Before this top 15 list begins, here are three projects that were snubbed from the previous “Notable Albums of 2022” list published in last month’s edition. These are albums released before July 1, 2022 that flew under my radar or that of the general public up until recently. 

“Dawn FM” by The Weeknd

This album was destined to be forgotten and under-appreciated by the midyear due to its early release date of January 6th. This is The Weeknd’s most blatantly conceptual work since the “Trilogy” era, which makes singular tracks hard to return to and remember individually. However, songs like “Out of Time” and  “Less Than Zero” deserve the amount of recognition that any of the “After Hours” hits received.

“HYPNOS” by Ravyn Lenae

Lenae floats beautifully over production from Steve Lacy, Monte Booker and others on “HYPNOS”. A later entry to the mid-year conversation, this album certifies Lenae as one of this year’s most creative and versatile female singers. The progression of the album keeps the listener intrigued by pivoting between production styles, from the zany “Venom” to the tranquil “Where I’m From” and back to the guitar-driven “Satellites” shortly after. 

“Caricature” by Elan Noon

“Caricature” is an unsettling collection of mostly one-to-two minute songs, each consisting of warbling vocals and minimal accompaniment. The lo-fi recording paired with the showtune-esque songwriting makes for an eerie listen all the way through. On the track “Fold,” Noon strikes a foreboding chord with one of the best lines of the year so far: “You know that you’ll never win, so fold.” From then on out, you are trapped in the haunting show of the project, all to Noon’s amusement. 

For this top 15 list, an artist is limited to only two songs in order to promote variety. In my opinion, these are the most enjoyable, creative, and impressive songs that came out in 2022, given I have not heard everything.  

15: “lightbeamers” – FKA twigs

The chaotic nature of this track clears away for a reprise of the first verse about two and a half minutes in, creating a heavenly moment that contrasts a fairly maximal project. From El Guincho’s twirling instrumental to twigs’ insane range, this song is a flex. 

14: “Up To You” – Rigby Picnic

“Up To You” is the best Rigby song to date, mostly because of the wave of upsetting guilt this song can leave you in. Lyrics aside, the song feels like you are moving on from something that you are not quite over. Yet the hook is still infectious. 

13: “Leave It” by Lil Silva & Charlotte Day Wilson

UK-based producer Lil Silva stuns alongside RnB upcomer Charlotte Day Wilson on “Leave It,” which is a slow-building, uplifting track. The smokey guitars twang under the pulsing drums, all while Day Wilson commands with her soothing, lower range. 

12: “Fold” by Elan Noon

As previously mentioned during the album snubs section, this song is incredibly ominous. The tone of Noon’s singing and guitar picking belong in some sort of live animatronic show and the final line of “Fold” sends chills down your spine.

11: “Father Time” by Kendrick Lamar ft. Sampha

Lamar finds a way to turn therapy conversations into a mainstream-ready track and Sampha remains undefeated on chorus features. The multiple sections of this beat include demented key lines and clarinet-adjecent sounds that stick in your head. Easily my favorite track out of both “Morale” discs.  

10: “Bad Habit” by Steve Lacy

“Bad Habit” opens up with a lyric that’s instantly relatable. The production is trademark Lacy, riding on flat drums and layered guitar chords. While his new album is available now, this single made the longtime fans’ anticipation increase. 

9: “Venom” by Ravyn Lenae

When Ravyn Lenae brings the dance-pop production out of Monte Booker, it is something special. Lenae’s vocal arrangement in “Venom” is breathtaking, seeming to never settle for a “copy & paste” performance during any section of the track. It’s one of the most fun songs of the year and it deserves “summer hit” status. 

8: “Satellites” by Ravyn Lenae

It’s nearly a toss-up between “Satellites” and “Venom”; the decision depends on the mood and scenario. Lenae is extra whispery on this track, making an ultimate lay-back jam appropriate for the location of its namesake. Steve Lacy also manages to scratch the top 10 again, this time as a producer and background vocalist. 

7: “Shotgun” by Soccer Mommy

The breath-like, cavernous opening of the chorus is a standout production moment from 2022, thanks to Oneohtrix Point Never. Soccer Mommy’s vocal melodies are catchy as ever on “Shotgun,” the chorus being exceptionally singable. The contrast between the gritty verses and energetic chorus completes the song’s solid structure.

6: “The Only Place” by Big Thief

The penultimate song on Big Thief’s double album is possibly the prettiest composition I’ve heard in 2022. Lenker’s melody on the line “the only place that matters” during the chorus is a goosebump-spawning moment that no other song has paralleled this year. Simplicity holds this song back when compared to the entries in the top five though, as it is just vocals and a guitar. 

5: “WHEN SPARKS FLY” by Vince Staples

Vince Staples tells a heartbreaking story of two lovers separated by the police on “WHEN SPARKS FLY.” His tragic details are accompanied by a somber sample that perfectly elevates the mood of the song, which is produced by Frano. It’s a career-defining track based on production and storytelling, while also having mainstream appeal and replayability. 

4: “Last Year” by Toro y Moi

When the first Toro y Moi appearance is at number four on the list, it is scary to think what lies ahead. The 6/8 feel gives this song a jazzy swing, and the interplay between the array of instruments leaves not a boring second throughout the track. The chorus hits deeply when Chaz Bear’s clear vocal comes through to deliver a beautiful melody over the imaginative chords. 

3: “Wake Me up to Drive” by Big Thief 

This is the most creative track off “Dragon New Warm Mountain,” containing a drum machine beat, lo-fi recordings of guitars and possibly an accordion? The memorable chorus sounds ghostly with the high-pitched background vocal layers. It has the aesthetic of driving through the night with AM radio on, searching for an intriguing signal in order to keep yourself awake. 

2: “Fire in the Hole” by Earl Sweatshirt

Rapper Earl Sweatshirt and producer Black Noi$e created a perfect sample with this track. The looping guitar riff carries urgency and emotion, as if time is slipping away from you too fast. Sweatshirt matches that energy with his delivery and creates intricate rhyme schemes and patterns throughout his verse. Then all of a sudden it’s all over and the piano escorts you out. 

1: “The Loop” by Toro y Moi

The most effortlessly cool song of the year is Toro y Moi’s “The Loop,” a jam session that evolves with each section, eventually opening into a long solo section punctuated by the track’s countless guitar riffs and vocal melodies. The second verse stands out with its lyrical originality when Bear talks about the band he saw whose “record got bad reviews.” “The Loop” ends with a cutaway to what you might hear behind a Hot Wheels commercial during the 2000s, acting similar to a radio advertisement in the album’s context. Toro proves once again how easy it is for him to sound like the coolest person in the room.

Beach House —“Once Twice Melody”

The list begins with a behemoth of an album. Since the 2000s, Beach House has pioneered modern “dream pop” with spacey soundscapes and celestial vocals. Tracks like “Pink Funeral” and “New Romance” feature soaring choruses, and the album as a whole contains more live drums than the duo’s first few projects. Despite a lackluster rollout that broke the entire album down into four chunks of four singles (an easy way to lose hype for the full release, in my opinion), “Once Twice Melody” delivers a pleasing vibe.
Listen to: “Once Twice Melody,” “New Romance,” “The Bells.”

Big Thief — “Dragon New Warm Mountain I Believe In You”

The title track of this album is beautiful and shows how long the influence of Sufjan Stevens’ 2015 album “Carrie and Lowell” has lasted. Some of the tracks feel haunting, while others are euphoric or magical. Emotions peak during songs like “Little Things” and “No Reason.” This album proves that you can overload singles if you back them up with another album’s equivalent of solid tracks upon full release. 

Listen to: “Certainty,” “Little Things,” “Wake Me Up To Drive,” “Simulation Swarm.”

Bonsk — “Trip”

Bonsk’s new road-trip-inspired project is more than just a beat tape. The instrumental tracks are packed with infinite melodies, intricate drums and a collage of textures and grooves. This small Maine-based artist is still virtually unknown but his chill rave sound is inventive and emotionally moving in the style of Godford or TSHA. “P.O.E.” contains standout drums, and the off-balance energy of “Jan 8” is a turning point of the tape. 

Listen to: “bye,” “Muskogee,” “Prescott (again).”

Action Bronson — “Cocodrillo Turbo”

No Action Bronson solo project has missed since 2015’s “Mr. Wonderful”. Each album has had at least two or three new elite songs for his insane catalog, this album’s being “Estaciones” and “Jaguar.” Bronson continues his “album tag” trend from his past three projects with the fuzzy “TURBO!” sound bite, another fun addition. The instrumentals and flows have not cooled off over the past decade for Bronson. 

Listen to: “Estaciones,” “Subzero,” “Jaguar.”

Duster — “Together”

Legendary slowcore group Duster returns with a new album titled “Together,” the band’s first since their 2019 comeback. “Together” is a solid offering to build on the group’s legacy, keeping the dragged-out, grungy guitar chords but sometimes opting for drum machines instead of live kits. The album is accessible, for better or worse. However, it may take a while for each track name to ingrain itself into your memory.

Listen to: “New Directions,” “Sleepyhead,” “Feel No Joy.”

FKA twigs — “CAPRISONGS”

“CAPRISONGS” did a great job at pushing FKA twigs closer to the mainstream without losing her sound and image. Along with the newest project from Charli XCX, the mixtape proves that more accessible writing does not equal “worse” music, just a slightly different style and appeal. Twigs’ usual glitchy R&B sound melds with pop and hip hop beautifully on tracks like “lightbeamers” and “meta angel,” both featuring production from ROSALIA collaborator El Guincho.

Listen to: “honda,” “lightbeamers,” “careless.”

Rigby Picnic — “The Bog of Eternal Stench”

Local Philadelphia artist Jake Hoffpauir’s new full-length project is well-paced and memorable, including multiple stand-alone singles like “Let Faith Be Proud” and “Picture.” The title gives the album a setting which at times feels immediate, and each track offers moments worth coming back to. “Bog” is moving and sets a high standard for rock albums in 2022.

Listen to: “Let Fate Be Proud,” “I Was Only Being Stupid,” “Up To You.”

Vince Staples — “RAMONA PARK BROKE MY HEART”

Following the infectious single “MAGIC” from February of this year, Vince Staples is back, with a quick turnaround from his 2021 self-titled album. Despite that, “RAMONA PARK” is his longest project since “Summertime ‘06” in 2015. Staples speaks about paranoia and the insecurity he feels in his success while weaving in stories about love and jail. Standouts  “WHEN SPARKS FLY” and “LEMONADE” show how diverse the emotions here are. The former feels like a career-defining track for Staples. 

Listen to: “AYE! (FREE THE HOMIES),” “WHEN SPARKS FLY,” “ROSE STREET.”

Earl Sweatshirt — “SICK!”

After a drawn-out and somewhat confusing release for the complete “FEET OF CLAY” project, Earl is back with a short collection of sample-heavy tracks: 10 songs within 25 minutes. His delivery is slurred and lackadaisical, contrasting the potent lyrics which are a focal point of his verses. Similar to 2018’s “Some Rap Songs” album, Earl ends “SICK!” with a movie-like outro titled “Fire in the Hole,” a song that leaves the listener feeling that something is being left behind.

Listen to: “2010,” “Lye,” “Titanic,” “Fire in the Hole.”

Toro Y Moi — “MAHAL”

Rounding out the list is the most recent addition, Toro Y Moi’s ninth project “MAHAL”: a cohesive jam that zooms in and out of focus. The radio-esque transitions are not a new idea but are a well-executed one, especially the small bits of commercial-sounding filler left at the end of some tracks (see hit single “The Loop”). The Beatles’ influence shines through on songs like “Deja Vu” and “Magazine,” while “Millenium” and the opener demonstrate the sheer musical talent of Chaz Bear and his collaborators. 

Listen to: “The Loop,” “Last Year,” “Deja Vu.”

“SUGAR (Remix)” — BROCKHAMPTON

As “SUGAR” reaches its eighth week on the Billboard Hot 100, fans are proud but slightly afraid for the band’s future. “SUGAR” is the boyband’s first song to chart on the Hot 100, making it their first official hit single. On March 4, the team came through with a remix featuring Dua Lipa, another soon-to-be superstar. A remix is something BROCKHAMPTON hasn’t really touched yet, especially when bringing in another artist to assist.

The song is immediately. Of course a group as creative and multifaceted as BROCKHAMPTON wouldn’t leave any aspects of their song the same. The instrumental is tweaked with a different bass, and more keys and leads are added to fill out the mix and smooth out the guitar loop. Along with the addition of Dua Lipa’s verse, almost none of the verses from the original version of the track are there. Core members Merlyn and Dom are not featured on the remix, but the omissions make sense for the pop direction this version takes. This remix is basically just BROCKHAMPTON rubbing in how easily they can do anything, especially be pop stars. Whether the fans or the members want it, the boyband could easily rule pop music.

“Don’t Be Afraid” — Knxwledge

Stones Throw producer Knxwledge continues to tease tracks from his upcoming project “1988”, coming out on March 27. Two tracks titled “Dont Be Afraid” and “[Bc] Tm_s Not Promised” were released on March 4, with “Dont Be Afraid” being the standout. Knxwledge has had production credits on songs with Anderson .Paak, Kendrick Lamar and Action Bronson, but this new album appears to mostly consist of Knxwledge himself and his samples.

The song starts abruptly with many trumpet-like synths and trademark swingy lo-fi drums. A high pitched voice repeats the chant “don’t be afraid of the way you feel” throughout the song with multiple vocal riffs interchanging. The heavy kick and an 808 drum cut through the mix beautifully and add bounce to the drums. As a producer, Knxwledge has an identifiable sound that is very specific, and this song nails it. It’s less drum-focused like some of his other work and it makes you tune in more to the mood created by the odd chords.

“You Better Move” — Lil Uzi Vert

Some of my favorite Lil Uzi Vert tracks come in simplicity. For example, I loved the song “For Real” on his 2017 album “Luv Is Rage 2”. The track isn’t much more than synth sounds, drums, 808s and Uzi. When “Eternal Atake” shook the world by crash landing on March 4, the song “You Better Move” presented itself as the sequel sonically. Built around an iconic sample from the computer game “3D Pinball for Windows,” the song has the same simplicity to its instrumental as “For Real” did.

The work is now put on Lil Uzi to deliver the memorable vocal performance the songs needs to stick the landing as a classic Uzi banger. He throws some of the most fun name drops I’ve heard in a while from 2000’s PBS kids show Zoom to luxury streetwear brand Rhude. He follows up those with a Blue’s Clues mention and a callback to at-the-time iPod competitor Zune. His nearly 20-second long acapella section repeating the title is also so absurdly long that it makes it just as much harder when the beat finally hits. One of Uzi’s best qualities is his way of selling a song by himself. He’s one of the most charismatic artists out, and he can easily control a song with his personality.

“The Difference” — Flume and Toro Y Moi

Glitchy producer Flume and quiet genius Toro Y Moi come together for the first time for a collaborative single titled “The Difference”. The song released on March 11, making it the first new work from these two in 2020. The artists find similar ground in making pop music that falls outside the target of most mainstream hits, and both can get very experimental whenever they want to. It’s a match that makes sense, even though not one that many knew they wanted.

Toro and Flume both end up playing a bit out of their comfort zones for “The Difference”. It doesn’t hit either of their usual styles on the nose and ends up being a hit that has the potential to be a huge breath of fresh air for the Hot 100 and the radio. While Flume has experienced modest chart success with “Never Be Like You” and “Say It,” Toro Y Moi has yet to chart a song on the Billboard Hot 100. “The Difference” could change this considering its one of the most genuinely fun and interesting pop songs of 2020 so far. The drums have a steady sense of urgency to them, but Toro’s youthful vocals relax the record and give a cartoon-like sense of two friends just having fun together making music. The instrumental shows Flume’s diversity that is sometimes unexhibited by his solo work. Whether they want a hit or not, pop music needs “The Difference” right now.

“Magic Hour” — Jhene Aiko

Jhene Aiko returned on March 4 with her third studio album “Chilombo”. The hour-long project consisted of 20 tracks and proved yet again that Aiko is a quiet queen in the hip hop and R’n’B scene. Jhene had been teasing singles from this album since May of 2019 starting with “Triggered (freestyle),” but kept the album quiet until February of 2020.

Yet again, she delivered a lengthy chunk of work that features her and some R’n’B counterparts over beautiful production. I’ve never considered myself a huge fan of Jhene Aiko, but I do respect her work. I feel that her sound is great, but it becomes somewhat one-dimensional. This is hard to avoid when consistently putting out reasonably long albums, but I know that most times there are gems that shine through.

“Magic Hour” is soothing and easy. It’s smooth instrumental is not complicated; it’s based on flat synth and a simple and soft drum beat. A simple keyboard plays melodies along with sparse guitar blended throughout the track. The song emphasizes Jhene’s vocals though, and she shows off her ageless voice with lots of harmony and layering. Her vocal melodies and harmonies are interesting and varied, even though the lyrics and structure of the song are quite simple. She says she’s “ready for the magic hour,” and describes “it ain’t perfect, but everything’s beautiful.” It’s a beautiful song from a beautiful album (and performed by a beautiful woman), and Jhene knows it.

Justin Bieber needs no introduction. His name has legitimately transcended music. I ask my friends sometimes to choose three artists who they believe to have the most recognizable names. I always go with The Beatles, Micheal Jackson and Justin Bieber. I think his name is the known entity, not specifically his music. He’s become one of the biggest personalities of the last decade.

Justin Bieber has now returned to music after five years since his last full-length album “Purpose.” It’s undeniable that Justin will automatically gain a ridiculous amount of hype for this project, even if the majority of the promo was done straight through his Instagram page.

After many dates being announced and three singles, his album “Changes” was released on Feb. 14.

Honestly, the album does not look like it contains anything of interest or any sign of groundbreaking content. The title “Changes” is so generic that no one actually saw it coming, and the tracklist hits the usual big-name pop features besides a small artist named Clever and… Lil Dicky, whom I considered to have ruined the track  before I even listened to it. It’s unfair, but instinctual. Once I was finally done judging a book by its cover and table of contents, I began listening.

If there was one thing that was correctly predictable from the singles, “Changes” was at least going to have some interesting production. The first half of the album offered a mesh of pop and Playboi Carti-esque cloud trap. Singer/songwriter Poo Bear has credits everywhere on “Changes,” including production on every song. More recurring producers are The Audibles, Kid Culture and HARV. Oddly enough, the Los Angeles Lakers center JaVale McGee has production and songwriting credits on the track “Available.”

The opener “All Around Me” begins the album with an echoey guitar track that offers some hope for an interesting listen. As the album progresses, though, you realize that this sound is pretty one-dimensional. The instrumentals are cool and interesting to an extent, but too much of a good thing is still too much.

Justin’s melodies are catchy, but not out of the ordinary for a pop singer. His features also don’t help him stand out either. They’re all non-presences on their respective songs, except for Lil Dicky who is given just enough time to take one of the cooler tracks down a notch. Tracks like “Habitual,” “Intentions,” “Available” and “Forever” end up seeming interchangeable but inoffensive.

As one of the most notorious songs of 2020 , “Yummy” has already been discussed to hell and back. While the chorus is undeniably silly and repetitive, the instrumental is nearly perfect. The elevator piano two-chord progression is all that’s needed, and the small riffs of synth and steel drum-esque patch on the chorus add variation and a touch of tropical flavor. The drums are the weak point of the instrumental but do not negatively affect the track.

An underrated aspect is the killer pre-chorus that cuts so perfectly before the chorus drops; it brings the song together. There’s a sense of dark urgency to the song that it has no right to have, considering its chorus is built around the repetition of “yummy-yum.” Other tracks on “Changes” wish they could pull off what “Yummy” pulls off, and none of them come close.

“Come Around Me,” “Running Out” and “Second Emotion” have particularly likable qualities compared to the majority of the first half of “Changes.”

“Come Around Me” sounds like it was produced by P’ierre Bourne, and despite Lil Dicky’s unfunny verse, “Running Out” is a chilled-out track with a catchy instrumental. Travis Scott’s talk-rap guest verse on “Second Emotion” is odd, but is appreciated coming from Travis, whose features are commonly interchangeable. I think of the track as what “CHopstix” by ScHoolboy Q was supposed to be — a slightly faster, upbeat pop jam by someone who’s actually meant to pull that off.

“Take It Out On Me” and “Get Me” are both R’n’B tracks that result in polar opposite ends of success. The former is slow and sludgy, and possibly my least favorite song on the album. It has no replay value at all. “Get Me” prospers off the bouncy and moody instrumental that flatters Justin’s vocals both in his lower and higher ranges. Guest Kehlani offers more than just a guest verse and shares the later chorus with Justin to complete the proper duet. She’s easily the most valuable feature on “Changes.”

The last five tracks are their own section of the album. Each song is guitar or piano-driven, and they all lack standout qualities. The strongest two are the title track “Changes” and the final track “At Least For Now.” While the latter serves as a fitting final song on the album with its hopeful melodies and “enjoy the moment” message, “Changes” could’ve been moved up in the tracklist, and the other three tracks easily could have been cut.

Justin himself doesn’t serve as much more than a nice, iconic voice that’s kind of exciting to hear again after a while. He’s a voice that most teens grew up with, and the nostalgic feeling of Justin is part of the appeal of hearing a new album.

Sadly, the music is not the point of a Justin Bieber album in 2020. That’s why it was such a smart move to release “Yummy” as the first single. It’s an easily hateable song that will undoubtedly get people talking and outlets writing about Justin again, eager to rip into it. On the other hand, it’s as radio-friendly as you can get. It will get plays, and there’s nothing the quality, or lack there-of, can do about it.

At this point in his career, Justin Bieber is more of a name than an artist. Any music under the name “Justin Bieber” will be popular, and that’s how it’s been for his whole career. That’s why it’s so disappointing when he releases something as generic and mediocre as “Changes.”

I wouldn’t even call it a bad album, but the opportunity has always been so perfect to push something totally new and creative into the mainstream with a Justin Bieber project. Although the production on some “Changes” is unique in pop music, so much more could’ve been done.

We can only hope that in the future, Justin will release a more thoughtful and boundary-pushing album, but as “Yummy” falls down the chart prematurely, it’s hard not to think Justin’s pop dominance might be nearing its end already. For whatever the future holds for Justin Bieber, I can only hope that one day he’ll put it to good use.

For as successful as Mura Masa has been, he’s managed to stay quiet in the U.S. Now two studio albums into his career, Alex Crossan has yet to crack the Billboard U.S. Hot 100. While his breakthrough hit “Love$ick” with ASAP Rocky has been his biggest success so far, his song “What If I Go?” was also featured in a short, iconic ad for YouTube Music.

While listening to the singles from Mura Masa’s newest album “R.Y.C,” a change in sonic style is very evident. His self-titled debut album was composed of many electronic and poppy tracks with steel drum and mallet inspired sounds that could draw comparisons to fellow producers Cashmere Cat and Louis the Child. “R.Y.C” takes on a more grungy, pop-rock sound with its share of tight guitar chords and upbeat, dance drums. A more emo aesthetic is the result on “R.Y.C,” which established the album as the more thematic and cohesive of the two projects.

The title “R.Y.C” stands for “Raw Youth Collage,” the name of the first track. The song features an uncredited male singer that is heard in many other tracks on the album and could be Alex Crossan himself. Guitar tones, which are more common in the rest of the album, are at the forefront of this track. The track goes on to build up, break down and build up again; the beautiful mix of electronics and strings is thrilling. This song introduces the project’s title and sound in a great way.

“No Hope Generation,” the second promotional single, comes after “Raw Youth Collage” and cements the concept and mood of the album. The lyrics describe the troubles of the new generation by painting it as a “new hip sensation craze sweeping the nation.” The metaphor rides the line between being clever and corny very closely, but it fits the tone of the instrumental as an angsty anthem.

As the album progresses, the theme of youth troubles becomes even clearer. Utilizing up-and-coming young artists like Clairo and slowthai to express the feelings of the youth makes the theme more genuine. “I Don’t Think I Can Do This Again” features Clairo talking about a past relationship and contemplating throwing herself back into it. The track shows a more traditionally electronic side of Mura Masa’s production, but the fuzzy guitars and synths are still apparent on the chorus.

After this comes a short interlude that perfectly describes a movie-like visit to a girlfriend’s room via the “living room window” at 2 a.m. The dreamy guitars in the back complete this spot-on representation of ideal youth experiences. The song “vicarious living anthem” is the epitome of angsty jams on the album and arguably does it better than “No Hope Generation,” clocking in at just over two minutes. It’s a short burst of fuzzed-out pop-punk energy that doesn’t overstay its welcome.

The track “Deal Wiv It” is one of the most perfectly executed songs on the album. While still holding it’s somewhat comedic value, slowthai never actually says anything that’s outright trying to be funny, which throws away the possibility of a cringe-worthy joke that doesn’t land well. The tight instrumental is flawless. Something about the way the elements of guitar and organ come in as the verses progress makes you anticipate the chorus. “Deal Wiv It” covers a concept that lots of people can say they think of every day, and slowthai’s anger subsides for a second in the bridge to show a bit of sincerity. Even though he can’t stand the complaints he hears everyday, he’s not going to complain about his life: “I wouldn’t change it for anything.”

The album hits a slump once “In My Mind” and “Today” begin. These are the two slower tracks on the project, and they both lack memorable qualities. With a length of five and a half minutes, “In My Mind” drags on for too long and never truly pays off. “Today” is equally as lackluster and manages to have an even less memorable hook.

The track “Live Like We’re Dancing” is a very solid dance-pop song that is perfectly placed this deep into the tracklist; its late-night, rejuvenating mood is complemented by this. While not going above and beyond the qualities of an average party song, it does its job efficiently. The album did deserve a break from the upbeat energy of the first group of tracks, but when compared to the memorable quality of the rest of R.Y.C, songs like “In My Head” and “Today” will be quickly forgotten.

The last full length song on the album is “Teenage Headache Dreams,” which is a very impressive track. Mura Masa proves that he really can pull off a whole pop-rock album and melds three segments together with an impressive electronic swell into the last minute of the track. The listener would assume the album ends here, but a short instrumental outro is included after it. The track “(nocturne for strings and a conversation)” closes the album, and it’s the true hidden gem of R.Y.C. It begins with looped guitar and droning strings, and before you figure out what’s happening, a perfectly soothing and calm guitar line is established. The song continues for another minute and a half, and fades out begging to be put on again. It’s a beautiful way to end an energetic, angsty album.

“R.Y.C” is focused and concise. With the exceptions of “In My Mind” and “Today,” each track has memorable qualities of its own while still keeping a cohesive sound. Mura Masa also managed to make two of the most essential interludes to any recent album. His production is fantastic throughout the project, which is impressive due to how serious of a pivot this is compared to his self-titled debut album. The tight drum beats and guitar chords are complemented by fuzzy vocals on most tracks and solid performances from the guest artists (and possibly from Mura Masa himself).

That being said, it’s very niche. The album has an aesthetic that is strictly followed by the instrumentals and lyrics. As a fan of pop music, this is a short, fun album of songs that have no chance on the Hot 100 but every right to be there. Mura Masa makes an A24 teen movie of an album with a couple gems that outshine the rest of the cool rocks. For an artist in desperate need of standing out just a bit more, it was a complete switch-up of style that had to be done.