My albums of 2022

Oh, hi, it’s albums of the year time.

It was a pretty good year for bosh, with bangers a’plenty from Roza Terenzi & D Tiffany, E-Saggila, and Nite Fleit. I enjoyed a couple of startlingly good noise collaborations from KMRU & Aho Ssan and from Merzbow & Lawrence English. And I spent many somewhat quieter but equally happy hours with Félicia Atkinson, Ian William Craig, Loren Rush, and Christina Vantzou. But the records which made my top five are:

  • O’Flynn & Frazer Ray’s Shimmer. This is a stonkingly good set of floor-friendly styles with upliftingly nostalgic vocals which I can’t get enough of.
  • Leda Maar’s Stairway 13. This is darkly atmospheric ambient-adjacent stuff, with some ace Greek chorus style poetry. There’s a wonderful sense of going on a journey with this one.
  • Maria W Horn & Sara Parkman’s Funeral Folk. Folk/drone laced with doom metal and traditional Finnish lamentations? I mean, obviously I was going to love this, and love it I very much do.
  • Lady Neptune’s Noz. I honestly wasn’t expecting one of my picks of 2023 to be face-melting gabba. But this has brought me so much pleasure over the last few months that it clearly earns its place on this list.
  • Matchess’s Sonescent. This combines elements of folk, drone, classical minimalism, and hauntology, and what I called at the time “a peculiar alchemy which seems all her own”. The way the melodies float in and out of the miasma is utterly bewitching.

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