notes on: YEAR IN REVIEW [music]

MEDIUM: Music 

TRACKS: 30

YEAR: 2022

I often say that I could enjoy a stroll through hell if I was given the right soundtrack and that sounds like an apt description of my 2022. Even though I dealt with a steady stream of trials and tribulations, great music illuminated some shitty times and smoothed them over and over again until the memory was more music than moment. Music is an experience for me that transcends any real type of description. It always bleeds into abstractions and emotions and other stuff that I can’t quantify yet. This piece is an expression of three key ideas: I love music, I love music, I love music. 

I painstakingly raked through the thousands of songs I listened to this year with a fine tooth comb and selected 30 songs, limiting it to one per artist, that dropped in 2022 that were exceedingly important to me. Obviously I’m leaving off a ton of songs, here is a short list of honorable mentions: “Walkin” by Denzel Curry, “Blow Me” by Rico Nasty, “God Did” by Jay Z, “Dreamin Of The Past” by Pusha T, “How does it feel” by S.U.R.F. & Z6Saint, “Metro Spider'' by Metro Boomin, “Heatwave” by Raury, “Persuasive” by Doechii, “2010” by Earl Sweatshirt, “Higher” by Ravyn Lenae, “Down In Atlanta” by Pharell Williams & Travis Scott, “Danger” by Lil Baby, “Home (Remix)” by Mike Dimes featuring JID, “No Woman No Cry” by Tems, “History” by 070 Shake, and many more. 

Make sure you take the time to check out the full project of all these projects listed. With no further ado, here is the year in review. 

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 FREE YSL: “Missing Me” by Gunna [DS4EVER] 

The fourth and final installment in Gunna’s “Drip Season” dropped at the top of the year and it completely took over my 2022 Spotify Wrapped with 3 of my top 5 songs of the year being from DS4EVER. Surprisingly though, “Missing Me,”  was not one of those 3 songs. “Missing Me” is a melodic recollection of days long gone and bonds we can’t get back. Gunna mourns a relationship that went by the wayside while celebrating the celebrity, wealth, and status that took its place. There’s an emptiness in his celebration though. He says he hopes she noticed him but he really hopes she’s missing him too. 

After the wrongful incarceration of Sergio Kitchens (not Gunna) for a large chunk of this year, it felt right that this would be the song, because music missed him. 

A Nostalgic Future: “Is There Someone Else” by The Weeknd [Dawn FM]

The Weeknd has allowed himself to be completely consumed by his personas in recent years and his newest offering, Dawn FM, was no different. The persona this time was a grizzled old man, living in the future but nostalgic of the past and sonically, the project was no different. Dawn FM is nostalgic of 80s tech synth radio while afrofuturistic at the same time. The Weeknd’s usual haunting and melancholic vocals found a home with this sound.  “Is There Someone Else” is where all those elements come together most perfectly on the album for me. To be corny, this song is like if “Who Is He (And What Is He to You)?” by Bill Withers grew up on the planet Lovetron instead of Earth. 

Floating in the Sky: “A Simpler Time” by Saba feat. Mereba [Few Good Things] 

Few Good Things is a beautiful album about coming to terms with what you have and recognizing the beauty in it. Saba and Mereba look back at their life in “A Simpler Time” and they see that the happiness they were searching for was always there, even in the little moments. There is both a dichotomy and a unity in their use of trains and planes as images. Happiness lives on both, whether you’re in the sky or earthbound. The melody is seraphic, the slow bubbling beat paired with their soft vocals feels like floating.  

I dream of Megan: “Plan B” by Megan Thee Stallion [Traumazine] 

This rambunctious ass track feels like the exact lane Megan Thee Stallion should be in. If I had a dream of a meg song, this would be it. Her flow is steady, the punchline laden bars hit hard, her cadence is cool, and the beat supports the power in her voice perfectly. “Plan B” has a 90s vibe to it, partially due to its sample of Jodeci’s “Freek ‘N You.” I just feel like she had some shit to get off her chest on this song and she’s talking that shit it to the highest degree. She’s raucous, tough, sexy, profane, confident, funny, sultry, and even vulnerable here. No bra, tight tees, slickback ponytail, feeling like I’m Ice-T. 

Long Found Love: Give You The World by Steve Lacy [Gemini Rights]

Steve Lacy blew the fuck up this year with the release of Gemini Rights and the explosion of “Bad Habit” on social media. I’ve watched Steve Lacy grow up, or I guess I should say I grew up with him over the past near-decade. He dropped a no-skipper and choosing just one song was one of the hardest things I had to do for this project but I feel like the last track was the right decision. “Give You The World” makes me smile, cry, fall, and fly every time I hear it. He slows the tempo down several notches from the rest of the project and as far as sequencing, it follows a voice saying “This, this, this is Love! I finally found it!” at the end of “Sunshine.” “Give You The World” feels like an expression of long found love. I’m not anxious, I’ll tell the truth. 

Building a world: “EAST POINT PRAYER” by Vince Staples feat. Lil Baby [Ramona Park Broke My Heart] 

Location tracks always feel like the creation of a world rather than just a song and I’m biased to anything that’s recreating Atlanta and putting it on a worldwide platform. On a project that’s largely a love letter to Vince Staples’ native Long Beach, “East Point Prayer” is one of the slower offerings. This causes an interesting dynamic with Lil Baby who usually raps over faster beats. Lil Baby rarely misses in my book but I love that he was provided an opportunity to showcase his versatility and he did it well.  

cold: “Spread Thin” by Mariah The Scientist [The Intermission] 

The first note on “Spread Thin” should raise the hair on the back of neck to the roof and send a shiver down your spine, and if it doesn’t, you need to get your pulse checked. The track features Mariah The Scientist’s usual blend of talking and singing coupled with her immaculate lyricism but it’s done perfectly here. More than anything else, it’s a complete earworm. It gets nestled in there and it can’t get out. So you just have chills all damn day. When The Intermission dropped I was pulling an all-nighter because I had an early morning flight back to Atlanta. I cried alone on the train to the airport to this song. The other three songs on the EP were almost equally strong but “Spread Thin” gets the nod for me off the strength of that alone. The song went on to achieve some virality due to a not-so-good TikTok trend. 

feeling like a winner: “PUFFIN ON ZOOTIEZ” by Future [I NEVER LIKED YOU] 

The magic of Future is that most songs feel like a victory lap and he tells you about it in such a decadent and detailed manner that you feel like you’re winning with him. I really just like how much of a winner this song makes me feel like.

Succinct and Distinct: “Do You Miss Me” by PinkPatheress [Take Me Home] 

Soft and fun but somehow painful at the same time? I feel like PinkPantheress has a strong grasp on herself, her fanbase, and her art. The music is succinct and distinct, I can’t wait to see where her sound continues to go from here. 

Maybe The Greatest Song I’ve Ever Heard?: “VIRGO’S GROOVE” by Beyoncé [Renaissance] 

When Beyoncé first dropped Renaissance, I got a few messages asking me to dissect the album and share some of my thoughts about it. While I thought the album was a complete triumph and a sonic beauty, I didn’t feel like I was informed enough on her influences on the project to do it justice in my analysis. It was so far reaching, real, and energetic in its execution that I was a bit intimidated by it. And I still don’t think I am fluent enough in the right language to correctly capture what Renaissance accomplished. But as far as feeling? Around the 4:45 mark of “VIRGO’S GROOVE,” at that moment, I always think this may be the greatest song I’ve ever heard in my entire life. That’s worth more than any technical analysis I can give. And it might not be the greatest song I’ve ever heard but that feeling can bear the weight of whatever the reality may be. 

wrong and don’t wanna fix it: “BAD FRUIT*” by Jean Dawson feat. Earl Sweatshirt [CHAOS NOW*]

Jean Dawson is a new artist to me, he hadn’t been revealed to me until earlier this year. The music though, holy shit. The different instruments on this track combined with the way he and Earl Sweatshirt surf over it gives me new life. The lyrics speak to the part of me that feels wrong that I still don’t want to change or fix. Give his whole album a listen, if you haven’t gotten an opportunity to do so yet. 

On Loss: “Gone Girl” by SZA [SOS]

Gone Girl is familiar. It’s only been released for a few weeks but I feel like I’ve been experiencing it my whole life. And believe me, I have been catching up on lost time. Gone Girl, Gone Girl has left my lips at some point in the day everyday for the past few weeks. I gravitate towards songs dealing with loss. The art of losing isn't hard to master and I feel like I can lose anything. I have lost myself more than anything. “Gone Girl” understands the feeling. Can a song understand a person? I’m not sure. But I felt seen by it. And I felt like it was speaking to me. It was a message I needed to hear, I’ve been trying to hold some things too tight and that’s a way to lose as well. SZA’s lyrics are always amazing and I feel like her vocals are at their best when paired with simpler musical elements. I need your touch, not your scrutiny. More on SOS on the way. 

Fate: “Impala” by Young Nudy [EA Monster]

The week EA Monster dropped, Young Nudy hosted a free concert in NYC and the first 200 people got in. I was literally the 200th person in line. I probably listened to “Impala” 200 times that day, call it fate. 

multiversal madness: “Cash In Cash Out” by Pharell Williams feat. Tyler, The Creator & 21 Savage [single]

“Cash In Cash Out” felt like a multiversal crossover event like Crisis On Infinite Earths or Secret Wars or some shit. 21 Savage and Tyler, The Creator are both professional beat walkers and this is a top tier beat by Pharell. Tyler, The Creator has a superhuman ability to normally have the best verse on whatever song he’s on no matter who else is on the track. In the middle of my first listen during 21 Savage’s verse, I was thinking “man, how the fuck is Tyler gonna top this?” By the middle of Tyler’s verse I was thinking, “holy fucking shit, he topped it.” This is a future classic and it was lowkey slept on. I can’t wait for hip hop heads being born right now to discover this track in 2035. 

Now & Later: “Curtains” by Smino [Luv 4 Rent] 

Smino is the closest thing to a jazz musician we have in rap today. Even when he’s speaking English, it feels like scat singing sometimes. This was on display to the highest extent on this 6-minute opus. It’s layered sonically, it jumps from sound to sound. The song breathes and he is a master of tempo.The outro after the skit pulls me from this life into the next and in that life I’m just a cloud lucky enough to be on my through the most beautiful stretch of Earth there is. I also think “shawty jawbone so strong I can give her a Now & Later she’ll blow a bubble” deserves a Pulitzer Prize. “Curtains” is the type of song I’m constantly hoping for and constantly thankful for. 

Experience: “Boy Bye” by Ari Lennox feat. Lucky Daye 

This felt like an old-school duet. “Boy Bye” is the perfect song to sit alone in a dimly lit room with some smoldering scented candles and close your eyes and bob your head to. Or have sex to it, if you’re into that sort of thing. Ari Lennox’s voice is like being in your lover’s arms. Her voice is like a hug for your ears. I never want to talk while this song is playing. I always want to experience it. Always. 

next in neo-soul: “complexities” by Kapwani [NAKÚPENDA] 

I had the pleasure to interview Kapwani earlier this year before the release of her latest project and she’s a breath of fresh air in music today. Real vocals, real lyrics, real emotional, raw feeling. On first listen, you hear an Erykah Badu-esque sound but the more you listen, you can hear that she’s in a lane completely her own that still manages to honor the groundwork of others in the neo-soul genre. She’s next up and “complexities” is the perfect track to find that truth.

 World Heavyweight Champion: “Kody Blu 31” by JID [The Forever Story]

If rap was wrestling and the title of “best rapper in the world” was passed around like a title belt, JID would’ve held the strap for 2022. He was amazing in all of his features(Home Remix by Mike Dimes blows my mind), was MVP of Dreamville’s collab album, and dropped an impeccable solo album. “Kody Blu 31” is probably the most versatile of all of JID’s work this year and possibly his best as well. The gospel-influenced track does feel like a prayer, a wish, and a rallying cry. It lifts me up. Keep on swinging champ. 

Bad fun?: Spin Bout U by Drake & 21 Savage [Her Loss] 

Her Loss was toxic as fuck and childish and corny at time and Drake has shown no emotional growth whatsoever over the past 15 years of his career but holy fuck was it fun. From the many random subliminals and sneak disses to the bizarre faux marketing scheme. I hate to say it, but I may be a Drake enabler. Most of us are, to a certain extent. Drake walked a lot of beats on this project but this track is possibly 21 Savage’s best performance of the album. “Spin Bout U”’s sample of Oobie’s “”Give Me Your Love” is hypnotic. Good work, good fun. 

Classy: “Come Outside” by Flo Milli [You Still Here, Ho?]

I love fight anthems but in usual Flo Milli fashion, “Come Outside” manages to remain classy and above the fight somehow(even as she provokes any detractors). Flo Milli makes every song feel like a moment. I got a bit more of a bop in my step when I listen to her. Flo Milli’s sound is still in its infancy and I think that’s exciting because she has so many places she could go with it. She has a great flow (lol) and her voice perhaps even better. The sky is not the limit. 

Real: “PRICE OF FAME” by Brent Faiyaz [WASTELAND]

 I was conflicted on whether or not to put “PRICE OF FAME” as Brent Faiyaz’s song (“Angel” being my second choice) because this song leaked on Soundcloud a long time ago. But I stuck to my guns, this is the best song he officially put out in a long time. It’s long, it’s layered, and it lingers but it doesn’t stick… much like the reality of fame that he’s depicting in the lyrics. I was disappointed in some ways by the direction of Wasteland, I felt as though he was writing to expectations rather than to his reality (I know his music is for the bitches and my opinion doesn't matter) but “PRICE OF FAME” was as real as it gets. 

Poetry: “My Good Ghosts” by MAVI [Laughing so Hard, it Hurts] 

I can’t be sure but MAVI’s music feels like he fell in love with poetry far before he thought to pick up the microphone and rap anything. It’s always raw and honest and rooted in something that the rest of the world could connect with. He’s intelligent and thoughtful with his words. I feel like he took his music to another level of his newest project and I have no doubt in my mind that he will continue to do so.  

empty together: “moscato” by Fana Hues [flora + fana] 

Everyone wants to find themselves but what if you find yourself in the wrong place and in the wrong place? I realized earlier this year that getting everything you want in the wrong way is a form of destruction as well. “moscato” sounds like a beautiful and painful recollection of self-destruction. Fana Hues keeps it simple and leaves enough space for us to feel empty with her, rather than just feel empty alone. Being empty together is always better. 

“Element”’s Brother: “Rich Spirit” by Kendrick Lamar [Mr.Morale & The Big Steppers] 

I wrote in-depth about Mr.Morale & The Big Steppers earlier this year and while other songs on this project may hold more artistic merit, I find myself coming back to “Rich Spirit” more than anything else. It feels like the spiritual sibling of “Element” from DAMN. When the project first dropped “Rich Spirit” was like crack in my ears. Bitch, I’m attractive is a powerful parable. 

black boys with guitars making love songs: “Come Over” by Casper Sage [Casper Sage] 

I love the trend of black boys with guitars making love songs. There wasn’t enough of this ten years ago and I wish there was because “Come Over” is a real fucking gem. I needed to grow up with this song and I wish this song was everything in the world to me when I was 16 years old. Casper Sage carries wisdom in his music but the emotions matter more than anything else, as they always do. 

the youth is in good hands: “Shoulder” by Redveil feat. Mekdelawit & Renaissance Mic [learn 2 swim]

Redveil was born in 2004 (or 2003, idk) and he’s making music this fucking good. He hails from PG County, Maryland and it seems the area has aged his taste and talent to be on par with a man twice his age. Redveil could be one of the biggest rappers on the planet in five years time. Everytime I listen to one of his songs, the phrase “the youth is in good hands” soars to the top of my mind. Can’t wait to watch this kid blow up. 

haunted: “meta angel” by FKA Twigs [CAPRISONGS] 

“meta angel” by FKA Twigs is an introspective masterpiece that poses questions about love, pain, and the power of intention. I’ve got voices in my head. The vocals are haunting, the voice inflections stuck with me for hours after I listened for the first time. I swore I started seeing her voice peeking around the corner ready to pop out and scare the shit out of me. 

Not Afraid: “Long Division” by AG Club [Impostor Syndrome]

AG Club is one of the most fun rap acts to debut over the last few years. They aren’t afraid to be delicate and soft and emotional and they aren’t afraid to party and be on some real rap shit. This song is a strong mix of both of those elements and it’s the perfect length for someone to live in a moment. And it’s such a moment. 

drowning and healing: “Lift Me Up” by Rihanna [single]

Rihanna’s return to music in the form of a power ballad in honor of the late (and great) Chadwick Boseman was not something I would have been able to predict in 2019. I enjoyed the song but after viewing Wakanda Forever for the first time, it took my experience with the song to another level. The humming at the beginning is precursor of the pain to come later on. But this wasn’t pain for pain’s sake, mainly I was healing to this song. I healed to this song. That has to be worth something. Chadwick’s death for me, in that year of 2020 has always been conflated for me with that of Kobe’s and with my Grandpa’s. I cried, many times over. I drowned. Then I kept on living and healing. 

Kerry James Marshall: “i’m fine” by Fousheé [softCore] 

I once read in the writings of the esteemed Kerry James Marshall that it is the role of the artist to force relationships between forms that seem incompatible. Isolate, recontextualize, shift scale, shift material, invert. Synthesize! Synthesize! Synthesize! “i’m fine” by Fousheé wholeheartedly captures those ideals to me. She begins with a soft folksy tune and explodes until short bursts of punk-metal expressions that share the truth of her emotions despite what she’s saying in her soft voice. The sounds shouldn’t work together as well as they do but it’s fluid and fluent in the language of the human spirit. “i’m fine” is softcore and an examination of a person trying to keep it all together despite it all.

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So many of my favorite songs are not listed here and I am sure that’s true of all of you as well. I don’t mean to prioritize any song above another, I just wanted to express what went through my mind in my world of music this year. Music has a power over me, it can hold me together and it can break me apart. When I die, I hope God can leave me my ears just so I can hear all these tunes just one more time.

I love music. 

published December 28, 2022