What a year! Music is, of course, an entirely subjective art form so opinions may vary significantly depending on your taste – but for me personally, 2022 was the best year for new music in quite some time. There was no shortage of exciting releases to anticipate throughout the year, including a few long-awaited comebacks from some of my favorite artists.

So without further introduction, let’s dive in.

10. TOBACCO – Skids & Angels

It feels really weird to rank a new TOBACCO record this low. Generally, any time he comes through with a new release, it ends up at or near the top of my list. But while Skids & Angels is a unique and enjoyable listen, I’m not loving it to the same extent that I usually love his music. To be fair, the album just came out a couple of weeks ago and I’m still wrapping my head around it, so I wouldn’t be surprised if this ranking seems too low in the future. For now though, I can’t place it any higher than this.

Skids & Angels is an instrumental record, lacking TOBACCO’s signature warped vocals. It feels more IDM-influenced than anything he’s done previously, with a focus on skittish drum breaks that would make Aphex Twin proud. There’s also plenty of the bright, whirring synths and hissing tape distortion that fans have come to expect from TOBACCO.

Tracks such as “The Black Album,” “Giff Breed,” and “Intimacy Coordinator” are all face-melting bangers. But too much of the album simply drifts along without really grabbing my attention and the vocoder is sorely missed. This is still one of the better records to come out this year, but it ranks at the bottom of TOBACCO’s deep discography for me.

9. Domi & JD Beck – Not Tight

This is one hell of a debut record and the best jazz album I’ve heard in several years. Keyboardist Domi Louna and drummer JD Beck are both absurdly talented musicians. They may look like they’re still in high school, but don’t be deceived – these two have the kind of chops that most veterans could never achieve even with decades of practice. To watch the two of them jam on stage can only be described as euphoric.

On their first album, the duo keep their jamming to a minimum, focusing on compact songs that often incorporate vocal hooks. As a result, the record doesn’t quite capture the excitement of their live shows. However, it’s still a work of dizzying musicianship that’s enhanced by an incredible list of guest stars.

Thundercat adds a smoldering bass solo to the title track, while Herbie Hancock lends his legendary presence to album highpoint “Moon.” Other guests include Anderson .Paak, Mac Demarco, Kurt Rosenwinkel, Busta Rhymes, and Snoop Dogg. With that kind of support, it’s thrilling to imagine what these young and incredibly talented instrumentalists might do next.

8. Shintaro Sakamoto – Like a Fable

The fourth solo album from Shintaro Sakamoto delivers more of the experimental lounge-pop fans have come to expect from him. Perhaps because his lyrics are all sung in Japanese, the singer/songwriter/multi-instrumentalist doesn’t have a very large following in the US. That’s a shame, because Sakamoto consistently delivers quality records and Like a Fable is no exception.

From the distorted trombone stabs on the opener to the sugary backing vocals on the title track, this is an album filled with subtle hooks that will slowly lodge in your brain. Depending on the song, you’ll also hear lap-steel guitar, flute, saxophone, and more. With its combination of uniquely layered instrumentation, funky grooves, and quality songwriting, Like a Fable has a little bit of something to please everyone.

7. The Mars Volta – The Mars Volta

The return of The Mars Volta after a ten-year hiatus is one of the most significant musical events of my lifetime. Finally getting to see them live was a dream come true, and returning to their music after a long break allowed me to discover a whole new level of appreciation for their discography, elevating them into the top tier of my favorite artists. Albums such as Frances The Mute, Amputechture, and Deloused in the Comatorium are some of the most challenging, yet rewarding, pieces of music that have ever graced my eardrums.

Having said all of that, I can’t let my excitement about the band’s return factor into my evaluation of this new self-titled album. And while it’s a strong effort that ranks among the year’s more enjoyable listens, it’s not a transcendent masterpiece like the records listed above. In all fairness, that seems largely by design – the dynamic duo deliberately challenged themselves to write short, concise songs with no frills, the exact opposite of what they’re known for and what their fans expect. The fact that not a single track on here runs even five minutes long is downright shocking for longtime listeners, and honestly a little disappointing.

At the same time, I salute Cedric and Omar for trying something new and refusing to allow anyone to define their sound. And when you consider this album in the context of its creators’ intentions, it’s actually damn good. The hooks are infectious from beginning to end and none of the tracks are quite as simple as they first seem, with deceptively complex instrumentation and subtle production touches revealing themselves on repeat listens. The lyrics are also more direct and emotionally poignant than anything Cedric has written previously.

Though it doesn’t deliver the visceral energy and mind-blowing experimentation I’ve come to expect from The Mars Volta, this is still a beautiful record that hits hard when you’re in the right mood for it.

6. Porcupine Tree – Closure/Continuation

When I was in middle school, I listened to almost nothing but progressive rock and Porcupine Tree was my favorite band. My tastes have shifted quite a bit since then and I don’t listen to the group often anymore. However, I still have a deep respect and appreciation for their music, not to mention a powerful sense of nostalgia – throwing on one of their records instantly takes me back to the feeling of being a moody teenager.

So when I heard Porcupine Tree was unexpectedly reuniting after a thirteen-year hiatus, I was both excited and nervous. On the one hand, I would finally get to experience a new album and tour cycle from a band that means a lot to me. On the other hand, I worried that their music wouldn’t feel relevant in 2022, or that the group would sound rusty after so many years apart.

I needn’t have worried, as Closure/Continuation is arguably the best record in Porcupine Tree’s large discography. It’s certainly their tightest and best-produced album, running a perfectly-paced fifty minutes and layered with subtle textures from keyboardist Richard Barbieri that can only be heard clearly on headphones. Meanwhile, Steven Wilson’s voice sounds as haunting and earnest as ever, while Gavin Harrison remains arguably the best drummer alive. Listening to this album, you would never know that the band had been apart for so long.

Opening track “Harridan” feels like a perfect summation of everything Porcupine Tree does well, taking the listener on an 8-minute journey that starts as a bass-heavy groove and explodes into an anthemic chorus, diverting into sections of head-banging heavy metal and gorgeous vocal harmonies before circling back to the hook. “Dignity” and “Chimera’s Wreck” showcase the band at their most classically prog-influenced, while “Walk The Plank” may be the weirdest and trippiest song they’ve recorded.

If you’ve never listened to Porcupine Tree, this is a great place to start. And if you’re a long-time fan of the band, have no fear – this album feels like coming home.

5. Panda Bear & Sonic Boom – Reset

This isn’t the first time that Animal Collective’s Panda Bear and Spacemen 3’s Sonic Boom have worked together, but it’s the first time they’ve released an official collaboration record. Thankfully, it doesn’t disappoint in the slightest, as Reset finds both of these modern psychedelic legends in top form, delivering an album that’s sure to please hardcore fans of both musicians.

The tracks are built primarily around looped samples from old soul and doo-wop songs, such as The Everly Brothers’ “Love Of My Life” and The Drifters’ “Save The Last Dance For Me.” This lends the record a sense of comforting nostalgia, taking the listener back to a time when life was simpler and happier. These loops offer the perfect backdrop for Panda Bear’s singular golden harmonies, resulting in arguably his most memorable release since 2011’s Tomboy (which Sonic Boom co-produced).

This isn’t a Panda Bear solo record, though. In addition to creating the loops that serve as the foundation of the album, Sonic Boom also harmonizes with Panda on several tracks and even sings lead on a few. It feels like a true collaboration, with both musicians making their stamp and contributing equally to the finished product. If your eyes don’t pop out of your head listening to the soaring harmonies of “In My Body” or the head-spinning vocal hocketing on “Danger,” you might want to double-check that your ears still work.

4. Toro Y Moi – Mahal

Toro Y Moi has been on a hell of a roll for several years now, consistently coming through with great albums that all sound totally different. Mahal is yet another stylistic departure for the singer/songwriter/producer, combining elements of rock, funk, jazz, and more into a psychedelic stew that never fails to hold your attention.

Mahal is a concept album of sorts, taking the listener on a Fear and Loathing style road trip that they’ll never forget. The record flows seamlessly from top to bottom, with the sounds of a revving engine and distorted snippets of radio broadcasts serving as mesmerizing transitions. It’s alternately the most diverse and cohesive Toro Y Moi release to date, rapidly flipping through genres without ever losing its warm, laid-back mood.

This is an album that demands to be listened to all the way through, but some highlights include the bursts of saxophone on “Goes By So Fast,” the transcendent vocal melodies on “Clarity,” and the explosive guitar solo on closing track “Days in Love.” With its memorable songwriting, dynamic instrumentation, and exceptional production, Mahal makes a strong case to be recognized as Toro Y Moi’s defining work.

3. Malibu – Palaces Of Pity

The second release from French singer/producer Malibu (who also releases music as Belmont Girl and DJ Lostboi), Palaces of Pity is as gorgeous and majestic as music gets. Inspired by the ceaseless ebb and flow of the ocean’s tides, Malibu’s music similarly washes over you in a way that feels simultaneously calming and overwhelming. Each track is built on a wall of droning synths and pulsing sub-bass, with unfathomably angelic vocals soaring over the top.

This is the kind of music that can move a person to tears – it certainly has achieved that effect on me. There’s an emotional quality to the release that feels universal, like Malibu is tapping into all of our collectively shared grief and providing the perfect vessel to let it all out. As a result, the record feels like a cathartic healing experience that will continue to haunt you well after it’s over.

I just wish it was a bit longer. Technically, Palaces Of Pity is an EP, so the 25-minute runtime is adequate, but it leaves me wanting more. If this were a full-length album, it would have a shot at being number one on this list. Regardless, Malibu is quickly rising up the ranks of my favorite musicians and I absolutely can’t wait to hear what she does next.

2. Bjork – Fossora

The queen is back! It’s been a long 5-year wait since her last album (2017’s Utopia), but any amount of waiting would’ve been worth it for an album this monumental. From its opening note to its last, Fossora is a jaw-dropping masterpiece that delivers a little bit of everything I love about Bjork’s music.

You want pulse-pounding beats? Check. How about lavish orchestral arrangements? Yep, plenty of those too. You want chill-inducing vocal performances and raw, unfiltered emotion? This is Bjork we’re talking about, so of course there’s plenty of that. There’s also flawless production and mixing that allows every sound to come through in perfect clarity, with special attention paid to the low end. Whether you blast it through speakers or headphones, Fossora is a total-immersion experience that only continues to sound better with each listen.

The album is also a deeply emotional listen, incorporating universal themes of love, loss, and family. The record’s centerpiece, “Ancestress,” finds Bjork harmonizing with her son to pay tribute to her late mother while closing track “Her Mother’s House” is a stunning duet with her daughter. Best of all is “Allow,” one of the most stunningly beautiful pieces of music I’ve ever heard – seriously, just try listening to that song without getting goosebumps.

I could also talk about the gorgeous string melodies on “Freefall” or the thrilling drum n’ bass explosion that concludes the title track, but this write-up will never end if I try to highlight everything I love about this album. Fossora shows an undisputed master at the peak of her powers, resulting in one of the most memorable and satisfying records in Bjork’s legendary discography.

1. Animal Collective – Time Skiffs

As difficult as ranking all the albums on this list was, I didn’t spend even a moment considering which one would take the top spot. My competition for best album of 2022 essentially ended all the way back in February, when Animal Collective released their first studio album to feature all four members since 2012’s Centipede Hz, a shocking ten years ago. Unsurprisingly, it’s the best thing they’ve done in a long time, feeling like a return to the golden age of the band.

Anyone who knows me is aware that I’m a diehard Animal Collective fan and won’t be even remotely surprised to see Time Skiffs at the top of my list. But while I may be biased as a super-fan, meeting sky-high expectations is no easy thing – that the band was able to deliver everything I wanted while still continuing to surprise and challenge me is nothing short of a magic trick.

The album was recorded remotely during the pandemic, but you’d never know these four guys weren’t in the same room with each other. The chemistry and bond that makes their music so special is felt in abundance, while the production arguably sounds closer to the group’s live sound than any of their previous studio releases. I saw most of these songs performed at Desert Daze all the way back in 2019 and was thrilled to find they lost none of their power in the studio, even after the band had to wait such a long time to record them.

Animal Collective have such a large and diverse discography that it’s virtually impossible for them to please everyone. There are always going to be some fans who want them to repeat certain sounds they’ve done in the past, rather than continuing to experiment and embrace new sounds. But that’s not Animal Collective’s style and they have no interest in catering to fans who only like the old stuff – with this band, you’re either along for the ride or you aren’t. Having said that, if you can’t find something to love in the stirring vocal harmonies, intricate rhythms, and brain-tickling textures of Time Skiffs, then it’s hard to imagine how you ever became a fan in the first place.