The storytelling ability of movie and video game soundtracks is astonishing.
This goes without saying, but there are so many outstanding stories to be told, and music provides us with a conduit for expressing overwise indescribable emotions.
For folks that have experiences tabletop role playing games, soundtracks extend beyond the story they were originally tailored for. Music becomes a backdrop for new stories to be built and new characters to be born.
I have fallen deeply in love with storytelling through music. Entire worlds, atmospheres and moments are fabricated through thoughtful sound design and music.
This care, consideration, and devotion within musical storytelling is demonstrated beautifully through fantasy composers. To highlight some of my favorite stories and soundtracks, I have compiled favorite tracks from three different composers.
Ori and the Will of the Wisps (Original Soundtrack Recording)” cover art by Gareth Coker
Gareth Coker
Gareth Coker has truly mastered the art of soundscapes. Using mystical strings, woodwinds, piano and vocals he invigorates and redefines video game and fantasy soundtracks.
His music is simply smoothing, pensive and mystical.
Some of his projects include Halo Infinity, ARK Genesis and the Ori series. However, the context of these projects is not necessary to appreciate the peaceful ambiance and atmosphere Gareth Coker creates.
I particularly love his work in the Ori albums. These albums are simply musical bliss.
Moody orchestral lines are the backbone of the project. Combined with angelic vocals by Aeralie Brighton, the soundtrack is dynamic and pensive.
“Ori, Lost In the Storm” is a lovely example of the atmospheres he is able to construct.
“Darkwood (Original Video Game Soundtrack)” cover art by Arthur Kordas
Arthur Kordas
Arthur Kordas is the co-developer and composer of Darkwood, a survival horror video game released in 2020.
Although his discography is limited, his work builds an isolated and eerie world like no other.
His work defined by his command of subtly. The soundtrack creates an ambiance rooted in emotions of loneness and fear, making a perfect backdrop for Darkwood.
A lot of soundtracks attempt to make music that is monumental in sound, however Arthur Kordas recognizes the beauty in ambiance.
“Intro” uses sounds found in nature to bring the listener into the world of Darkwood. The subtle rustling of trees fades into deep rhythmic motions shrouded in an unknown tone. Long, building line are prominent throughout his work.
“Piotrek” and “New Dawn” are an excellent example of the power within stillness. Long orchestral beats bring a sense of caution and fear to the listener. As if scared to make the next move, each line is intentional in the path it takes slowly building to tenser moments.
The stillness, patience and atmosphere heard in Darkwood is unlike the work of any other composer.
“MADE IN ABYSS ORGINAL SOUNDTRACK” cover art by Kevin Penkin
Kevin Penkin
Kevin Pankin is the composer of Made in Abyss series. This is a composer that creates monumental sound with a compelling, abstract approach.
He combines heavy, roaring sounds with delicate lightness. The juxtaposition within his discography is distinct.
He provides the listener with a true experience without the context of Made in Abyss. The personalities and childlike curiosity of the characters are evident within the tracks.
The use of orchestral elements is also very unique in his work. Through thoughtful dynamics, placement and composition, Kevin Penkin turns an orchestral piece into an experiential collage.
“Made in Abyss” and “The First Layer” are excellent introductions to his discography. Light and childlike, these gentle tracks subtlety allude to approaching challenges.
Kevin Penkin loves the use of sudden dynamic leaps. “Encounter the Umbra Hands” makes dynamic movements beautifully. Elegant strings are contrasted by big roaring sounds.
In even bolder tracks Kevin Penkin begins to meld vocals into the composition. “The Rumble of Scienitic Triumph” is characterized by its chant like choral melody with a dynamic, thoughtful backing.
The variety of orchestral movements Kevin Penkin makes is astounding. His work exceeds his genre and becomes a musical collage triumph.
Full Body 2 an explorative band from Rochester, N.Y. have found their niche tapping into a bold blend of digital rock, shoegaze, and curated electronic chaos.
Composed of Cassidy Rose Hammond, Dylan Vaisey, and Jack Chaffer, this trio created Full Body 2 in 2020 as a one-off project from their former indie-rock band Full Body.
Full Body 2 provides us with music that encourages creativity. It is motivating and refreshing. They are defined by their unique use of sound collage and abstract vocal work. Full Body 2 is positive, energetic, and undeniably loud.
Upon the release of “Demo 01” in 2020, their explosive, curated sound took root and the band quickly shifted gears from Full Body into Full Body 2– the once ephemeral project taking ownership of its permanence.
“EPCOT” cover art by Full Body 2
Just a year later, they released the EP “EPCOT” on Nov. 14 2021. In this release they adopted a new identity in both their sound and in the form of the album art. The cover art on “EPCOT” is confident and chaotic, defined by bright neons, digital collage, and dreamlike visuals. This visual intensity supports the renewed boldness within the music.
Opening track “Diamond Dallas Page” is fragmented, grungy, and loud– setting the foundation for this unique release. The vocals are distinctly distorted and confident.
Controlled distortion is a true talent of Full Body 2. They have truly mastered the art of collaging sounds without the composition turning muddy.
This skill is demonstrated remarkably in track two, “ador // ation”. The track is wavelike, morphing back and forth between distant vocals and heavy musical madness. Although chaotic and distinctly loud, this band has complete control over their track composition.
What I love most about this band is they provide listeners with a platform for unbridled creativity.
Their music motivates unlike any other in their genre. When I first heard their newest release “demo 02”, I almost immediately felt an urge to create and draw. Although this motivating energy may not be felt by everyone, it was extremely potent in my scenario.
“demo 02” cover art by Full Body 2
This energy I showcased best in their newest release, “demo 02”–which succeeds in being a fitting evolution from “Demo 01”.
Opening track, “2g ether” is a perfect example of their growth from “Demo 01”. There is more confidence behind every component of this piece.
The entire EP is engulfed in radiant positivity. It is easy to tell they love making their music in every song off this track.
Track two, “mirror spirit” is one of my favorites. I adore their use of vocals. They have evolved from lyrics and carrying the melody to using vocals as a means of building a complex, stunning background to their undeniably strong percussion. The amount of production and layering that went into this entire EP is astounding.
Full Body 2 is fabricating a musical realm of its own with each and every release.
Especially in “dancer’s theme” off of “demo 02”, they are curating a dreamlike, otherworldly energy that is similar in tone to a video game or movie soundtrack.
They are transforming music from simple songs to a true listening experience.
In my 2010s listening experience— khai dreams has solidified herself as one of the founding fathers of the lofi genre.
Their discography is filled to the brim with lofi hits including “Sunkissed”, “Lost in You”, and “Through and Through”. Her musical presence, for better or for worse, ignited the worldwide phenomenon of soft voices, relaxed beats, and acoustic ukulele that is the lofi genre.
However, this blog is not about their lofi accomplishments, their newest album “ABSOLUTE HEARTBREAK” dropped Jan. 2023 and is diverging from her past sound with a mix of success and failures.
This album is undeniably a great step for khai dreams. She is finally breaking out of the restraints of one genre and is dipping into a new energy. “ABSOLUTE HEARTBREAK” is refreshing regardless of its faults. Khai dreams is breaking out of the soft-ukulele-lofi energy and is honing a matured, bold, and blended sound.
Every song on the album had good and bad elements.
Below is a breakdown of each track in the order presented in the album:
“Bugs”
This song is a fun start to the album. It’s high energy and outlines some of the techniques heard throughout the tracks to come.
They have a melancholier approach to their vocal work, which is a nice contrast from the hopeful and loving tone used in her previous releases. This slight transition is a nice change and sets the stage for the bigger musical steps later on.
She is moving away from the lofi energy and moving towards something unique– this song is the departure.
“Rats”
This is one of the darker tracks and provides a little bit of a differnt tone to the album after “Bugs”.
The backing drums are nice but too simple. One gripe I have with this album is some of the backing tracks are too simple to the point they feel additive or excessive. This song is an example of that.
I enjoy the lyricism, but it doesn’t capture the listener due to the weak backing track. I enjoyed the use of different vocal tones in the bridges.
As seen in the next track, I sincerely hope khai dreams lets go of high-pitched vocal harmonies and turns to lower, darker alternatives heard in “Rats”.
“Panic Attack”
I sincerely dislike the high vocals harmonizing throughout the entire track. This song would have been beautiful without that addition.
The addition of the high-pitched vocals turns otherwise elegant lyrics and clean background into something excessive.
When focusing on khai dream’s main vocals, her tone, emotion, and subtle lyrics have so much potential. The addition is trying to be light and fairy-like but just comes off as annoying.
“May”
I want to see more of this energy from khai dreams in the future. The vocals are slightly grungy which is very new in respect to their existing discography.
Looking at the background, the drums could have had more flare but I’m just happy they are as prominent as they are.
“Not Enough”
This track is one of my favorites off the album. Although the lyrics are weaker than other tracks off this album, this song is such an excellent blend of all of khai dream’s past work and moving towards the new.
Thematically, khai has really capitalized on songs about falling in love or being in a great relationship– this song finally breaks away from this unwavering theme and introduces the opposite end of the spectrum: self-doubt, mistrust, and heartbreak.
“No Company”
This song might have been more memorable if it was placed differently in the context of the album.
The low energy in this track really interrupts the overarching composition of the album. It doesn’t take any new steps and is a continuation of “Not Enough” by pushing a sadder theme into their discography.
“Overall”
This track is short and sweet. The sound it achieves is extremely reminiscent of work by fellow heart-broken artist Joji.
“Flowers”
Released in 2021, this track is not new and does not provide anything compositional to the album. To be honest, it reminded me of a song written and produced by the Disney Channel. It’s high energy but isn’t bold– it’s generic khai dreams with a higher bpm.
“Heartbreaker”
This track saves the end of the album. It is confident, a little grungy, and does not sound like the average khai dreams track. It is refreshing.
This is a great example of what additional vocals can truly add to the overall song. The strained vocals in chorus amplifies the lyrics and provides a bolder energy to the song without sounding extra.
“Heartbreaker” truly holds the name of the album proudly. It is a great staple of the album— overall a nice blend of hurt and happy.
“Good Advice”
This final track is the acoustic version of a 2020 release. Although I think the original version is more successful, I don’t believe this track was intended to give anything new to the listeners.
It is simply a public reflection of what khai dreams used to be and what she is becoming. It’s a reflection of genre, the power of subtly, and the humble beginnings of khai dreams.
“I can’t be myself when everyone is needing me to change”– although written three years ago this line perfectly captures the message of this album and subtly highlights all that has changed in khai dream’s music and personal life.
Although I wish this album ended with more of a bold stroke, this is an anticipated acoustic transition by khai dreams and a sweet end to this melancholy album.
This was the first time I paid close attention to new albums releasing throughout the entire year. Because of this, I can now make this big list with a nice round number at the top.
A frustration that I have when I make these lists, is that when they are posted and published, I have no way of changing them. My listening habits change over time. In retrospect, an album I place several spots higher or lower than another may not deserve to be there. There are also a ton of albums that I didn’t listen to this year. In time, I’ll find more albums from 2022 that deserved to be on this list, but for now, this is all I’ve got.
I chose the rankings for these albums about a month ago, and even in that short time, there are already changes that I’d like to make. I’ve decided to keep the original rankings to preserve how I felt at the end of 2022.
Without further ado, here are my top 50 albums of 2022:
50. Shiruetto – “Era” | Groovy future funk.
49. Govlink – “Weapons” | Breakcore with nutty sampling and sound design.
48. Ho99o9 – “Skin” | Hard hitting digital hardcore.
47. Ada Rook – “Ugly Death No Redemption Angel Curse I Love You” | The 10 stages of aggression.
46. Black Country New Road – “Ants From Up There” | Pretty, introspective head-bobbery.
45. Courting – “Guitar Music” | Post-punk that quickly flies through track after track of multilayered fun.
44. Kai Whiston – “Quiet As Kept, F.O.G.” | Club music with sheen, haze, and keen attention to detail.
43. Tricot – “不出来” | Bright, energetic math rock from Japan.
42. Conway The Machine – “God Don’t Make Mistakes” | Excellent down to earth lyricism coming out of Buffalo NY.
41. Sam Gellaitry – “VF VOL II” | Shiny, well produced pop take on Sam Gellaitry’s production style.
40. Justice – “Planisphere” | Great return for Justice with this incredibly cohesive 20 minute EP.
39. The Garden – “Horses— On Route 66” | Really fun punk rock noise.
38. Druida – “Limnociclo” | Haunting, rich IDM, perfect for late nights.
37. 2Hollis – “White Tiger” | To read more about this album, check out my review of it here.
36. Nanoray – “Toybox” | Fast hardcore electronic bangers mixed with some nice long shifting tracks.
35. Lewis Cole – “Quality Over Opinion” | Light jazz fusion album with some really high highs.
33. Lexie Liu – “The Happy Star” | Really fun and intricate pop with a bit of a Rina Sawayama sound.
32. JID – “The Forever Story” | Great storytelling, just an overall pleasant listen
31. Kinoteki – “Human Noise” | Hypnotizing house for late night ventures.
30. Metaroom – “Dog Bus: The Remixes” | Collection of EDM remixes that all manage to bring something new to the table
29. Denzel Curry – “Melt My Eyez See Your Future” | Reflection of Denzel’s career and decisions while being incredibly catchy. The deluxe edition is excellent too.
28. Infinity Knives – “King Cobra” | Bold hip-hop album with plenty of variety and interesting production choices
27. BABii – “Screamer” | Consistently great dance music with clean production complemented with nice vocals
26. Weyes Blood – “And In The Darkness, Hearts Aglow” | Beautiful slow burns
Album cover for “Neon White Soundtrack Part 1” by Machine Girl
25. Machine Girl – “Neon White Soundtrack Part 1”
What a way to do a videogame soundtrack. From front to back, the frantic pace of the game is perfectly matched with frantic intricate grooves. Each track has plenty of variety, and nothing overstays its welcome. If you want to get into a flow, this is your best bet.
Cover for “His Happiness Shall Come First Even Though We Are Suffering” by Backxwash
24. Backxwash – “His Happiness Shall Come First Even Though We Are Suffering”
The third and final album in Backxwash’s trilogy, continuing her reconciliation with religion, race, family, and transness. Every drop of anger oozes out of Backxwash’s vocals, and the instrumentals are crushing. This is an excellent way to conclude the trilogy.
Album cover for “This World Is Going To Ruin You” by Vein.fm
23. Vein.fm – “This World Is Going To Ruin You”
Admittedly, metal is not my strong suit. However, that didn’t stop me from keeping vein.fm’s new record on blast throughout the year. The breakdowns are heavy, the hooks and chorus’s are rad, and overall, it’s a pretty awesome metalcore record. While I still prefer their 2018 album “Errorzone,” this was a nice exploration into more melodic territory.
Album Cover for “You Can’t Kill Me” by 070 Shake.
22. 070 Shake – “You Can’t Kill Me”
The peaks on this album are some of the best musical moments to come out of 2022. The grandiosity throughout this album is really what makes it stand out.
Album cover for “Berdlycore Chapter 0” by Xaev
21. Xaev – “Berdlycore Chapter 0”
“Hyperflip”, or as it’s commonly known, “Dariacore,” is my favorite trend in electronic music at the moment. Its mindmelting blend of Hyperpop, EDM, 2000’s pop samples, and Jersey Club is truly something to behold. Xaev brings an incredible level of polish to this genre with the Undertale adjacent brand of Hyperflip, dubbed “Berdlycore.” Alongside the meme-ish sampling and goofy song titles, “Berdlycore Chapter 0” is on the forefront of innovative EDM production.
Cover for “Berdlycore Chapter 2” by Xaev
20. Xaev – “Berdlycore Chapter 2”
Of course, I couldn’t mention “Berdlycore Chapter 0” without also mentioning the other Xaev project from this year, “Berdlycore Chapter 2.” More incredible hyperflip production from Xaev.
Cover for “A Couple of Good Days” by Fennec
19. Fennec – “A Couple of Good Days”
This album is perfect for relaxing on a beautiful summer day. Its laid back sway is absolutely delightful. I am of the opinion that most house music is best enjoyed at night, but this is a different brand of house music entirely. “A Couple of Good Days” calls to mind sunny beaches, volleyball, and a lovely breeze kissing your skin.
Cover for “Heaven Is Here” by Candy
18. Candy – “Heaven Is Here”
This Candy record is big time heavy. It’s only 30 minutes long but the time flies by with the amount of crushing variety within these tracks. I may be a bit biased towards this album, having seen these guys live in September. I can confirm that Candy lived up to my expectations. Again, I am not well versed in metal, but this album scratched the hardcore itch in my brain.
Album cover for “Harp” by Pendant
17. Pendant – “Harp”
“Harp” covers a lot of ground. You can be listening to this album and it will go from layers upon layers of soft silky Chillwave to angry noise based rap verses. It swings both sides of this pendulum with grace, delivering satisfying track after satisfying track. If you like anything spacey, you will like this album.
Album cover for “Meeting With A Judas Tree” by Duval Timothy
16. Duval Timothy – “Meeting With A Judas Tree”
Duval Timothy carefully crafts soulful piano melodies all over “Meeting With A Judas Tree.” Every single track on the album is beautiful, and to top it off, there’s an incredible infusion of electronic elements as well.
Album cover for “Renaissance” by Beyonce
15. Beyonce – “Renaissance”
Beyonce came out of left field this year with an album full of house bangers. I went into this album thinking, “ok… well I suppose I’ll listen to the new Beyonce album.” I left this album thinking “wow, I can’t believe I just danced for a straight hour.” It’s catchy, confident, and fun. Beyonce went into new territory for this one, and it absolutely paid off.
Album cover for “Every Flower In My Garden” by Lilien Rosarian
14. Lilien Rosarian – “Every Flower In My Garden”
Lilien Rosarian is making some of the most interesting ambient music I’ve ever heard. Each track feels like viewing our world through a bright distorted lens. The sampling work reframes familiar sounds into brand new textures and continually keeping things fresh throughout the whole album. It all comes together on the final track “revery hour” which managed to unlock a brand new emotion I didn’t even know I had.
Album cover for “Elseware OR: Eating The Snack Fantastic” by Halisca
13. Halisca – “Elseware OR: Eating The Snack Fantastic”
Lots of genre exploration happening on this Glitchpop album from Halisca. If you’re looking for a Sweet Trip-eque sound with some extra details and doodads thrown in there, this is for you. It’s cheery, playful, and uplifting all the way through. Also, the last song is called “Super Dracula RPG Original Soundtrack.” How can you go wrong with that?
Album cover for “I Love You Jennifer B” by Jockstrap
12. Jockstrap – “I Love You Jennifer B”
This is Jockstrap’s first capital A Album, and they did not disappoint. The unique instrumental-electronic mix on this album makes it stand out entirely on its own. It’s strange, but there are so many facets about this album to appreciate, that it’s still quite approachable.
Cover for “Cometa” by Nick Hakim
11. Nick Hakim – “Cometa”
Nick Hakim blows it out of the park with “Cometa,” an album that retains the psychedelic qualities that Nick Hakim is known for, while also feeling incredibly intimate. The balance between these two elements is what makes this album a consistently enjoyable listen.
Album cover for “Darklife” by Death’s Dynamic Shroud.
10. Death’s Dynamic Shroud – “Darklife”
With “Darklife,” DDS succeeds at making their music sound cinematic. The sounds and the vocal sampling are super ambitious, and they land. Everything sounds really really big and foreign. DDS is setting another high water mark for themselves with this record.
Album cover for “Dariacore 3…At least I think that’s what it’s called?” by Leroy
9. Leroy – “Dariacore 3…At least I think that’s what it’s called?”
Leroy, AKA Jane Remover, FKA Dltzk, AKA c0ncern, is making huge waves in EDM. They started the Dariacore/Hyperflip movement, and this production style seems to only be getting more and more traction. I’ve already covered some other albums that fall under this category on this list, but Leroy was the one to start it all, and they’re still going strong with Dariacore 3. For my money, this is Leroy’s best work yet, and I’m hyped for the future of LeJaneltzk Remover projects.
Album cover for “Counterfeit” by Fordmastiff
8. Fordmastiff – “Counterfeit”
This album came to me at the perfect time. I listened to this album for the first time on a cold winter night while walking under the streetlights. My surroundings were the perfect canvas for Fordmastiff to paint a landscape. Listening to this, I felt like I was experiencing the memory of being in a lively festival. The details were dull, but the tone was clear as day. This album is lo-fi in a way that I’ve never heard before. I’ll be keeping a close eye on this Brazilian Lo-Fi scene for the foreseeable future.
Album cover for “Dream Desert” by desert sand feels warm at night.
7. Desert Sand Feels Warm At Night – “Dream Desert”
Some might say that four hours is too long for an album. To that, I point to “Dream Desert” and say “nonsense.” This music is vaporwave at its most potent. The tracks average around half an hour, making each track an experience of its own. It’s incredibly drawn out, making the magic moments where a beat drops all the more special. This is far and away the most soothing album of this year.
Album cover for “Miracle In Transit” by Naked Flames
6. Naked Flames – “Miracle In Transit”
Naked Flames shows us that you don’t have to have the most exotic ingredients to cook up an amazing album. Rather, an amazing album can come from a few simple ingredients used in just the right way. This record layers idea after idea on top of one another in just the right way until they all fit together in an entrancing but dance-able house lasagna. “Miracle In Transit” is a truly gratifying experience.
Album cover for “Gunsmith Tha Mixtape” by Hackle
5. Hackle – “Gunsmith Tha Mixtape”
As Witch House/Trap artist Sematary has gained notoriety over the past few years, I’ve found myself just shy of hopping on the Haunted Mound. It turns out the missing ingredient was Hackle. The catchiness and energy that Hackle brings to Sematary’s production makes the sound work perfectly. Out of any album on this list, this one deserves the loudest speakers.
Album cover for “Last Spa On Earth” by Divino Niño
4. Divino Niño – “Last Spa On Earth”
Divino Niño put an electronic and reggae spin on their latest dream pop record. It’s fun, fresh, and exciting throughout, and each transition from one idea to the next is satisfying. You can read my full review of this album here.
The album cover for “Number Four” by Culprate.
3. Culprate – “αριθμός τέσσερα”
On this record, Culprate attacks Drum and Bass from every angle. It’s a wonderful, all you can eat buffet of musical flavor and texture. You can read my full review of this album here.
Album cover for “Hellfire” by Black Midi
2. Black Midi – “Hellfire“
An incredible display of directed chaos. Every musician is putting in 200% to make this explosion of music as powerful as it can be. If anyone ever tells you rock is dead- that progressive, forward thinking, innovative rock is dead- they clearly have never heard this album. “Hellfire” is by far Black Midi’s most accomplished album to date. Every track holds something new and exciting. This is the sound of war, death, insanity, and sin, and good lord it is beautiful.
Album cover for “Flood Format” by Bird’s Eye Batang
1. Bird’s Eye Batang – “Flood Format“
A musical adventure that is both adorable and terrifying. Otherworldly sound design that brings you somewhere entirely new. This album cements the mysterious South Korean producer as one of the best artists working today. You can read my full review of this album here.
Over the past month or so, I’ve been entranced by clipping.‘s 2020 release, “Visions of Bodies Being Burned”. Full of industrial energy, “Visions” is a headache-inducing, horror rap journey that I cannot get enough of. I truly do not believe there is another hip-hop group around right now with a similar style and sound as clipping.
A Blood Narrative
One of the most cohesive threads running through “Visions” is how well clipping. pieces together narratives like a detective novel. “Say the Name” sets this precedence with the story of a woman haunted by a DIY abortion of a nine-month pregnancy. The consistently violent imagery following her lust after a man keeps listeners in morbid curiosity of how her situation could have ended so poorly.
clipping. also seems to have done a decent bit of murder investigation as well. With how vividly the killings of three different cops are described, there’s so much dread that went through me listening to “Body for the Pile”. Even the horrifically grinding sound of overdriven static at the start of the track adds to its aesthetic. The three murders only get more violent and messy as the song progresses.
Three little pigs and they can’t do nothing, for the last time
You can’t run, you just a body for the pile
Lyrics from “Body for the Pile” by clipping.
It’s hard to miss, but the way the officers’ corpses are just “bodies for the pile” highlights their stance on police getting killed generally. The first is beaten to death, the second is shot, and the third is killed in a car crash, representing the most common atrocities committed by cops against civilians.
The Sound of Violence
Promotional photo of clipping. Courtesy of Edwina Hay at Sub Pop Records.
One of the most striking aspects of clipping.’s music is how overwhelmingly powerful the bass is on every track. Many songs start with either rumbling, deep bass or pure noise for the sake of noise. There’s very little in terms of percussion or any lighter sounds than this pounding that permeates the album. So, when the bass drops out, you know to pay extra attention to rapper Daveed Diggs’s lyrics.
His rapid-fire style and punchy flow are in themselves just as violent as the music he raps over. The use of an extensive range of metaphors and references only make his verses all the more dynamic. His voice isn’t particularly heavy though, so it can still cut through the rest of clipping.’s beats when it needs to. The result is an outburst of frustration at a wide variety of social ills from police violence to the destruction of Earth. As a response to the violence of the perpetrators, clipping. calls for an equally violent revolution.
Waiting patient for the signal when the time is right
To bring it down
Lyrics from “Something Underneath” by clipping.
Concluding Thoughts
When a group with this much talent comes along, they become hard to ignore. I believe that they will surpass other experimental hip-hop artists with future records powered by their toxic industrial production within the next few years. From this album, I especially enjoyed the songs mentioned above, as well as “She Bad” and “’96 Neve Campbell”.
A couple months ago, a friend of mine referred to me an album called “Well, I Should Have…*” by Jon Benjamin – Jazz Daredevil. The record was released in 2015 under Sub Pop Records, who have a track record of talented artists. I’m typically not much of a jazz listener, but I decided to give this a shot.
The Premise
H. Jon Benjamin is a comedian, writer, actor, and “musician” who decided to create a jazz album with some other professional musicians on drums, bass, and saxophone. Lacking any skill or practice on piano, Benjamin attempts to sell his soul to the devil and is turned down. The rest of the album is divided into 4 parts, each titled “I Can’t Play Piano”.
H. Jon Benjamin at the 2022 WonderCon in Anaheim, California. Photo Courtesy of Gage Skidmore, under Creative Commons.
The first part begins with a lively saxophone led section, and actually sounds quite good. The drums and bass play together wonderfully, and the sax solos are dynamic and fresh. And then Benjamin comes along.
With no sense of rhythm, melody, or how chords work, Benjamin’s piano sounds like a dying songbird with its vocal cords swapped around. When playing as backup for the lead saxophone, he actually doesn’t sound that bad, all things considered. But, since he has to improvise his solos, he is hopelessly out of tune with the rest of the band. In fact, they just play over him as if there is no piano to begin with.
This pattern continues throughout the rest of the album. The professional jazz players try their hardest to create a satisfying, cohesive set while the Jazz Daredevil tries his hardest to keep that from happening. And that makes this album so fun to listen to. This album is the music equivalent of “The Room” or “The VelociPastor”, which I consider to be high praise as a comedy special.
The Skits
As a comedian, Benjamin can’t help himself from putting a couple of jazz-inspired skits in his album. “Amy’s Song (The Bum Steer)” is a raunchy song too explicit to describe here, and it has to be the worst of his three skits, so I’ll skip over it. “Deal With the Devil” and “Soft Jazzercise” are spoken word interludes performed by Benjamin that fit in perfectly with the musical tone of the album.
The first of these tracks actually features Kristen Schaal and Aziz Ansari, both well-respected comedians in their own right. The dialogue between Benjamin and Schaal may remind listeners of a conversation from “Bob’s Burgers”, since they voice Bob and Louise Belcher, respectively. Benjamin’s timid insistence on selling his soul is honestly endearing, especially through Benjamin’s deadpan delivery that makes him sound uninterested in the intricacies of soul-selling.
Benjamin uses “Soft Jazzercise” to ease the mind of listeners, giving them a break from his lack of piano skills. His class is easy for any listener to try out for themselves. Personally, I found it refreshing and comforting to listen to his voice lead me on a journey of self-improvement.
Closing Thoughts
This album might not be the most meticulously crafted. It might not sound as good as Thelonious Monk or Dave Brubeck. But “Well, I Should Have…*” is an incredibly creative and irreplicable album that I highly recommend listening to for any fans of music. Although, perhaps regular jazz listeners might find it too rough on the ears.
Promotional video for “Well, I Should Have…*” released by Sub Pop Records.
