The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
In the leadup to the release of his third album, Love Sick, Houston rapper-singer Don Toliver said enough of the right things to make me believe that this would be the project of his that would finally tell us who he is.
“On this particular album, I really locked in on the actual story and the theme of the album and basically the tracklist is going in sequence, in motion of the actual story, of what it will be,” he said in one interview.
“I want people to listen to my music and think it’s timeless,” he echoed in another. “To think about Marvin Gaye, Sade, Jay-Z, and just listen again. All I strive for is to be in the conversation with some of the greatest of all time.”
The one thing all of those greats did, though, is put themselves into their music. When you push play on “Song Cry,” you get the impression that Jay is letting us in on a moment in his life. When Marvin Gaye made “What’s Goin’ On?” it was considered a massive creative risk, but it was a sentiment he cared about deeply enough to take that risk.
With Don Toliver, I’ve never gotten the impression that I’m learning anything about him or what he truly cares about in his music. I tend to believe that he’s the consummate aesthete – his presentation is everything, and he’s going for a look rather than a feel.
The feeling that pervaded his prior releases Heaven Or Hell and Life Of A Don is that his primary preoccupation in making them was imitating and improving upon the aesthetics of stylistic forebears like his mentor Travis Scott, Future (both of whom appear here), and Young Thug – i.e. the wounded melodic howling, eerie vocal effects, and clipped, erratic rap deliveries that made them stand out from the pack when they first broke out in the middle of the last decade.
Love Sick, on the other hand, seemed like it would be a step forward when we’d begin to see more of the artist in his work. Love, after all, is the most personal and primal of human emotions, even as it remains the most universal. If any subject could crack the facade and reveal the interiority missing from Toliver’s past projects, this would be it.
After a few listens to Love Sick, though, I still haven’t figured out who Don Toliver is.
Don’t get me wrong; it’s a polished, pleasant body of work. If nothing else, he’s upped his game with regard to developing his own artistic flourishes. Perhaps credit belongs to his expanded roster of production partners. After all, it’s hard not to notice that the Kaytranada-produced “Honeymoon” is a standout, nor is the dreamy quality of “Let Her Go,” which features James Blake.
The hyperfocus on subject matter allows Toliver much more room to play around sonically. So while there are still cavernous club 808s and bellowing synthetic bass lines aplenty – “Leave The Club” is a prime example – “Leather Club” finds a smooth, almost ‘80s adult contemporary vibe well suited to his Drake-lite lamentations of one-directional affections.
“Slow Motion” with Wizkid is a surprising dance floor banger that goes in a completely different direction than you’d expect with the Afropop star involved, “If I Had” recruits quiet storm favorite Charlie Wilson for a classic example of the genre, and Chicago heads will almost certainly figure out a few new juke steps to “Bus Stop.”
Throughout Love Sick, I get the feeling that Don Toliver is a nice guy who is really kind of a music nerd, someone collaborators really enjoy testing out new sounds with. But there’s still no sense of identity, that undefinable something that instantly lets you know when you’re hearing a song from Future, Travis Scott, or Young Thug.
The good news is that Toliver is really good at executing an idea, and that’s a step in the right direction for where he wants to be. Coming up with a concept and making music that effectively conveys those ideas is really hard – that’s why we hold such respect for artists. If Love Sick has more style than substance, that style is really charming and enjoyable.
And if Toliver hadn’t managed to at least do that much, we wouldn’t be talking about him at all. If he wants us to talk about him in the same breath as Sade Adu, he’s laid a decent foundation for that conversation to take place. But he still needs to give us something to talk about. He’s almost there.
Love Sick is out now via Cactus Jack and Atlantic Records.
Don Toliver is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
2022 was one heck of a year for new music. Following a relative lull from the pandemic, last year saw new album releases from everyone from Beyoncé and Kendrick Lamar, to Bad Bunny and Big Thief. Which brings us to the question of what the most anticipated albums of 2023 are? We’ve got you thoroughly covered with a breakdown of upcoming and rumored releases in pop, hip-hop, indie, R&B, and more. And once you’ve scoped out all of our most anticipated albums of 2023, you can judge for yourself on whether 2023 will be even bigger than the year before.
Monsta X – Reason
January 9
Monsta X are coming back in January with their twelfth mini-album, Reason. After months of a brief hiatus, fans still got to catch the group during their spring US tour, but globally, others are ready to hear the brand-new songs. – Lexi Lane
Låpsley – Cautionary Tales
January 20
Låpsley has fuzed her elegant, contorting vocals with electronic-leaning production across two stellar albums thus far. Now the steadily climbing Brit is coming back with Cautionary Tales of Youth, a cathartic release of tunes that were inspired by her time locked down in South Africa during the early days of the pandemic. The latest single “Hotel Corridors” melds her evocative delivery interlaced with a smoky, tight-knit beat in the shape of Jamie xx and Fred Again.. – Adrian Spinelli
Ava Max – Diamonds & Dancefloors
January 27
Teased with early singles “Weapons” and “Million Dollar Baby,” Ava Max is taking on 2023 with a vengeance. Her January album is just as shimmery as the title suggests. “It’s like a new wave of pop music, and it was needed. I love it,” she told Uproxx last year about her distinct disco-inspired sound. – L.L.
Sam Smith – Gloria
January 27
Sam Smith’s fourth album, Gloria, arrives next month and will build on the momentum of their chart-topping “Unholy” collab with Kim Petras. Other features include Ed Sheeran, Koffee, and Jessie Reyez, as Smith aims to document a motivational journey of self-discovery. – L.L.
The Arcs – Electrophonic Chronic
January 27
The retro soul-minded supergroup led by Dan Auerbach of The Black Keys are returning with their first album in eight years. Along with Auerbach, Big Crown Records boss Leon Michels, Menahan Street Band’s bassist Nick Movshon, and Dap Kings drummer Homer Steinweiss will honor their late band member, the indie-titan producer and multi-instrumentalist Richard Swift (who died in 2018.) Singles like “Keep On Dreamin’,” Eyez,” and “Heaven Is A Place,” find a nifty balance between psychedelic soul and spirituality that Swift would have adored. – A.S.
Samia – Honey
January 27
The Baby, Samia’s 2020 debut, was praised for its visceral lyricism matched with a delicate, sweet sound. Singles like “Sea Lions” and “Kill Her Freak Out” have previewed refined songwriting and a bigger sense of intensity for the next effort; “You said when I come on the radio it makes you wanna die / Well if I shut up can I come inside?” she sings on the unforgettable piano-driven ballad “Sea Lions.” – Danielle Chelosky
Raye – My 21st Century Blues
February 3
Raye decided to bet on herself after leaving her record label to become an independent artist, and the results have paid off tremendously. Her debut, My 21st Century Blues, drops in February, featuring her viral lead single, “Escapism.” – L.L.
Young Fathers – Heavy, Heavy
February 3
On “Geronimo,” the Mercury Prize-winning trio Young Fathers deliver a powerful harmony on the hook, singing: “I’m on the verge of something divine that’s gonna keep me alive!” It sets the stage for the long-awaited follow-up to 2018’s Cocoa Sugar, where the Scottish band have a lot to get off their chest. Heavy, Heavy is the result of intentionally insular sessions, where they honed in on an outpouring of pent-up emotions over the course of their pandemic-shackled years. – A.S.
Of all the albums on this list, Kelela’s Raven is the only one that we actually have a set release date for. The D.C. singer will share her long-awaited sophomore album on February 10 which comes five and a half years after the release of her celebrated Take Me Apart debut. Kelela has described Raven as a “15 track deep-dive into facets of dance music that have always excited me” and her “first breath taken in the dark, an affirmation of black femme perspective in the midst of systemic erasure and the sound of our vulnerability turned to power.” – Wongo Okon
Andy Shauf – Norm
February 10
Andy Shauf has a knack for concept albums that linger in the listener’s mind long after they’ve finished, like his 2016 cult classic The Party. He’s preparing for the release of his fifth studio LP, Norm, about which he explained, “The character of Norm is introduced in a really nice way. But the closer you pay attention to the record, the more you’re going to realize that it’s sinister.” These themes have been teased in the compelling singles “Wasted On You” and “Catch Your Eye,” especially the latter, which calmly plays with the intensity of longing and desire against a tranquil sonic backdrop. – D.C.
Narrow Head – Moments Of Clarity
February 10
There are tons of bands getting in on the grunge revival right now, but Narrow Head are one of the most notable. Their EPs and albums have been magnetic and ferocious, packed with blaring guitars and unsettling textures that bring to mind alt-rock veterans like Smashing Pumpkins or Hum. Moments Of Clarity retains their forceful energy, as proved by the single “Gearhead,” a destructive, distorted anthem about isolation: “Alone again is time well spent / Alone, forever falling.” – D.C.
Paramore – This Is Why
February 10
Paramore’s last album was 2017’s bombastic After Laughter, which contained one of their biggest hits, “Hard Times.” Fans have been begging for new material since then, and the announcement of This Is Why was an exhilarating one. The singles “This Is Why” and “The News” have exceeded expectations; both possess the band’s catchy, explosive personality, leaning into new wave and not holding back on the sass. – D.C.
Caroline Polachek – Desire, I Want To Turn Into You
February 14
Caroline Polachek officially pulled fans into her next era this month with “Welcome To My Island,” one of the singles off her second solo endeavor. Arriving on Valentine’s Day, Polachek experimented with a range of producers and genres, including flamenco (“Sunset”) and bouncy electropop (“Bunny Is A Rider”). – L.L.
Pile – All Fiction
February 17
In four words to Uproxx, Pile described their sound as, “Noisy rock but also…” This sums up the mystique of Pile. The singles previewing All Fiction have an unnameable, disturbed quality to them, something brewing beneath the surface. The haunting instrumentation, detached vocals, bleak lyricism — especially on the off-kilter “Poisons” — create a dark, dreary world that has a strong gravitation pull. – D.C.
Runnner – Like Dying Stars, We’re Reaching Out
February 17
Noah Weinman’s sprawling Always Repeating was a preface to his discography as Runnner. His forthcoming debut Like Dying Stars, We’re Reaching Out is the official kickoff, and the movement is swift and strong, not unlike a gut punch. The lead single “I Only Sing About Food” showcases his knack for disarming, intimate scenes of feeling: “I’m an idiot, I cried in your car / When I couldn’t find the words I was looking for / I overanalyze, I never let it feel good / I only think about death / I only sing about food,” he sings. The following single “Bike Again” soars with a dreamlike, glimmering instrumental that communicates more than words ever could. – D.C.
Gorillaz – Cracker Island
February 24
The singles from Gorillaz’s forthcoming album Cracker Island have been enticing previews. From the colossal title track featuring Thundercat to the mesmeric earworm “Skinny Ape,” the LP is looking like a special experience. To make it even better, it’ll feature artists like Stevie Nicks, Beck, Bad Bunny, and Adeleye Omotayo. – D.C.
Fever Ray – Radical Romantics
March 10
Radical Romantics is Fever Ray’s first album in over five years. “What They Call Us” was a bewitching comeback single, seething and soaring with sporadic, haunting sounds like a sonic collage. Karin Dreijer, the face behind the project, seems to address the hiatus in the song: “It’s a common misperception, this is not a band, ready for a dissection / Now mommy’s gotta work, see the land.” The whole record is sure to be a trip. – D.C.
Lana Del Rey – Did You Know That There’s A Tunnel Under Ocean Blvd
March 10
Lana Del Rey is returning to her California roots on the breezy upcoming album. Boasting a song titled “American Whore” and collaborations with Bleachers, Jon Batiste, and more, she is setting the bar high for the Did You Know That There’s A Tunnel Under Ocean Blvd era. – L.L.
100 Gecs – 10,000 Gecs
March 17
Just recently, 100 Gecs unleashed the chaotic EP Snake Eyes, which contained the ridiculously infectious track “Doritos & Fritos.” They’re already gearing up for their next album, fittingly titled 10,000 Gecs to follow-up their critically acclaimed debut 1000 Gecs. “As I’ve been exploring my voice more, I’m like, ‘I can do this,’” Laura Les said. “And also I’m sick of worrying about it. If I don’t just fucking do it, then I’m just a scaredy cat. And I don’t want to be a scaredy cat.” – D.C.
Smashing Pumpkins – Atum
April 21
Smashing Pumpkins are not playing around. They’re going to be unveiling Atum next year, a rock opera in three acts made up of 33 songs. It will serve as the sequel of 1995’s Mellon Collie And The Infinite Sadness and 2000’s Machina/Machine Of God. Pronounced “Autumn,” the LP’s first single is the electrifying “Beguiled” which came with a cinematic music video. The “1979” group is creating a whole world with this record, and it’s gonna be good. – D.C.
6lack
today marks 6 years since #FREE6LACK — and the last anniversary before we get into Season 3
My thought throughout the year was that 6lack would deliver his third album at some point during 2022. However, with just days until the year comes to an end, it’s clear that it’ll arrive in 2023. It’s only been two years since 6lack’s last project 6pc Hot was released, and ever since then, the Atlanta native has made sure not to go too long without treating supporters. 6lack stepped into the world of others through songs with Lil Durk, Lil Tjay, Eli Derby, Jacquees, Jessie Reyez, and others that made their way into our ears over the past couple of years. In 2023, we look forward to seeing 6lack create a world for himself and invite others into it for his third album. – W.O.
Anitta
Getty Image
While Anitta already dropped her fifth album, Pieces Of Me, in April, fans are anticipating even more from the beloved Brazilian singer. Plus, she’s up for a Best New Artist nomination at the 2023 Grammys, giving her all the more reason to possibly release some new music. – L.L.
ASAP Rocky – Don’t Be Dumb
It’s been a minute since we last heard from ASAP Rocky with 2018’s Testing. Since then, he’s become a father, he’s been a hilarious meme, he’s expanding his acting credits, and he’s even starred in a video game. After dropping the new single “Sh*ttin Me” and teasing more Metro Boomin contributions, he finally announced that the album was done with just a few weeks left to go in the year. With a lot to talk about (cough, cough, Sweden) and what sounds like a lot more focused musical direction with Metro’s involvement, Don’t Be Dumb could very well return the Harlem rapper to the top of the charts and reveal new facets of his personality. – Aaron Williams
The most mysterious of the bunch, Keem’s the only one who hasn’t outright announced an album. That hasn’t stopped Keem fans from sniffing out any and every available clue that he could be working on one. And given his and cousin Kendrick’s tendency to surface suddenly and without warning, that could be all the reason to be on the lookout for a follow-up to The Melodic Bluesometime in the next 12 months. – A.W.
Baby Rose
Baby Rose’s last project arrived in 2021 with To: You (A Holiday Joint), but the D.C. soul singer hopefully has something in store for us next year. Her captivating voice was most recently used in October for her double-sided single “Go B/W Fight Club” which arrived two years after her stellar debut album To Myself. There’s no telling what kind of music will get on Baby Rose’s sophomore album, but at the very least, we hope it arrives sometime in 2023. – W.O.
Beyoncé
Before Twitter goes down, instead of making you follow me somewhere else, I’ll just tell you what I’ve heard about the other 2 acts of Beyonce’s 3-part “Renaissance” project
(2nd act is an acoustic album, 3rd act is a collaboration with Jay-Z)
Sitting atop many year-end best albums lists, Renaissance saw Beyoncé lean fully into dance music subcultures. But lost in the shuffle for many, is that Queen Bey indicated that Renaissance is merely the first installment in a trilogy of albums. Fearing the potential death of Twitter this past November, a New York Times reporter went on record while he still could, to say that the, “2nd act is an acoustic album, 3rd act is a collaboration with Jay-Z.” Could we get either or both of these in 2023? Commence freaking out now. – A.S.
Billie Eilish
Billie Eilish wraps her Happier Than Ever world tour this week, and then, it seems, her third album cycle will begin. She and Finneas confirmed they had started the writing process last winter. Between the stadium-made rock ballad of her previous album’s title track, “Happier Than Ever,” and the calming quality of 2022’s Guitar Songs EP, Eilish is constantly surprising fans with an unpredictable direction. – L.L.
Blink-182
So much happened this year that we barely got time to process the return of Tom Delonge in Blink-182. While the releases the band offered with Matt Skiba were pleasant and enjoyable, fans never stopped begging for the original vocalist and guitarist to come back. The song “Edging” is the perfect mischievous entrance back into the scene. They confirmed an album is on the way, and the fact that their tour has openers like Turnstile and The Story So Far proves that they’re keeping in touch with current blazing rock. – D.C.
Blondshell
Blondshell was one of the most alluring emerging artists this year. From the haunted reckoning of a detrimental relationship in “Olympus” to the cathartic spurt of alt-rock in the latest song “Veronica Mars,” 25-year-old Sabrina Teitelbaum has managed to keep up the momentum with every release, and hopefully these tracks are fragments from a bigger project coming soon. – D.C.
Boygenius
Lera Pentelute
Besides being spotted recreating a famous Nirvana photoshoot in LA recently, the official word on a new Boygenius album has been realtively quiet. But it’s largely believed that the indie supergroup of Phoebe Bridgers, Julien Baker, and Lucy Dacus are gearing up to drop the follow-up to their 2018 debut EP this year. And insider rumors also indicate that other equally buzzy indie gals could be joining them… – A.S.
It’s been two years since Bryson Tiller made his grand return to the music world following a three-year absence that featured little to no music. That return was Anniversary, and with that project’s release, came the announcement that a previously-mentioned effort, Serenity, would see the light of day soon. At the top of 2021, Tiller said that Serenity would be a triple disc release with a pop, rap, and R&B side. Tiller certainly has the versatility to pull this off, as his recent releases “Outside” and “Gotta Move On” suggest. It’s just a matter of time until we as listeners can be the judge of that. – W.O.
Cardi B
Cardi was one of the artists that fans most looked forward to hearing from in 2022, but aside from some inflammatory singles, it wasn’t to be. She did give us “Hot Sh*t” with Kanye West and Lil Durk, which was well-received, but given Kanye’s issues and an inability to promote the song the way she wanted, Cardi moved on from the single fairly quickly. She had better luck with GloRilla’s “Tomorrow 2,” which offered an instant classic Cardi verse, but she later admitted that she’s been feeling a lot of anxiety and pressure from the potential reception of her long-awaited follow-up to Invasion Of Privacy. She did say she wants to get that album out in the new year, though. – A.W.
Chlöe has been hard at work on her debut solo album Chlöe ever since Chloe x Halle impressed the world with their sophomore effort, Ungodly Hour. Chlöe’s own body of work will be a bit different from what we heard on Ungodly Hour as her “Have Mercy,” “Treat Me,” “Surprise,” and “For The Night” singles depict both contextually and sonically. While it still remains to be seen who will guest beside Chlöe on her album, we do have an idea of what Chlöe will sound like. “In the beginning, you can tell that [the person] who is singing is like a bird with broken wings,” she said in an interview with Allure. “As time went on, you can hear me finding my strength and confidence.” – W.O.
In 2022, afrobeats had one of the strongest years in its modern era. Artists like Wizkid, Rema, Burna Boy, and Asake contributed to the genre’s greatness over the course of the year. A notable name that was missing from the mix was Davido who will soon enter his third year without a new album following 2020’s A Better Time. With ear-pleasing tunes like “Champion Sound” and “Stand Strong” out as possible previews of what’s the come, there’s no doubt that Davido will take the helm to show off afrobeats’ continued and undeniable growth. Plus, with a promise to return in March, we may not have to wait too long to see it all unfold. – W.O.
Doechii
After an impressive breakout in 2022, TDE’s latest signee still remains a refreshing question mark for the new year. Her EP, She/Her/Black Bitch, showed some promising signs that she’s got a clear direction and isn’t afraid of taking creative risks. And the response to singles like “Persuasive” and “Crazy” indicates that fans may wind up being a bit more receptive to her left-field mashups of hip-hop and house than they were ten years ago when “212” was dominating playlists and sync licensing placements. If nothing else, she’s got the TDE machine on her side, which means that when she does drop, she’ll have the full support of her label, something not every artist gets to enjoy. – A.W.
Doja Cat
im not doing a german rave culture album you guys i was pranking the outlet that interviewed me about it
After an absolutely explosive 2021 thanks to Planet Her and its seemingly endless string of fan-favorite hit records, anticipation was high for Doja to follow up her debut. Doja herself was more than happy to feed into that feeling from fans, teasing permutations of the project that included a 9th Wonder-produced rap LP, an R&B album, and even a euro-house edition. However, she was unable to do much recording after having throat surgery, which forced her to pull out of The Weeknd’s After Hours stadium tour and confined her to home for recovery. The content she did share – namely, a lot of selfies of her new bald look – has ironically generated even greater fervor for new music, since she’s clearly feeling newly freed and more creative than ever. – A.W.
Dove Cameron
Dove Cameron has delivered some serious dance anthems ahead of her debut album. A rising pop star to watch, she channeled her inner Charlie’s Angel on the Y2K bop “Girl Like Me” and calculated relationship risks on “Bad Idea” throughout this year. – L.L.
While it might be difficult for Dua Lipa to follow her Future Nostalgia era (and one hell of a pop record), she does have a plan to try. “It’s like I’m coming into my power and not afraid to talk about things,” Lipa told Vogue. It also has a title — but Lipa is keeping it a mystery… for now. – L.L.
Boy bands and girl groups are more or less a thing of the past nowadays, but the British singing trio FLO is using the open space to stand out. The female group comprised of singers Stella, Jorja, and Renée released their debut EP The Lead in 2022, and now have plans to share their debut album in the near future. Speaking of that future, it seems to be very bright for FLO as they’ve already made their television debuts in both the US and UK in addition to being the first British group to win the Brit Award for Rising Star, an honor previously received by Adele, Sam Smith, Jorja Smith, Florence and the Machine, and Ellie Goulding. The sky is the limit for FLO. – W.O.
Frank Ocean
Getty Image/Ralph Ordaz
In all honesty, there hasn’t been a true sign that Frank Ocean will drop music in 2023. However, there are enough clues for us fans who’ve been waiting since 2016 to have just enough hope that he will. Frank is set to headline Coachella in 2023. He shared a nine-minute track on Christmas Day in 2021, effectively proving that he’s indeed in the studio — even if it’s sporadically. He even cleared out his Instagram posts which artists have often used as a rollout before the rollout in a sense. Nonetheless, these examples mean nothing just as much as they could mean something. So with that, we’ll just have hope that Frank returns with a body of work that is as artistically captivating as Channel Orange and Blonde, so much so that it joins the debate of which out the three is truly his best output. – W.O.
The Gaslight Anthem
In our conversation with The Gaslight Anthem bandleader Brian Fallon, he offered an estimation to when a new record may come, guessing around “early next year, early spring,” depending on how his writing goes. The band reunited this year; their last LP was 2014’s Get Hurt, though Fallon has put out solo material since. What led to this comeback isn’t very surprising: “During quarantine, I had gotten so bored,” he admitted in that same interview. Their recent tour was a great way to increase the anticipation, and now we wait. – D.C.
Rap’s undisputed rookie of the year exploded in popularity thanks to her summer smash “F.N.F. (Let’s Go),” but unlike plenty of other viral favorites, she was able to maintain her momentum with follow-ups like “Tomorrow 2” and the … Anyways, Life’s Great EP. Now, more than anything, fans want to see whether her natural charisma can carry a full-length project. She’s got more than enough viral moments over the past year to keep her name red-hot (and comfortingly uncontroversial) and with one of her hometown’s biggest stars giving his backing, it’ll be interesting to see where she ends up next. – A.W.
Halsey
Fans have started speculating that Halsey is working on her fourth album. As the alt-pop star only dropped a radio single this year, it seems they’re intending on a full-length 2023 drop. Particularly, one that’s been theorized to be shoegaze-inspired and in the style of 2020’s Manic. – L.L.
Jennifer Lopez — This Is Me… Now
Jennifer Lopez seems to be reflecting on her past and present on the upcoming This Is Me… Now album. The record will feature the viral “Dear Ben Pt. 2” — a follow-up to the 2002 romantic track she wrote for the Dunkin’ king. Don’t be fooled, this album is not a sign to text your ex. – L.L.
Ice Spice
If GloRilla took the crown for the year’s biggest breakout, it’s only because Ice Spice didn’t manage to get her project out under the wire. Like Glo, she saw much of her impact come from the TikTok popularity of a single song: “Munch,” which launched seemingly a million memes and almost got the Cardi B treatment as well. It also drove attention to prior Ice Spice videos like “Name Of Love” and “No Clarity.” The resulting hunger for more of the Spice life led to a follow-up, “Bikini Bottom,” and the New York rapper being put on the fast track to stardom, with Rolling Loud appearances and homage tracks from other artists galore. – A.W.
J. Cole – The Fall-Off
While Cole has seemingly returned to his self-imposed hibernation from the rap game following a few stints of professional basketball, I don’t think for a second he’s forgotten about his commitment to deliver the magnum opus promised a few years ago at the end of KOD. He’s even said The Off-Seasonwas more of a warm-up (if only he hadn’t already used that name) or practice session, sharpening his tools before attempting to sum up his incredible, decade-long career. – A.W.
Janelle Monáe
Lately, Janelle Monáe has been the talk of the town for her fantastic acting role in Glass Onion: A Knives Out Mystery. The always technologically-advanced Monáe has promised that a new album is on deck because she has a clone of herself working in the studio right now. The archandroid queen has even fired a friendly shot at Donald Glover, saying that she’s a better” triple threat” than he is. Spoiler alert: She kinda is. – A.S.
Jhené Aiko
Dante Nicholas
Jhené Aiko’s last album Chilombo was her most celebrated and critically acclaimed album. It gave her three Grammy nominations, topped R&B album charts, and landed on multiple year-end lists. A lot has happened to Jhené since then. She gave birth to her second child and first with Big Sean. She launched her own record label Allel Sound through Def Jam. Nonetheless, there’s a decent chance that Jhené gives fans some music in 2023. It could be her fourth album or her long-awaited second album as one-half of Twenty88 with Big Sean. We’ll just have to see which one, if either, gets released next year. – W.O.
Kali Uchis
My third album & the next are both finished, one is an English album one is a Spanish album ¿what my kuchis want first ?
In April, Kali Uchis revealed that she has not one, but two albums (in English vs. in Spanish) at the ready… It just depends on what the fans want first. “I just want to show all the different sides to me and that I’m multi-dimensional,” she shared. – L.L.
Kiana Lede
When this album actually drops you guys better be givin this same energy I’m gettin now while you all are askin for it
Kiana Lede has one of the best voices in R&B today, it’s just unfortunate that we haven’t heard from her in some time. Don’t fret though, that reminder will surely be delivered in 2023 when she arrives with her second album and follow-up to 2020’s KIKI. Her eagerness to release this project has been made clear on social media multiple times over the past few months. She even dropped an EP, Unfinished Business, on SoundCloud to hold fans over and give them a taste of what’s to come next year – and based on that EP, what’s next is definitely worth the wait. – W.O.
Maisie Peters
Maisie Peters posted she turned in her second album on the same day the snow fell in London — a situation that feels like pure fate. She put out a handful of singles this year, between the addictively biting “Not Another Rockstar” and a love song for her best friend’s sibling with “Cate’s Brother.” If this is just a glimpse of Peters’ LP2, we can only imagine how impressive the rest will be. – L.L.
Mariah The Scientist’s sharp pen is about this put on full display when she releases her third album at some point in 2023. Recent examples of her songwriting were noticeable through the viral “Spread Thin” which was housed on Buckles Laboratories Presents: The Intermission and “Aura” from Ry Ry World. It’s these tender lovelorn songs that have made Mariah The Scientist so enjoyable, and together with fun records like “Stone Cold” and slightly darker submissions like “Bout Mine,” there’s enough to look forward to for album No. 3. – W.O.
Masego
Before I fully get into the season of promoting my own music, this is what I’ve been on lately. pic.twitter.com/3Z00LYXYkX
There’s no telling what Masego has in store next for his fans. It could be a traditional R&B and jazz release like his 2018 debut Lady Lady and it could be more flavorful like his 2020 Studying Abroad EP. Regardless, there’s no doubt that the multi-talented artist will deliver an equally impressive and intricate body of work for his second album. There’s already a collection of performances in place thanks to his You Never Visit Me Tour set to kick off in March, which is a pretty good sign that his new album could arrive bring the official start of spring. – W.O.
Meet Me At The Altar
the writing and recording process of our debut album has made me fall in love with music ALL over again. i’m SO in love with music and the things that come with being an artist & being in a band. writing the songs, creating the visuals, recording, etc. i really live for it all <3
Bombastic EPs, crazy tours, signing to the one and only Fueled By Ramen label — Meet Me At The Altar are obviously on the verge of something big. The pop-punk group have been raging since before the whole revival spearheaded by Machine Gun Kelly started, and they’re obviously in it for the relentless energy, which all of their songs burst with. Their debut is sure to be a big deal. – D.C.
Michael Stipe
While Michael Stipe said in 2021 that R.E.M. will “never reunite,” the singer is set to release his first ever solo album in 2023. He’s said that there will be a number of collaborators involved in the project and if last year’s Brian Eno-produced “Future If Future” (the first ever vinyl released on bioplastic) is any indication, it’ll definitely lean towards the experimental. – A.S.
Miley Cyrus ended 2022 with a bang by singing a duet of “Wrecking Ball” with her godmother Dolly Parton on their nationally broadcast New Year’s Eve special. Cyrus wasted no time revving up what’s in store for 2023, with a New Year’s Day announcement that her next single, “Flowers,” is due out on January 13th — which also happens to be her ex-husband Liam Hemsworth’s birthday. It’s a juicy advancement for what will presumably start the cycle of Cyrus’ next album, the follow-up to 2020’s Plastic Hearts. – A.S.
My Chemical Romance
The long-awaited return of My Chemical Romance was postponed due to the pandemic, so this year was a relief for their fans. Their tour was nothing short of anyone’s expectations; beloved bandleader Gerard Way sported a dress onstage, performing timeless hits like “Teenagers” and “Helena” as well as deep-cuts from their debut, pleasing the whole audience every night. Their comeback song “The Foundations Of Decay” captured their singularly theatrical, explosive essence, and there simply has to be an album on the way — it’s been over a decade since Danger Days. – D.C.
The National
In a conversation with NME last year, The National’s Bryce Dessner described the songs on the band’s next album as “vulnerable and direct like on Boxer, but with experimental moments like Sleep Well Beast and raw moments like Alligator.” Talk about a thorough representation of their many eras. They already debuted a few new songs on tour last May and in August released “Weird Goodbyes,” a collaboration with Bon Iver. – A.S.
Nicki Minaj
Nicki Minaj maintained a chokehold on the hip-hop discourse this year by sheer force of will (and the efforts of her ever-dedicated fanbase), and with a few strategically-placed singles and guest appearances. In the first half of 2022, she joined forces with rising star Coi Leray on “Blick Blick” (seemingly an extension of her 2021 strategy of teaming up with Doja Cat and finally ending her self-imposed moratorium on collabs with up-and-coming female rappers). Then, she dropped “Super Freaky Girl,” harkening back to her “Anaconda” era to garner her first-ever solo No. 1. She even dropped a remix with a whole peck of rap girlies, extending her influence and driving curiosity to see what other new avenues remain to this venerated veteran. – A.W.
Normani
Fans of Fifth Harmony have been begging for Normani’s solo album since the band dissolved in 2018. Things seemed promising with 2019’s “Motivation,” but the singer’s music has long been speculated to be at a standstill due to label issues. Here’s hoping she finally gets to release her full-length LP. – L.L.
Building off the massive success of 2021’s Sour, Olivia Rodrigo has returned to the studio with the album’s producer, Dan Nigro, with plans for her sophomore return. Given the global reach that “Drivers License” had to make her a household name, only time will tell if she’s able to recreate it — or will go in a different, rock-influenced direction. – L.L.
PARTYNEXTDOOR
Just like he did after 2017’s Seven Days, PARTYNEXTDOOR’s activity in the music world after his fourth album PARTYMOBILE has been sparse. A single here, a feature there, SoundCloud songs put on streaming services here, and a post giving fans some hope of something new on the way there. Time says that PARTYNEXTDOOR’s next album is likely to arrive in 2023, more so than it was in 2022. However, with just two projects to his name in the last five years, it’s clear that PARTYNEXTDOOR moves on his own time and when he’s ready, he’ll pop back up with something. Let’s just hope it’s in 2023. – W.O.
Rihanna
Contributing two songs (“Lift Me Up” and “Born Again”) to the Black Panther: Wakanda Forever soundtrack, Rihanna’s fans finally rejoiced after getting their first new music from her in years. As she’s also scheduled as the Super Bowl halftime performer in February, it seems there are more surprises in store. – L.L.
Romy
1/3 of The xx, Romy Madley-Croft has been teasing her debut album for nearly three years. 2022 was especially fruitful for Romy, with her releasing multiple tracks produced by Fred Again.., including “Lights Out,” which also included HAAi and was among Uproxx’s Best Songs Of 2022. The other 2/3 of The xx, Oliver Sim and Jamie xx, already have solo albums under their belt, so it seems as if it’s Romy’s turn to be in the spotlight in 2023. – A.S.
As a track runner in high school, Saweetie probably knows all about having to recover from false starts. Although anticipation for the project may have waned after so many delays, it doesn’t look like Saweetie has given up on herself yet – and that’s the true test, in many ways. In any event, I’m sure there are still plenty of folks who want to hear just what exactly she has had in store after nearly three years of teases. If the new single “Icy Girl, Icy World” is any indication, she could be back on her Sample Saweetie kick, which could mean a return to prominence is just one starter pistol away. – A.W.
Selena Gomez
Selena Gomez is tired of singing “sad girl” songs, she teased on a recent Tonight Show appearance. Instead, Gomez is going full pop icon. “I’m ready to have some fun, and I think people are going to like it,” Gomez hinted. – L.L.
Seventeen
Seventeen are confirmed to be dropping a new album in early 2023, although the title and tracklist are still TBD. The 13-piece band increased their global impact this year, earning their first Top 10 album on Billboard‘s albums chart. – L.L.
Sky Ferreira
Sky Ferreira has found herself on every anticipated album list for, well, a decade since her debut, Night Time, My Time. However, 2023 does look somewhat more promising on the heels of her summer single, “Don’t Forget.” – L.L.
Tems
Btw I never stopped producing. I just wasn’t ready to share it. I told @GuiltyBeatz give me all the beats that I will NEVER do in this life. And the result was IF ORANGE WAS A PLACE.
My Debut Album is packed with my production. And I’m 100x better than I was 3 years ago.
For someone who didn’t release a project this year, Tems had a big year in 2022. It came in large part through profiles that gave us a closer look into her life, moments with huge stars like Rihanna and Beyonce, and contributions to the Black Panther: Wakanda Forever film. On this music side of things, it hasn’t been long since Tems dropped a project with her most recent being 2021’s If Orange Was A Place which followed her 2020 breakout For Broken Ears. The year “off” for Tems was well-deserved, but it comes with a promise for more and lots of exciting things in 2023. – W.O.
Just about the only rapper whose album we know anything about this year is Travis Scott, who has been quietly biding his time in the wake of the Astroworld Festival disaster last summer. He actually began the rollout for Utopia during Coachella, putting up massive billboards on the way to and from Indio extolling the upcoming project. However, he kicked his promotional efforts into high gear more recently, joining Pharrell on “Down In Atlanta” and making multiple appearances on Metro Boomin’s Heroes & Villains album and SZA’s SOS. While he hasn’t overtly dropped anything from Utopia yet, it looks like he’s building himself back up and testing the waters to make sure it gets just as warm a reception as its predecessor. – A.W.
Victoria Monet – Jaguar II
I’m SO READY TO PUT THIS MUSIC OUTTTTT learning patience myself for real but sheesh
I won’t know what to do myself if I have to endure another year without a Victoria Monet project. Her excellent Jaguar EP probably shudders when I storm to it for the umpteenth relisten. Realistically though, Monet hasn’t completely disappeared from the music world and her songwriting contributions to Ariana Grande’s Positions, for example, are an example of that. Nonetheless, we hope that Monet sees that it’s time that she returns with her previously announced Jaguar II EP. Until then, it’s back to Jaguar with occasional stops at “Coastin’” and “F.*.C.K.” – W.O.
Wednesday
Wednesday’s Twin Plagues was one of the most stunning records of 2021, seamlessly blending immersive, staticky shoegaze with an endearing twang, made all the better by Karly Hartzman’s hypnotizing soprano. In September they released the 8-minute ripper called “Bull Believer” and deservingly signed to the iconic label Dead Oceans, which is a good sign that an LP may be on the way. The new track signals a direction that digs deeper into their grit; it even features an unrelenting scream from Hartzman, giving the song the texture of a horror movie. – D.C.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.
Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out the best vinyl releases of December below.
It’s been over 50 years since Crosby, Stills & Nash released their beloved self-titled debut album and now it’s lovingly been given a deluxe vinyl reissue. This edition was mastered from the original tapes and the packaging is similarly detailed, featuring special foil-stamped jackets and other intricacies that make this UltraDisc One-Step 180g 45RPM 2LP collector’s edition the version of this album to own.
Speaking of the CSNY squad, Neil Young’sHarvest turned 50 this year. So, he’s given the iconic album a big box set that comes with, along with the beloved original album, three studio outtakes and a previously unreleased 1971 BBC solo performance, as well as a hardbound book and fold-out poster.
Bo Burnham’s Inside (The Songs), consisting of tunes from his Inside comedy special, was an unexpected hit, as it became his first top-10 album in 2021. Now there’s a new limited edition box set, a 3-LP release that includes everything from Inside as well as the later supplementary release, The Inside Outtakes. Target and Urban Outfitters have their own exclusive versions, too, pressed on opaque white and crystal clear vinyl, respectively.
Paul McCartney die-hards: this one’s for you. Earlier this month, Macca dropped The 7″ Singles Box, which features a whopping 80 7-inch singles. In total, there are 163 tracks making up over ten hours of music and a 148-page book (that features writing from McCartney and Rolling Stone‘s Rob Sheffield), all housed in a wooden crate. Only 3,000 copies have been produced, too, so if you’re interested, it’s one to scoop up quickly while it’s still available.
Idles — Five Years Of Brutalism (Anniversary Reissue)
Partisan
For Idles, it all started with 2017’s Brutalism. Half a decade later, the band has given the LP a fresh coat of paint with Five Years Of Brutalism. This anniversary rerelease is pressed on cherry red vinyl, comes with alternative artwork designed by the band’s Joe Talbot, and is limited to just 10,000 copies worldwide.
Alabama Shakes — Boys & Girls (10th Anniversary Deluxe Edition)
ATO
It’s been ten years since Brittany Howard established herself as one of music’s most powerful vocalists with the release of Alabama Shakes’ debut album, 2012’s Boys & Girls. To mark the occasion, there’s a new reissue that is packaged in a foil-board gatefold jacket and comes with a bonus 12-track KCRW radio session from January 2012.
Karma is an enduring classic from 1969 and if the Pharoah Sanders album isn’t in your library yet, here’s a terrific opportunity to add it. This reissue was mastered from the original analog tapes and was pressed on 180-gram vinyl, which is housed in a high-quality tip-on deluxe gatefold jacket. The release comes after the jazz icon’s death, which came in September at 81 years old.
Yusuf/Cat Stevens — Catch Bull At Four (50th Anniversary Edition)
A&M/UMe
If you own Catch Bull At Four on vinyl, it was pressed when the LP was originally released back in 1972. Now, though, the Yusuf/Cat Stevens album has been reissued in vinyl for the first time since then. It’s also been newly remastered and is available in both 180-gram black vinyl and limited edition 180-gram orange vinyl editions.
Queens Of The Stone Age — Like Clockwork and Villains (Reissues)
Matador Records
Queens Of The Stone Age have kept their output relatively minimal over the past decade, as their two most recent albums are 2013’s Like Clockwork and 2017’s Villains. If you need to get caught up, though, the band has given those two LPs new reissues. Like Clockwork was recut from the original master tapes and comes with alternate artwork, while Villains comes pressed on limited edition leaf-green transparent vinyl and with a new poster.
Wu-Tang Clan has spawned a number of beloved solo albums, including Inspectah Deck’s 1999 debut Uncontrolled Substance. This new Vinyl Me, Please reissue is actually the first time the project has ever been re-released and this 2-LP edition comes pressed on understated but lovely “cop car blue” vinyl.
Since Uproxx has already shared the Best Songs of 2022, for the Best Hip-Hop Songs of 2022 list, I once again teamed up with Yoh Phillips to see if we couldn’t excavate some gems from an absolutely stacked year of rap releases. While the glut of new songs meant that it’d be physically impossible for anyone to listen to literally everything – or even a fraction of it, really – what we landed on was more of a list of our favorite songs.
These are the ones we couldn’t stop running back, that we had a gut reaction to, that changed our worldviews at least a little bit. That’s what a great song does, after all. It becomes part of you, whether it’s a hook you can’t stop singing, a beat you hear in your head all day long, or just a line that made you think about things a different way. Here are the songs that made us do that, the Best Hip-Hop Songs of 2022.
Ab-Soul – “Do Better” Feat. Zacari
An emotional gut check of a song, “Do Better” hails from Ab-Soul’s upcoming album Herbert. In it, he details the past five years of his life, from getting lost in conspiracy theories to almost taking his own life. He vows to do as the title suggests, something we can all relate to and an example we all should follow. – Aaron Williams
BIA – “London” Feat. J. Cole
“Yummy!” Yeah, J. Cole is still hijacking people’s records right out from under them – something he did a few times this year. “London” constitutes the strongest example, though, with Jermaine flexing his best English accent (he’s no Top Boy), dropping Beatles references, and leaving fans with one of his most amusing verses ever. We don’t believe him about being nervous about the collaboration, though. – AW
Cordae – “C Carter”
Cordae really elevated on his sophomore album From a Bird’s Eye View, but this song was ultimately the standout. While “Chronicles” was the big hit, this song forms the emotional center of the album, recalling how big dreams, when pursued, can take you places you never imagined. Even if those dreams are as humble as copping a $30,000 mid-size sedan. – AW
Denzel Curry – “Walkin”
I tried to get clever with this one, but let’s face it: “Walkin” is probably going to be one of Denzel’s career bests when all is said and done. That beat worms its way into your head thanks to its loopy, soulful sample. But that’s just a delivery system for a motivational message that comes along at just the right time after the last couple of years. – AW
DJ Khaled – “God Did” Feat. Jay-Z, Lil Wayne & Rick Ross
Say what you want about DJ Khaled. I get it. I really do. But. Who else pulls this kind of performance out of Jay-Z? You know the ones. They keep Twitter buzzing for a full 24 hours. They inspire the sort of “away message quotes” that the best Drake songs have been doing for the past decade or so. They make you think. They make you reach for the rewind button. That was Khaled. Give the man a break. – AW
Drake – “Jimmy Cooks” Feat. 21 Savage
A resolve as foreshadowing: Aubrey’s inclusion of Savage at the end of his polarizing house exercise served as crowd-pleasing on the surface, but prevailed as another irresistible mark of unexpected chemistry. Drake thrives on juxtaposition, opting for cruise control on another exercise in Memphis homage; Playa Fly this time. Aubrey’s comfortable, almost unbothered. Once the beat switches and tension increases, Savage takes full command, his voice piercing as he lands every punchline body. You know it’s Tay Keith, even without the tag. It’s menacing, celebratory, and yet another Degrassi reference. His fellow Canadians Struck Back; somehow, The Boy struck again. – Yoh Phillips
Billy Woods’ use of “Zimbabwe!” as an adlib justifies inclusion alone. That said, this Alchemist-helmed joint crawls along as we watch three iron blades sharpen themselves and each other. The pianos glimmer onward as the vocal chops quickly kick the door back in, and not a single word’s wasted as Earl, Woods, and E L U C I D dance at their own paces, in sync with the mission. We’re in the kitchen, the club, the hellfire, the darkness. There are warnings to heed, decisions to fix, and we’re only in control of what we do with our days. – YP
Freddie Gibbs – “Grandma’s Stove”
The most vulnerable song on Freddie Gibbs’ most vulnerable album, “Grandma’s Stove” puts all of Fred’s formidable storytelling skills on display. It’s the kind of song that he’s always had the capacity to make but wisely withheld for his “official” debut album. It’s a testament to how patience, resilience, and a true survivor’s mentality can elevate rap’s most basic mechanics to high art status. – AW
Future – “Puffin On Zootiez”
For the past decade, Nayvadius Wilburn’s been operating at a three-hit minimum per album (his latest is I Never Liked You), and that only counts what gets picked as singles. You’ll find at least two more hits in the album cuts; this TM88/Nils/Too Dope joint hits like comfort food you’d find on Pluto. Instantly identifiable by sonics as plush as content, the track is underscored by the haunting allure carrying all of Future’s oeuvre. He’s tread this territory many times over, but he ceaselessly finds new angles; earworms, syncopation, playing with pitch, and non-sequiturs galore. From the opening bells, we’re transported to places we can never access, craving premium desires and excess. – YP
GloRilla – “Tomorrow 2” Feat. Cardi B
The Breakout-Hit-to-Superstar-Remix Pipeline found Big Glo, mid-ascension with added firepower via signing to CMG, merging lanes with a recently-reinvigorated Cardi B who was primed to continue her summertime momentum. Thanks to the glistening production chaos provided by Macaroni Toni, GloRilla’s original balance between grounded optimism and unflinching confidence grants Cardi permission to kick it into overdrive. Lavish living, public drama, and the price of fame be damned. Quotables and captions abound, making for one of this year’s most aggressively-sellable hit records. The ladies mirror one another in energy and ethos: the homegirls from your hood who came up but will forever run down. – YP
Hitkidd & GloRilla – “F.N.F. (Let’s Go)”
Mantra, manifestation, Memphis. Hitkidd conducted the sound of the city; it’s all in the drum, the snare, the bounce. And by summer’s end, GloRilla lived up to her name: a day-long adventure with an overnight turnaround became one of the most immediately-impactful breakout singles of recent memory. That reach is best measured in the response to this boisterous track at any function since spring — and check the parking lot, too. Her commanding allure combines with a relatability you simply can’t program. The voice cuts through, the quotables abound, and the hook? A centerpiece to galvanize fed-up folks worldwide, at the expense of whoever dares try the team. – YP
IDK – “Taco”
For my money, IDK and Kaytranada’s Simple is one of the most criminally overlooked and underrated projects of the year. Shame on all of you for missing out on some of the most innovative production (of which “Taco” is a prime example; “Dog Food” is another) and blunt-but-incisive lyrics hip-hop had to offer in 2022. Dance and hip-hop have always born a kinship but this is the height of that combination thus far. – AW
Ice Spice – “Munch (Feelin’ U)”
NY Drill by way of the Bronx, inverted by gentler textures and shipped directly to the zeitgeist. In under two minutes, Ice Spice finessed her hometown framework with a playfulness unseen, her overnight rise gracing the cultural lexicon with a new term for pass-around, down-bad dudes still chasing. RIOTUSA supercharges the drill standard with an ominous warmth, leaving room for Spice’s nimble quips. She indulges her whimsical instincts, radiating confidence to spin new gold from the familiar, and neither overstates nor overstays. And if the dive through her old tweets granted her more converts? Y’all know she’ll be here a while. – YP
JID – “Kody Blu 31”
When JID sings in the opening verse of “Kody Blu 31,” a standout from The Forever Story, he echoes Sunday school services and bible study sessions with vocals rarely found in such a craftsman of intricate rhyme schemes. It’s a humble hymn, soulful in sound, both melancholy and motivational with sincerity. Although recorded in dedication to a friend, “Kody Blu 31” feels like a universal mantra that will be meaningful for years to come. – YP
Guns, violence, and mayhem were all themes mostly untouched by Dreamville Records until JID came in with his shouting evil twin Kenny Mason for a caliber of crunk turnt to the max. Their tag team on Dreamville’s Gangsta Grillz mixtape standout “Stick” is a Rambo rampage. The high energy feels intended for mosh-pits in festival settings where you can unloose and be free to yell, without a worry, “Stick! Stick! Stick!” – YP
Latto – “It’s Givin’”
From game show taboo to crossover arc, Latto delivers a record that feels furious and luxurious. This one’s an outline for a boss, guidelines if you will for the streets, the bed, and the bank. Latto’s charisma reaches a fever pitch, trading her usual power-punch cadence for a chilled, easy demeanor that lends power and presence to the accent. Pooh Beatz, FNZ, and Jetsonmade scored a feeling that sounds gives Fashion Week, and cashing in chips, and cashing out and about (the overall vibe of 777). Latto rises to the glamor at her most irresistible; it’s impossible not to feel like one of them ones. – YP
Lil Durk – “AHHH HA”
Black bloodshed: the quickest way to sell a record. The trenches: a site of life, as celebrity ensues. What is Durk Banks to do with his brothers gone, as some in the world gloat? This record’s one of the best of its class for every right and wrong reason. It’s menacing, urgent, and driving as Durk drops a dispatch from the wake of war. He acknowledges his grief, briefly. He checks the scoreboard, addressing the opposition. He even speaks to the feds and the fans (one and the same?) who make a spectacle of his reckoning. Durk dances under the same conditions. – YP
Lil Yachty – “Poland”
Lil Yachty’s one for happy accidents and was long overdue for another undeniable smash. Intentional or not, a leak granted him both: an absurdist earworm, its namesake coinciding with a nation ensnared in ongoing European catastrophes. But the song’s about lean and love and came from a joke about a water bottle. F1LTHY provided the rage for Boat to approach the operatic with deadpan conviction, and the world instantly embraced a left turn artist’s sharpest left turn yet. It’s the most Yachty context ever, and if Poland truly wants him over there, I’d hesitate to accept said invitation at this time. – YP
Mavi – “Last Laugh”
Mavi’s Laughing So Hard, It Hurts is charismatic, poetic, and tender – all reasons to delve into the album as a whole – but there is a singular quality to “Last Laugh,” the closing track. With brisk and concise reflection, it retraces the Charlotte-born rapper’s steps through crisis and come-of-age in a series of autobiographical verses that end with the assertion, “This tape is my only taped confession.” Confessional writing, stripped of everything except the will to be true, is layered with a conviction to honor the bruises earned to make this music as honest as it could be. – YP
Megan Thee Stallion – “Plan B”
Meg got back in her freestyle bag with this ruthless repartee to the thousands of keyboard critics who spent the past two years poking her over the worst time of her life. While it was probably directed at one or two in particular, its dismissive messaging and incredulous tone can apply to any number of situations for just about anybody who has had to deal with pocket watchers, haters, and trolls. – AW
Nas – “Michael & Quincy”
Normally, it’d take a lot of gall to compare oneself to the late, great Michael Jackson – and even more to make the Michael/Quincy Jones comparison, since that combination yielded Thriller, one of the most successful albums of all time. And yet, you can’t help but wonder, after the Nas-Hit-Boy partnership produced four high-quality, career-reviving projects, if, at another time, we might have all agreed. – AW
Pusha T – “Just So You Remember”
Pusha T is a man who knows his role: to revel in wrongdoing and recount the remorse. Here and on his new album It’s Almost Dry, Push excels in reciting the vicious cycle on a technical and visual level, outlining the spoils of war, complete with the sharp corners and gunshots required to attain them. Grandiose yet subdued, the music rolls on like a soundtrack to a montage where our protagonist’s scarred but smiling after coming out on top. He cackles at the competition, he resents silly questions, and he flashes back to every vein in vain and raid gone awry. Still, King Push lives his own myths. – YP
Quavo & Takeoff – “Hotel Lobby”
Migos members Quavo and the late Takeoffdownsizing to duo Unc & Phew found the Norf Atlanta legends still in pursuit of highly contagious, rhythmically loose rap anthems for the young, rich, and handsome. “Hotel Lobby” delivers. Not quite a hit, but there is something so satisfying about hearing them excited and enthused, witty and assured, exuding never going to fail, never going to fall bravado. So lively, so sturdy, so simple, but it’s fun, magnetic music that ends too soon. – YP
Rexx Life Raj – “Sunset Over College Park”
When I finished Rexx Life Raj’s new album The Blue Hour, I was in tears. It wasn’t a terribly convenient time for them either, which just goes to show the sort of emotional impact the deeply confessional love letter to his late mom was. “Sunset Over College Park,” the album’s closer, was the song that did me in. Call your mom. – AW
Sampa The Great – “Let Me Be Great” Feat. Angélique Kidjo
Titular irony aside, “Let Me Be Great” is one of the shining moments from Sampa’s comeback album, As Above So Below, that made me call it one of the top five hip-hop albums of the year. Ending the album with such a powerful closing statement, Sampa earned that distinction both with the quality of the songs on the project and a razor-sharp sequencing sensibility. – AW
Smino – “No Ls”
Smino’s return album, Luv 4 Rent, offered all of the psychedelic soul anyone could want. “No L’s” offers a prime example of Smino’s gift for wordplay, referencing both his inability to lose and his ineligibility to operate a motor vehicle. There’s a gift and a curse in everything, it seems to say, and Smi is willing to accept it all, knowing he’s going to keep going ‘til the wheels fall off. – AW
Vince Staples – “Aye (Free The Homies)”
Look, “When Sparks Fly” is undoubtedly the best song from Vince’s magnum opus, Ramona Park Broke My Heart. But even I’ll admit it’s a bit of a downer – and my half of this list is pretty much full of them. Fortunately, I covered that one on our big list for the year, clearing the way for the hood favorite. Turn up! – AW
Westside Boogie – “Nonchalant” Feat. Mamii
Boogie is still in his feelings. More Black Superheroes, one of the best-titled projects of the year, finds the Compton rapper oscillating between late-night introspection and offering more topical reflections, but he’s still at his absolute best when he’s admitting his faults – even if it seems like he’s relishing in them more than he’s trying to change. – AW
Yeat – “Talk”
How it feels atop the throne of a Tonka. As Yeat etches his legacy in a slurry of new formations — be they in the words he invents, or the layering of his voice — this BNYX-helmed record rings bigger and more menacing than anything else on its level. Yeat’s on cruise control for the coronation because there’s no turning away from what he’s becoming. Trimmed with subtle gratitude and a mutating attitude, as the opening clip implies, this is a winner’s theme, bred for live calamity and every subwoofer in sight. – YP
YG – “Toxic”
For my money, Compton’s motley collection of rappers had the best releases of the year (yes, I am BIASED. This has been well-established. Let’s move on, shall we?). YG’s new album I Got Issues falls into that category too. How could it not, when he steps out of his comfort zone while still sticking to the formula that made him? For example, crooning like Mary J. Blige – AW
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Every year, Mariah Carey decides when it’s time for holiday music season to begin. It’s kinda true, but hey, no matter what the Billboard Hot 100 chart tells us, it’s not all about Mariah Carey at Christmastime (right?) There is in fact other new holiday music from artists who have never had children with Nick Cannon (shocking!) and many of them you’ll actually want to listen to. So check out our picks for the best new holiday music from the 2022 season below (And we promise, there’s only one Wham! cover in the mix)
The Linda Lindas – “Groovy Xmas”
Is there anything these kids can’t do? Teenage punks The Linda Lindas were inspired by holiday songs from some of their classic punk faves like Alice Bag, Redd Kross, and Shonen Knife, and “Groovy Xmas” definitely doesn’t take itself seriously. They hop around generational yuletide pop culture references from The Grinch Who Stole Christmas and It’s Christmastime Again, Charlie Brown, to PSL’s and yes, even Mariah Carey for a song that does its best to assure that the holidays are fun. (They even played it on Kimmel!)
Phoebe Bridgers – “So Much Wine”
Another year and another wonderful holiday cover to benefit a nonprofit by Phoebe Bridgers. This time, Bridgers takes on “So Much Wine” by alt-country duo The Handsome Family and is donating proceeds to the Los Angeles LGBT Center. It’s a sad song about having a loved one with a drinking problem, and trying your best to talk some sense into them around holiday time. A gentle acoustic guitar nestles up to a violin, and if that whistling sounds familiar, it’s because Andrew Bird joins Bridgers on this one.
David Byrne – “Fat Man’s Comin’”
After more than 50 years in the business, this is somehow the former Talking Heads leader’s first-ever holiday song. The horns sound like the opening to a sinister holiday villain flick. And Byrne said he had a different type of…err…villain, in mind for this one. “I wouldn’t call it a Christmas song, as the visitation of Santa (formerly known as St. Nicholas, who mainly did punishing) seems to have evolved to be a more secular consumer moment than a religious or spiritual affair.” Funny enough, Byrne actually wrote this song around the time when he was working with St. Vincent on Love This Giant, but thought it wasn’t right for that project (even though horns feel very much of that era.) The song is also a benefit for Byrne’s mental health-focused non-profit publication, Reasons To Be Cheerful.
Kurt Vile – “Must Be Santa”
It’s a Vile family Christmas! Kurt Vile was joined by his two young daughters for this cover of Bob Dylan’s cover (you following along?) of “Must Be Santa.” Gone is Dylan’s punk party accordion and in its place is a balmy, upbeat synth with the wee Viles joining pops on the hook.
Tkay Maidza – “Nights In December”
On “Nights In December,” the Zimbabwe-born, Aussie electro rapper shoots to recreate the feeling of wintertime in New York City (see: beautiful, but cold as heck!) The best part about this one is how it doesn’t really sound much like your typical holiday song, as much as an uptempo love song about capturing a year-end moment. She does it well.
Los Bitchos – “Los Chrismos”
The London instrumental foursome’s new internationally-inspired holiday tune is a blend of South American cumbia with Turkish psych and wavy Dick Dale-style guitars. And while it’s a largely lyricless tune (besides a “Christmas time! Sexy times!” chant), it feels decidedly of the holiday period; like what Santa might be playing in his sleigh as he races to deliver presents around the world.
Kadhja Bonet – “California Holiday”
Part of the new California Holiday EP of mostly covers that Bonet calls “a modern take on the typical magical Christmas story,” the title track represents the elegant singer’s first original holiday tune. This represents a milestone for her, as Bonet’s never been much of a fan of the holidays until recently. But with its warm strings, retro soul drums, and choral backing vocals, “California Holiday” shows that she’s very much on the other side of the Ebenezer Scrooge transformation.
Future Islands – “Last Christmas”
We promised you a Wham! cover and now you’ve got it. And look, there are once again a lot of covers of “Last Christmas” this year, but it’s Future Islands’ spin that does it best this time around. Maybe it’s because they don’t try to mess with George Michael timeless formula too much? Because it truly sounds like the soundtrack to an ’80s teen holiday movie. But perhaps it’s because Samuel T. Herring is one of the most engaging singers on the planet. And it’s not just an homage to the classic, it’s one that’s very much in the shape of the original.
Sam Smith – “Night Before Christmas”
Sam Smith can do no wrong. The LGBTQ+ icon just melted hearts with their subtle-but-powerful lyric tweak to “Stay With Me” at a Respect For Marriage Act celebratory performance on the wintery White House lawn. Now on this original holiday tune, Smith sings over a lush guitar and peaceful organ about a romantic evening in a fireplace-warmed living room. “Night Before Christmas” is also a part of Smith’s ongoing The Holly And The Ivy holiday compilation series, so we can expect more gems like this for years to come.
Remi Wolf – “Winter Wonderland”
Remi Wolf actually put out two holiday singles this year. But since we’ve already filled our quota of covers of Wham!’s “Last Christmas,” it’s her take on “Winter Wonderland” that we’ll highlight here. Wolf is clearly having a grand ol’ time on this classic, letting her vocal punctuations fly in elated space as she turns your speakers into a very cool holiday cabaret.
Emily King – “This Year”
If there were a theme to King’s new year-end tune, it’d be “treat yo-self!” The indie pop singer says that she, “…Wrote ‘This Year’ last New Year’s Eve after realizing I’d spent most of my time vying for the attention of someone who couldn’t love me back.” It celebrates getting comfortable with yourself and unapologetically thinking about your psyche first and foremost. It has a killer bridge as King sings, “This year gonna hit my stride, I’m livin in my best life, this year.”
The first song of Grohl & Kurstin’s yearly “The Hanukkah Sessions” for 2022 sees them being led by Apatow in a cover of Blood, Sweat & Tears’ 1968 flower child jam, “Spinning Wheel.” This was a live performance that took place at a full-on The Hanukkah Sessions event in Los Angeles earlier this month that’ll yield collabs with Beck, Pink, Karen O, and others for each of Hanukkah’s eight nights. Apatow was a gregarious vocalist, coming across like the beloved Krusty the Klown kicking off a holiday special. It’s a swell way to once again begin the delightful annual series.
Greeensleeves – “This Could Be Christmas (Slow)”
Back for its second year, Slow Xmas is a holiday comp produced by Blank Check with Griffin and David podcast producer Ben Hosley, where the prompt for the compilation had one demand: “Gotta be slow.” The artists take a range of interpretations on those directions: From Electric Santa’s krampus-slowcore “We Three Slow Kings,” or a very slowed-down Christmas tale by 99% Invisible podcast host Roman Mars, “A Slow Visit From St. Nicholas.” But it’s Greeensleeves’ “This Could Be Christmas” that drives slowly without feeling altered. A buzzing synth and heartbeat-like thump make the song feel like snuggling on a couch with a mulled wine in hand after a big meal.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Sure, you’ve been doom-scrolling through your share of year-end Best Albums lists, but there are some deep cuts out there that might not be getting the shine they deserve. While we stand by the diverse offering of the year’s best on Uproxx’s Best Albums of 2022’s round-up, these picks represent the ones you may have missed. From post-punk and global sounds to West Coast hip-hop and IDM, check out the best albums of 2022 that you might have missed below.
Khruangbin and Vieux Farka Touré – Ali
Much like how Khruangbin’s Texas Sun/Moon collaboration with Leon Bridges wonderfully melds together each artist’s sound while aiming for the essence of Texas, Ali is a sonic journey into West Africa with Vieux Farka Touré. The son of the great Malian desert blues guitarist Ali Farka Touré, Vieux joins forces with Khruangbin to honor his late father on the album. The Texan trio elevates Touré as a vocalist and guitarist, and together they tap in deeply to the spirit of West African blues and folk. One that can finally be felt in widespread fashion well outside of the continent.
Greentea Peng – Greenzone 108
The British rapper’s latest mixtape sees her spitting metaphysical rhymes over jazzy psychedelic soul beats and dancehall riddims. “Stuck In The Middle” showcases her sly wordsmithery over a groovy twang, while “Your Mind” lays down lush strings and funky horns for Peng to flow over with impeccable cadence: “I see you still, cower at your power. I see you still, doubt the world is ours / But I’m here to shower you, with messages from higher you, in spite of you, inside of you, there’s light in you, and fight in you.”
Widowspeak – The Jacket
On their sixth album, Brooklyn’s Widowspeak have found their highest form. Straddling shoegaze and cowboy pop, The Jacket is a calming, extremely pleasant, and flat-out gorgeous display from a band that’s aging gently and gracefully. Through standout tracks like the kaleidoscopic “While You Wait,” the balmy “Everything Is Simple” and the brilliantly arranged “The Drive,” singer Molly Hamilton’s vocals are a salve throughout one of the best evening companion albums of the year.
Ela Minus & DJ Python – Corazón
Before the arresting dance music pulse of Ela Minus’ breakthrough 2020 album, Acts Of Rebellion, the 2017 Adapt EP was a more playful, vocal IDM essay on synth mastery from the Colombian artist. Corazón harkens back to that early release through the earthy tonalities of New York-based producer DJ Python. As its title suggests, Corazón is a collection of love songs — only three of them to be exact — that leave a lasting feeling of sweet longing, tinged with palpable hope and nostalgia for sweet moments of romance. None do it better than “Pajaros en Verano,” one of the best songs of the year which brims with starry-eyed adoration wrapped in Ela and Python’s warm embrace of synths.
Thee Sacred Souls – Thee Sacred Souls
In the spirit of retro-soul-minded acts like Durand Jones & The Indications and Sharon Jones & The Dap-Kings, the self-titled debut from SoCal’s Thee Sacred Souls is a display of lowrider soul tunes. Singer Josh Lane, drummer Alex Garcia, and bassist Sal Samano channel vintage ’60s soul and ’70s R&B vibes on the twelve-track Daptone Records release. But it’s in their full seven-piece setup where you get transported to a scene right out of that sock hop in Back To The Future, only this time, it’s the full Thee Sacred Souls touring ensemble commanding the stage for [radio DJ voice] alllll the lovers out there.
George Fitzgerald – Stellar Drifting
Domino Records really had their finger on the pulse of melodic IDM this year and George Fitzgerald’s Stellar Drifting was it’s most accessible offering. Breakneck soundscapes bloom everywhere, often making way for lasting vocal collabs like the glorious “Passed Tense” with Panda Bear and the magic carpet ride that is “Rainbow And Dreams” featuring Soak. For the album, Fitzgerald synthesized the literal sound of the cosmos and moments like “Cold” — featuring a pitched-down (and uncredited) Ellie Goulding — are downright interstellar.
Tim Bernardes – Mil Coisas Invisíveis
Brazilian singer-songwriter Tim Bernardes opened for Fleet Foxes on tour this year and recently collaborated with them on the track “A Sky Like I’ve Never Seen.” He even recorded a version of “Baby” with Brazilian legend Gal Costa before she passed this year. His trajectory is certainly on the rise and his solo album, Mil Coisas Invisíveis, is one of the finest modern Brazilian folk albums released in recent memory. Look no further than “BB (Garupa De Moto Amarela)” for a prime example of how Bernardes presents his elegant and poetic Portuguese-language lyricism, alongside bohemian arrangements that feel inspired by the flower child era of the Summer of Love.
Larry June & Jay Worthy – 2 P’z In A Pod
While San Francisco’s Larry June Spaceships On The Blade drew considerable attention this year (including from Uproxx’s Best Albums of 2022), June’s collaboration with Compton rapper Jay Worthy was likewise a standout. 2 P’z In A Pod is nothing short of a titanic West Coast rap release, bringing together two distinct voices from NorCal and SoCal. The record is produced entirely by Sean House and “Leave It Up To Me” doesn’t just show two rappers complementing each other with a distinct symbiosis, it might just be the best track June put out this year. There are even features from a slew of OGs in The Diplomats’ Jim Jones, West Coast rap fixture Suga Free, and then NYC’s Roc Marciano on the cognac-soaked “Leave It Up To Me.”
A.O. Gerber – Meet Me At The Gloaming
There’s a lot more than meets the eye on Los Angeles singer-songwriter A.O. Gerber’s latest album. If meticulously constructed and impassioned tunes like “You Got It Right” and “Walk In The Dark” remind you of Wye Oak, perhaps it’s because Gerber co-produced the album with Wye Oak collaborator Madeline Kenney. Out on the workhorse Father/Daughter Records label, melancholy strings permeate this beautiful album about staying optimistic in difficult emotional standstills. And even experimental jazz saxophonist Sam Gendel pops up at a couple turns, flashing ambitious layouts from Gerber and company that leave you wanting more.
Cola – Deep In View
While Montreal post-punk trio Ought disbanded recently, Cola immediately arose from the ashes. Most importantly, deep-voiced singer Tim Darcy is still at the helm lyrically on an album that easily slotted among the best post-punk releases of the year. Album opener “Blank Curtain” sets the stage with Darcy’s perfectly-paced vocals, sleek riffs, and a devious bass line from Ben Stidworthy. “Water Table” brings back Darcy’s signature callouts of our growing technocratic state, over drums from Ben Cartwright that thump like a tell-tale heart. And for a moment, it feels like Ought never left, they only got better.
Archibald Slim – Worldly Ways
While Archibald Slim is still rubbing elbows with Atlanta’s left-of-center Awful Records crew that he first came up with (including on Father’s “Let’s Kick His Ass!” along with Zack Fox this year), he’s found new life with LA’s P.O.W Recordings after a lengthy hiatus. Now Worldly Ways immediately slots him among the upper crust of the label’s eclectic roster of emerging rappers. The Boldy James comparisons are inescapable as Slim weaves stories with the hard-earned wisdom of a man who’s traversed many roads, but with the South as his recognizable point of origin. And he puts it down on the standout title track over a breezy thump, rapping: “I ain’t proud of some of the things that I had done. But my folks proud I stand my ground and I don’t run unless there’s time on the line.”
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
On her debut album, CTRL, SZA established herself as a household name by way of spellbinding melodies and relatable words. The then 20-something R&B songstress shared poignant accounts of body dysmorphia, heartbreak, loneliness, and growing older. Now, in her early 30s, the old soul we’ve come to know and love reels over a beautiful-yet-cruel existence, accepting the painful wisdom that comes with age. While SZA remains on a spiritual transformation, her new album, SOS serves as a reminder that insecurities, like the ones she sang about on CTRL will persist, no matter how far along you are on your journey. At 23 tracks, it’s not as cohesive as its predecessor, but SOS still is a vital chapter in the SZA universe.
The looseness of SOS allows the album to breathe a little more freely. It opens on its title track, on which SZA addresses plastic surgery rumors (“That ass so fat, it look natural, it’s not”), disavows trifling men (“Punk ass tried to replace me, but the stakes is too high”), and announces that she’s back, and presumably better than ever (“This ain’t no warnin’ shot, case all you hoes forgot.”) While the intro seems to establish the narrative that SZA is now a healed woman, it leads into a collection of stories which see her both regress and grow, and regress and grow again.
On SOS, SZA presents us with a unique and rather polarizing set of coping mechanisms, from tapping into feelings of codependency, fantasizing about killing her ex, and sleeping with other men, for the sole purpose of forgetting one specific man. Her journey manifests by way of expressing herself through her signature brand of R&B with a rap flow, as well as by way of showing her rap chops, spitting rhymes about blocking “your favorite rapper” and going ghost on “your favorite athlete,” as she struggles to move on.
Old habits die hard as SZA experiences the stages of grief, in no particular order. She hasn’t been linked to a significant other since CTRL, however, the overall narrative of the album seems to center around her dealing with a breakup. SZA demonstrates a raw sense of self-awareness, as she accepts blame for the relationship’s demise, but also finds herself in denial that the relationship is over, expressing desperation and longing to mend things.
Songs like “Conceited” and “Far” offer fans a glimmer of hope, as SZA appears to find solace in her own company, despite having just poured her heart out over her ex in the previous tracks. But she also quickly becomes aware of the danger of being alone with her thoughts for too long. On one of the album’s more vulnerable tracks, “Special,” she puts a laundry list of insecurities on display on what feels like a modern-age update of Radiohead’s “Creep.”
The previously released tracks, including “Shirt,” “I Hate U,” and “Good Days,” have already been known and loved by fans for almost two years. While they may feel weirdly-placed on the album, they are still vital parts to the overall narrative of grief and emotional recovery.
Despite having been released two years ago, “Good Days” makes for a solid penultimate track, expressing a hopeful outlook for the future the amid emotional turmoil she just sang of for the past hour. “All the while / I await my armored fate with a smile / I still wanna try / I still believe in good days,” SZA sings on the chorus of the therapeutic self-help anthem.
This pattern of seemingly letting go, only to tap back into feelings of insecurity continues throughout the entirety of the album, but by the end, the listener is introduced to a more affirmed, principled SZA.
SOS is SZA’s riskiest work to date. Dropping an album with 23 tracks in the age of streaming is always daunting, but SZA is never one to shy away from any emotion. Sure, the tracklist could use a slight trim, and while the album’s narrative is less structured than that of CTRL, the order of tracklist and each song’s individual message are reflective of a non-linear healing journey everyone must embark at some point in their lives.
SOS begs the question, has SZA healed since inviting us into the rocky, uncertain world of CTRL? But perhaps a better question to ask oneself may be, is anyone ever really fully healed from their traumas? It’s a painful reminder that our shortcomings and our insecurities will always make themselves known. But it also shows listeners that a now older and wiser SZA will always emerge strong through heartbreak and fear.
Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.
Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of September below.
Alex G — God Save The Animals
Domino
Uproxx’s Ian Cohen recently declared that God Save The Animals, the just-released new Alex G album, is the artist’s best. He wrote in part, “Folky Alex G, abstract Alex G, slowcore Alex G, rawk Alex G, it’s all here, but God Save The Animals manages to circle back to his origins placing the vocals higher than they’d ever been since Race or Rules.”
John Denver — Rocky Mountain High (50th Anniversary Reissue)
Windstar Records/Secretly Distribution
Rocky Mountain High is without a doubt one of John Denver’s defining albums and now that it turns 50 years old here in 2022, it’s getting a fresh rerelease. This limited edition is pressed on blue vinyl and in case you’re unfamiliar with the album, it of course features the famous title track as well as the underrated album-closing “Season Suite.”
Summer just ended, but that doesn’t mean it’s too early to start thinking about Christmas, Hanukkah, and the other end-of-year holidays. If you want to get your vinyl library ready, the new Holidays Rule collection is for you, as it features holidays tunes from Paul McCartney, The Shins, Sharon Van Etten, and a number of others.
With all the talk about the upcoming Barbie movie, now is a perfect time to revisit the classic Aqua hit “Barbie Girl.” There’s a terrific new opportunity to do that for vinyl lovers: Aquarium, the song’s parent album, turns 25 this year and has therefore gotten a new vinyl reissue, including a striking pink pressing.
The War On Drugs — I Don’t Live Here Anymore (Limited-Edition Deluxe Box Set)
It’s been nearly a year since The War On Drugs dropped their latest album, 2021’s I Don’t Live Here Anymore. To mark the occasion, they have a limited-edition deluxe box set available now, which includes unreleased tunes “Oceans of Darkness” and “Slow Ghost” on a 7-inch. They’ve even gone through the trouble of making an unboxing video for the release, so check that out above for more details about what’s included in the expansive set.
At 30 million copies sold, there are only a handful of albums that have ever outsold the ABBA Gold compilation. Well, more sales are incoming, as the best-of album just got a new 30th-anniversary reissue, pressed on lovely gold 180g vinyl and of course including all the hits that millions have come to love over the decades.
Sun Ra — The Futuristic Sounds Of Sun Ra (60th Anniversary Edition)
Craft Recordings
For folks who have heard of jazz icon Sun Ra but haven’t yet taken the dive, this reissue of the 1963 album The Futuristic Sounds Of Sun Ra is a good place to start. The project is considered one of Ra’s more accessible and this particular edition of it includes remastered audio and artwork.
Dead Kennedys — Fresh Fruit For Rotting Vegetables (2022 Mix)
Manifesto Records
Dead Kennedys started their run as one of the defining ’80s punk bands with their 1980 debut, Fresh Fruit For Rotting Vegetables. Now, the 42-year-old album has gotten a facelift via a new “2022 Mix,” which was made using the original multi-track tapes. Additionally, it comes with a 28-page booklet featuring rare archival photos and interviews.
Roxy Music put out a lot of worthwhile tunes during their run and they brought the best of them together under one roof on the 2011 compilation album The Best Of Roxy Music. Now they’ve reissued that collection on vinyl and it’s a great summation of the band, as it includes at least one song from each of their eight albums.
Bruce Springsteen — Nebraska (Vinyl Me, Please Reissue)
Vinyl Me, Please
Nebraska, one of The Boss’ most esteemed albums, turns 40 this year. So, the folks at Vinyl Me, Please have come through with a striking reissue, mastered at half-speed and pressed on a lovely black smoke vinyl. As VMP releases do, this one also comes with a listening notes booklet.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
If there’s one thing we know about Ari Lennox, it’s that holds on tight to her independence and freedom. The room to operate as she pleases and exist as she is has become a foundational aspect of the music she creates, and it’s received well by her listeners. “New Apartment,” from her debut album Shea Butter Baby, was championed by women all over because it perfectly encapsulated a fresh start and that moment of peak independence. Unlike the world beyond the four walls of this living space, everything that happens within them occurs at your discretion. Within them is a judgment-free zone. Ari’s quirky moments roam just as free as her soulful and confession moments.
On her second album Age/Sex/Location, Ari looks to build this same world for herself beyond those four walls. Prior to the album’s release, J. Cole shared a text message he received from Ari where she detailed what the project meant to her. In her lengthy response, she unveils her desire to block the negative she’s experienced in love and dating while allowing and accepting the positive that she very much deserves. While all of this is a working progress, something she refers to as the transitional phase to her current “eat pray love” journey, Age/Sex/Location puts those desires to work in what feels like a virtual testing ground of sorts, all before enacting them in the real world.
Right out the gate, Ari steps forth with an unforgiving authority on Age/Sex/Location. The intro track “POF,” which is sprinkled with background vocals from J. Cole, strikes as a tense and confrontational conversation over dinner at a dimly-lit fancy restaurant. Voices are low and anger is kept internally for the sake of not making a scene, but Ari’s words pierce like the knife that lays on the plate in front of her. “The audacity to lecture me about your Christianity / Then turn around and try to f*ck on me / Like it was gon’ be easy,” she sings with a dismissive layer wrapped around her words. Just a few songs later, on “Pressure,” the aforementioned tension is swapped for a gleeful double entendre that confidently instructs a man exactly what she wants. Ari yanks the tie of her love interest and pulls him close while daring him to boldly declare his bubbling desire for her.
Elsewhere on the 12-song project, she closes the door on love in some instances with the same conviction that she opens it in others. “Waste My Time” is driven by fun and lighthearted production that would be welcomed on a girl’s night out playlist. Once again, Ari dares her companion to put their words to action. “Use that mouth, blow this back out,” she quips on the record. While it’s similarly titled and contextually reminiscent of Brent Faiyaz and Drake’s “Wasting Time,” the male duo’s record lives in a bit of toxicity while Ari’s is seductive, inviting, and consenting of a no-strings-attached one-night affair.
Nonetheless, Ari isn’t a one-for-all woman and Lucky Daye is unfortunately the man who has to learn that. His slick-talk and player-esque lines on “Boy Bye” fail to do enough to earn him the same night that the individual on “Waste My Time” received. It’s not to say that Ari’s interest isn’t piqued as she gives an ear to the aftermath of Lucky’s initial cat calls, but she reads his approach as bland and formulaic. Whether it be his lack of authenticity or validity behind her claims of having a man, Ari leaves Lucky to accept that he came up short despite his efforts.
While many use the title track for their album as a moment to expand on the project’s central theme, Ari creates a skit that does just that in 37 seconds. “When you’re back in the game / That’s how you would greet someone, A-S-L,” she says calling back to the album’s title. “Playing on chatrooms, internet, meeting people / Like, this is dating.” Age/Sex/Location is Ari’s ideal forays into the dating world with each one beginning with the simple details of one’s age, sex, and location. While these forays can end in steamy, sweaty, and passionate bedroom magic, as detailed in “Leak It” with Chloe – a euphoric and dreamy duet that sees both singers ready to reveal (or leak) an unfiltered side of love that will only leave them leaking in satisfaction – its conclusion could also be one more aligned with “Blocking You.” Once that “a/s/l” prompt is answered, there’s no telling where things can go. With Age/Sex/Location, Ari hopes to leave with something with every roll of the dice.
On Age/Sex/Location, Ari Lennox signs into a virtual world that could easily be her reality. Where Shea Butter Baby begged and hoped for reciprocation by seeking an in-person connection as opposed to a digital one (“Facetime”), reassurance (“Speak To Me”), or a vow of continued love (“Pop”), Age/Sex/Location demands that reciprocation while promising a cease in communication and interaction without it. As she navigates the twists, turns, risky climbs, and unprotected freefalls of her current “eat pray love” journey, it’s with more discipline and increased wisdom from past missteps.
Age/Sex/Location is out now via Interscope and Dreamville. You can stream it here.
NEW ALBUM RAVEN OUT EVERYWHERE FEB 10! 
(@GloTheofficial) 
edith – victoria 
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ICYGRL (@Saweetie) 
learning patience myself for real but sheesh
