Omori is an astounding visual and listening experience. Released in 2020 after over six years of development, this sweet and dark role-playing video game quickly won the hearts of players.
The game follows the story of a young boy named Sunny and his dreamworld counterpart Omori. Throughout the game it reveals childhood memories between him and his friends, and the dark histories that lead them to the current day.
This game presents its story with elegance and care with a stunning and diverse soundtrack to match.
Game Overview and Themes
The game opens up in the world of whitespace– the divide between Sunny and Omori’s worlds. Blank and isolated, whitespace gives the player a moment of reflection and pause before entering and reentering the story.
The player is then introduced to the world of Omori. Which is bright, colorful and surrounded by loving friends and cute enemies. Throughout this side of the game, Omori faces his greatest fears with his friends by his side.
Omori’s soundtrack is light, airy and playful. It really leans into childhood nostalgia and curiosity.
Meanwhile Sunny’s world is grim, lonely, and lost. In the real world the divide between his friends is great. This side of the game is spent trying to mend the connections between him and his friends before Sunny moves away from his childhood home in three days.
Sunny’s soundtrack is mundane and grey. Both the sound and graphic design in this world captures emotions of uncertainty, fear, and regret unlike any other content I have experienced.
Went growing up, there is often times a wish to go back to the simpler days of childhood. Omori is a game that captures this unspoken emotion beautifully.
The juxtaposition between Sunny in the current world and Omori in a childhood state is the foundation of the game– the soundtrack follows suit with explorative, dynamic contrast.
A Deep Dive into the Soundtrack
Starting off with the opening track “White Space”, this is a simple, clean start to the experience. It gives no clues to the musical themes to come. It takes on a very classic 8-bit videogame sound. I think this track is a great, simple start to such a complex web of themes and experiences in Omori.
“By Your Side.” is a sweet, delicate tune played when interacting with Omori’s sister Mari. Without flare or complexity, this song captures emotions of comfort and security.
It is easy to hear and see how much detail and care went into the production of this game. Each track has a purpose and emotion tied to it. The soundtrack holds such a complex variety of feelings in relatively simple sounds.
Another great example of this is “Three Bar Logos”. This one is played in special combat sequences and really captures feelings of fun and teamwork.
Most of the combat in the game is done in a team of four: Omori and his three friends Hero, Aubrey and Kel.
The player has to utilized each of their unique abilities to juggle between three emotion types: happy, sad and angry. I think all of the combat tracks do a great job of making combat interesting and support the theme of teamwork immensely.
“Chaos Assembly” is another great example of this. It ties in themes of upbeat teamwork with the underlying fear of combat. It pulls background from some of the darker tracks in the album that I will discuss more below.
I am simply in love with “Where We Used to Play”. This track plays when walking around the hometown and childhood park of Sunny.
Although this track is just simple piano and delicate recorder, I think it is one of the best tracks on the soundtrack because it brings innate nostalgia to the listener. Especially in the context of Sunny’s world, this track is perfect.
“I Prefer My Pizza 90% Grease” is a joyful pocket in the midst of Sunny’s world. This track plays in Kel’s favorite pizza restaurant. It is a refreshing upbeat tune in the overarching uncertainty of Sunny’s world.
I would define this 40 second track as a fusion of metal, hard rock and electronic grunge. It is loud and boisterous. It evokes feelings of unbridled frustration and chaotic fear, which is perfect for the context in the game. I won’t go into the context because it contains a minor spoiler, but this is a moment where the soundtrack truly shines. It makes a great moment in the story into something spectacular.
Alone Soundtrack
There are moments in the game where Omori is completely isolated from his friends, whitespace, dreamworld and real world. These moments are when he is confronting great fears or making a profound discovery.
This is where the soundtrack really shines.
“Acrophobia”, “Arachnophobia” and “Fade” are indescribably eerie. All three use simple sound techniques to build an inescapable atmosphere of isolation and fear.
They are each so distinct from any of the other tracks in the game and they appear at unexcepted moments throughout the experience.
These soundtracks are so desolate and dark that it innately makes the player miss the sounds and sights in both the dreamworld and real world.
Conclusion
Omori is an extraordinary video game experience with thoughtful creation and deliberate soundtrack.
In this blog I only mentioned a handful of the extraordinary work and dedication that went into making this soundtrack– They created a total of 179 unique tracks totally in at 3 hours and 45 minutes of listening.
In this blog I only discussed on tracks in part one of the Omori soundtrack. If you would like to listen to tracks off part two and part three, you can find them here.
Another component I really appreciated is there are many endings the player can have. It gives decisions made in the game gravity and an incentive to replay once completed.
Also, there is a wide variety of side quests within the game that add a lot of body and diversity to the game play. Omori has so much content and enriching character.
If you are interested in playing Omori, it is available for both the Nintendo Switch and desktop via Steam.
On Feb. 7, 2023 WKNC 88.1 FM HD-1/HD-2 made the decision to discontinue regular DJ shifts by non-NC State students. As part of NC State Student Media, the departmental Academic Progress Policy (PDF) originally adopted in January 2003 and last amended in January 2010, specifically outlines that all paid and volunteer “employees (including, but not limited to, reporter, photographer, designer, DJ, sales staff member) of the Student Media … shall be full-time students at NC State University.” WKNC has been in violation of this policy since it was first enacted, at times allowing 10 or more non-students to DJ for WKNC. Additionally, University Regulation 11.55.07 covering membership in both Registered and Recognized Student Organizations states “membership in Student Organizations is limited to students enrolled for at least one semester hour of credit at NC State. Faculty, staff, alumni and others may participate in the activities and programs of student organizations as guests. Guests may not vote and may not have the same privileges as members.” This regulation was first issued in January 2007 and last revised in October 2021.
As no other Student Media outlet allows for regular contributions by non-NC State students and WKNC receives more than a third of its annual budget from NC State student fees, WKNC has decided to adhere to the departmental policy and University regulation by placing its focus solely on student staff. WKNC will also be discontinuing its informal practice of allowing spring graduates to stay on the air for the subsequent summer semester. With respect for the five current non-student DJs on staff, this change will be effective on May 8, 2023 at the conclusion of the spring 2023 semester.
While this decision may be upsetting to some long-time listeners, WKNC believes it is in the best interest of the radio station to retain a focus on student programming. As a student-run radio station, WKNC is proud to offer educational opportunities for more than 120 NC State students in radio broadcasting, content creation and station operations. WKNC also wants to thank its non-student DJs for their many years of service to the station.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.