Of The Music: January, February & March of 2022 round-up
My top 10 favorite albums released during the first quarter of 2022.
I’ll be honest. I decided to go with music commentary for this post because, yes, on one hand I didn’t have a particular topic in mind that I wanted to write about, but I also thought this could be something easier for me to complete within the timeframe I set for myself, since I practically talk about music all the time and feel very comfortable doing it. I was hilariously wrong. But as it turns out, I’m okay with that. During the time-consuming process of compiling this post, I figured that writing about music makes me cherish it more. Listen more deeply. Pay attention to more aspects of it that could've gone over my head, if I hadn’t sat down and purposely dissected them.
So I’m hoping for this to become a- somewhat, at least- staple segment on ‘Of The Moment’, where I’ll be talking about music releases that pique my interest every few months, offer context, thoughts, critique and- let's be honest- mostly gush. So here we go; these are my top 10 favorite albums released during the first quarter of 2022.
(Note: in no particular order.)
Hikaru Utada – BAD MODE
Bold statement incoming. Kicking off with- yes, already- one of my very favorite releases of 2022 as a whole. Why do I feel so secure in my prediction? Leave it to Hikaru Utada to reach into your chest and leave a permanent, although indescribably tender, mark on your heart.
The soundscape of the record exudes a somber, mature and homely warmth as the album cover itself suggests; with the Japanese-American singer posing against a backdrop of what seems to be their own home in a loungewear set- one of too many we saw pop up on our instagram feeds over the last couple of years given the state of the world- and a glimpse of what looks like their 6-year-old son- also the most unexpected feature on the album, towards the end of 7-minute-long triphop-esque track, Not In The Mood- running, on the side of the picture.
Indeed, as Utada stated in billboard interview, BAD MODE refers to a mental slump/low period, that reflects the feelings experienced by many during the difficult time of the pandemic, when the funky, disco pop-leaning title song was written- where Utada is addressing a depressed friend with comforting words, “Won’t you lean on me, when you need something to lean on?”, but also a sense of self-doubt- an introduction to the main themes present throughout the album; questions about self-love and in turn, relationships with other people, meditations around the search of an intimacy that is transformative whether directed inwards or outwards.
Utada sings in both Japanese and English- the first time they’ve had versions of both languages of multiple songs on one album- and sonically, revisits earlier days wanting to “get very weird again”, with electronic productions taking inspiration from artists like Moodymann and Glenn Underground- especially evident on my personal favorite on the record, self-reflective house anthem, Find Love- and reminiscent of 2004 album Exodus, but trading the bold, experimental, DIY sentiment for a more modern, grown and subdued approach- in collaboration with Floating Points and A.G. Cook- resulting in an “emotional dance record” of “bangers you can cry to” as Zane Lowe aptly puts it.
Atmospheric instrumentals that will move you either way, wonderfully introspective lyrics to ruminate on and a voice that communicates emotion like no other, BAD MODE stands out among other 2022 releases and Hikaru Utada’s discography, too. During times when I needed it the most, their voice has taken the form of one of an older sibling or friend for me. Their art is always a gentle reminder of how it feels to really live; with the trials, the errors and the earth-shattering joy. This album is another guiding star.
“To hell with sitting on a throne, only a chair I’ve chosen for myself will do.” (PINK BLOOD)
FKA twigs – CAPRISONGS
She is happy and we are all happy with her. In what is by far her most danceable project to date, FKA twigs goes through an emotional rebirth, telling stories of relationships, heartbreak and self-love and combining sounds ranging from r&b to afrobeat and drill, just like she does with the different elements of her big three zodiac sign placements that inspired the creation of this- as sweetly pointed out in intro track, ride the dragon- mixtape.
It is a project that contains so much variety, yet manages to be incredibly cohesive. Twigs makes her way through different genres and themes, never losing heart in her lyrics or cutting down on her signature glitchy, ethereal sound. The interjections in-between tracks, of her friends or twigs herself chiming in with tender conversations, musings and words of encouragement- like on emotionally captivating meta angel and playful, confessional oh my love- wonderfully add to the storytelling and intimacy of the record, which is also accompanied by incredible visuals in the music videos released.
Twigs says she pushed herself to connect more on this record and indeed, the collaborations are spot on. Shygirl’s presence on the y2k dancehall track papi bones counter-balances twigs’s angelic vocals- although she does offer some bolder moments here- with her signature deep tone (“set clearly in the depths of the club”), delivering addictive raps that get the energy of the song pumping and creating a match made in heaven. Similarly, Nigerian singer Rema becomes the perfect partner to twigs in afrobeat-influenced single jealousy- no wonder producer El Guincho was set on this collaboration from the get-go- and fellow British artists, Jorja Smith and Unknown T are necessary heros in electro-drill ode to London- and named after a tea grown in the former British-ruled regions of India- darjeeling.
Listening to CAPRISONGS feels like you just went through a horrible breakup and your group of friends comes knocking at your door screaming at you to get dressed for the club and go dance your heartbreak away. In that sense, it also holds you as you cry and comforts you through the pain. The release that cured my January blues.
“I’m not the rockstar’s girlfriend, I am The Rockstar Girlfriend.” (which way)
Charli XCX – CRASH
On her fifth studio album, Charli XCX ditches- although not all the way- the noisy, quirky hyperpop identifiers that have cemented her name at the center of discussions about the future of pop for a few years now for familiar- what have become, especially over the last couple of years- ‘80s-inspired productions, as she plays pop princess for fun. Obviously, it’s not just that. And does it work? In my very humble opinion; yes. Yes, it does.
What do you do when unpredictability becomes predictable? Born out of a need to fight against the box the eventual “normalization” of her sound in the year of 2022 was starting to put her in, as well as a desire to show that she can do both outlier and industry player, and representing an era she characterizes as very cyclical, CRASH is a great Charli XCX 2022 pop record.
Throughout this album, Charli simultaneously taps into her most authentic and inauthentic selves, accepting pitched songs and putting her label to work on a plan she rejected when starting out in her career. The whole thing is super meta:
“If you wanna listen to it as a sick album, you can do that. And you don’t need to go down the rabbit hole because the songs are great and I do give a great performance and the videos are hot. You can really just be like ‘great record’, but if you wanna fuck yourself up, you can.” she says in her interview about CRASH on Zane Lowe who also adds “It’s designed to make us feel something.” The release itself is performance art.
And the truth is it’s all there for you. Lyrically, quite specific in depicting real experiences from Charli’s life in a way her music hasn’t really been before- vocals notably on a rawer side too- while also vague enough to let the listener project, as good pop usually does. Sonically, majorly current radio hits, as the interpolations chosen for two of the songs also hint at- respectively ‘90s and ‘00s dance hits Show Me Love by Robin S for Used To Know Me and Cry for You by September for long anticipated collaborative single Beg For You feat. Rina Sawayama- while incorporating elements from Charli’s already existing catalogue and not missing the input of A.G. Cook, although limited to just a couple of tracks here.
An excellent single rollout, complimented by strong b-sides like respectively emotive, intimate and striking Constant Repeat, Move Me and Twice. The only cut on the record that doesn’t do a lot for me would be Lightning, simply because of its extremely on the nose ‘80s sound that- Charli wanted to insert as a nod to her 2013 debut, True Romance but, you know- my ears have gotten a little too used to and tired of, although the song’s breakdown is certainly somewhat of a redeeming factor. If you like K-pop, saccharine Yuck might remind you of one or more recent girl group releases in the retro realm (along the lines of TWICE’s UP NO MORE and TAEYEON’s Weekend). And speaking of, props to Charli for collaborating with SEVENTEEN’s VERNON on the Beg For You remix. We love a successful fan.
This project, like Charli’s work usually does, reminded me of the interest in conversations of what pop music is, what it could be and where it’s headed.
“When it's too much, gotta live life good, appreciate it.” (Twice)
Rad Museum – RAD
Following 2017 debut EP Scene, Korean singer-songwriter, producer and visual designer Rad Museum was back this March with his first studio album. RAD, much like Scene, displays a wide variety of genres compiled into one extensive soundscape- or maybe universe- aided by not only engaging, top quality instrumentation but the quirky additions of scenery noises, sounds that set a space for the music to be experienced in. One of the first thoughts I had after completing my first listen of this record was that I immediately needed to go and buy the most expensive professional headphones out there to listen with, just to do it justice. Seriously.
On what could very well fit the definition of a concept album, Rad Museum takes us on a dreamy journey exploring facets of the digital age, on a search for self-expression and a sense of self in a desensitized world- color amidst numb white, like the album art reflects. The sound ranges from r&b to neo-soul and indie (a few good reference points would be Frank Ocean’s Nikes, Childish Gambino’s Me and Your Mama that third track, U specifically reminded me of with its waltz rhythm and dramatic descending melodic patterns, as well as K-indie act The Black Skirts- just listen to EVERYTHING and Say Hello Inner Child side by side and thank me later), with assistance from some of the coolest names in the K-r&b and K-indie scene, such as singer-songwriters DEAN (fellow ‘you will knovv’ collective member finally making his musical return after almost 2 years of absence) and LeeHi- both featured on catchy single Off-Line- as well as ‘you will knovv’’s Miso, rapper Loco, SE SO NEON frontwoman and solo artist So!YoON! and more.
Immersive, introspective, but also just super fun, RAD is definitely a project not to miss this year and cements Rad Museum’s name as one to keep paying attention to in the future. Which is already here.
“The future is already here, I'm sure everyone will get to know soon.” (AirDrop)
Dreamer Isioma – Goodnight Dreamer
Now, speaking of dreamy things, here’s a release I wasn’t expecting to blow me away like it did, going into. On Goodnight Dreamer, described as “a sonification of human evolution”, indie scene singer-songwriter and guitarist, Dreamer Isioma invites the listener to “travel through spacetime” with them as he looks for answers to questions about life and the universe, alternating between vulnerable moments of uncertainty and bursts of confidence and energy in vocal delivery, just like the record does sonically- from mellow, funky guitar riffs (Sunset Drive) to vibey disco sounds (HUH?) and d&b (Crying In The Club which feels like a more fledged-out callback to the reserved breakbeat interjections of I Don’t Wanna Go from their first album, 2020 The Leo Sun Sets).
Spacey guitars, reverie synths and twinkly percussions combined with spunky raps that flow into each other seamlessly and, at times, slow, pitched down vocals to add a lethargic depth and otherworldly quality to the songs, it’s no surprise that this record would remind listeners of the gentler, melodic moments in Tyler, The Creator’s productions or Steve Lacy’s groovy soundscapes. My personal favorite- one of the bolder moments on the album- Voulez-Vous Me To... sits between the gliding synths of a Silver Soul by Beach House and the vocal attitude of- for those who tuned into Second Line last year, one of my very favorite albums of 2021- Dawn Richard’s electronic dance banger Bussifame.
Equally soul-baring and dance-friendly, Goodnight Dreamer strikes a balance that feels intimate. “Building community is incredibly important to me. I truly believe that if the youth can all just come to one solid ground, we can make the world a better place. Because the world is literally in our hands.” Dreamer says in interview with NME. “Long story short, I just want to make the world a better place. And music is the site.”
“I'll stay awake until it's my time to say "goodnight dreamer"” (Goodnight Dreamer)
Raveena – Asha's Awakening
For her sophomore LP, Raveena draws on both Western and South Asian inspirations and collaborations, singing in both English and Hindi to craft a concept album through the perspective of a Punjabi space princess named Asha, the main character of a story Raveena herself wrote. The concept is an album that reflects the history of South Asian and Western collaborations, from the infiltration of South Asian sounds into American pop of the ‘60s and ‘70s, through the early ‘00s and the Bollywood sampling in mainstream r&b.
The record is quite distinctly separated into two parts by spoken word interlude The Internet Is Like Eating Plastic, followed by intermission Arrival to the Garden of Cosmic Speculation. As Raveena says in her letter for the album release, even if the album is meant to be listened to in order, from start to finish- like all albums are unless stated otherwise by the artist, may I add- “if you want to dance, listen to the first half. If you want to be meditative and soft, listen to the second half, post intermission.” And that gives you a crystal clear picture of the sonic experience that is Asha’s Awakening.
Raveena’s love for Bollywood and r&b is evident in the first half, creating a seductive blend of sound reminiscent of the early ‘00s that you can’t help but move to, heard across laidback, yet playful tunes like earworm lead singles Rush and Secret (feat. Vince Staples, whose presence works so well on the song), incorporating spatial elements like bird chirps and handclaps (Magic, Kismet), adding to the organic feel of the productions and even delving into groovy indie rock adjacent styles (Kathy Left 4 Kathmandu, Mystery) with the addition of traditional Indian instruments. In her letter, Raveena also makes a point of the different direction she took with this record and talks about rebirth, yet the second half of Asha’s Awakening doesn’t stray too far from her 2019 debut, Lucid, with delicate, soothing vocals sprinkled over ambient, serene instrumentals, although this time completed with a thirteen-minute guided meditation by Raveena herself as a finale to a record dealing with topics of healing, personal growth and celebrating life.
Throughout the album, there are several moments which make it evident that Asha is a very self-aware character and point towards the camp factor of the release, that according to Raveena “is meant to poke fun at certain tropes of Bollywood and Indian spirituality.” It is a joy to listen to, although maybe stretches out a little bit more than it needs to in its duration. The instrumentals are definitely a strong asset of this record and will transport you to Asha’s “garden of cosmic speculation” as soon as you press play, that is for sure.
“Only way I can love is to put it all on the line.” (Love Overgrown)
Stromae – Multitude
“The Alors on danse guy that plays drunk in his music videos?”, you ask? Precisely. Following what certainly were two ear-catching lead singles (2021 Santé and 2022 L’enfer), it would be weak to simply say Belgian artist Stromae’s third album after nine years of absence from the spotlight did not disappoint. On Multitude, the singer-songwriter and producer whose lyrics are typically not afraid to be acutely political with an intensity that can be felt even from listeners who don’t entirely understand French- and even on chart-topping uptempo dance hits- is now an artist far from the one-hit wonder projection and with a particularly unique point of view that makes this album stand out among 2022 releases.
It is a triumphant return and opening track Invaincu represents that well. With choral chanting straight out of ‘The Lion King’ soundtrack, a recurrence throughout the album, as well as Stromae’s theatrical, charismatic, in this case also aggressive delivery and production- which he is credited for on the vast majority of the songs- that feels wholly organic, it sets a tone of preparation for battle or rather, the celebration of victory. The theme alludes to a glorious emergence from a period of personal struggle for the artist- recovering from malaria and the psychological aftermath of medication used to treat it- simultaneously relevant at the time of a deadly global pandemic. He offers a perspective on the latter in lead single Santé (“health” in French), interested in the profession of essential workers- “those who don’t celebrate”- whose task is to ensure others’ well-being, often not receiving the humanity they deserve in return. The track is a feast, featuring a squawky synth line and the engaging rhythm of a slightly delayed tempo- or the illusion of, forgive me for not being a classical musician- that feels like desperately trying to catch up to something- if Stromae and the dancers’ running movements in The Tonight Show performance video of the song are also anything to go by.
There is honestly so much more I could say, but for the sake of this post, I am trying to keep this as short as I can. The album bursts with theatricality. The strong percussion instruments all throughout give it a sort of palpable epicness. The dry strings of Fils de joie, that hypnotizing wind instrument in Pas vraiment, the interjections of grand, piercing choral chants in L’enfer- juxtaposing Stromae’s confessional tone as he sings about having suicidal thoughts and thus, perfectly illustrating a chaotic headspace- the pivots from europop to reggaeton to hip hop, through soundscapes equally as dreamlike as they can be hostile and Stromae’s actor-like charisma when taking on the roles of different characters to get his messages across are just a few of many things to keep an ear out for while visiting this project.
“As long as I'm alive, I'm undefeated.” (Invaincu)
ROSALÍA - MOTOMAMI
Wow. Okay. As soon as you press play on the first track of this album you know what you’re in for. And that is- literally and metaphorically- everything. SAOKO- referencing Wisin and Daddy Yankee’s 2004 Saoco- is an explosive opener, featuring free jazz percussions, a killer synth bassline and Rosalía’s confident delivery over lyrics all about transformation. Indeed, this album does display a transformation for the Spanish 29-year-old artist, as she returns from her hugely successful 2018 release- flamenco, electronic and r&b fusion- El Mal Querer, with a more global approach to her music, full of grit, humor, sexuality and personality.
MOTOMAMI- MOTO being the “aggressive side of a woman” and MAMI being “more connected with nature,” as she explains in i-D interview, adding that ‘moto’ in Japanese means “harder”- is packed with references to Rosalía’s influences and genres she dabbles in throughout the album, namedrops of artists in those lanes, as well as pop culture icons and moments. The genre-blending- or defying- is kind of insane; reggaeton, bachata, flamenco, electro, in various combinations, all while the sixteen-track order switches between- frankly- ass-shaking bangers and gut-wrenching ballads, on themes of fame, sex and heartbreak. And it’s all pop.
A notable highlight of the record is HENTAI, named after the triple-X manga genre, as well as composed and produced with the help of Pharell Williams- also a collaborator on one of my favorite cuts, title song MOTOMAMI- with which Rosalía set out to make a Disney-style ballad that juxtaposes its sonically delicate disposition with explicitly sexual lyrics. That contrast is a defining element for the album. Rosalía makes her way through the songs sometimes with deliberate distorting effects over her vocals and sometimes belting loud and clear, sometimes swaggy and punchy and sometimes dainty and vulnerable to a chilling degree. Several moments on the record will remind you of Charli XCX and SOPHIE’s avant-garde pop collaborations and others of Wong Kar-Wai soundtracks.
If you couldn’t sense that she’s here to at least stick around for a little while longer, you could perhaps think of the closing track, SAKURA, as a swan song of sorts. Rather, it’s Rosalía’s testament to being at peace with the idea of life’s fleeting nature and impermanence. “I know I’m not going to be a pop star all my life,” she tells i-D. “I love saying that. I love knowing that.” On the track, she sings like she’s bleeding, over audience cheers and chants of her name, using the Japanese flower and symbol of brief beauty as a metaphor for the ephemerality of her pop star status.
As somebody who has been listening to a variety of genres and especially pop music over the years, I find myself having come to appreciate an artist who can do “unpredictable” well, stretching boundaries while bringing their very own unique point of view to their craft and allowing it to be the thread that ties their releases together. Give MOTOMAMI a listen, if you haven’t already and I’m pretty sure you’ll hear what I mean.
“Flames are beautiful because they're not afraid to burn / And fire is beautiful because it breaks everything” (SAKURA)
Red Velvet – ‘The ReVe Festival 2022-Feel My Rhythm’
Kicking off a promising project of multiple seasonal comebacks within the year, K-pop girl group Red Velvet become the “queens of spring”, sampling Bach’s Air on the G String over an intense trap beat in pop dance title track, Feel My Rhythm.
Samples of classic orchestral pieces are no strangers to SM Entertainment’s catalogue, given the likes of H.O.T’s 1999, I yah! (Mozart’s Symphony no. 25 and Beethoven's Moonlight Sonata) or TVXQ!’s 2004, TRI-ANGLE (Mozart’s Symphony no. 40), although have certainly never been applied with such a fun and cheerful approach in mind. There is no doubt as to why Red Velvet who, over their so far 8-year-old career, have proven themselves to be musical and conceptual chameleons, making creativity, experimentation and duality (as their name itself suggests; “Red” for their cuter, pop side and “Velvet” for their mature, r&b adjacent cuts) characteristics that speak to their identity as a group, would be the perfect candidates to tread this slightly new ground.
An interesting sidenote here would also be that the classical inspiration extends to the teasers and album design of the release, with versions “calmato” and “capriccioso” named after directions in music, incorporating ballet and Rococo aesthetics and a music video full of references to different art movements and famous paintings- most notably, Ophelia by John Everett Millais and The Garden of Earthly Delights by Hieronymus Bosch.
Aside from elegant string melodies contrasted by playful metallic clinks and clanks, a bass that cannot be contained and isolated transition synths that marry the human to the digital, Feel My Rhythm also features prominent, emotive major to minor key change moments- a technique not new to Red Velvet’s discography, heard in songs like Ice Cream Cake, Power Up and more- that push and pull the song in and out of the magical world the members invite the listener to with airy, whimsical vocals. Fans accurately pointed out that the song sounds like a mix of previous title tracks Psycho and Power Up, in the way it combines the classical sound and lightweight, uplifting pop- the Red and the Velvet. Huge props to the producers of this track, for- not only making use of Air on the G String so creatively, interlacing various parts of it and not just the main theme with the pop production, but also- managing to bring those elements together in a way that makes Bach’s piece so accesible to the pop-loving general public. It’s not everyday you get to hear a song that sounds nostalgic and futuristic at the same time.
Contrary to popular opinion, I have to say Rainbow Halo is my favorite b-side of this release, thanks to its addictive saxophone and laidback, feel-good melody that makes it a “driving with the windows down” kind of song. Another highlight of the album is its finale, pop ballad In My Dreams, a song straight out of a fairytale, with an explosive chorus and the heart-wrenching hook line of “In my dreams, you love me back” that the members take turns expressing in their own unique ways.
When it comes to Red Velvet, I often think of a sentence from an essay a Korean fan wrote about the group that went viral a few years ago. It reads something along the lines of "Red Velvet do not ask to be loved." Whether the concept is cute or mature there is an agency to their performance, a charm you can’t help falling in love with. That statement rings true on every release.
“Sometimes good, sometimes bad and ugly / Though, I love me” Good, Bad, Ugly
Kilo Kish – AMERICAN GURL
AMERICAN GURL is a pop record and Kilo Kish’s best project to date. After leaning more towards electronic productions for her latest releases, the multidisciplinary artist opts for clearer vocals, more energetic instrumentals and less surprises on her sophomore LP, which is staged as a retro arcade game and centers around themes of personal freedom, identity, the music industry’s restrictive systems and success.
All the fun is still there though, as the album progresses through a variety of sounds and moods, from the breezy synth and strong syncopated beat of title song AMERICAN GURL to the breakbeats and chanty hooks of CHOICE COWBOY and the mellow, dreamy TV BABY V.2 that features an electronic outro. Juxtapositions of shiny synths and stark 808s are prominent all throughout the tracklist, perhaps getting slightly repetitive towards the second half, but overall creating a soundscape that feels fresh and enjoyable nonetheless. The occasional “plip plop” arcade sounds chiming in at the end of several songs are also a funny addition that made me giggle on my first listen.
My personal favorite here is DISTRACTIONS III: SPOILED ROTTEN- a follow-up to two tracks from Kilo Kish’s 2016 debut, Reflections in Real Time- one of the most interesting cuts production-wise with heavy 808s, a lurky bassline and glitchy effects cutting things off here and there, as the artist sings “I ain’t shit but I can pay to fix it” and “what will it take to satisfy?” in a passive aggressive tone, also with a visit from Vince Staples who hilariously does more here than on the track that actually features his name in the credits; lead single NEW TRICKS, where Kilo Kish delivers laidback, whispery, poetic raps over his funny, exaggerated adlibs, as various angry percussion, siren and synth sounds slap against the beat.
On NEW TRICKS, Kilo Kish tells NYLON she “was inspired by the old quote warning never to bite the hand that feeds you. And though it provides, I feel yanked around by the players, trends, and expectations of our age and industry. Ever-wanting to bite, question, and change.” Of the album title, she says: “It’s labeling me as a product of my surroundings and what I've been taught to value.” You can call it a concept album. One that for the most part certainly hits the mark.
“America, the land of pretty people and monsters.” (NEW TRICKS: ART, AESTHETICS, AND MONEY)
If you made it to the end, I want to buy you a muffin. I hope this was an enjoyable read, that maybe you learned something new like I did during the writing process and if you decide to give any of these releases a listen, I hope the music resonates with you.
My no1 favorite track from each album I mentioned has been added to the ‘Of The Moment’ playlist.
Comments are always appreciated! Feel free to reach out to me via email for literally anything, as well. I would love to hear from you!
Have a wonderful weekend, month, spring.