Category: Review

This year, we traveled once more to the mystical world of Arrakis and wound up in Oz. Succumbed to the darkness and remembered we are one (you have no idea how hard it was to cut Fargeat’s incredible The Substance from this list…). Became human again and realized there is still time. But maybe most importantly of all, we learned what tennis really was. Each day at the movies this year was the greatest day of our lives but before it all ends (going by award season timelines here…) and we run out of time, let’s revisit some highlights of the year!

10. Universal Language (dir. Matthew Rankin)

Sleeping well tonight knowing that some of our oft-dreaded Can-con money was given to Matthew Rankin so he could make a Frankenstein ode to his favourite directors and Winnipeg. You don’t have to look far to find his list of inspirations but my personal favourite was the homogeneously dystopian architecture and the transient plot that felt straight out of PlayTime (a certain bus shot almost made me gasp out loud). Seeing someone riff on all the best parts of international cinema while throwing in gags about Tim Hortons and Louis Riel is kind of everything I never knew I wanted. Rankin’s work here is a major step forward in carving out a new lane for the aesthetics of our country: a hodgepodge of cultures, ideas, influences, and tones twisting in on itself. It feels appropriate.

9. Sing Sing (dir. Greg Kwedar)

Following a troupe of inmates participating in a institutional theatre program, Greg Kwedar’s Sing Sing is a beautiful, transcendent sentiment that captures something unique about our time and also stands to restore humanity to those it’s often stripped from.

The shots of the Sing Sing facility that punctuate each sequence are unforgettable as a reminder of the oppressive structures that are ever-present regardless of what the characters choose. Their choice is not to be physically “free” but to find freedom within their struggle by pouring into one another. By being vulnerable. Through creating and imagining together. When describing the purpose of the theatre program, one of the subjects manages through tears: “to become human again.”

It’s not the system that aids these men, this program is their way of finding hope in the midst of the brokenness of their oppressive institution – portrayed beautifully by Domingo and Maclin’s reverse, and yet complimentary, character arcs. Even though this real-life program packs enough emotional potency on its own (a majority of the cast members were actual participants), it’s the character work that really makes this feel larger than a standard documentary or biopic. It may be predictable or, at times, jarring but the thing Sing Sing understands more than anything is the importance of wearing your heart on your sleeve, stripes and all.

8. The Beast (dir. Bertrand Bonello)

The word Lynchian gets through around a lot these days (I’ll even reference the man himself once more later on) but The Beast truly earns the title. Though Bonello may owe the entirety of his conclusion to Twin Peaks: The Return, that doesn’t make the journey it takes to get there any less riveting. From the stunning cinematography, to the time-hopping, language-shifting drama of it all, to Lea Seydoux’s complex and devastating work, there may never again be a techno-fable delivered in as ambitious a way. In fact, the film itself seems to argue that the cost of technological advancement may be our own humanity – opting instead to shed the complexity of our emotions to further automate our behaviour to the point of total apathy. It feels strangely prophetic, even now we can see the signs with the progressive outsourcing of our talents and knowledge to AI to save time and effort. Without compromising its own craft, The Beast reckons with this trade-off in ways that will continue to intrigue and evolve in meaning upon repeat viewings.

7. Nosferatu (dir. Robert Eggers)

I’m happy to report I found Nosferatu to be a near-knockout. Eggers has steeped this film in shadow and dream-like (or more appropriately nightmare-like) transitions from dizzying set piece to natural-lit Victorian scene. This hallucinatory trip frames the titular villain in grand shadows, always lurking and encroaching on the Hutters – challenging them to foresake their culture’s sense of rationality to face the real, inexplicable nature of the horrors around them. For fans of previous adaptations – fear not! Eggers sticks close to the source material but finds new ways to squeeze every available moment of suspense and heartbreak from its pale blue palette. Hoult is still on his streak of slam dunk performances but it’s surprisingly Lily Rose-Depp who walks away with the whole thing. For me, she summoned the manic and unpredictable physicality of Isabelle Adjani’s iconic performance in Possession in the most haunting ways here which perhaps the biggest compliment I can give to any actor.

6. Dune: Part Two (dir. Denis Villeneuve)

An undeniable achievement in blockbuster filmmaking that left me breathless several times. Villeneuve just keeps demonstrating that he’s one of our most precious directors. On a technical level this is utterly flawless and, having read the source material after my first two viewings, it also stands out as an incredible adaptation of a notoriously slippery text. 

The entire ensemble commits wholeheartedly to Villeneuve’s vision and the result is pure movie magic. There was nothing else quite like seeing Paul first ride the sandworm in IMAX – something that still has me scratching my head wondering just how they pulled off sure a visceral sequence. I anticipate much more muted reactions to the next instalment based on the book but, personally, I trust Villenueve to unravel these complex characters in the most fascinating and immersive way possible.

5. Nickel Boys (dir. RaMell Ross)

The kind of stream of consciousness, video essay-adjacent work that I can just live in for hours. Nickel Boys feels like a continued conversation with Ross’ earlier work, reframing our perception of the Black experience through media and, now, a pair of alternating protagonists whose viewpoint we literally come to inhabit for the better part of two and a half hours.

This is a highly ambitious work, one that not only adapts its prized source material but unearths the spirit of the text and brings to life its very psyche through carefully directed POV punctuated by historical footage and clever visual allegories. The whole thing almost feels as if it takes place in the subconscious mid-transference between Elwood and Turner before their fates become inextricably tied together. This is why I go to the movies: to see something wholly original, confidently constructed, and tragically relevant. Visceral filmmaking.

4. I Saw the TV Glow (dir. Jane Schoenbrun)

I was fully absorbed into I Saw The TV Glow: a vaporwave-y living nightmare whose spirals constrict the longer you remain in its funhouse mirror maze. It helps that Eric K. Yue supplies some of the most gorgeous cinematography of the year, basking every scene in cotton candy pink and sour apple green to match the pop fizz of a low-budget, late night horror special. Schoenbrun’s work feels visionary and distinctly of the internet in its relentless appropriation of aesthetics and ideas – from David Lynch to r/liminalspace. There’s never a moment where I felt like their vision wasn’t fully realized; every set piece was spot on, bringing an eerie sense of familiarly to the proceedings. The practical and visual effects, when employed, are both nightmarish and endearing in their recollection of the comforts of older TV.

It’s undeniably a very strong and obvious trans allegory, turns the camera back on its audience (with its penultimate scene taking place in front of a mirror) and boldly asks for us to consider the “horrors” of self-deception. And to me that’s where the film becomes universal – we’re all being formed by something. It’s never too late to adjust who or what is forming you but the longer you sleepwalk through life the harder it is to swim against the current. I Saw the TV Glow gives language and imagery to this phenomenon, recontextualizing nostalgia as a wistful longing for a past self, for the endless possibilities of youth, for the selves we try to hide with the hopeful reminder that “there is still time” to make a change.

3. Challengers (dir. Luca Guadagnino)

A film that’s so fun you *almost* don’t notice what a strong directorial vision it has. Guadagnino said he doesn’t trust filmmakers who don’t have a sense of humour because that’s not life – and it makes sense. Challengers is thrilling, laugh-out-loud funny, and somehow stays grounded with a strong emotional core. In all its contradictions, it works perfectly.
 
This is maximalist, Shakespearen filmmaking, framing its infamous love triangle in the language of the divine: choral suites, gorgeous strings, and hymns, all the while referencing Hitchcock over a club beat and then throwing you through the air from the perspective of a tennis ball. Somehow it all makes sense; sport is the arena for many where you can reach for something bigger than yourself and break all your rules, so why wouldn’t it be reflected in the film’s very structure? Guadagnino understands that as much as athletic competition is physical – and there is a lot of gorgeous framing of bodies here – obsession and desire also transcend that. It reframes how we view one another and ourselves. We play the role required for the points that matter.

For all that, Challengers is going to inevitably be the film I think of when discussing how film can be both entertainment and high art; how a seemingly insignificant moment, character, story can become something grand on the silver screen.

2. The Brutalist (dir. Brady Corbet)

Perhaps it comes at no surprise that a film which quotes Goethe’s “none are more hopelessly enslaved than those who believe that they are free” at its onset dwells heavily on the peaks and pitfalls of the American dream. But nothing in Brady Corbet’s sprawling epic ever just works on one level: the architecture itself functions as a mirror of its protagonist, a very explicit rendering of control is manifested physically, and, of course, the societal structures are only part of this problem of imprisonment.

Not only is the world in The Brutalist (and by extension our own) set up to favour some over others, but even when the characters aren’t fulfilling their societal obligations in their private spaces, they can’t seem to be free from themselves either. This hazardous cascade of overlapping personal desires creates a domino effect which is often forgotten or whitewashed by history but is integral to the structures around us – even if we only seem to care about the final result. Corbet’s work is one that stands in opposition to this idea; The Brutalist give us time and space to see (in gorgeous Vistavision), understand, and confront.

1. Anora (dir. Sean Baker)

From its serotonin-infused opening third to the gut-wrenching ending, Sean Baker’s Anora is perhaps the year’s best cinematic roller coaster – one that’s seen me come back six times (and counting). It’s a masterclass in storytelling with the ending in mind.

In many ways Ani is universal; disconnected from herself, trying to hold on to anything that feels real while shirking the opposition, looking so desperately to find someone genuine in a world of hustlers (it’s arguable that, despite her work, she is one of two truly “real” characters in the whole thing). It’s not just a class issue when some forms of employment are looked at as disgraceful or less effort. It deforms our sense of self and ability to let others in for fear that there is validity to the detractors’ claims.

To distill the essence of a film into a single scene is something masterful which Baker pulls off in the last twenty minutes of Anora. Here, we discover that the name means “honor”, “light”, and “bright”. In a stunning parallel, its these elements that are stripped not only from Ani throughout the film but the very film itself, descending from the music-heavy neon benders to the empty swipe of a wiper blade and a world of beige hues.

At the centre of it all is a truly towering and fearless performance from Mikey Madison. In one of my favourite shots, Ani is shown cradling her face an altercation and slipping in and out of the bottom of the frame. Somehow, Madison shows everything on her face in a matter of seconds – pain, horror, disbelief, renewed passion, doubt. As a multi-layered character study, Baker relies on Madison to convey the unspoken in almost every moment with the sheer amount of walls her character has constructed in self-defense. Even when she’s lost everything, she still can’t allow for any vulnerability – she always has to be on guard because the second she lets up the world devours her.

Thanks for reading!

The title says it all! I made you all a little playlist which, as all playlists are, is more for me to get all my obsessions out in a healthy manner. But genuinely this was the year of legendary hip-hop beef and a return of pop to the centre of the cultural zeitgeist in a way that had me feeling like maybe 2010 wasn’t that long ago. But as much there was a healthy dose of sincerity at the core of many of the year’s best tracks, the first slot has to go to a true masterclass in unburdened pop songwriting…

10. “Diet Pepsi” – Addison Rae

If you get it you get it… if you don’t you don’t… if you know you know… and if you don’t know… I honestly feel bad for you I cannot explain it I don’t have the vocabulary to explain it

9. “THE BADDEST” – Joey Valence & Brae

“THE BADDEST” is emblematic to me of what makes Joey Valence & Brae’s tone so infectious: it’s equal parts tongue-in-cheek internet culture and braggadocio. In a modern hip-hop landscape that’s so often dominated by trying to one up other emcees with elaborate storytelling and sly disses, JVB have picked up where artists like the Beastie Boys left off in revelling in all that would typically disqualify them from the “coolness” the genre exudes. The self proclaimed “baddest in the club” have 7-Up in their cup, rock Vans, and find their ultimate inspiration in Spongebob and Danny Phantom while riding one of the freshest beats of the year.

8. “Lithonia”- Childish Gambino

The standout single from Gambino’s latest (and final?) record is by far his most passionate and focused effort since the release of “Me and Your Mama”. Starting slow under a soft organ, the track explodes at the revelation of the apathy Gambino – potentially in the mind of a character from a teased companion film that has yet to surface – feels from those around him. By the time gorgeous layers of harmonies accompany the rock instrumentation, Glover has once again crafted an emotional tidal wave that crashes over the listener in the way only he can. Maybe he feels like no one cares but this is a song worthy of attention.

7. “Oontz” – MICHELLE

Indie pop group MICHELLE struck gold this year on this excellent track from their Songs About You Specifically record. It wastes no time drawing you into an energetic tale of spited love before hitting hard with one of the best choruses of the year. The soft melody that starts the hook feels like it concludes before building to yet another peak, showcasing not only the group’s superior songwriting abilities, but their understanding of where to feature each vocalists for maximum impact. They’re a group to watch and embrace.

6. “Russian Roulette” – Porter Robinson

It’s not often that someone can pull off a lyric about a monkey pissing in its own mouth as a reference to the way celebrity culture can each you up and spit you out but that is the best way to encapsulate Porter Robinson’s work this year. His startling sincerity and playfulness brought forth a refreshing blend of EDM and 2010s pop that made its way into my mind and never left. 

“Russian Roulette” is the crown jewel of his 2024 record, delving into his insecurities and self-sabotaging behaviour before transforming into a therapy exercise reminiscing on all the reasons he’s thankful for his life. There may not be a more emotionally potent moment in music this year than when he first declares: “I want to live I don’t want to die”. 

5. “BIRDS OF A FEATHER” – Billie Eilish

A song that I’m sure will be the bane of retail workers for the next decade and, yet, not without cause. Billie and Finneas have honed the best parts of their signature sound, allowing Eilish’s whispered vocals to float over the breezy beat before unleashing her full vocal ability in the back half. The MGMT-esque synth chords that lightly accompany the song’s climax add this sense of vibrance to the whole track which not only contrasts the approaching darkness of the sentiments Eilish is expressing but also evoke the feeling of first love. Really smart work.

4. “Not Like Us” – Kendrick Lamar

There’s not much left to say about “Not Like Us” which, if we’re going by sheer virality, is probably the song of the year. It’s enjoyable, scathing, endlessly witty, and the celebration at the end of the most notable rap feud of the last ten years. This spot also could’ve easily gone to “euphoria”, the singular “meet the grahams”, or Lamar’s latest narrative epic “reincarnated” which attests to the truly incredible streak he’s been on in 2024. Bring on the Super Bowl.

3. “Right Back to It (feat. MJ Lenderman)” – Waxahatchee

MJ Lenderman had a successful year in his own right but his collaboration with Waxahatchee truly stole the show. Her whip-smart songwriting that seems to fill nearly every pocket of empty space creates a sense of momentum that is often lacking in stripped back ballads. The way their voices harmonize on the hook also suggests that they were made to sing together. It’s so natural and gorgeous you may find that you’ve reached the end of the track and forgotten to breathe. It feels transcendent in a way that most songwriters only dream of.

2. “Sympathy is a knife” – Charli XCX

In the year of BRAT, there are probably fifteen different songs that could cover a list like this and, even if Lorde’s verse on the “girl, so confusing remix” is one of the best moments in pop music of the year, I personally have to give the edge to “Sympathy is a knife”. The track is roaring with insecurity and jealously, with Charli belting the chorus as if it’s the last song she’ll ever write. 

Her desperate confessions of intrusive suicidal thoughts and wishes of heartbreak for her peers feel abnormal in a pop landscape that’s more “that’s that me espresso” than “volatile at war with my dialogue”. It’s her honesty and ear for complimentary, forward-thinking production that are best showcased here for my money – and what made BRAT the pop-culture juggernaut it is. 

And if you don’t believe me, listen to the sheer emotion of Charli’s delivery in her SNL performance.

1. “Good Luck, Babe!” – Chappell Roan

But 2024 was also the year of Chappell Roan, even if the majority of her slew of radio-ready singles were released in years past (that “Casual” never made it on one of my past lists will be something I regret for quite some time). Luckily, she saved the best for last. “Good Luck, Babe!” is as cheeky as its title may suggest but conceals much deeper feelings of jealousy under it’s pony-pink surface. 

Perhaps what makes it so incredible is how emblematic it is of the subtle genius of Roan’s songwriting. In a ballad about denial and regret, she never comes out looking like the heroine. There’s a tongue-in-cheek jaded nature about how flippantly she address the whole issue – “it’s fine it’s cool” or “I TOLD YOU SO”. 

And Dan Nigro decorates the whole piece in achingly romantic synth-y production and string accompaniment that make her heartbreak feel cinematic. When Chappell flips into her falsetto on the hook it’s too late. You can’t help but feel the weight of her hurt and the hold she still has on you. I told you so indeed.

Thanks for reading!

Something was in the air in 2024 (and for one of the first times this decade it wasn’t primarily COVID). There were some MAJOR records this year that all feel very distinct and fully visualized. This post-pandemic era of music has been something wonderful to behold which made it extra hard to narrow to only ten. Hope you enjoy and throw on some of your blind spots while reading 🙂

10. Imaginal Disk – Magdalena Bay

Magdalena Bay once again came through with the most lush pop record of the year, overflowing with twinkly synths and Y2K mall music soundbeds. Mica Tenebaum’s silky lead vocals serve to reinforce the dreamlike hyperreality of Imaginal Disk which basically begins with a DVD Menu-esque interlude and slowly crashes through bigger and brighter indie pop cuts. The whole thing feels like a sugar rush with an ambitious central concept and aesthetic. It’s a high you won’t want to come down from.

Favourite tracks: Killing Time, Image, Death & Romance, Vampire in the Corner, That’s My Floor, Cry for Me, The Ballad of Matt & Mica

9. I LAY DOWN MY LIFE FOR YOU – JPEGMAFIA

JPEGMAFIA has often had a way of coming across as overly abrasive. No one wants to rap on his production? Fine, he’ll do it himself. Labels trying to tone down his style? He doesn’t need them. Can’t clear a sample? Release it anyway. It’s this anarchist streak that has characterized his career to the point of feeling distant. We’ve seen his forward-thinking production and flow in action but when do we get to really know the man behind it?

Maybe that’s what makes I LAY DOWN MY LIFE FOR YOU so appealing. For the first time, Peggy brings a sense of vulnerability to the table while still keeping a few cards up his sleeve. The record is more conceptual than usual while still drawing from the gospel-based production in a way that seems to highlight some sort of spiritual or interpersonal struggle. He’s laying more of his life down than he ever has but his uncompromising spirit still shines through as he delivers on more forward-thinking production, deliveries, bars, and general presence on the mic. Who else do you know that can pull off bars about Joe Biden and nepo babies and still maintain a good sense of emotional flow? There’s only one JPEGMAFIA and it’s an honour to bear witness to his sacrifice.

Favourite tracks: i scream this in the mirror before i interact with anyone, SIN MIEDO, I’ll Be Right There, vulgar display of power, JPEGULTRA!, either on or off the drugs

8. The New Sound – Geordie Greep

I must confess – I never cared much for Black Midi. They always felt more fascinating to observe than to consume (something Greep himself has discussed after their sudden disbanding). And upon hearing the lead single “Holy Holy” I was… taken aback. It was strange, profane, abruptly shifting in sound and tone on a dime. Little did I know that the record that followed would be equally as bewildering and, yet, one of the most rewarding listens of the year.

Make no mistake about it: this is a concept album about an isolated lonely man who wields pride, hatred, and the internet as weapons for all who may reject him (said to have been inspired by prevalent, controversial online figures such as Andrew Tate). As such, it’s frequently brash, as the character builds up a sense of greatness around himself as a defence mechanism against the crushing sense of rejection. Perhaps it’s a tale well-told in the digital age but the way it slowly twists into a grand exploration of the common need for love and community we all share is empathetic and beautifully rendered. In one of the album’s most inspired choices, the sonic landscape of the record noticeably shifts to embody the character’s mental state, from shimmering jazz fusion chaos to showstopping Broadway balladry, at times riding the line between mortifying and beautifully sincere (look no further than “Through a War”). If you can stomach the wild ride, you’ll feel the euphoria of revelation at the climax of the album as the full weight of this crushing character study comes to light. It’s a one-of-kind record to behold and reckon with

Favourite tracks: Terra, Holy, Holy, The New Sound, Through a War, As If Waltz, The Magician

7. NO HANDS – Joey Valence & Brae

When I say that seeing Joey Valence & Brae in concert was one of the best live shows I’ve ever attended… it’s not hyperbole. The energy they bring to the stage is the same off-brand, nerd ferocity they bring to the mic. I was a sweaty mess by the end of it and I still could’ve easily raged for another two hours.

That said, the artistry is still there. Their 90s-style, sample-heavy production is the perfect compliment to their Beastie Boys-esque delivery but most of the time their rhymes hit more like punch-lines: self-deprecating or overly braggadocios. It feels like hip-hop culture turned in on itself and amped up to 11 which is ironically the best tribute to the brash, rebellious nature of hip-hop in the first place.

Instead of bragging about a garage full of cars, they’re more likely to mention their affinity of Pokemon cards (and display handfuls of them on stage, given by adoring fans). Plus, there’s Olivia Rodrigo bars, “your mom” jokes, and comparisons to saucy pasta – and that’s just all on PACKAPUNCH on which they somehow managed to bring to the ring the incomparable Danny Brown. It’s a wonder of indie music production – another important thread throughout the record. They made what they love, stayed true to who they are and refused to compromise. And it worked. Because at the end of the day, there’s no party like a Joey Valence & Brae party – and this record is the proof.

Favourite tracks: NO HANDS, LIKE A PUNK, WHERE U FROM, INTERMISSION 2, THE BADDEST, OK, DOUGHBOY, WHAT U NEED

6. Tiger’s Blood – Waxahatchee

Sometimes simplicity is key. Now, that’s not to say that what Waxahatchee accomplishes here is easy – it’s the culmination of 10,000 hours and then some to the point where she knows exactly what makes her alluring as an artist and songwriter. Tiger’s Blood is a collection of 12, all killer no filler, tracks that draw in you to moments of spellbinding campfire intimacy (“Right Back to It”, “Crimes of the Heart”) before bringing the house down (“Ice Cold”, “Bored”). It’s surprisingly versatile for an alt-country record, boasting career best lyricism and melodies that make would-be clunky lines feel effortless and natural in the way only Waxahatchee can. 

Her ear for a irresistible hook is almost pop-adjacent in how easily in will wriggle its way into your brain days later. The use of backing vocals, either from herself or recent collaborator MJ Lenderman of Wednesday fame, proves she knows exactly where and when to accent a moment for maximum impact. This is Waxahatchee at the peak of her powers, doing what she does best. If it ain’t broke…

Favourite tracks: Evil Spawn, Ice Cold, Right Back to It, Burns out at Midnight, Lone Star Lake, Crimes of the Heart

5. SMILE! 😀 – Porter Robinson

The year’s biggest surprise musically would have to be Porter Robinson’s latest pop odyssey. After a streak of electronic records and a brief hiatus from music altogether, Robinson’s latest outing is a shockingly personal glimpse into the psyche of a musician at the peak of their powers. There’s a subtle violence that surrounds the 2010s sugar-pop songwriting from the opening notes of “Knock Yourself Out XD” – a braggadocios ode to being at the top while foreshadowing the free fall to come. 

The screws tighten as Robinson grapples with lost love, regrets, toxic coping methods, and suicidal thoughts. His diaristic writing compliments the use of emoji shorthand in the titles: it’s a little cringe and playful but in a way that’s earnest. And yet, he never once loses his ear for a perfect pop melody. It’s such a deceptively accessible listen that it may be easy to ignore the craft behind the entire experience. The radio-ready nature of a majority of the album shines immediately but when Robinson busts out the guitar for the stunning balladry of “Easier to Love You” – a confessional about how we can never seem to see the beauty in ourselves as we are – it’s hard not to be entirely won over by his earnest, life-affirming treatise on the human condition.

Favourite Tracks: Knock Yourself Out XD, Cheerleader, Russian Roulette, Perfect Pinterest Garden, Kitsune Madison Freestyle, Easier to Love You

4. Only God Was Above Us – Vampire Weekend

In 2024, Vampire Weekend returned with their most cohesive “era” to date, one where the photo series that accompanies the record begs the question of what came first. The icy, surreal images are entirely evoked sonically throughout the record by various metallic and industrial punctuation. It’s an album that is fully New York and takes the poetic lyricism and genre-fusions the band has been known for to the next level.

At its core, it’s a record about finding hope in the midst of the slow dissolution of modern society, giving up on the things that have previously held us back from coming together because our current state has forced us to reckon with the fact we do not have all the answers. We may feel lost, hopeless, nostalgic, apathetic, a lack of connection, but Only God Was Above Us suggests that we would be better to surrender to the current of life and focus on our commonalities than be swept away in our grievances. And, in typical Vampire Weekend fashion, it’s incredibly chic and well-composed.

Favourite tracks: Ice Cream Piano, Classical, Capricorn, Connect, Mary Boone, Pravda, Hope

3. COWBOY CARTER – Beyoncé

After the cultural juggernaut that was Lemonade and the no-holds-barred house revival that possessed every minute of Renaissance, anticipation for what Act II of Beyoncé’s rumoured 2020s album trilogy would have in store was at an all-time high. A shift towards country should theoretically have caught no one off guard (did we all hear “Daddy Lessons”?). And legend has it that after receiving a chilly reception at the CMAs upon performing her initial foray into country, Beyoncé set out to double-down on this country sound. Because whether you make a song about riding horses down the old town road or were born in Texas, the gatekeepers of the country seem adverse to allowing Black artists entry.

But not only does COWBOY CARTER prove once and for all that Beyoncé has the chops to tackle any kind of song or genre she wants (the operatic levels of “DAUGHTER” are a perfect example) but the album serves as a thesis on the history of music, weaving together sounds, songs, and artists from the past and present in a grand treatise on the history and evolution of music. It succeeds in showing how genre-fusion and experimentation are at the very root of musical innovation – how remaining stagnant in stuck in tradition is detrimental to progress (and we wouldn’t have the genre styles we know and love today). It also highlights the blatant hypocrisy of the gatekeeping of Black artists within the country genre when the roots of all music can be attributed to Black artists. 

And, yet, in typical Beyoncé fashion, these bold statements are also woven into a personal tapestry. Across the 27 tracks and interludes are near-stream of consciousness level mediations on her own lineage. Perhaps recalling “the personal is political”, Beyoncé’s exploration of America’s past, present, and future coalesce with her own, as cheerfully boasted at the top of the record: “I am the one to cleanse me of my father’s sin/American requiem”. There is more clever blurring of the lines between her experience of motherhood, jealousy, a spouse’s infidelity and her family’s with lyrical nods that point to both Beyonce and her parents. The result is a certain timelessness to the record, not only in lyrical content, but in the vast sonic territory it manages to cover. It may have failed to capture the zeitgeist in the same way as Lemonade, but COWBOY CARTER stands on its own as Beyoncé’s most complex and meaty record to date – while still bringing a sense of pure bliss throughout.

Favourite tracks: AMERIICAN REQUIEM, BLACKBIIRD, PROTECTOR, TEXAS HOLD ‘EM, BODYGUARD, DAUGHTER, ALIIGATOR TEARS, II MOST WANTED, LEVII’S JEANS, YA YA, RIIVERDANCE, II HANDS II HEAVEN, TYRANT, SWEET ⭐️ HONEY ⭐️ BUCKIIN’, AMEN

2. Heavy Metal – Cameron Winter

It’s not often that an entry this late in the year can place so high on a list like this for me. I find I get a better handle on my relationship to a record the longer it marinates. But Cameron Winter’s Heavy Metal swept me off my feet and left me speechless. I always strive to be able to articulate the way art affects me, drawing on my own experience as a way to open up the doors to larger conversations about a work. When a record can transcend my own understanding of its impact and strike such a deep chord emotionally is when I know I’ve found something special.

After loving Geese’s 3D Country last year (it placed at number five on last year’s list), perhaps I was primed for Winter’s debut solo record. Where 3D Country was abrasive and energetic, Heavy Metal seems to soften and splinter. There are some gorgeous instrumental arrangements that compliment Winter’s rough vocal delivery to a T (it’s hard not to recall Nick Cave in many of these moments in the best way). The record begins on a slightly polyrhythmic note before slowly unravelling into beautiful balladry. It’s heartfelt and sincere in a way that feels almost subconscious, as if Winter were stumbling into beauty by accident. The melodies seem to find him, the instrumental segments almost forming this gorgeous pillow of sound for him to unleash whatever seems to cross his mind. In that way, “$0” is emblematic of what makes the record work. When Winter bellows “God is real/God is actually real” with the conviction and energy of a charismatic preacher after several minutes of bemoaning rejection in his life, the record’s journalistic and deeply internal nature is out in full force. And how wonderful it is.

Favourite tracks: The Rolling Stones, Nausicaä (Love Will Be Revealed), Love Takes Miles, Cancer of the Skull, Try as I May, Nina + Field of Cops, Can’t Keep Anything

1. BRAT – Charli xcx

In true BRAT spirit, everything surrounding this album is over saturated. What more can truly be said about this year-defining record? The seamless weaving of Charli’s party girl persona with her hyperpop sensibilities, the surprising moments of vulnerability on the fringes of her grand night out, the epic, substance-induced climax at the end of it all. It’s a record that so uniquely embodies the spirit and ethos of its creator: the true distillation of an artist at the peak of her powers. For many, this was the reintroduction to Charli after her string of radio hits in the early 2010s. For the rest of us, this was merely another monumental achievement in a career already pockmarked with the most impressive pop records of the last ten years.

And that’s to say nothing of the deluxe tracks and remix album (brat and it’s completely different but also still brat) which not only expand the sonic landscape of BRAT but read more like a series of mirrors all reflecting in on one another. This top spot is truthfully for both projects whose identities are so closely related it’s would be detrimental to both to attempt to discuss them separately. This year was Charli’s in every way (although Song of the Summer has to be “Espresso” and Chappell’s rise to fame is one for the history books) and BRAT is without a doubt her career-defining statement: subtly smart, effortlessly expansive, and endlessly entertaining.

Favourite Tracks on BRAT: 360, Club Classics, Sympathy is a Knife, Talk Talk, Everything is Romantic, Mean Girls, I think about it all the time, 365

Favourite tracks on brat and it’s completely different but also still brat: 360 featuring robyn & yung lean, club classics featuring bb trickz, sympathy is a knife featuring ariana grande, everything is romantic featuring caroline polachek, girl, so confusing featuring lorde, b2b featuring tinashe, mean girls featuring julien casablancas, i think about it all the time featuring bon iver, 365 featuring shygirl 

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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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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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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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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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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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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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