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| # | Artist | Album | Label |
| 1 | MACHINEDRUM | Psyconia [EP] | Ninja Tune |
| 2 | CFCF | Memoryland | Self-Released |
| 3 | FJAAK | SYS03 [EP] | Self-Released |
| 4 | JULES | Delta Ajax [EP] | Happy Life |
| 5 | JURALOVE | “Pepa” [Single] | Noire & Blanche |
| 6 | PIXEL GRIP | Arena | Feeltrip |
| 7 | SOFIA KOURTESIS | Fresia Magdalena [EP] | Technicolour |
| 8 | LSDXOXO | Dedicated 2 Disrespect [EP] | XL |
| 9 | AMON TOBIN | How Do You Live | Nomark |
| 10 | NEGGY GEMMY | “Utopia” [Single] | 100% Electronica |
Lots of artists make incredible music while still flying under the radar. Some artists are well known in the underground/indie scene but haven’t found their way to commercial or mainstream success, at least not yet. Here are some of my favorite artists that I think exhibit enough potential to blow up this year.
A graduate of Thorton School of Music and a former contestant of American Idol, Wolf has nothing to prove with regards to her talent. I’ve been listening to her since the Fall of 2019, mere months after she started releasing music, and I immediately fell in love with her unique voice and her catchy songwriting. She manages to have such a carefree, youthful sound while making music that is very detailed and carefully thought out. I’ve been watching Remi Wolf grow more and more popular over the past few years, and would not be surprised if she becomes a mainstream act this year.
Recommended tracks: “Sexy Villain,” “Liquor Store,” “Shawty,” “Quiet On Set,” “Photo ID”
When I first found the Texas rapper on a Spotify playlist, he had around 400,000 monthly listeners. At the time of writing this, he has 2,454,279 monthly listeners, and I wouldn’t be surprised if he breaks 5,000,000 by the end of this year. He’s released various singles over the past year following his 2021 debut album, “DLOG,” and each single has been fantastic.
Dimes’ music mostly consists of bangers begging to be played at a party, but he’s also a gifted songwriter, showing lots of versatility with his clever lyrics. At only 21 years old, Mike Dimes shows lots of talent, and I’m anxiously waiting to see what he does in 2022.
Recommended tracks: “NO TRENDS,” “WISS,” “BACKROOM,” “MY STORY (DLOG)”
This eight-member Florida hip-hop collective is the definition of an underrated gem. If I had to describe their sound, it’s a mix of Brockhampton, Tyler, The Creator, KAYTRANADA, and JPEGMAFIA. seeyousoon is a band with a dynamic and exciting sound that doesn’t let themselves be confined to the rules and expectations of hip-hop. And even though they take opportunities to experiment with their music, they still stay true to their sound, and they don’t let their experimentation take away from the quality of their music.
Seeing a rule-breaking yet accessible act always excites me, and I’m confident that seeyousoon has more incredible music up their sleeves. Hopefully, we get another album in 2022, but either way, I’m excited to see them grow and progress as a band.
Recommended tracks: “BEN AFFLECK,” “FIX YOUR FACE,” “STEAMY,” “MAGIC,”
Below is a Spotify Playlist where you can check out all of these artists.
I am not necessarily qualified to give music predictions, but as a WKNC employee, I can pretend that I am. Therefore, listed below are my top music predictions heading into the rest of 2022.
I predict that…
*This one is not really a prediction but perhaps a personal expression of sadness.
I look forward to seeing how accurate (or inaccurate) this list may become in 2022.
Here’s to making semi-educated guesses,
Silya Bennai
I understand that some people only cared about Spotify Wrapped 2021 the day (and maybe day after) it dropped. That being said, I still care. Elliott Smith was my top artist but sixty-four of my Top 100 Songs on Spotify were rap. As the Assistant Underground Music Director, this makes sense. Which rap songs you may ask? I’m not going to list all of them, but here are some favorites:
Here’s to rap music being the most transformative and flexible genre,
Silya Bennai
| # | Artist | Album | Label |
| 1 | NARROW HEAD | Satisfaction | Run For Cover |
| 2 | BLACK MARBLE | Fast Idol | Sacred Bones |
| 3 | CIVIC | Future Forecast | Flightless |
| 4 | PARQUET COURTS | Sympathy For Life | Rough Trade |
| 5 | LAND OF TALK | Calming Night Partner [EP] | Saddle Creek |
| 6 | LIILY | TV Or Not TV | Flush |
| 7 | LITTLE SIMZ | Sometimes I Might Be Introvert | AGE 101 |
| 8 | TYLER THE CREATOR | CALL ME IF YOU GET LOST | Columbia |
| 9 | 3AMSOUND | It Gets Dark Sometimes | Self-Released |
| 10 | CLOAKROOM | “Fear of Being Fixed” [Single] | Relapse |
| 11 | EVIDENCE | Unlearning Vol. 1 | Rhymesayers |
| 12 | JPEGMAFIA | LP! | EQT |
| 13 | SERENA ISIOMA | Sensitive [EP] | Fashionably Early |
| 14 | ZEBRA KATZ | Less Is Moor | ZFK |
| 15 | NATION OF LANGUAGE | A Way Forward | Play It Again Sam |
| 16 | JIMMY EDGAR | Cheetah Bend | Innovative Leisure |
| 17 | PESS | You Can Make Hamburger Yourself [EP] | Aagoo |
| 18 | FLYING LOTUS | Yasuke | Warp |
| 19 | SPRINTS | “Swimming” [Single] | Nice Swan |
| 20 | VINCE STAPLES | Vince Staples | Blacksmith/Motown |
| 21 | ANUSHKA | Yemaya | Tru Thoughts |
| 22 | BUTCHER BROWN | Encore [EP] | Concord Jazz |
| 23 | HOVVDY | True Love | Grand Jury |
| 24 | JAPANESE BREAKFAST | Jubilee | Dead Oceans/Secretly Group |
| 25 | LAVA LA RUE | Butter-fly [EP] | Marathon |
| 26 | MCKINLEY DIXON | For My Mama And Anyone Who Look Like Her | Spacebomb |
| 27 | NATIVESON 91 | Come Back Down | Inner Tribe |
| 28 | PINK SIIFU AND FLY ANAKIN | $mokebreak | Lex |
| 29 | PLANET GIZA | Don’t Throw Rocks At The Moon [EP] | Self-Released |
| 30 | TOM MISCH AND YUSSEF DAYES | What Kinda Music | Blue Note |
| # | Artist | Album | Label |
| 1 | FORTRESS | Don’t Spare The Wicked | Self-Released |
| 2 | RUNDGARD | Stronghold Of Majestic Ruins | Signal Rex |
| 3 | ANTI RITUAL | Expel The Leeches | Indisciplinarian |
| 4 | DHYANA | Bhaisajyaguru [EP] | Self-Released |
| 5 | CARCASS | Torn Arteries | Nuclear Blast |
| 6 | ANTICHRIST SIEGE MACHINE | Purifying Blade | Profound Lore |
| 7 | BLOODY KEEP | Bloody Horror [EP] | Grime Stone |
| 8 | PREDICTOR | …thus spoke death [EP] | Iron Bonehead |
| 9 | ZETAR | Devouring Darkness | Spirit Coffin |
| 10 | VENUS SYNDROME | Cannibal Sar | Rockshots |
| # | Artist | Album | Label |
| 1 | ROSS FROM FRIENDS | Tread | Brainfeeder |
| 2 | CFCF | Memoryland | Self-Released |
| 3 | LSDXOXO | Dedicated 2 Disrespect [EP] | XL |
| 4 | DAWN RICHARD | Second Line | Merge |
| 5 | DOSS | 4 New Hit Songs [EP] | LuckyMe |
| 6 | KEDR LIVANSKIY | Liminal Soul | 2MR |
| 7 | JULES | Delta Ajax [EP] | Happy Life |
| 8 | LOGIC1000 | “You’ve Got the Whole Night to Go” [Single] | Because |
| 9 | LEON VYNEHALL | Rare, Forever | Ninja Tune |
| 10 | SMERZ | Believer | XL/Beggars Group |
We’re starting the New Year right at WKNC with death, sadness, and AIDS. If you’re tired of the general malaise and continued pandemic of 2022, let’s throw it back to the bright shiny 80s, a time of general malaise and a pandemic that continued for far longer than it should have. Today, we’re taking a look at one of the few musicians to tackle this weighty subject head on, Diamanda Galas and her avant-garde classic, the Masque of Red Death.
Howdy y’all! The start of a new year often makes me want to rearrange all of my Spotify playlists and try out new music. There are a few tried and true tunes that I will be bringing into my first playlist of 2022 with me and I wanted to share those with you.
Haley Heynderickx is an amazing artist and lyricist. Oom Sha La La has been on repeat for me at the end of 2021. I have to bring this gem with me into 2022 because it is simply just that good.
Beach House never fails to deliver dreamy music that makes the listener feel like they are floating through a sky of cotton candy clouds. Perfect for the transition into a new year.
This is specifically about the 2015 single Killer, not the newer version that appears in Stranger in the Alps. Sung with such raw emotion, this song will aid in the times of crying that will inevitably happen this year.
Fleet Foxes are a staple for me, so it is no surprise that they made my list. Ragged Wood is like a shot of espresso on a hiking trail. 5 minutes of pure bliss.
This song makes me feel like everything is going to be alright, and with the times we are living through that is exactly what is needed.
This was one of my favorite songs of 2021. Michael Cera’s cover of Clay Pigeons is like being wrapped in a soft blanket. Comforting and catchy, it is a song I keep very close to my heart.
This song will make you feel like the main character as you walk around campus. Two Weeks makes the cut because I know it will be utilized for the cold walks from the car to my 8:30 a.m. entomology class.
I’m a sucker for a long song, and Night Shift is no exception. Night Shift is perfectly moody, great for playing with the car windows rolled down.
Slow and emotional, Every Time the Sun Comes Up makes me want to sip my morning coffee and make my bed. Searching for routine as the semester starts, I foresee this being a song I’ll use to start my mornings.
These are just 9 of the songs that I’m bringing into 2022 with me, but there are quite a few more that will stay on frequent rotation. I hope your holiday and break was fulfilling, and I wish you the best with the start of a new semester!
<3 dj mozzie
If you live in the Triangle and are into music, you’ve probably found that the Mountain Goats are more than just a band. They’re a force of nature, whose mere name being mentioned causing any fan in the room to talk about how good they are. I’ve enjoyed their music for awhile but never to the point of considering myself a diehard fan. So when I saw they were coming to Cat’s Cradle, I figured I should check it out and see if the hype was worth believing. That was one of the best decisions I’ve made in a while.
It turns out the presence of the Mountain Goats overshadows even other artists in the lineup of their own shows, as it felt like even opener Bowerbirds just wanted to see the band play. This was maybe the only slight downside as I think it took the air out of what was a great opening set; singer Phil Moore brought the kind of brooding yet energetic vocal performance that was perfect for their indie folk sound and songs like “Moon Phase” were quite beautiful while also displaying a steely guitar line. I’m not at all saying that Mountain Goats intentionally took attention away from Bowerbirds; lead singer John Darnielle made it very clear that he was a big fan of their work and went into detail about how Moore in particular greatly influenced certain songs, it just felt kind of awkward when the loudest cheer by far came when Moore said they only had a few songs left.
When the Mountain Goats finally came in, anticipation had reached a fever pitch, especially as their stage entrance came on the back of a dramatic dimming of lights and instrumental intro. This fever pitch was answered with a fiery rendition of “Michael Myers Resplendent” that turned that anticipation into joyous celebration. Throughout the show they got as loud as the best of them but what really stood out were individual moments, a steely guitar attack or an individual drum line, dislocating themselves from the cacophony to make a statement.
Much like the history of the Mountain Goats, the center of this sonic universe is John Darnielle and the wondrous narratives he spins. These are not straightforward arena-ready bangers, but winding tales filled with despair and hope, with concepts ranging from intricate descriptions of wrestling moves to fantasy quests. Before the show I was concerned that the subtleties of the songs would be lost in the roar of a live show but it was the exact opposite: seeing the Mountain Goats live is the absolute best way to experience their work. I have never seen an audience so transfixed that they had to be told when to clap. At one point, I was so locked in to Darnielle’s words I didn’t notice that keyboard player Matt Douglas got up, walked away and came back with a saxophone until it came in with a thunderous line. The versatility of instruments on display here was impressive; after putting down the saxophone Douglas picked up a guitar and Darniella used at least three different guitars throughout the show and sat down at the keyboard himself. Everything about the performance was extremely fluid, with songs blending seamlessly into one another and everyone onstage clearly having a blast being around the crowd and each other.
As the Mountain Goats have over 20 albums to draw from the songs played were extremely varied. Darnielle specifically described artists who rigidly adhere to the same setlist every night as “the forces of evil” ahead of the “middle section” of the show, which for the uninitiated is where the rest of the band leaves and he plays whatever comes to mind. With every spotlight trained on him Darnielle went dark with his time alone onstage, with “Maybe Sprout Wings”, “From TG&Y” and “Isaiah 45:23” serving as an introspective and brutally honest trilogy. The spontaneity could be felt in every word and note played and what could have been just a gimmick was elevated into an unforgettable experience.
The Mountain Goats have been located in Durham for about 15 years now, and the roots they’ve put down in the Triangle were tangible in the performance. This was the last performance of a three-day stint at the Cradle and there wasn’t just an air of finality but of pride at having the opportunity to play there. Darnielle took every opportunity to thank the audience for their support and it was apparent what the roar of the crowd meant to him and the band as a whole. I saw some amazing live performances this semester but I think this one in particular is going to stick with me for a very long time.
-Erie