As I’ve said before, ranking art is not only meaningless, it is a violation. Art cannot be quantified. Beauty contests know nothing of beauty, only of contests. Ranking art reduces it to an industrial product.
But savoring art, basking in beauty, that is of real importance. This is where art challenges and changes us. This is where the subjectivity of art turns us into subjects while numbers turns it into objects and us into consumers. As Dostoevsky famously wrote in The Idiot, “Beauty will save the world.”
Because art has its flavors, we each have our favorites based on our tastes — tastes which art challenges and expands through exposure over time. And this list, presented alphabetically, is of my favorite albums of 2022 — albums that challenged and expanded me. Yes, it’s subjective. But it’s supposed to be. Art, remember?
Beach House – Once Twice Melody
The first purchase of the year arrived on January 5. This double album is really four EPs, each side telling its own musical story. With their characteristic dreamy synths and vocals, this is more of an album to feel through than to think through.
Black Country, New Road – Ants From Up There
My son, Josiah, had been playing BCNR songs for me for a couple years, but I hadn’t been buying in. But as album release drew near, the new songs began to grab hold of me. Once I’d bought the vinyl, I couldn’t take it off my turntable except to rotate through the two discs. So completely infectious. I dreamed these songs. Isaac’s broken voice emotes so powerfully, like an early Win Butler. And knowing he’d had an emotional breakdown and quit the band the week the album released makes the imperfections in his singing that much more powerful.
Envy of None – Envy of None
Frankly, I wouldn’t have known about or bought this album if it hadn’t been for Alex Lifeson’s name attached to the project. But the famous Rush guitarist hides himself so well in this album, he never gets in the way. Despite being backed by aging rockers, young singer Maiah Wynne simply shines. The music intrigues, the voice compels.
King’s X – Three Sides of One
After a 13-year hiatus while the three bandmates worked on solo and other collaborative projects, one of my all-time favorite hard rockers returned with an album that almost matches its magisterial first four. (That’s not to sell this short, because those first four albums are legendary among King’s X fans.) Ty Tabor’s guitars are flawless and an education for any guitarist. I could have done without drummer Jerry Gaskell on lead vocals for the few songs he helms, because Doug Pinnock and Ty are more than adequate here. This is likely their swan song and I’m so grateful it exists.
Amos Lee – Dreamland
The best Amos Lee album since his brilliant Mission Bell, Dreamland connects with joy just as the country was emerging from the darkness of Covid. His concert this summer was excellent, but — dare I say it? — the album itself is better than the live experience. Exquisite guitar and soulful voice. So moving.
Mitski – Laurel Hell
There’s a perfection to her voice that belies the darkness to Mitski’s lyrics. At moments, she sounds like she’s leading worship with an evangelical chorus, as in “Heat Lightning.” In others, she sounds like she’s making a deal with the Darkness itself. The ambiguity is evocative. And so very human. The album title refers to dying while stuck in the inextricable thorns of a laurel, so deadly and yet so beautiful.
Phoenix – Alpha Zulu
Welcome back to the Wolfgang Amadeus Phoenix years. This album was recorded in the Louvre. Yep, the most famous art gallery in the world. And it successfully recaptures the artistic magic of that place and of their gem from 2009. Johann Sebastian Phoenix?
Spoon – Lucifer on the Sofa
Spoon has been a favorite of mine for two decades now and I’ve greeted each release with expectation. But wow. This album blew away all my expectations. That gritty Britt Daniel voice, matched with that dirty, dirty guitar, mix to make so much soul, so much fun. I’ve seen Spoon in concert twice and look forward to the next show.
John Van Deusen – I Am (Origami) – Vol. 4
My friend Nate has prodded me to listen to JVD for years. To his chagrin, I was finally “introduced” to his music at camp. I purchased Vol. 2 of the I Am (Origami) series on vinyl and loved it. But then Vol. 4 dropped. Where Vol. 2 is very worship oriented, Vol. 4 is so achingly personal. You can feel JVD’s life falling apart as love goes bad. It’s both agonizing and ecstatic at the same time.
Sharon Van Etten – We’ve Been Going About This All Wrong
Consistently solid singer-songwriter, considering her life and family during times of upheaval as the result of pandemic and political polarization.
Weyes Blood – And in the Darkness, Hearts Aglow
This album could have sucked. It’s easy listening with an old school vibe that could have been shmaltzy and bland. Instead, it soothes and hits home at the same time. The album cover reminds me of icons of Mary and the Sacred Heart. And what does Natalie Mering suggest we all need? What is most relevant right now? Mercy.
Jack White – Fear of the Dawn
Jack White is an evil genius. Having ditched his red and black palette of his White Stripes years for a new blue and black scheme, he hasn’t lost an ounce of his guitar wizardry and bizarreness. While lyrically weak, this album soars musically. Another Jack album dropped this summer (Entering Heaven Alive), but its acoustic leanings didn’t do it for me as much as Fear of the Dawn.
Honorable mentions. These are albums I purchased and am looking forward to spending time with but which I simply haven’t given enough attention in order to comment on. (Again, presented alphabetically.)
Arcade Fire – We
Death Cab For Cutie – Asphalt Meadows
Larkin Poe – Blood Harmony
The Smile – A Light For Attracting Attention
Soccer Mommy – Sometimes, Forever
Ty Tabor – Shades