{"id":2526,"date":"2022-12-31T12:44:24","date_gmt":"2022-12-31T17:44:24","guid":{"rendered":"http:\/\/pages.vassar.edu\/musicalurbanism\/?p=2526"},"modified":"2022-12-31T12:44:24","modified_gmt":"2022-12-31T17:44:24","slug":"favorite-music-of-2022","status":"publish","type":"post","link":"https:\/\/pages.vassar.edu\/musicalurbanism\/2022\/12\/31\/favorite-music-of-2022\/","title":{"rendered":"favorite music of 2022"},"content":{"rendered":"<p>This month I got my regular biannual dental check-up, where the dental hygienist informed me it had been a year and a half since my last visit. \u201cWhaat?!\u201d I also lost track of the year in putting together this music list. I was preparing to push Jane Weaver\u2019s Flock to the top, having been won over by recently seeing her first U.S. headlining date, when someone reminded me it came out the year before. \u201cAre you sure??\u201d I wouldn\u2019t say 2022 was uneventful per se, but almost three full years into the pandemic, I have new difficulties putting discoveries and other musical events in a proper timeline. I checked the metadata on these albums, though, and they came out in 2022\u2026 I think.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Shabaka \u2013 <i>Afrikan Culture<\/i><\/strong><\/p>\n<p>The British saxophonist also appeared this year with the return of The Comet Is Coming, but these austere, haunting etudes that lean on other woodwinds stayed with me.<\/p>\n<p><iframe loading=\"lazy\" title=\"Shabaka - Call it a European paradox\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/AmCqiuhKtVY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Madeleine Cocolas \u2013 <i>Spectral<\/i><\/strong><\/p>\n<p>I need ambient music more and more, like this Australian album of emotional, unsettling drones layered over intimate piano\/guitar figures and field recordings.<\/p>\n<p><iframe loading=\"lazy\" title=\"Madeleine Cocolas - A Memory, Blown Out\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ehZErlNSMsI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Rich Ruth \u2013\u00a0<i>I Survived, It\u2019s Over<\/i><\/strong><\/p>\n<p>Kosmiche jazz registers the traumas and growth to be found in these times.<\/p>\n<p><iframe loading=\"lazy\" title=\"Rich Ruth - Older But Not Less Confused (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2IuUm2FfRKc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Weyes Blood \u2013 <i>And In The Darkness, Hearts Aglow<\/i><\/strong><\/p>\n<p>Natalie Merling has been in the Karen Carpenter\/soft rock zone for a few albums, waiting for the further development of her songwriting talents. It arrived!<\/p>\n<p><iframe loading=\"lazy\" title=\"Weyes Blood - It&#039;s Not Just Me, It&#039;s Everybody (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/3g7BSnavHH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Brian Eno \u2013 <i>Foreverandevernomore<\/i><\/strong><\/p>\n<p>Eno returns to vocals for a chilling, beautiful album about climate collapse.<\/p>\n<p><iframe loading=\"lazy\" title=\"Brian Eno - There Were Bells\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-gH-acWKpNY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Dreadnought \u2013 <i>The Endless<\/i><\/strong><\/p>\n<p>I felt this progressive metal band from Denver in the year when Kate Bush \u201cRunning Up That Hill\u201d returned to the charts.<\/p>\n<p><iframe loading=\"lazy\" title=\"DREADNOUGHT - Gears Of Violent Endurance (official video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fl2KnUy3hdk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Modern Studies \u2013 <i>We Are There<\/i><\/strong><\/p>\n<p>I loved discovering this mild-mannered book group from Scotland and their album of refined, probing reflections.<\/p>\n<p><iframe loading=\"lazy\" title=\"Modern Studies - Mothlight (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/IMviRYXUq3U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Moor Mother \u2013 <i>Jazz Codes<\/i><\/strong><\/p>\n<p>The spoken-word vocalist from agitating free jazz group Irreversible Entanglements, Camae Ayewa explores a heady, expansive mix of collaborators, Black musics, and historical source points.<\/p>\n<p><iframe loading=\"lazy\" title=\"Moor Mother - &quot;BARELY WOKE&quot; (feat. Wolf Weston)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Uh37Ca0LF24?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Theo Parrish \u2013 <i>DJ Kicks: Detroit Forward<\/i><\/strong><\/p>\n<p>The techno-house producer flips the DJ Kicks mix series by commissioning all-new recordings by Detroit practitioners of jazz, hip hop, gospel, and electronic rhythms. I won\u2019t forget walking Brooklyn streets while listening to this collection.<\/p>\n<p><iframe loading=\"lazy\" title=\"DJ-Kicks: Theo Parrish - Detroit Forward (Short Film)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/5sxqmJXBZqc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Horse Lords \u2013 <i>Comradely Objects<\/i><\/strong><\/p>\n<p>Generally, \u201cmath rock\u201d is a phrase I refuse to let myself use. Suffice it to say, I get off on the methodical grooves generated by this Baltimore group committed to the compositional use of \u201cjust intonation.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Angel Olsen \u2013 <i>Big Time<\/i><\/strong><\/p>\n<p>Big feels on a big album by Americana\u2019s belle of the ball.<\/p>\n<p><iframe loading=\"lazy\" title=\"Angel Olsen - All The Good Times (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ZjXQWZryxOM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Messa \u2013 <i>Close<\/i><\/strong><\/p>\n<p>Does the Italian metal band still call their style \u201cscarlet doom\u201d? Here Messa electrify the oud to absorb some kind of Mediterranean\/middle eastern inspirations.<\/p>\n<p><iframe loading=\"lazy\" title=\"MESSA \u2013 Pilgrim (OFFICIAL VIDEO)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/o6qFXKrI7Tw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Khruangbin &amp; Leon Bridges \u2013 <i>Texas Moon<\/i><\/strong><\/p>\n<p>Khruangbin played one of my concerts this year, but their EPs with neosoul singer Leon Bridges inhabit a husky, sexy musical world all of their own.<\/p>\n<p><iframe loading=\"lazy\" title=\"Khruangbin &amp; Leon Bridges - B-Side (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/CgugkEB-q_Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Shilpa Ray \u2013 <i>Portrait Of A Lady<\/i><\/strong><\/p>\n<p>Me too, says the New York rocker. Strap in and sit down.<\/p>\n<p><iframe loading=\"lazy\" title=\"Heteronormative Horseshit Blues\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/DBP2h7_pZxs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Richard Dawson \u2013 <i>The Ruby Cord<\/i><\/strong><\/p>\n<p>Progressive folk rock for the ages \u2013 I can\u2019t recall the last time I encountered a 41-minute opening track.<\/p>\n<p><iframe loading=\"lazy\" title=\"The Hermit\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/iXfDNVcUA90?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Bonnie Trash \u2013 <i>Malocchio<\/i><\/strong><\/p>\n<p>It turns out I still like goth rock! These sisters from Ontario keep theirs simple, torchy, and rockin&#8217;.<\/p>\n<p><iframe loading=\"lazy\" title=\"Bonnie Trash \/\/ Silence Is A Killer (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/KvDepn_8TLo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Kelley Stoltz \u2013 <i>The Stylist<\/i><\/strong><\/p>\n<p>The music lifer from San Francisco comes clean about his schtick with the title of his 17th album.<\/p>\n<p><iframe loading=\"lazy\" title=\"Your Name Escapes Me by Kelley Stoltz\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/3dG33O4DSDM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Johnny Marr \u2013 <i>Fever Dreams Pts 1-4<\/i><\/strong><\/p>\n<p>If we\u2019re gonna give mobile Radiohead unit The Smile a pass for their very familiar-sounding debut album, then I\u2019m going to wallow pleasurably in Johnny Marr\u2019s very familiar-sounding alt-rock.<\/p>\n<p><iframe loading=\"lazy\" title=\"Johnny Marr - Spirit Power and Soul (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/qeqBn3BAMag?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This month I got my regular biannual dental check-up, where the dental hygienist informed me it had been a year and a half since my last visit. \u201cWhaat?!\u201d I also lost track of the year in putting together this music list. I was preparing to push Jane Weaver\u2019s Flock to the top, having been won over by recently seeing her first U.S. headlining date, when someone reminded me it came out the year before. \u201cAre you sure??\u201d I wouldn\u2019t say 2022 was uneventful per se, but almost three full years into the pandemic, I have new difficulties putting discoveries and other musical events in a proper timeline. I checked the metadata on these albums, though, and they came out in 2022\u2026 I think. &nbsp; Shabaka \u2013 Afrikan Culture The British saxophonist also appeared this year with the return of The Comet Is Coming, but these austere, haunting etudes that lean on other woodwinds stayed with me. &nbsp; Madeleine Cocolas \u2013 Spectral I need ambient music more and more, like this Australian album of emotional, unsettling drones layered over intimate piano\/guitar figures and field recordings. &nbsp; Rich Ruth \u2013\u00a0I Survived, It\u2019s Over Kosmiche jazz registers the traumas and growth to be [&hellip;]<\/p>\n","protected":false},"author":308,"featured_media":2527,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/2526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/users\/308"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/comments?post=2526"}],"version-history":[{"count":1,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/2526\/revisions"}],"predecessor-version":[{"id":2528,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/2526\/revisions\/2528"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/media\/2527"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/media?parent=2526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/categories?post=2526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/tags?post=2526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}