated the hope of filmgoers and theatre owners alike is still making waves as it continues to sweep awards season. Although it doesn’t top my list, it’s hard to deny the power of Nolan’s in-your-face filmmaking, especially when confronting the weight of what we’ll justify in order to maintain our perceived sense of freedom. Is science alone responsible for some of our greatest feats and most devastating creations? It’s hard to say, although I suspect Nolan believes it’s not the theory alone but those involved in its discovery who bear the weight of our own self-destruction. And yet, the hypocrisy of our larger systems seems equally as nefarious in the much-overlooked third act of the film.

3. Asteroid City (dir. Wes Anderson)

For me, Asteroid City demonstrates the real difficulty TikTokers found in trying to emulate Wes’ style. Sure, his aesthetic sensibilities are unmistakable but it’s often his writing that makes the whole thing work. His wonderfully fantastic and, here specifically, meta-storytelling work to probe deeper, darker truths that his pastel wonderlands would never originally suggest. In much the same way as the next film, Anderson seems to be trying to figure out what the purpose of his art really is in the grand scheme of human existence, providing one of the most life-affirming finales of the year. Sometimes, when we don’t understand how the pieces fit together, all we have to do is just keep telling the story.

2. The Holdovers (dir. Alexander Payne)

A warm sweater of a film. Payne and his undeniably loveable cast embody the cinematic equivalent of a bear hug. For its nostalgic aesthetic (that appears in both the sound and picture), there’s a beautiful, modern heartbeat within the gorgeously crafted screenplay. Payne has such sympathy for his characters and seems to argue we ought to have the same for one another as well. It’s not just an old-fashioned, John Hughes notion after all!

1. The Zone of Interest (dir. Jonathan Glazer)

A legendary feat in the modern filmmaking canon. Jonathan Glazer has created an unshakeable rebuke to our culture of comfort and our notions of “the good life”. By situating us alongside the Commandant of Auschwitz and his family as they seek an idyllic life while bordering the camp wall, he asks us to consider “how could something so twisted be entwined with the mundane?” Screams and gunshots echo throughout the film while the family sit down for meals, going about their days as if nothing is happening. Pretty soon they lose all effect, even for the audience. It’s why in the film’s opening moments (and a few others for good measure), Glazer takes the visual away, leaving us to focus only on the sound and consider what other horrors we may be drowning out in our own lives. A challenging and vital film that unfortunately seems as if it may also be timeless.

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Save the best for last, right? In this case, I saved the hardest. I saw A LOT of movies in 2022 and, thus, my top ten compilation was nearly impossible to make. While it’s sure to change in the future, these are my top 10 favourite movies of 2022. Hope you enjoy!

Runner-Up: TÁR (dir. Todd Field)

Full disclosure: I originally had this at number 10 before seeing Argentina, 1985 but I already had a review written for it and it is most definitely worthy of a mention so I decided to include this little section!

TÁR is a tough film to review. Todd Field’s work here is over a decade in the making and has the intricacies to prove it. Each one of TÁR’s darkened alleyways and rooms evade an entirely complete interpretation. But, then again, how else could it lay claim to commentary on cancel culture, abuse of power, the corruption of fame, and the reverence (or lack thereof) we owe to the past. At the centre of it all, though, is Cate Blanchett giving a performance so incredible that she looms as large in the entertainment industry as her titular figure.

10. The Banshees of Inisherin (dir. Martin McDonagh)

Somehow, McDonagh strikes a perfect balance between existentialism and comedy in his latest (and greatest) film. The Banshees of Inisherin is a thoroughly entertaining watch on its own and, yet, also packs enough subtext and wildly original ideas to benefit several rounds of rewatches. With performances sure to dominate awards ceremonies for the rest of the season and an astounding screenplay, Banshees is a crowd-pleasing, can’t miss cinematic experience that rightfully earns all of its praise.

9. Babylon (dir. Damien Chazelle)

Damien Chazelle’s latest lives up to its name on all fronts. Every scene is vivacious and utterly bonkers, somehow magically capturing the depravity and remarkable nature of stardom and its products. Chazelle’s direction is flashy and his long-time collaborator Justin Hurwitz’s score is perfectly punchy and bold. After a brief detour into space with First Man, Babylon marks Chazelle’s return to form in the best way possible. La La Land is still his crowning achievement, don’t get me wrong, but Babylon exposes the seedy underbelly that exists alongside, and is often fuelled by, the land of dreams.

8. Triangle of Sadness (dir. Ruben Östlund)

An “explosive” film to say the very least; Triangle of Sadness uses its three-act structure to its maximum potential. Each segment gorges itself in prodding the super-rich and all the imitators and wishful thinkers who thirst for the power that comes with wealth. By the time this turns into a standard survivor’s tale, the metaphor is well-established and it doesn’t let anyone off the hook. Östlund’s direction is extremely precise (a theme for this year, apparently) and his script is also equally as strong. His achievement here is only exacerbated by the fact that two similar films were released this very year and neither struck as fine a balance while still being as wickedly entertaining as Triangle of Sadness.

7. Argentina, 1985 (dir. Santiago Mitre)

I’ll start off by saying that I knew literally nothing about any of the cultural or historical touch points this focused on. With any movement from real life to screen, there are things lost in translation. But, for me, this was no concern. I found the way the story was told compelling on its own; the actual visual storytelling was actually given the space to do much of the heavy lifting without the script. The dazzling cinematography and lighting accentuate the mix of darkness and beauty of the story on display. The camera often glides behind figures as they move and frames them in dynamic ways. It’s superbly directed and composed on every level, making it a stunning feat destined for a Best International Film nomination at the Oscars. To be perfectly honest, I just saw this yesterday and was so moved by it that I had to make room on this list for it (sorry TÁR). In an all-time great year for film, this is a must-see.

6. The Batman (dir. Matt Reeves)

In a year where Marvel released three films, two “Special Presentations” (whatever that means), and three Disney+ shows, not one of them managed to come anywhere near The Batman. Maybe there’s just something about the character, as Nolan’s The Dark Knight was previously my other favourite live action superhero film. Reeve’s Batman is gritty and drenched in gorgeous cinematography. Each of its performances are also strong, which helps to emphasize the believability of the mystery at its center. It’s at once a detective tale in the vein of Se7en while still adhering to its heroic (or perhaps, anti-heroic) roots. For once, it’s nice to be treated as an adult when viewing this kind of film, where things don’t magically resolve within a standard runtime and characters have actual motivations, flaws, and relationships. With James Gunn at DC’s helm, we can only hope more of this kind of film are greenlit. 

5. Women Talking (dir. Sarah Polley)

I’ve written about this extensively on my Letterboxd (please don’t recoil in disgust) as I’ve been privileged enough to see Sarah Polley discuss this twice. Her choice to create a model for a collaborative and person-focused directorial experience is incredible and a demonstration that she isn’t avoiding engagement with the themes of the film herself. The ensemble cast is the best of the year and, hopefully, will rake in a few awards as such. Still, it’s Polley’s script ultimately that emerges as the highest achievement. There is such a fine art to adapting and, although I am unfamiliar with the source material, the choices she discussed in her Q&As only grew my appreciation for her masterwork. There’s an empathy to this film that has completely blown me away both times. While the women are rightfully forefronted to tell their story and discuss, there is a specified place for the men as well, the effects on their lives and mentalities also highlighted. Listening is an important role and humility, though it may appear weak to some, is essential. Polley’s aversion to shying away from the real faith of these women and their culture is also another trump in an already stacked hand. Needless to say, it was worth the wait.

4. Nope (dir. Jordan Peele)

My most watched movie of the year should come as no surprise. Jordan Peele is back in the rare form that birthed Get Out, demonstrating such strong directorial control that he has cemented his place among the greats of our age. The buzzword of the film is, unsurprisingly, its central idea – that of the spectacle and, more importantly, our obsession with it. It’s a brave topic on its own, but where Peele succeeds is in turning the lens back on himself as he creates a spectacle of his own. Both Keke Palmer and Daniel Kaluuya nail their roles as ranchers trying to get “The Shot” of the object they hunt Jaws-style. But the most unforgettable scene in the film takes place without them, as Peele guides his camera through a disheveled film set to reveal the dastardly consequences that can come when profit and fame is prioritized over personhood.

3. Decision to Leave (dir. Park Chan-wook)

Park Chan-wook has contributed to this century’s film canon in a way that many would have already deemed legendary. But it’s with Decision to Leave that I personally believe he’s unveiled his greatest triumph. The two leading performances from Tang Wei and Hae il Park are completely absorbing. The story, in his usual manner, twists between a forbidden romance and a windy police procedural. The homages to Hitchcock’s Vertigo are also well-deserved, which come as quite a shock given how legendary that film is. And yet, Park Chan-wook shows that he is a one-of-a-kind filmmaker, adding a swelling emotional resonance to an already deeply intriguing and visually stunning thriller.

2. Everything Everywhere All At Once (dir. The Daniels)

It was hard to pick my favourite from this year as I’ve alluded to – and this particular film being here may come as a bit of a shock given that my first experience with Everything Everywhere All At Once frustrated me. Don’t get me wrong, I was still blown away, but the nihilism of the second act left my head spinning in a way that I found hard to reconcile in order to whiplash back to the sentimentality of the end. But man, if it didn’t entirely win me over the second time (and the third). Michelle Yeoh and Ke Huy Quan deserve every award that gets thrown their way for giving their characters so much heart and depth. It’s the only way that the final emotional needle gets threaded. There is certainly no other film on this list that is more original or outrageous than this one and the fact that it was made by such a bare-bones crew is a testament to the strength of the Daniels in the director’s chair (or chairs?). In a year where films like Women Talking exhibited an unparalleled empathy and Nope an introspection often lacking in Hollywood, Everything Everywhere All At Once combined both to make a grand statement that, even in the chaos of the multiverse with giant floating everything bagels and questionably-shaped company awards, there is a need for love because every life has value. And that’s something I can get behind.

1. Aftersun (dir. Charlotte Wells)

An absolutely incredible breakout film from Charlotte Wells. Her slow and subtle trip down memory lane has yet to leave my brain after seeing it a few months ago. Paul Mescal is electric in this, enough to even potentially upset Austin Butler for my pick as Best Actor. Wells’ heartfelt story is one with the film itself, shifting between adapted events, crackly handheld footage, and strobing mental dance floors. There’s a beating heart on the sleeve of this one which makes me excited to see what’s to come in the future from Wells.

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After obsessively listening to any notable 2023 release, it’s always difficult to put together a list of my favourites. It feels so wrong that Sufjan and Lana don’t appear here, although they are my honourable mentions. Still, it should be a testament to the quality of music in this list that albums I love still didn’t make the cut. Hope you enjoy and throw on some of your blind spots while reading 🙂

10. Crying, Laughing, Waving, Smiling – Slaughter Beach, Dog

I had never listened to Slaughter Beach, Dog(?) before this record but I can’t deny how gorgeous this record is front to back. It sounds as if pure sunlight was distilled into music, every melody humming with a magnetic warmth. But their songwriting never becomes sweltering, simply catching a groove and playfully entertaining it until the sun goes down.

9. Gold – Cleo Sol

Cleo Sol is back again with another gorgeous gospel-infused R&B record that I just can’t get enough of. 2021’s Mother was the last time Sol made an appearance before dropping two records this year, Self and, you guessed it, Gold. There’s something so simple and peaceful about the way she writes. She almost has a stream-of-consciousness quality where life affirmations will randomly give way to a choral break. It’s swept me off my feet several times.

8. Quest for Fire – Skrillex

Skrillex used to rule my world when he released his Bangarang – EP in 2012. Although I look back now and cringe at what dominated my iPod playlists, Quest For Fire is a genuine dance odyssey that I can get behind. It’s as if he’s spent the last decade watching dance music become prominent once more with DJs like Fred again… ushering in a sleek, new, personal take on the subgenre, learning all he can. As a result, Quest lives up to its title, finding feverish new rhythms in collaboration and observation.

7. SCARING THE H*** – JPEGMAFIA & Danny Brown

Judging by its title, you can most likely guess that JPEGMAFIA and Danny Brown’s collab album is the anarchic, in-your-face record of the year. Embracing his punk sensibilities in the mix, Peggy alongside Danny trade outrageous bars in a project that seeks to give the people who don’t know which songs to gatekeep from the aux a new arsenal of dangerous material. Similar to its blaxploitation aesthetic, its glaringly harsh and sacrilegious. But at its heart, if you can call it that, there’s a refreshing disregard that gives way to something astounding new that dwarfs much of modern hip-hop in the meantime. Perhaps a Marshall Mathers LP comparison is in order…

6. Kings Kaleidoscope – Kings Kaleidoscope

Kings’ sixth album is rightfully self-titled as it seems to be a, albeit short, reflection of their values as a band. Their statement of faith lies beyond their struggles with anxiety (“Alright Kid”), their past (“Story”), even their “reasons why” or why not (“Infinity”). It’s a beautiful portrait of a group of people gracefully working this whole faith this out with fear and trembling, granting us a window into the process to ease our own stress. And, maybe, we too can find rest.

5. 3D Country – Geese

A distinctly American rock odyssey about a hallucinating cowboy lost in the desert. 3D Country doesn’t seem to tell the most linear or compelling story but the way Geese delivers their AM radio rock journey is always fascinating and constantly surprising, as the best journeys should be. Plus, they have an absolutely killer cover of Justin Bieber’s “Baby” (that sadly doesn’t appear here) but that alone demands some serious commendation.

4. GUTS – Olivia Rodrigo

GUTS in many ways is SOUR‘s older and more mature sister. Rodrigo never forsakes the melodrama and silliness of the original but has the know-how to crank it up further in all the right places while throwing a few world-shattering ballads in the mix. To her, the personal is worthy of taking centre stage, mining her struggles even more for their universality and finding new ways to both love and loathe her human tendencies. If there was any mystery as to why SOUR resonates with so many outside of Rodrigo’s teen demographic, it’s because what we deal with in high school was never just a high school thing but more foundational. It’s a well-kept secret that Rodrigo knows how to spoon out with ease while still flawlessly incorporating its fun, punky Y2K aesthetic.

3. The Land Is Inhospitable and So Are We – Mitski

There’s something about Mistki’s previous records that never really clicked with me outside of a few songs. On The Land Is Inhospitable…, I finally caught up to speed. This gorgeously written and heartbreaking record flies by but casts a large shadow. Nearly every line could compete against most songwriters’ best lyrics and her examination of the inner loneliness of loss maps so well onto our world at large its hard to call it a concept album. It’s a statement of both the cruelty of our days and the resilience it takes to keep going in the midst of it.

2. the record – boygenius

the record turned out to be exactly what you’d expect from a supergroup containing some of the best indie singer-songwriters of the decade. Not every artist is a great collaborator but, in typical boygenius fashion, they excel with ease. Dedicated conceptually to the fear and excitement of truly knowing the depths of one another, the record boasts the strengths of each of its contributors in equal measure and unleashes the sum of its incredible parts masterfully in its best moments. A can’t miss record of the year for sure.

1. Desire, I Want To Turn Into You – Caroline Polachek

Caroline Polachek came through with an otherworldy pop epic in Desire, I Want To Turn Into You and the recently released deluxe has only reinforced what an astounding experience this album is. Her offbeat tendancies and love for industrial textures somehow mesh perfectly with her stadium-ready pop songwriting. Polachek shifts gears from experimental cuts like “Crude Drawing of An Angel” and “Hopedrunk Everasking” into utter bangers like “I Believe” and the delirious opener like a skilled master. It’s a record that is as transformative as its album title suggests. There’s never a moment where it doesn’t feel controlled and curated in the most impeccable way.

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Naturally, I have a few albums from 2022 that I could talk about at nauseam, despite trying to keep things concise here. These are my favourite ten which was extremely hard to narrow down with so many good records released this year. Hope you enjoy!

DISCLAIMER: Since this is a blog on my professional portfolio, I have utilized a few modified covers to ensure the content on this page is appropriate for all and doesn’t violate any content regulations. Please be aware that some of these artists’ visual expressions may be more graphic than what is shown here.

10. AMERICAN GURL – Kilo Kish

I grew up on pop music and, naturally, still enjoy it a great deal. While still a somewhat below-the-radar pick, AMERICAN GURL sounds radio ready while presenting musings about the dystopian nature of our increasingly tech-oriented society. This 8-bit arcade-themed concept album packs a huge punch and showcases Kish’s undeniable pop sensibilities which signals a promising future for her. I can’t wait to see what she does next!

9. Motomami – Rosalia

The in-your-face experimentalism of Motomami made it Metacritic’s highest rated album of the year, and for good measure. The record projects a futurism that is rarely heard in the music, never mind by an artist as big as Rosalia. When listening to Motomami, you feel privy to an audience with the music of tomorrow, each seismic shift in tone and direction opening a sonic world of vast possibilities. This was such a huge snub for Album of the Year at the Grammys.

8. Baptized Imagination – Kings Kaleidoscope

This is definitely more of a personal pick. Kings Kaleidoscope’s music has soundtracked a lot of my adolescence and it always feels like they know how to articulate where I’m at better than I can. When Baptized Imagination was first released, I was thankful to feel out of step with a record that was full of so much pain and doubt. Perhaps it was inevitable then that the words began to feel prophetic for me in the months to come and have now occupied such a constant place in my mind throughout the Fall. Its organization is simple and beautiful, the euphoric bridge of Joy being the hinge moment of the entire album which, up until that moment has been solely occupied by negative emotion. It’s what makes Kings such an important band right now, especially in CCM. 

7. Dawn FM – The Weeknd

I’m not exactly sure when The Weeknd decided he would focus his efforts into high-premise concept albums but I’m completely here for it. And there is no sacrifice (haha get it??) on the music side itself either. Abel’s dance odyssey is brimming with groovy production and earworm hooks. The transitions alone are a work of art as well, making for an immersive sonic experience. There is perhaps no artist at Abel’s level that is competing with him. Hopefully the third entry in this afterlife-centric trilogy continues in the same vein of After Hours and Dawn FM.

6. CRASH – Charli XCX

CRASH is completely misunderstood. The album promo marked with violent, horror imagery, the title referring to the novel Cronenberg adapted into his well-known film, Charli’s desire to escape from her label and still be a “main pop girl”, each of these things lay the groundwork for her own analysis of celebrity and consumption. Perhaps the best example of this is the song “Baby” which starts out as a basic retropop song about desire before Charli gives way to psychopathic notes in her phrasing. Or the album’s closer “Twice” where Charli reckons she’s going “off the deep end” but still advises the listener to not “think twice about it”. She’s relishing in her own self-destruction and commercialization, not unlike the characters in the work she draws on. Through it all, Charli still refuses to compromise her sound in the favour of concept, delivering her biggest and slickest set of bangers yet.

5. Blue Rev – Alvvays

Five years after the release of their stellar 2017 album Antisocialites, Alvvays returned with a record that is truly “all killer, no filler”. They’ve harnessed the glitzy, sun-bleached sound in a way that can only be defined as nostalgic. “Velveteen”, “Easy On Your Own?”, “After the Earthquake”, and, of course, “Belinda Says” will be stuck in your head for weeks after listening (from personal experience) Not until the very end do the blistering guitars and stadium-size melodies cease, and even then its only to bid farewell until what I’m sure will be another fantastic entry in their catalogue.

4. SOS – SZA

A very late entry in the year and, therefore, hard to tell if this is just recency bias or if the album really is this good (I tend to lean towards the latter). After stunning us all on her breakout album CTRL, SZA returns with a vengeance on the fierce opener and the equally as ferocious and surprisingly violent “Kill Bill”. She’s letting it be known that no one is doing it like her and no one will go to the lengths she’ll go to for anything. And yet, as the record proceeds, there’s a sense that SOS truly is a cry for help as Solana strips back all the false pretences (“Nobody Gets Me”) and unpacks just how detrimental having one’s heartbroken is (“Special”). She resolves grimly to forgive and not forget (“Forgiveless”) but it’s not all downtrodden as she still finds ways to have fun amidst her own personal struggle (“F2F”). It’s album that one-ups her former work in every way imaginable and proves, even at her lowest, there is no one turning tragedy into triumph quite like SZA these days.

3. Dragon New Warm Mountain I Believe In You – Big Thief

There are very few artists that can release an album of this size and have it be continually engaging throughout. In 2022, Big Thief proved themselves right at home in that slim bunch. Not only that, but it’s their best record thus far. Each song feels entirely lived in, as if they were written and rewritten until they fit just right. After seeing them live, I’m convinced that Adrienne Lenker is one of the few true “rock stars” of this era. No one commands a stage like her and her talent is undeniable. The beauty that each of these songs possesses is enough to soundtrack a lifetime. And this is Big Thief’s fifth album in six years (an even bigger achievement given how long some artists take to release albums of this caliber). Continually, they’ve made the impossible seem not just possible but simple, releasing astonishing records without pausing to take a breath.

2. Being Funny in a Foreign Language – The 1975

The purest distillation of the 1975 sound. The choice to bring Jack Antonoff on board to focus the group’s usual mania was nothing short of genius. “Looking for Somebody (To Love)”, “Part of the Band”, “About You”, “Wintering”, and the gorgeous opener are immediately some of the best in their catalogue. Hopefully the band continue to work with a paired down approach moving forward. To think, I was and still am such a huge fan of A Brief Inquiry Into Online Relationships and, yet, it’s hard to deny that this is their best record. The sequencing of these tracks, while safely about personal heartbreak, grow much broader too on the beautiful “Human Too”. There’s a sense that the band themselves are looking for genuine connection, something that was a major theme on Online Relationships and of their promo circuit this year. And this being their most honest and optimistic record seems to indicate that they don’t believe it’s too late to reach out.

1. Ants From Up There – Black Country, New Road

It seems that once a decade there’s one album that affects me so deeply that I find it hard to articulate the exact reason(s) why. So far, that’s been my experience with Ants From Up There. It’s such a deeply affecting listen from front to back. It feels like an intimate drama told in the most epic way imaginable (the last three songs occupying thirty minutes alone). And, despite its length, it never seems to drag. From my first listen, I knew I was hearing a masterwork and I wouldn’t be surprised if this tops my decade end list (if I’m even still doing these and, in which case, I’m deeply sorry for that). The dissolution of this version of Black Country, New Road is definitely a huge loss but after delivering an album this raw, open, honest, and delectable, they don’t owe listeners anything.

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Maybe it’s clear by this point but I have no actual criteria for what counts as a “single”. It’s just the ten songs I’ve enjoyed most this year and I think are worthy of further reflection. I’ve limited this list to one per artist because… well… boygenius truly dominated my listening history this year. Hope you enjoy!

10. “adore u” – Fred again.. & Obongjayar

An addicting dance pop banger. I am absolutely floored by Fred’s ability to mix electronic euphoria with interpersonal longings and “adore u”‘s soulful hook and gritty vocal loops demonstrate his best effort yet.

9. “bad idea right?”- Olivia Rodrigo

“bad idea right?” is perhaps the most unabashedly fun pop anthem of the year. Rodrigo plays up the camp in its melodramatic premise while still wholly committing to her performance in the vein of the best popstars.

8. “SCARING THE H***” – JPEGMAFIA & Danny Brown

Of course, this track is absolutely jarring, boasting a near-deafening sax beat that never relents. But it’s the centrepiece (and title track) of the record for a reason. Peggy and Danny are tired of creating art for the sake of sales alone and, in their opposition, are creating some of their most innovative music as a result.

7. “My Love Mine All Mine” – Mitski

I guess this is the part where I say I found it before TikTok (booooo tomato tomato tomato). But seriously this deserves all the hype it’s received; it’s a gorgeous, dreamy cut that just oozes self-love in way that somehow manages to avoid feeling superficial.

6. “Got Me Started” – Troye Sivan

Troye Sivan’s latest record had some of the best pure pop music I’ve heard in quite some time and “Got Me Started” stayed on loop long after it dropped as a single. It’s flooring in an irresistible way that so many artists try to attain but never quite nail the execution.

5. “When Emma Falls In Love” – Taylor Swift

It would be an understatement to say Taylor had a big year. And although there are still some important ethical concerns surrounding the singer’s preferred method of transportation, “When Emma Falls In Love” and the entire Speak Now re-record reminded us all of what made her a star in the first place. At her core, she is a pop scientist, knowing exactly how to dispel a catchy rhythm and make the tried and true songwriting formula feel as if there’s still merit in turning the radio dial up another notch.

4. “Chosen to Deserve” – Wednesday

In a year that boasted fantastic mainstream country releases (which still feels like a shock to say), it was alt-rock group Wednesday who delivered the twangy banger of the year. “Chosen to Deserve” captures their record’s sense of evangelical suburban devastation. There’s a carelessness to the delivery that feels perfectly youthful but almost undercuts the severity of the statement. How could one be so cavalier about predestined love? It’s a brilliant contrast, illustrating the strange disparity that I can only assume Southern small towns hold for those who’ve grown up surrounded by a prosperity gospel and nothing to show for it.

3. “Born For Loving You” – Big Thief

Perhaps Big Thief’s most tender track and once more an ode to a predestined love. Many have claimed their reason for existence to be love but Adrienne stretches the sentiment to its very limits, connecting the very origins of life on earth to her desire. It’s purposefully loose and warm, mimicking the feeling its attempting to capture in its swoony, but never schmatlzy, little tune.

2. “Radiant Reason” – Kings Kaleidoscope

One of the highlights of Kings’ catalogue for sure. “Radiant Reason”‘s anthemic chorus evolves each time it arrives and, in doing so, hammers home the simplicity and evolution of one’s faith journey. And yet, it never forsakes the genre-hopping, mathematical precision that makes Kings the chameleonic force they are.

1. “Not Strong Enough” – boygenius

Much of the record floored me. “True Blue” or “Emily, I’m Sorry” could’ve easily taken this spot but boygenius’ “breakout” single seemed to encapsulate what made their debut album so special. They’re unapologetically paradoxical: both strong and weak, genius and self-loathing, boy and man, angel and never a god. One moment they feel caught in the false sense of confidence, the other they’re drag racing through the canyon. This shifting sense of self often feels scary and unpredictable but songs like this make it easier to admit sometimes we’re truly not strong enough, and others we’re just made to feel like it.

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It’s that time of the year again! This is honestly just a lot of fun for me so please take all this with a grain of salt. I would love to hear what some of your favourites were from the past year, however. Please feel free to leave a comment here or on one of my other social posts. 2022 had a lot of great music (and movies… but we’ll get to that later). Let’s explore some of my favourite songs from 2022!

10. “Diet Coke” – Pusha T

Harkening back to the “chipmunk soul” phenomenon largely popularized by one of his frequent collaborators, Pusha T’s “Diet Coke” is one of his most enticing songs yet. While his lyrical explorations remain the same, the passion and energy he brings to his music have only grown with each record. It’s Almost Dry featured some of his best production yet and “Diet Coke” was its crown jewel. Without a doubt, it was the most infectious hip-hop cut of the year.

9. “Worldwide Steppers”- Kendrick Lamar

Gestating with a manic energy, “Worldwide Steppers” is the closest I felt Kendrick got to the harmony of production, concept, and delivery that he displayed on DAMN and To Pimp A Butterfly. His invocation of Eckhart Tolle’s pain bodies marks a distinct shift away from his usual Christian framing, but its how Kendrick emphasizes how trauma can deform people into “killers”. And, he’s not one to shy away from his own pain, both given and received. It’s what makes him still one of the most exciting artists in hip-hop.

8. “Welcome To My Island” – Caroline Polachek

I had already set my top ten when Caroline Polachek decided to release this masterpiece. I guess I can’t complain too much; it’s one of the best pop songs of the whole year. When she writes a good hook, it hits, emphasized by the sparse production behind the chanted verses which gives way to an explosion of sonic colour when the chorus comes around. Very much looking forward to Desire, I Want To Turn Into You’s release next year.

7. “Runner” – Alex G

The breezy folk of Alex G’s latest album is at its peak when it coalesces with his undeniable ear for a good melody. On “Runner”, he demonstrates that he also has the lyrical muscles to support up his mystical compositions. What he creates here is a perfect balance to the point where each moment feels both effortless and entirely calculated.

6. “BREAK MY SOUL” – Beyoncé

The closest Beyoncé came to dance as liberation on Renaissance. The Big Freedia sample is the best of the year and the house-inspired production with the gospel backing are all-consuming (and tailor-made to my tastes). The writing here is probably the best on the album (which… isn’t saying a whole lot but still). If the rest of the album competed at this level, it may have topped Lemonade for me.

5. “Belinda Says” – Alvvays

Pitchfork’s song of the year could’ve just as easily been mine. Each of these top five are basically interchangeable (and I’ll probably flip them in my head long after this is posted). “Belinda Says” is Alvvays at their best: a massive chorus, explosive guitar licks, and a nostalgic haze. Undoubtedly this year’s best “driving on the highway at night” song.

4. “Out of Time” – The Weeknd

Without a doubt, “Out of Time” is the catchiest song of the year. We’re lucky to have The Weeknd to put a new spin on a highly accessible sound while infusing it with thematic depth. With a soundscape ripped straight from Off The Wall, The Weeknd’s most Michael Jackson-y record since “In the Night” is a straight banger.

3. “Joy” – Kings Kaleidoscope

“You’re the joy of the joy that I’m living in.”

If I had to pick a song that defined the year for me, it would likely be the song before this on its respective album – “You and I Again”. The song, a confessional of being “caught in a circle, no surprise” with the realization that “maybe the mess of me only grips at your heart”, is a beautiful, heartfelt moment rooted in struggle. But it’s “Joy” where all of the pent up emotions on the album can truly be unleashed. It’s the definition of cathartic for me, the buildup to a glorious explosion that never feels to make me dance wildly around the room.

2. “About You” – The 1975

“Do you think I have forgotten about you?”

Given a shoe-gazey quality by Warren Ellis, “About You” sounds like something straight out of a dream. The elegant simplicity of the chorus is jarring, especially given The 1975’s reputation for grandiose hooks. The angelic background vocals from Carly Holt only cement the feeling of wistfulness that’s never truly clarified. Sure, in the context of the album, it’s most likely about a past romantic interest, but buried under the haze of guitars the refrain becomes a general statement about the potency of feelings and memory and that those who matter to you never truly disappear.

1. “Concorde” – Black Country, New Road

“I was made to love you – can’t you tell?”

The most moved I’ve been by a piece of music in quite some time. The instrumental arrangement here actually eclipses the sung verses for me in sheer beauty. Realistically, any of the songs from this record could’ve been in this spot, but I often find myself coming back to “Concorde” and feeling that same swell of emotion during the breakdown after the second chorus. It’s heartbreaking in virtually every way and is unparalleled in how it perfectly packages its wistful feelings. This may be my song of the decade, so far.

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