Editor’s Picks: Top 50 songs of 2022 – Part One

Whilst my personal Spotify Wrapped will tell you that all I listened to this year was XTC (guilty!), there was still plenty of time for new music – and what a year it’s been! Old favourites and new discoveries galore – from Manchester to Stockholm, Brussels to Durham – I’ve once again whittled it down to a choice Top 50 for our ‘Editor’s Picks…‘ You can also find all our record reviews of 2022 right here!

Honourable mentions are extended to those who don’t deserve a listing in a DIY music blog, but soundtracked our year just the same – Arctic Monkeys and their terrific new album, Harry Styles‘ wonderful ‘As It Was‘ and that Radiohead spin-off, The Smile.

As we have done previously, we’ve compiled the list in alphabetical order rather than giving one particular artist the coveted number one spot (sorry artists…) Read on, explore, discover for yourself. Part two to follow!

Words: Andy Hughes

7ebra – If I Ask Her
(I Have a Lot to Say / If I Ask Her)

From Sweden with love, 7ebra brings together 25-year-old twin sisters Inez and Ella, hitting the ground running with a signing to PNKSLM Recordings this year and dates supporting the likes of Future Islands. Debut single ‘If I Ask Her‘ is a particularly captivating piece, showcasing the pairing as a real powerhouse duo. Love that haunting organ sound!

Ada Oda – Niente Da Offrire
(Un Amore Debole)

I’ve had this on and off once a week ever since hearing it earlier in the year! Vocalist Victoria Barracato brings such an energy to this snappy, poppy punk number, elevating it to glittering highs. Catchy as anything, it’s impossible not to have a wee butt-wiggle to this.

Charlotte Adigery and Bolis Pupul – Blenda
(Topical Dancer)

Cool as a couple of cucumbers, It’s hard not to love this pairing. On ‘Blenda‘, Belgian-Caribbean vocalist Charlotte Adigéry tackles difficult, every day racism (‘Go back to your country where you belong‘) but in such a joyful sounding way, almost like a mantra, as the Belgique duo hypnotise with proper infectious dance-floor rhythms.

Akusmi – Cogito
(Fleeting Future)

The project of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, the discovery of Akusmi this year proved to be a real treat for us. ‘Cogito‘, from debut album ‘Fleeting Future‘, is a lovely, jazzy instrumental that I’ve often found is the perfect soundtrack for knocking about the city or travelling by train, watching the world go by.

Blacklisters – Why Deny It?
(Leisure Centre)

I’ve always had Blacklisters in my head as an ear-wrecking noise outfit, with an unhinged shouter up front (with good reason – having had my ears blown out many years ago…) Whilst ‘Why Deny It?‘ does rumble off-piste throughout, the main grab here is the stonking groove laid on from bassist Steven Hodson and drummer Alistair Stobbart. Blacklisters at their danciest!

Blacklisters talked us through the record ahead of its release – read it here! You can also read our review of the new record here!

Black Midi – Welcome To Hell
(Hellfire)

On constant rotation since its release halfway through year, ‘Hellfire‘ – the new album from Londoners Black Midi – has had me tickled pink. First single ‘Welcome To Hell‘ signalled there would be epic things to come, the captivating storytelling from vocalist Geordie Greep as much a thrill as their all over the shop, Primus style attack. Private Tristan Bongo discharged, indeed!

You can read our review of ‘Hellfire‘ here!

BODEGA – Statuette On The Console
(Broken Equipment)

Proving the first record wasn’t a fluke (was there ever any doubt?), New York art-poppers BODEGA returned in 2022 with the engaging ‘Broken Equipment‘, another set of inventive numbers to give them a leg up over their contemporaries. With a touch of Blondie about it, ‘Statuette On The Console‘ is a sugary, heart-swelling anthem (and is available in multiple languages, should you need to hear it in Ukrainian…)

David Brewis – The Last Day
(The Soft Struggles)

Anything Field Music, count us in. David Brewis almost goes it alone on forthcoming solo LP ‘The Soft Struggles‘ (out early next year via Brewis‘ own Daylight Saving Records), though still drafts in brother Peter Brewis and some notable contributors (including Sarah Hayes, who put out a record with Peter under the moniker You Tell Me!) ‘The Last Day‘ is a proper treat. Love that brass!

David talked us through the single on its release – read it here!

Alex Cameron – Oxy Music
(Oxy Music)

Drafting in Sleaford Mods own Jason Williamson for a turn, the title track from Alex Cameron’s latest album tackles crippling addiction, but with that mega pop sheen we’ve come to expect from the Aussie artist. Williamson really leans into it, proper putting in a shift to accompany Cameron on what is ultimately quite a moving piece at its end.

Cassels – Charlie Goes Skiing
(A Gut Feeling)

My notes tell me this is the only record on the list with tripe on its record sleeve (though we’ve listened to a lot of tripe over the past 12 months, eh!) – a record that just might be their best yet. ‘Charlie Goes Skiing‘ is a razor-sharp number, proper full strength, capturing Southern sibling duo Cassels at their catchiest.

Cassels talked us through album track ‘Your Humble Narrator‘ earlier in the year – read it here! You can also read our review of the new record here!

The Chats – 6L GTR
(Get Fucked)

A no nonsense approach would best describe the output of foul-mouthed Aussie trio The Chats. Whilst ‘6L GTR‘ is low on the swear count, there’s no getting past that fantastic album title of ‘Get Fucked‘. Revved up, snarling punk that builds on the catchiness of big hitters ‘Pub Feed‘ and ‘Smoko‘.

Cold Comfort – Suck My Blood
(Please Don’t)

With a video from our director of the movement (Tom Brewins of USA Nails), Northwich based one-man-band Cold Comfort near enough kicked off the year with the raging ‘Suck My Blood (Please Don’t)‘, a standalone Double A single to follow his debut EP ‘Weak and Dazed‘. Kicking off the year and kicking our heads in, it’s a proper scuzzy affair that grabs hold and doesn’t let go.

Crack Cloud – Please Yourself
(Tough Baby)

The lead single from their latest opus (the brilliantly titled ‘Tough Baby‘), ‘Please Yourself‘ finds shapeshifting Canadian outfit Crack Cloud at their poppiest, though it’s still ran through their mind-expanding filter. As anthemic as ‘The Next Fix‘ from their thrilling debut, ‘Pain Olympics‘. One an album is good going I’d say!

CROWS – Slowly Separate
(Beware Believers)

A welcome return this year from southern quartet CROWS, new album ‘Beware Believers‘ being their first since ‘Silver Tongues‘ in 2019. Capturing the intensity of their earlier material, ‘Slowly Separate‘ propels the listener forward and hits hard with a proper wallop.

CROWS talked us through the single earlier in the year – read it here!

Deliluh – Body and Soul
(Fault Lines)

I vividly remember seeing Deliluh in an intimate Manchester venue just over a year ago, with early rumblings of ‘Body and Soul‘ having a huge impact, every thud hitting like an explosion of sound. Still as impactful on record, its five minutes are so engrossing, a constant buzzing in the ears as the tension builds.

From the album, last year Deliluh talked us through the single ‘Amulet’ – read it here! You can also read our review of the new record here!

Dilettante – Keep Time
(Tantrum)

Multi-instrumentalist Francesca Pidgeon this year released her debut album under the Dilettante banner and from it, ‘Keep Time‘ is such a swish number. Very much a vibe, the metronome click keeps your head bobbing along to the relentless groove. Love how it builds and builds to a bright shining finish.

Francesca recently talked us through the single – read it here!

Dos Monos – DOG EATS GOD

I discovered Dos Monos a few months back when they supported Black Midi in Manchester – an experimental hip-hop outfit out of Japan, calling to mind both the hard-hitting Gravediggaz and the jazzier stylings and humour of The Pharcyde. ‘DOG EATS GOD‘ really gets under your skin – just the kind of hip-hop we like.

Drahla – Under The Glass

Another return in 2022 from a band we welcomed back with open arms – experimental outfit Drahla from up the road in Leeds. An early single from a yet to be announced album, ‘Under The Glass‘ brings together new material with ideas cooked up in early 2020, the result being a particularly ice cold post-punk number that keeps you on your toes. Solid.

Dutch Uncles – True Entertainment
(True Entertainment)

Oh how we’re glad the Dutch Uncles chaps are back! From their forthcoming new album of the same name, ‘True Entertainment‘ finds the Northern lot in familiar territory – that is a nostalgic, 80s art-pop sound with dancing on the cards. Vocalist Duncan Wallis works his lyrical magic as ever, the quartet getting us all hot under the collar for what’s to come.

Empath – Elvis Comeback Special
(Visitor)

Lovely bit of heart-swelling alt-pop from Philadelphia quartet Empath. In all its fuzziness, there’s almost a dreamlike quality to ‘Elvis Comeback Special‘, the listener lost in the hazy vocal of Catherine Elicson before being awoken by the smash-smash-smash drumming of Garrett Koloski.

Everything Everything – Pizza Boy
(Raw Data Feel)

Where does it end with this lot?! The Northern foursome never put a foot wrong, each new release more varied and just as engrossing. ‘Pizza Boy‘ is a real dance stomper with the daftest of choruses but, as is often the case, its refrain of “I’ll have a coke, I’ll have a Pepsi…” is somehow up there with some of their more memorable lines.

You can read our review of ‘Raw Data Feel‘ here!

Folly Group – I Raise You (The Price Of Your Head)
(Human and Kind)

Having wowed us with their ‘Awake and Hungry‘ EP in 2021 and their ace appearance on the collaborative Metronomy EP from the same year, Folly Group kicked off 2022 with the energising ‘I Raise You (The Price Of Your Head)‘, adding further fuel to the fire that they’re the UK answer to Crack Cloud. A mega turn from the Londoners.

Helen Ganya – Afterparty
(Polish The Machine)

Part Kate Bush, part Siouxsie Sioux, part Big Hard Excellent Fish, ‘Afterparty‘ from Scottish-Thai musician Helen Ganya feels like a constant build, each shift elevating the single higher and higher. Goosebumps as it finally reaches that crescendo.

Gentle Sinners – Face To Fire (After Nyman)
(These Actions Cannot Be Undone)

From the brilliant collaboration between Aidan Moffat (Arab Strap) and James Graham (The Twilight Sad), ‘Face To Fire (After Nyman)‘ is such a wonky, engaging bop. A proper head-jammer with the most Scottish vocal delivery going, it’s an absolute beast.

Grave Goods – Come
(Tuesday. Nothing Exists.)

Love this nails single from Grave Goods, bringing together members of PINS, Girls Names and September Girls for an explosive power-trio. Lead single and opener from their debut album ‘Tuesday. Nothing Exists.‘, ‘Come‘ is a proper sharp, gnarly noisy punk number that threatens to teeter into chaos.

You can read our review of ‘Tuesday. Nothing Exists.‘ here!

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Live Review: Black Midi at New Century Hall in Manchester 13 November 2022

Words: Andy Hughes

I was gutted earlier this year when the planned Black Midi pool tournament in Leeds didn’t go ahead. The perfect follow up to their ice cream crusade on the streets of London, selling frozen goods and copies of their new album ‘Hellfire‘ out of the back of a branded ice cream truck, the Brudenell Social Club was the pool hall destination, in between afternoon and evening performances.

Unfortunately the scheduled and rescheduled Leeds dates fell through, silver lining though – it did mean we’d get the chance to catch them a bit closer to home and in the process, finally get inside one of Manchester’s most exciting new developments.

Known for its original sprung dance floor and fab disco lit ceiling, in its heyday it featured performances from the likes of Jimi Hendrix and Tina Turner. Since re-opening its doors this year, the New Century Hall has already featured performances and appearances from John Cooper Clarke, Los Bitchos and The Charlatans. There’s no getting over the hall and the hypnotic ceiling lights once inside, and it instantly feels like such a special venue (though getting out of there later on had an unsafe feeling, the bottleneck approach something which feels like it needs addressing).

If you don’t want to pay £6.50 for a pint of Madri (we didn’t), you can relive your youth with a can of Red Stripe for two quid cheaper. With a red and white can in hand, we settled in for the support and loved everything about Dos Monos – a quartet out of Tokyo. Everyone else in the room seemed to be on the same page too, embracing the wonky hip-hop ensemble of fashionistas, the band cooking up a mad mix of Crack Cloud, The Pharcyde and Gravediggaz. With live sax too, they created a proper energy from on stage that filtered through the room – pushed even further at points in the set when the lad on the decks at the back joined the others up front to manically spit on the mic.

Confetti drifted down from the ceiling as the room filled up, no doubt remnants of the three-night Confidence Man residency from the week just gone. Lots of nippers were running around in their Black Midi shirts, buzzing and looking like they’ve all started bands about to sign to Speedy Wunderground.

Before too long, an elaborate Michael Buffer style ring announcement brought on “super colossal weight champion of the world” Black “Hellfire” Midi, highlighting their “3.5 million wins” (all by K.O.) amongst other accolades. The crowd were pitting almost instantly for debut album ripper ‘953‘, as the four on stage fired through the frantic first 60 seconds or so. The spotlight captured guitarist and vocalist Geordie Greep as he belted it out before the lights went haywire and the band wigged out.

I managed to get a good view of drummer Morgan Simpson to catch shotgun blast drumming in deafening ear-shot. He’s got such a great bounce to him as he plays, showing off his chops later on with a beefy drum solo, making it look, as with the others – bassist Cameron Picton and keys player Seth Evans – like it’s no sweat.

Greep flashed a cheeky grin at Simpson one minute, then he’s shaking his hips and boogieing as he played, the next minute reaching out a hand to the crowd before pulling it back into a clenched fist. Often he’s babbling a hundred words in one breath, like the mad bloke at the pub who’s got you cornered, or crooning over solo piano from Evans, like a mad bloke at a pub that does karaoke. His theatrics are a joy and the newer tunes really suit this, Greep captivating in his storyteller role.

I dig how they mix it up with the song structures – some jazzier, some slowed down, hushed, revved up. ‘Welcome To Hell‘ and ‘John L‘ – with their riffs terrace chanted back from the devoted crowd – come in stripped down before letting rip (into the Primus style groooove on the former, the math-madness on the latter), with proper doom-y, absolute garbled vocals. There’s a brief interlude towards the end of ‘John L‘, the band getting festive with an unexpected brief run through of holiday favourites ‘O Tannenbaum‘ and ‘Jingle Bells‘ as the crowd joyfully sing along to the melodies.

“Have fun – but not too much fun…” Suggests Greep with an exaggerated shrug, adding. “…So bear that in mind, you fucking idiots.” He moved onto bass and into the shadows as Picton took over for a number or four with an acoustic guitar – taking the lead on the heart-pumping acoustically driven ‘Still‘, then the frantic ‘Eat Men Eat‘, where his hand went like the clappers strumming that guitar. As it built and built, he screamed out the vocals, the lights flashing at its full-pelt conclusion.  

From the manic to full on Prefab Sprout style lounge affairs and heart-swelling highs, an hour goes in the blink of an eye. As the lights went up after the final number, Greep gave us a rundown on who’s been sorting everything out behind the scenes (including “Crazy Eyes“, “The Wolf” and himself, “Grandad on the guitar“) before sending us off into the night with a final note. “Open your eyes and you might find the love of your life… Stay cheeky, motherfuckers.“

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Release Rundown – Black Midi, Interpol and Working Men’s Club

Words: Ben Forrester

Black Midi – Hellfire
(Rough Trade)

Having made one of our favourite records of last year in the form of ‘Cavalcade’, us Birthday Cake For Breakfast lot were very pleased to hear that Black Midi weren’t mucking about when making its follow up. Coming through just 15 months later, third album ‘Hellfire’ continues the expect the unexpected nature of this trio, with the band citing it as their ‘epic action film’. An accurate descriptor for this highly ambitious, conceptual affair that tells a series of stories, some set in the midst of war, others depicting the reality of a Hell. Though the frantic, math-iness of their debut is much more subtle this time round, this builds heavily on the drama fuelled, progg-y flamboyance of its predecessor.

I wouldn’t necessarily call Black Midi a jazz band, but they certainly sit within that aesthetic of being simultaneously free-flowing and super tight. ‘Sugar/Tzu’ is a gleaming example of this, building around a laid back yet atmospheric groove that ascends into mind-boggling noodling. ‘Welcome To Hell’ follows a similar formula, this time letting a flurry of brass soar high around a crashing pit of drums. Even before I knew some of the ideas behind the album, I felt like I was descending into hell in all its magma worshiping madness.

As always though, Black Midi offer moments of respite, the country soaked ‘Still’ providing the gorgeously crafted centre piece to the album that lifts into a beautiful orchestral interlude. As ever, Black Midi always keep you guessing with some proper M. Night Shyamalan twists throughout the duration, all coming brilliantly together on the musical theatre stylings of big show closer ‘27 Questions’.

Black Midi have never really made immediate music, but this is certainly their most challenging effort that requires multiple listens to unlock all its detail. It’s definitely their most complete album that needs to be consumed as a whole. And though I have been a fan of this band from day dot, ‘Hellfire’ has really made me understand the real concepts behind the band. This is a band that make music for yesterday, today and tomorrow. Engaging songwriting, unreal musicianship and a strong vision, Black Midi keep steam rolling ahead in being one of the UK’s most fascinating acts.

Interpol – The Other Side Of Make-Believe
(Matador)

I find it hard to believe that I haven’t banged on about Interpol on these pages before! The NYC trio have played a big part in my love for indie rock since my teenage years in the early 00s. They’ve always been one of those bands that have this magic formula that has transcended decades and keeps their legions of fans hanging off every note. The last time we heard from them was on the excellent ‘Marauder’, which I think hosted some of the band’s finest material to date, offering a very live sounding record that harked back to the energy of earlier material.

Since then, frontman Paul Banks went off to front supergroup Muzz, who released a beautifully shimmering indie folk record that I was very fond of in 2020. I’ll be honest, I did wonder if this slightly more laid back approach to writing would effect the tone of a new Interpol record. On first listen to initial single and opener ’Toni’, it felt like this may be the case, with the band bringing us in at a gentle pace led by a simplistic piano driven melody that immediately made me think of The National. But as ‘Toni‘ progresses, you feel the track gaining momentum, adding in that brooding sense of urgency Interpol are so well known for. From that moment, ’The Other Side Of Make-Believe’ plays an elegant dance of slicked back indie rock that sounds like a band settling into a sound but still retains their atmospheric, down-town New York blueprint.

‘Fables’, ‘Into The Night’ and ‘Greenwich’ boast that classic Interpol sound, doing this rare thing of sounding comfortable, but it’s the combination of twanging guitar melodies and Paul Bank’s iconic, engaged voice that makes you sit up and listen in. It may seem a bit too familiar on first listen, but I found this is a record that reveals the majesty of its hooks the more you listen in.

Though I think the casual listener will find some solid moments on this record, I would say that ’The Other Side Of Make-Believe’ is an ode to OG fans. As an avid follower, this feels like another sturdy Interpol release with a subtle yet gracious dynamic shift that not only suits them but turns them into statesmen of the indie rock world.

Working Men’s Club – Fear Fear
(Heavenly)

I remember walking around a rain drenched, muddy-as-you-like field the day Working Men’s Club released their debut album in 2020. Though I knew I’d likely be stuck in the house for the rest of the weekend, there was a forward moving energy to the record, with its 90s dance beats and 80s post punk snarl, that excited me to get back into the thick of it. It seemed that many agreed, with the album going top 10 in the charts and receiving many plaudits and AOTY statuses. It seemed that the band’s leader, Syd Minsky-Sargeant, was already thinking ahead when he sent a bunch of new music to the label the day their debut was unleashed.

Keeping up this forward motion, Syd began to build second album ‘Fear Fear’. On the teaser tracks released so far, it felt that Working Men’s Club were getting moodier, with tracks like ‘Widow’ and ‘Circumference’ offering a more shadowy, gothic slant on their synth laden sound. It soon transpired however that ‘Fear Fear’ keeps up the clubbed out atmosphere of its debut, naturally exploring and expanding wider.

‘Ploys’ is a summer smash in the making, with its subby bass melody and extremely 90s inspired synth leads. But for every dance pop hit there’s a deep dive for the real ravers, with ‘Heart Attack’ and ‘Money Is Mine’ bringing the acid rave heat, all with a slick indie twist.

‘Fear Fear’ feels much more refined in its approach, with the more guitar driven post-punk sounds dialled down to make more space on the dance floor. With lyrics written in the heat of lockdowns – looking into psychical disconnection and instead keeping up more digitally informed relations – this is a thought provoking, melancholic affair that is juxtaposed with the euphoria of its instrumentals. This is dance music with a heart. Its influences may be clear yet its approach feels fresh, which makes for a compelling comeback from a clearly talented young band.

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