The Internet, a band that features Syd and Steve Lacy, seems to be teasing their return. The group’s last album, Hive Mind, dropped back in 2018, and fans have been waiting to see what would be next. However, since then, the members have stepped out to pursue their solo careers as well.
Starting the new year off strong, The Internet recently shared a post on their Instagram account, which has fans extremely excited. The photo slideshow finds the group working in the studio. “mutha’ f*ck the wagon, come join the band,” the caption reads.
Back in 2022, Syd did an interview with NME where she shared that there would be a “next” album from The Internet. The band later clarified that it would not be their last, just the final one in a label contract.
Besides that, not much else is known about the new music that will (seemingly) be coming from The Internet. But, as one user put it, “2024 is saved,” if they do drop an album this year. A few other users have speculated if they’d be playing Coachella.
The first time I saw Syd Tha Kyd in the flesh, she had to wait patiently to jump into the crowd. It was 2011, the height of Odd Future’s pop culture influence (and infamy) and the kids of Dublin, Ireland had turned up to their show in force to chant “Kill people, burn sh*t, f*ck school” without consequence.
Perched behind the decks in her role as DJ, Syd watched on as members of the Los Angeles collective did about 12 stage dives each — only at the end of the show was she afforded the opportunity to make the awesome leap. Though the only girl in a group of unruly boys, Syd’s tight trim and muscle tops meant she blended into the crew with ease. More importantly, she bent the knee at the same N*E*R*D altar as group archdeacon Tyler The Creator, and her musicality and counsel was crucial to building the rap group into a pop culture phenom — a lot of their early stuff was, in fact, recorded at Syd’s parents’ house.
Yet Odd Future’s success didn’t make her happy. Out on the road, Syd struggled with depression and feelings of disconnect from her family and girlfriend. “I wasn’t in a good place then and so I don’t really reminisce on those moments,” she told NME earlier this year.
A decade later, Syd’s a solo star on a seemingly unbreakable upward flight path. Her most recent album, Broken Hearts Club, is one of the year’s finest and most striking pop records, an electrifying shock of retro-futurist soul and cyber-funk explorations. Nowadays, she doesn’t have to wait for anyone to take her turn.
Sydney Loren Bennett comes from musical stock. Her Jamaica-based uncle Mikey Bennett is one of the songwriters and producers behind Shabba Ranks’ still-great 1991 chart reggae classic “Mr. Loverman.” As a kid, she’d spend family vacations hanging out in the studio and observing her uncle at work. At 16, Syd’s parents let her turn their guesthouse into her own studio. The budding music-maker’s vocation became playing piano and creating beats.
Syd expressed herself by crafting instrumentals for Odd Future, but a more rounded portrayal of her proclivities was coaxed out by her band The Internet. Originally a component piece of Odd Future that Syd later took in her divorce from the group, The Internet flourished from her musical kinship with background OF member Matt Martians. The very Google-incompatible name of the project actually started out as a joke: In 2011, a journalist interviewing Odd Future asked one member, Left Brain, where he was from. “He was like: ‘I hate when people ask me that,’” Syd later remembered. “‘I’m going to start saying I’m from the internet.’”
No joke, The Internet — with Syd on vocals, backed by Martians and Odd Future touring members Patrick Paige, Christopher Smith, and Tay Walker — made serious cosmic funk odysseys and sci-fi soul tunes, with The Neptunes’ influence very palpable: “Dontcha” could be one of Chad and Pharrell’s early Justin Timberlake productions. The band’s first two albums were low-budget efforts laid down in Syd’s home studio, but after a few line-up changes that included the addition of guitarist Steve Lacy, third album Ego Death proved a breakthrough, earning a Grammy nomination and providing a hit in the slinky Kaytranada-produced single “Girl.”
Syd embarked on further explorations on her 2017 solo debut, Fin, crafting a set of foggy, state-of-the-art alt-R&B tunes — The Weeknd and Miguel-type stuff — with flair and focus. She twinned this contemporary sound with confident declarations of her impending supremacy: On the stuttering electro-slap of “Shake Em Off,” Syd accelerates away from “drowning in doubt and frustration” to announce herself a “young star in the making.”
Now, we have Broken Hearts Club, her most pop-minded album yet, the kind of record an artist seeking to reach the highest peaks of musical stardom would make. As with Fin, Syd produces or co-produces a number of tracks, with external beatmakers drafted in too. Besotted with 1980s pomp productions, throwback drum machines and mammoth synth loops complement the catchy choruses. Prince mimicry comes in the form of the obvious “Little Red Corvette” analog “Fast Car,” while “Control” shoots forward a decade to draw strength from Aaliyah’s music with Timbaland, though it is actually produced by none other than Rodney “Darkchild” Jerkins. In other words, Broken Hearts Club is the future as envisioned by pop stars of yesteryear; a retro-futuristic art installation that sounds fresh and vital.
Yet it is primarily about the most rudimentary pop subject matter: a breakup. The 13 songs veer from being written before and after the dissolution of a relationship, accidentally scripting the tragedy of lost love. So you get an opener like “CYBAH,” a collaboration with Lucky Daye, the title serving as an acronym for a serious question posed throughout the song: “Could you break a heart?” Syd, no longer a Kyd (she hit the big 3-0 in the middle of the year), quizzes a potential new love interest with the kind of bluntness only possible if you’ve old traumas of the heart to bear.
Syd is no tub-thumping vocalist, instead her cool, broken-hearted voice amalgamates with the icy-heat generated from the funky, futurist machine dreams. But that coo really slithers on turn-the-lights-off slow jams like “No Way.” “Don’t know what you’ll have arranged / We’ll be gone, missing for days,” she sings, evoking the sentiment of loverman Maxwell on his classic “Til the Cops Come Knockin’.” And there’s further retro goodness with the sweetly plucked strings of “Right Track” recalling a strand of ’00s chart R&B — think Kandi Burress’s “Don’t Think I’m Not.”
The album reaches its emotional apex on the home straight. “BMHWDY” (“Break my heart, why don’t ya?”) is a desperate yearning, while the pillow-soft “Goodbye My Love” sounds like acceptance. But if those two songs feel fueled by raw emotion, closer “Missing Out” is the full relationship post-mortem. “As far as I can see, you and me could never be,” sings Syd. “‘Cause we didn’t spend the proper time tryna work it out.” Her final realization on this emotional journey is that it’s her ex-girlfriend who’s lost out in this breakup.
Having bore witness to Syd from her artistic inception, it feels like she is reaching maximum speed in what is bound to be a long race. Take it from Beyoncé, who tapped Syd to produce funky ditty “Plastic Off The Sofa,” the most romantic joint on Bey’s new album Renaissance. When you realize that it’s not a dissimilar song to “Heartfelt Freestyle,” a minor number from Broken Hearts Club, it becomes evident that Beyoncé is just as besotted with Syd’s style as her most dedicated disciples. No wonder nobody can say anything to her anymore. When asked by NME if she still seeks the validation of others, Syd shook off the question. “I don’t think I care anymore,” she said. “I know I’m a genius.”
Broken Hearts Club is now via Syd Solo/Columbia. Get it here.
As a fan of R&B, you may have spent some portion of the year arguing against critics of the genre who believe it’s “dead” due to the changes it exhibited over the decades. Two years ago, I went on a whole spiel that argued against this belief before celebrating the best R&B albums of the year. In all honesty, fighting against the false death of R&B is a bit counterproductive when the signs of life are right there. Even then, celebrating its life seems to be closer to the end goal that we lover boys and girls have, as opposed to fighting to prove its life.
Over the course of 2022, the life R&B of could be found through the return of tenured favorites like Steve Lacy and Ravyn Lenae who spent some time away from the mic. Frequents like Lucky Daye, Kehlani, and Giveon made quick returns to update their catalogs with impressive bodies of work. Elsewhere, names like Amber Mark and Zyah Belle took big steps into the spotlight with their albums, steps that were too big to ignore.
So, without further ado, here are the best R&B albums of 2022 in alphabetical order.
Alex Isley & Jack Dine — Marigold
Alex Isley & Jack Dine
Fighting against the pressures that come from her family’s musical legacy, Alex Isley continues to reach the bar set for her. Alongside producer Jack Dine, on Marigold, Alex pays homage to R&B’s traditional roots. Alex’s artistic growth is on full display in the delivery of her angelic vocals, and when paired with Dine’s divine production, it makes for a heavenly musical experience. In a half-hour, Marigold is a celestial soundtrack for diehard romantics. If she continues at this pace, in the coming years Alex will be one of the foremost figures within the genre. – Flisadam Pointer
Amber Mark — Three Dimensions Deep
PMR/EMI
The best things come in three(s). That’s a saying that Amber Mark knows too well, considering that the number has such a huge presence in her life. So, it’s no surprise that her third project and official debut album, Three Dimensions Deep, is her best and most-fulfilling body of work to date. Aside from it continuing a theme in her life, Mark’s debut beautifully explores the scary and/or exciting depths of love. Whether it be her hesitance to be trusting on “Most Men,” or her experience with a head-over-heels love on “Out Of This World,” or even the search of something for the spirit on “What It Is,” Mark’s album makes for a magical experience that’s too good to ignore. – Wongo Okon
Ari Lennox — Age/Sex/Location
Interscope/Dreamville
Social media has had a huge effect on how we do everything in our day-to-day lives, from something as simple as where we get our news to something more complex like the dynamic of our person-to-person relationships. Ari Lennox’s sophomore album Age/Sex/Location is born out of this world, and through anecdotes of romance, heartbreak, and growth, Dreamville’s First Lady indirectly acknowledges these hardships by creating a world of her own. With help from J. Cole, Lucky Daye, Chloe, and Summer Walker, Lennox signs into a world where she’s in control and her standards are met without her having to alter them in hopes of true love. – W.O.
Arin Ray — Hello Poison
Interscope
With his sophomore album Hello Poison, Arin Ray learns that it’s impossible to deny love when it’s right in front of you. The project’s title is an oxymoron that welcomes the very thing that used to hurt him: love. Between records like the eccentric “This Is Nice” to the funky “Lovely,” Ray passionately displays his change of heart, going from hesitant to try again at love to the hope that his open feelings are matched and not left to waste. For Arin Ray, his second full-length album adds more to his already impressive palette of talents, proving that the Cleveland native is truly a special corner in R&B. – W.O.
Brent Faiyaz — Wasteland
Lost Kids/Venice/Stem
Brent Faiyaz, the enigmatic frontman of the musical ensemble Sonder and successful solo artist, dials up “toxic n**** R&B” to the umpteenth power with his second studio album, Wasteland. Throughout the 19-track project, Faiyaz welcomes us into his world of fast cars, designer clothes, beautiful women, and superstardom. The crooner treks through the pitfalls of love as he struggles with his growing notoriety. The project also offers a bit of dinner theater, with Faiyaz layering several skits throughout the project. – Alexis Oatman
Domi & JD Beck — Not Tight
Domi & JD Beck
The prodigious jazz duo delivered a futuristic debut album showcasing the full breadth of their mastery of keys (Domi) and drums (JD Beck). The pair sound like they could score an Adult Swim cartoon in their sleep and they bring Anderson .Paak, Snoop Dogg, Herbie Hancock, Mac DeMarco, and others along for the ride. Not Tight is as technically sound as it is ambitious, zany, youthful, and just plain dizzying. Domi & JD Beck could very well be the envoys for a future of jazz music flushed with tinges of R&B, hip-hop, and more in the process. – Adrian Spinelli
Ella Mai — Heart On My Sleeve
10 Summers Records/Interscope
Distill the essence of the Love Jones quote — “romance is about the possibility of the thing” — into 15 R&B songs, and you get Heart On My Sleeve. Ella Mai could’ve chased the next hit after “Boo’d Up” but committed to a substantial body of work — vulnerably parsing love and heartbreak, fallibility and titillation. The UK songstress’ flawless vocals demand to be felt, soaring atop ethereal beats (“Break My Heart”), smooth pockets (“A Mess” feat. Lucky Daye), or strings (“[Pieces”). Daye, Latto, and Roddy Ricch are welcomed, but Mai is the main character. – Megan Armstrong
FKA Twigs — Caprisongs
Young Recordings/Atlantic
Arguably one of the more underrated albums from this year, FKA Twigs followed up her critically-acclaimed Magdalene with the dreamy, astro-themed Caprisongs. (She is, in fact, a Capricorn.) The record boasts party-ready collaborations with The Weeknd on the apt “Tears In The Club” and Pa Salieu on “Honda.” Still, Twigs proves once again that she’s also perfectly capable of shining on her own, with equally-enticing tracks like “Meta Angel.” – Lexi Lane
GIVĒON — Give Or Take
Epic Records/Not So Fast LLC
GIVĒON’s soul-shaking baritone blasted him to the top of R&B (“Heartbreak Anniversary”) and even pop (“Peaches”). The velvet voice has something to say, too? Game over. The Long Beach export has described his debut LP, Give Or Take, as reading his diary to his mother, whose perspective on his heartbreak serves as bookends (“Let Me Go,” “Unholy Matrimony”). Singles “For Tonight” and “Lie Again” are soaring, universal ballads, but painstaking, slow-burning glue tracks like “Dec 11,” “July 16th,” “Make You Mine,” and “Tryna Be” posture him as a timeless storyteller. – M.A.
Kehlani — Blue Water Road
Atlantic
With their third studio album Blue Water Road, Kehlani allows themselves to be more vulnerable than ever. The 13-track project is presumably the first time the Oakland singer stands firm in their queerness, boldly addressing their love life and sexuality. From beginning to end, the album seems to flow perfectly in and out of each song, with the warmth and richness of ’90s R&B. Like ocean tides, this project beckons you to come closer and let the waves wash over you. – A.O.
Lokre — Elizabeth
Eccentric Electrix Inc.
Lokre’s (pronounced lock-ree) debut album Elizabeth is a fine display of growth, maturity, and self-awareness. The Toronto singer’s project comes more than a decade into her musical career, but it’s the wisdom and knowledge that she gained along the way that helped to make Elizabeth the pristine album that it is. Her soothing vocals guide listeners through a tale of conquering her fears, fighting for her peace, and learning from her missteps. Through the 11 tracks on Elizabeth, Lokre dusts the past off of herself, settles into the present, and takes the steps forward for what is set to be a fruitful future. – W.O.
Lucky Daye — Candydrip
Keep Cool/RCA
It didn’t take long for Lucky Daye to prove that he was the next best thing in R&B. Grammy nominations among other things for his 2019 debut Painted proved that, but for his second act, Candydrip, Daye sought to expand his range. The New Orleans singer was more flirtatious than ever on his latest effort, and he also brought more sounds into play, opting to spend more time in mischievous nighttime fun this time around. What makes Candydrip so good is Daye’s ability to blend his traditional sound with his experimental takes for a cohesive project that lets listeners see a new side of him as well as how wide his range is. – W.O.
PJ Morton — Watch The Sun
Morton Records/EMPIRE
Like many projects that arrived over the past 18 months, PJ Morton’sWatch The Sun is inspired by his experiences during the height of the pandemic. The New Orleans native confessed that the project’s title is inspired by his hope for better days during one of the darkest times in recent history. This hope is ejected through the warm-hearted and jazzy title track, the bouncy “My Peace,” the inspirational “Still Believe,” and the moving “The Better Benediction.” Through a listen of Watch The Sun, it’s clear that Morton succeeded in his goal of creating hope for tomorrow. The album’s backbone in gospel uses the genre as a source to point toward greener pastures while its roots in R&B, soul, funk, and jazz provide the perfect sonic landscape to fall in love with the records as well as Morton’s message. – W.O.
Raveena — Asha’s Awakening
Moonstone/Warner
Raveena gave us the psychedelic R&B album with South Asian flair that we never expected but always needed. Album opener “Rush” is a flowery, tabla-studded number inspired by Bollywood and sounds like colors and jewels. “Secret” is an exotic tune that feels like it was crafted in a palace and features Vince Staples. The album’s central character is a Punjabi space princess named Asha, an idea that came to Raveena on an art museum acid trip. And this euphoric sense of adventure and exploration from her is everywhere on Asha’s Awakening. – A.S.
Ravyn Lenae — Hypnos
Atlantic
After a four-year hiatus from music, Chicago’s red-haired songstress, Ravyn Lenae, returned to drop Hypnos. The debut studio album is familiar, with Lenae’s signature high-pitched, breathy vocals reminiscent of Minne Riperton. Still, it positions the singer light years ahead of her previous efforts with futuristic production and burgeoning lyrical maturity, a la Brandy’s post-adolescent ‘Full Moon.’ The confidence present in the chorus of the Monte Booker-produced “Venmon” and lyrical depth of “Deep In The Word” properly reintroduce the artist and build upon Lenae’s moody sound initially found in her breakout tracks like 2018’s “Sticky.” Stick around for the album’s penultimate female-forward track, “Mercury,” for a taste of Lenae in fresh collaboration. The whisper tone and angsty lyrics on the track are assisted by alt-R&B breakout Fousheé, switching up from her typical collaborators to step into a new era. – Ellice Ellis
Robert Glasper — Black Radio III
Loma Vista Recordings
Nearly a decade after its second installation, Robert Glasper sought to once again showcase the beauty behind Black music with Black Radio III. The incorporation of jazz, hip-hop, R&B, and soul, as well as collaborators that specialized in at least one of the aforementioned genres, made for an excellent compilation of what makes Black art, Black music specifically, so beautiful. Glasper uplifts his community with help from D Smoke and Tiffany Gouche on “Shine” while vying for longevity with PJ Morton and India.Arie on “Forever.” In addition to his own contributions, another thing that makes Black Radio III so memorable is Glasper’s ability to combine his diverse cast of collaborators into a project that remains cohesive, well-produced, and purposeful. – W.O.
Steve Lacy — Gemini Rights
RCA
Though the astronomical fame of “Bad Habit” is deserved — it’s a ridiculously groovy track — it’s a shame how much attention was stolen from Steve Lacy’sGemini Rights as a whole. The album is meant to be experienced in full, with the jittery atmosphere of “Helmet” following the quiet ambiance of “Static,” or the drama of “Cody Freestyle” prefacing the endearing piano-driven ballad “Amber.” Gemini Rights is a hypnotizing masterpiece from start to finish. – Danielle Chelosky
Sudan Archives — Natural Brown Prom Queen
Courtesy of Stones Throw Records
For her latest album, and first in three years, Sudan Archives, born Brittney Parks, set out to do something new this time around. This change in direction produced Natural Brown Prom Queen. Truthfully, the 18-track project is another example of Sudan Archives going against the grain and doing things her way. Natural Brown Prom Queen focuses on a teenage girl named Britt, the album’s alter ego described as “the girl next door from Cincinnati who drives around the city with the top down.” Sudan Archives takes on the role of a naive, yet passionate teenager to cover themes about race, womanhood, and the loving relationships one has with their inner circle. It’s all done through atypical offerings of pop, R&B, and electronic that only further the true uniqueness and impressive artistry that lives within Natural Brown Prom Queen. – W.O.
Syd — Broken Hearts Club
Columbia Records
With the release of Broken Hearts Club, certified lover girl Syd overcomes the sophomore slump. In just under 40 minutes, the crooner solidifies her spot as one of the leaders in alternative R&B. Across the 13 tracks, the former The Internet frontperson blends a wide spectrum of sonic elements — impressively without repetition. From robotic lo-fi instrumentation to swaggered basslines, the project oozes with Syd’s creative confidence as her masterful songwriting abilities are placed on display. Stationed in her tried-and-true musical arena of love, Syd’s signature whisper tones tuck neatly into each track’s romantic current. On Broken Hearts Club, Syd knows who she is as an artist, what her sound is, and allows her sharp ear for production to lead the way. – F.P.
Zyah Belle — Yam Grier
Babyhair Slick Music
Yes, 2022 became the year that Zyah Belle released her debut album Yam Grier, but don’t mistake it for her first foray into the music world. Belle’s had her fair share of experience in the industry with 2016’s New Levels, 2019’s IX, and her 2021 EP Who’s Listening Anyway being proof of that. With Yam Grier, Belle places everything that makes her so special on wax. Through 14 tracks, Belle bathes in the warm freedoms and bright resolve that is so clearly a result of her Bay Area roots. So when she rocks out with Jordan Hawkins on “Back To Back” after catching a groove on “Holding On” all to find her funk on “Break Your Heart,” the only thing you can do is commend and applaud Belle for her versatility a determination to do it all. – W.O.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Syd recently released her sophomore album Broken Hearts Club, whose title off the bat hints at the headspace she was in while working on the record. The artist told Uproxx that the main difference between this LP and her debut was the increased sense of vulnerability, which a listener can notice immediately in the songs. She explained more about that in a new interview with Rolling Stone, discussing how she approached songwriting after going through a breakup.
“There’s one song in particular on the album that I wrote while I was really still in it,” she said. “I wrote it, like, sobbing, probably. But everything else… I actually took a few months off to heal from the heartbreak before I started writing anything, because the first few songs that I wrote sounded really bitter because that anger was still in there so I had to lift some weights. Get that out and revisit it. Once I revisited it, I honestly started off trying not to write songs about it. And so I wrote a lot of random stuff. A lot of practice songs. And I let what come out come out. I think that’s the best way to do it — keep it organic.”
