Another year in the books? Say it ain’t sooo-ooh-oh-oh-oh! One year older, one year wiser. Another vague platitude about the incessant passage of time. Yadda yadda yadda. Here’s a bunch of albums (and a few EPs) that we loved this year from New England musicians. In the year that pop artists invented house music (again!), Boston and the surrounding areas seemed to be feeling a bit more aggressive. Big shocker.
We’ve included some handy bandcamp links where applicable, should you find it in your enormous, generous heart to spread some holiday cheer this season to help out your friendly local musicians.
Actor|Observer, Songs for the Newly Reclusive
Ferocious and epic, so goes the latest album from Boston hard rock mainstays Actor Observer. Songs For The Newly Reclusive points it’s vicious finger at gentrification, toxic masculinity and more throughout its modest 7-track lineup. Offering up a more vulnerable side than some listeners of hardcore/metal may have come to expect, Actor Observer delivers a refreshing sound while still retaining all the elements that fans of the genre look for. “You communicate through music, but you never really listen. So what’s the difference between another song, and all the words left unsaid?” screams vocalist Greg Marquis on standout track “Wasted Breath”. Fiery aggression with a softness buried within.
-Andrew Bourque
Anxious, Little Green House
The debut album from Connecticut’s Anxious feels like anything but. The pop-punk outfit sounds like a hardened, veteran group with their unique blend of hardcore and tender emo. The band makes an effort to diversify each song – check the sweet, acoustic “Wayne” followed by the absolute bruiser “Speechless” – so the album eschews any repetitive tropes that may plague a normal young group. And yet, the young group has youthful energy on their side. Although this album is comfortably emo, there is a playful experimentation within the genre’s confines. This is a fun and confident debut, all the more ironic for a group called ANXIOUS.
-Andrew McNally
Cave In, Heavy Pendulum
Unlike many bands on this list, Cave In have nothing to prove. Their seventh album is a genre-crossing testament to the metal group’s longevity, as it touches on all the points made throughout their career (and the parallel career of Converge, which shares members). Longer tracks like “Nightmare Eyes” show off the band’s patient doom-infused side, while the thrashier “New Reality” and “Amaranthine” show a band that has not lost an ounce of energy. Touches of metalcore and acoustic balladry help complement the affair. The album’s runtime feels halved due to the pristine balance of ideas pulled off. Here’s to 25 more years of Cave In!
-Andrew McNally
Christian Pace, Skunk EP
Skunk, the debut EP from Christian Pace, is as gestural as the sketch of the animal that graces the record’s sleeve. The four track offering from the singer-songwriter crosses emo sentimentality with alt-country crunch. The four tracks range from barn-burner “Matador” to the post-emo (what wave are we on again?) of “True Love.” At thirteen minutes, this is a brisk but complete statement from Pace. Skunk is a comparatively symphonic piece than previous DIY efforts and takes Pace’s from four-track confessionals to FM-ready rock.
-Ben Bonadies
Convinced Friend, Convinced Friend
Derived from the Quaker term for conversion, Convinced Friend is the lush self-titled debut from divinity school drop out A.S. Wilson. CF is made up of songs that were fleshed out with Providence producer Bradford Krieger and musician Casey Belisle (Nova One, Burr). Wilson’s songs are often in the second person and consider plumbing the depths of love in relationships, sprinkled with errant christian touchstones grounded in a childhood growing up in a Louisiana oilfield town. The first line of the song “Weekend,” has an easter egg revealing a musical influence from Built to Spill: “Keep it around like a secret/For a long drive or the weekend.” Convinced Friend is a slick and sincere indie/singer-songwriter record that sticks.
-Dan Moffat
Coral Moons, Fieldcrest
In January of 2022, Boston four-piece Coral Moons dropped their debut LP Fieldcrest — a hell of a strong album out of the gate, recorded peak pandemic. The album, to put it plainly, is alt. indie rock at its best, with all the ambient leanings necessary for a 2022 album to pick up steam. With just nine songs, it’s a quick timeless, listen. Horns are especially bold on “Winnebago,” as Carly Kraft’s silky, strong voice creates a feel-good ear-worm of a song. “For You” leans toward an ethereal, underwater Khruangbin-esque sound. And “Tell Me To Run” is more rock n’ roll, with louder, reverbed belting from Kraft and loose, intuitive guitar riffs. But the best part about Fieldcrest was being able to enjoy it all year long.
-Jackie Swisshelm
Crescent Ridge, Garden of Fools
Crescent Ridge of Stoughton, MA, deliver a burly form of slacker rock: yell vocals that are tastefully buried just a bit, chorus-y riffs, and heaving drums. A look at the crib sheet finds mood-matching prose to compliment the fuzzy instrumentals: I can feel my hair blow back from the chunky thwack of “Bleach,” and indeed that may be what the band desires, since the song is about getting the hell away from them. Guitar effects enthusiasts are sure to be on tip-toe at the next gig in order to catch a peek at the pedal board generating such glorious tone.
-Dan Moffat
Dino Gala, Diagonal EP
Dino Gala ripped into late season contention for AoTY with December 8th’s Diagonal EP, a short-and-sweet record with five urgent emo/pop-punk daggers. This offering was engineered at newly crowned “Recording Studio of the Year” (Boston Music Awards), The Record Co., with TRC staff members Bradley Robertson and assistance from Amani Cavendar on the boards. Gala flicks the stand-by switch on the tube amps while they grab acoustics for the well placed dreadnought-meets-cello track in the middle of the album, “owlz.” It’s the undeniable catchiness though of singer Alex Massey’s melodies, mixed with a sharp-as-a-tack rhythm section, that keep me coming back for repeat listens, no matter the decibel level.
-Dan Moffat
Editrix, Editrix II: Editrix Goes to Hell
There’s something just so satisfying about Editrix’s chaotic sound. Each of these three musicians stands out on their own, and together, they are like a battling machine of noise rock. Vocalist Wendy Eisenberg’s matter-of-fact way of singing brings a grounded energy to the songs, a method to the madness. Plus what isn’t fun than having songs with titles like “Queering Ska” or “Horse Girls” show up on your replay or wrapped?
-Christine Varriale
FEARDOTCOM, Flip Combo Sixtynine
“Ohh house is back! House is back!” WHO GIVES A SHIT?!?!?! In a world where every pop artist is half-assing their way across minimal house production (RENAISSANCE remains the exception; she put her whole Beyussé into that), I will keep opting for the weird, maximalist D&B. On the unhinged Flip Combo Sixtynine, FEARDOTCOM lays a foundational sound of drum & bass, jungle, and gabber underneath a hyperpop sheen. If you ever wondered what a 100 Gecs remix of mid-90s Aphex Twin would sound like, this is probably the closest approximation you could find. If you don’t mind noisy synths and the occasional scream every now and then, you’ll be pleasantly surprised to find some familiar friends waiting among FP69’s tracks: samples from TLC, Nicki Minaj, Depeche Mode, and more provide anthemic points of reference to an album that would probably give your grandparents the agita.
-Harry Gustafson
foxtails, fawn
“Screamo” is a suspicious word to see in 2022, but that’s how Connecticut’s foxtails describe themselves. In reality, their new album fawn follows in a string of energetic and highly inventive albums that blend many influences into a chaotic, enigmatic sound. foxtails is already separated from other emo bands by having a full-time violinist, and the folk-punk adjacent opener “ego death” furthers that divide. The band explores straight metal on “gazelle” and tender emo on “life is a death scene, princess.” The shrieking vocals are extremely raw and urgent, which add to the emo authenticity. This album is heavy, fun, shocking and wholly unique.
-Andrew McNally
Future Teens, Self Help
Boston’s favorite bummer pop band came back a-blazing in 2022 with their third LP, Self Help. Intended or not, this band historically pumps out cathartic anthems that sound best when you’re screaming the lyrics in a crowd of strangers and your closest peers. The songs on Self Help are no exception. At this point, the four-piece’s pop punk sound is unarguably tight. Their themes — musings on coping, alcoholism and sobriety, depression, anxiety, self-reflection, and more — are laser focused and wayyyy more validating than those regurgitated Instagram account affirmations. Out of Self Help’s ten tracks, “Same Difference” stands out as the album’s clearest single, while “Stress Dream,” a track that leans into a emo rock sound, could be considered the most divergent from their usual sound (although not by much). Overall, Self Help is solid, and it’s clear that Future Teens know not to fix what ain’t broke.
-Jackie Swisshelm
going222jail, Ragweed EP
In a banner year for local emo, Going222jail (it’s pronounced Going To Jail, by the way) stood out for the things they do outside the margins. Built up from a syrupy smooth chorus pedal-heavy twin guitar attack, their debut EP Ragweed kept us on our toes throughout its sub 15 minute runtime. From the explosive halftime breakdown part way through “faceplant” to the honky tonk coda on the closing track “I Am So Thin,” Going22Jail came out the gate swinging with one of the most inventive introductions we’ve heard in quite a while.
-Dillon Riley
Gold Dust, The Late Great Gold Dust
A somber, melancholic folk album that isn’t afraid to get loud and bear it’s teeth when it needs to. The Late Great Gold Dust is the latest effort from Stephen Pierce. Developed shortly after their first album Gold Dust, this follow up continues the sonic exploration as tracks ebb-and-flow between serene acoustic folk and booming rock. Recruiting friends J Mascis for a standout guitar solo and even Parquet Courts’ Sean Yeaton for the album’s liner notes, the result is a surprising and gorgeously textured meditation on life and it’s challenges.
-Andrew Bourque
H A U N T E R, Dream the Day Away
H A U N T E R’s Sander Bryce opened up a million new avenues of expression simply by stepping back just a little. Joined for the very first time by his cousin Jonah Levine, their first LP as a duo DREAM THE DAY AWAY is defined by an innate sense of freedom and discovery. Utilizing guest vocalists and musicians more than ever before, Bryce’s decision to let go of the reins resulted in the project’s strongest collection of songs yet. Inspired by the kitchen-sink approach of his heroes on the BRAINFEEDER label, the record touches on indie rock, jazz, ambient, drum and bass, hip hop, and a whole host of other genres without losing sight of its connective thread.
-Dillon Riley
Haasan Barclay, Dual Shock
Y0u can’t really tell in what direction Haasan Barclay is going to push his sound, which already is this genre-defiant blend of adept skill and audacious experimentation. And even when you get a vague inkling about his sonic trajectory, he’s liable to switch it up on you. This year, he released Dual Shock, a collection of instrumental tracks that blend breakbeat house and hip-hop instrumentals that results in a collection that will make you yearn for classic games like Streets of Rage 2. It’s tempting to hope that he keeps drawing form this vein for a little bit, but it’s more tempting to just wait and see what he comes up with next.
-Harry Gustafson
Horse Jumper of Love, Natural Part
The boys have done it again. “I Poured Sugar in Your Shoes” was the song of the summer.
-Christine Varriale
Husbands, A Diary Index
Diary Index makes one hell of a soundtrack to Boston’s cold, grey winters. It’s a sonic version antidepressant, not in the sense that it acts as a panacea for the troubles weighing on your mind, but more because it doesn’t actually leave you feeling all that better. That description isn’t a a critique of the band’s obvious talent; there are enough winding guitar licks, pretty choral harmonies, and driving bass lines to keep these twelve tracks compelling cover to cover. It’s just that every hopeful message (“Believe in yourself like I believe in you” from the opener) is tinged with a melancholic undertone. It’s an album for those times that aren’t that good, but aren’t that bad either. Just sit back and let it wash over you.
Kal Marks, My Name is Hell
Kal Marks have never sounded this good. My Name Is Hell captures a live sound that is difficult to achieve in the studio, aided by the fact that these are all expertly crafted rock tunes. Songs like “Shit Town” show them at their most aggressive, while “Who Waits” displays a funkier side. Many of these songs are abrasive and confrontational, but all of them are melodic. Whether the rhythms are subtle or full-fledged, there are earworms everywhere. Hell is a very heavy, yet comprehensive album, with a wide range of emotional influences. And it’s one of the best damn rock albums of 2022.
-Andrew McNally
Keyboard Dog, Throw Your Soul EP
Keyboard Dog’s Throw Your Soul EP is the afternoon soundtrack for looking out your window to rain pitter pattering onto the side of your Boston apartment you spend way too much to live in. It’s a nice, refreshing sound, like a warm hug from a friend. The EP’s standout single “Amsterdam” is a perfect folk rock jam with beautiful vocal production showcasing vocalist and songwriter Steve Kurz’s vocal strength and range. The vocal layers create a beautiful landscape, what I assume the city of Amsterdam is like as someone who has only seen photos.
-Christine Varriale
Lady Pills, What I Want
Dripping with sincerity, the latest album from Boston indie favorite Lady Pills, What I Want, tells a deeply personal story with an ease and energy to keep both your heart and head moving. Now a solo project for founding member Ella Boissonnault, the performer looked inward and gave everything she had and more, tackling every instrument herself, even ones she had little to no experience playing. The results speak for themselves, sonically delicious tongue-and-cheek rock songs about love and life. Each telling another side to a cohesive story, the ups, the downs and everything in between. It’s Boissonnault’s proudest work to date, and it’s not hard to see why.
-Andrew Bourque
Perennial, In the Midnight Hour
Good punk does not need to be complicated. In fact, should be so blindingly and immediately obvious as to make ignoring it nigh impossible. Providence’s Perennial have honed their sound to a fine point yet weild it as a blunt instrument. Their minimal, raucus punk is delivered in quickfire bursts; no song on In the Midnight Hour eclipses three minutes. In a live setting, singers Chelsey Hahn and Chad Jewett are commanding presences not to be missed if you find them playing in a bar near you. Their barking vocals lend further urgency to music that already feels like a slap in the face. Perennial are the real deal.
-Ben Bonadies
Pet Fox, A Face in Your Life
When I think of the Summer of 2022, there’s a good chance those memories will be soundtracked by Pet Fox’ wonderful third album A Face In Your Life. The trio’s first since 2019, the 10-track release sounds so good, that after my first listen, I didn’t realize I had been playing it over and over until probably the fifth go around. But I just kept it going. The sound across this album is just so cohesive and fun. It’s that nearly-perfect rock music that transports you back to jumping around garages and house shows in your teens. Whether you’re bouncing along to standout “Checked Out”, or bracing for the last 30 seconds of “It Won’t Last”. These guys know what they’re doing and they’re having a blast along the way.
-Andrew Bourque
Pretty Demon Association, PDA Vol. 1
One listen to Pretty Demon Association’s debut release PDA Vol 1. would probably kill a Victorian child. More a collective than an organized group, PDA functions like a mixtape with each of its 10 members getting a chance to shine, flexing their rapping, singing, or production muscles while floating through songs that touch on hip-hop, rave, and noise with gleeful abandon. Hyperpop as a rule moves at the hyperspeed of light, so while tracks like the mutant trap hybrid “SILENT HILL” and the half speed trance knocker “HIGHER THAN THE SUNRISE” already sound not of this Earth, we cannot even imagine how the next batch will come out.
-Dillon Riley
shallow pools, daydreaming EP
daydreaming, the five song EP by shallow pools, is simply perfect pop for 2022 — and it’s about time. The quartet has been on the Boston scene since 2018, steadily releasing pop-punk fueled singles and EPs that rocked, but with this third EP, shallow pools have found their shimmer-pop footing. Their roots remain, however, with smashing drums and guitar riffs that lend their sound perfect for a guest spot by Trey Miller (vocalist of Baltimore nu-punk band Cherie Amour) on “circles.” Meanwhile, “everything is fine” could straight up be a taylor swift song, and “heavy on my heart” brings to mind love-longing Carly Rae Jepsen vibes. If this EP is a sign of what’s to come from shallow pools, we’ll make sure to have our sensible dancing shoes and bisexual lighting ready.
-Jackie Swisshelm
Slime Luciano, The Black Caesar: Prequel
Slime Luciano, representing Dorchester, is a gifted storyteller with a knack for detail. Growing up with experience in the vocal booth starting at an early age, rapper Luciano knows his way around a mic, and parlays his gritty tales of the streets through his smooth baritone. Black Caeser: The Prequel is enrobed in the crate-digging/chipmunk soul beats that recall Wu Tang Clan — which is fitting, as Luciano can often be found gracing the stages of New York City as well as Boston. The concept album introduces the listener to the legend of Frank Matthews, a mastermind drug trafficker who eluded authorities and disappeared with a vast amount of cash. There’s a strength and levity to Luciano that leads me to think that Slime, like Matthews, is going to be fine no matter what.
-Dan Moffat
Tiefling, dj tief’s burner phone
Come for the chaotic remixes of hits such as “Chop Suey” and “Heart of Glass”, but stay for the undeniable joy that pours out of dj tief’s burner phone. The latest project from Jack Salvucci, who performs as both dj tief and Teifling, it plays like a nostalgic fever dream. Effervescent hyper-pop which dips into each and every genre and era that it can from 70s pop to early 2000s hard rock. Just when you think you’ve taken the last turn, as soon as you believe you’ve reached your final destination, it flips you over and spins you around. But it’s one hell of an entertaining ride. One you’ll immediately want to experience again.
-Andrew Bourque
Tuxis Giant, In Heaven EP
Boston’s Tuxis Giant are something of a scene lynchpin at this point. With members that have ran beloved house venues and others who seem to fill in for anyone who needs an extra set of hands, they occupy a particularly utilitarian space within our DIY ecosystem. On their new EP In Heaven, Tuxis Giant slides a bit of alt-country into their potent indie rock brew, aided no doubt by the playing and singing of new member Eleanor Elektra, whose excellent solo music is certainly familiar to AP readers. The chiming “New Roman Gods” squares the twang creeping into the margins with the loosely in the pocket sway of their prior material, pointing towards exciting new avenues for the long running troupe.
-Dillon Riley
Van Buren Records, DSM
The great Brockton hip-hop collective/label/gravitational force Van Buren Records are on the cusp of stardom. Already legends at home with a national presence that seems to grow by the day, their latest LP DSM feels both like a victory lap for the already initiated and a proper introduction to the world at large in equal measure. A verifiable feast of everything they do best,, bangers like “How To Kill A Narcissist” and “FOUL” feel somewhat in conversation with contemporary radio killers, but Van Buren’s attack on the mic comes from all kinds of weird angles like the true originals they are.
-Dillon Riley
Video Shoppe, Echo Death
Hell yeah baby. The eighties are BACK for the second time! Kate Bush is on the charts. It’s time for synth pop and post punk and cocaine! But what’s this? An album that sounds like Yaz that Jack Antonoff had nothing to do with? And the guitars sound like U2 but the vocals are like someone slipped Klonopin in Matt Berninger’s merlot? Hold on, let me put on my big ass aviators and read this. Says here that this is echo death, the fourth album from Providence-based band Video Shoppe. Tubular. Gonna listen to to it while I finish reading Cujo.
-Ben Bonadies