An excellent year for music is coming to an end. Some fantastic records have seen the light, in forms of debut, sophomore, third or even comeback albums. The geopolitical tremor we lived in felt instant and necessary in most of them, while a certain will and wish to escape and create alternative worlds also flourished. It's indeed the year where music couldn't be as odd as reality, no matter how hard they tried.
I'm immensely grateful for all the beautiful moments I spent listening to more than two hundred of them, and it's a pleasure for me to catalog and create this list. These are the 50 records I liked the most from this year.
I'll present them in five different posts, ten by ten, until I reach the most important one.
Here they are:
50. Phoebe Bridgers - Stranger In The Alps
Bewitching indie folk music for the taciturn and solitaire.
49. Mitú - Cosmus
Enigmatic cumbiatronic record that paints landscapes with psychedelia and charm.
48. Here Lies Man - Here Lies Man
Unsyncopated afrometal jams that rattle and dismantle grace and joy.
47. Kelly Lee Owens - Kelly Lee Owens
Astounding fusion between ambient and experimental techno with lush results.
46. Myrkur - Mareridt
Haunting medieval black metal/folk that's as eerie as comforting.
45. The Horrors - V
Sassy, dirty record that fuses industrial rock and electronic to the verge of claustrophobia.
44. Richard Dawson - Peasant
Magnetic freak folk collection of caustic, dystopian, medieval songs.
43. Dirty Projectors - Dirty Projectors
Unapologetic, weird break-up record that doesn't confront as much as it loors.
42. SZA - Ctrl
Triumphant R&B album that transcends space and time to reach out for the stars.
41. Sorority Noise - You're Not As _____ As You Think
Dumbstruck acoustic songs permeate with raw truths and a clever take on everyday life.
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