Big Time – Angel Olsen<\/strong><\/p>\n\n\n\n\u201cBig Time\u201d is love wrapped in crisp, silky vocals and smooth, bluesy instruments. The second single off Olsen\u2019s latest album, \u201cBig Time\u201d was co-written with Olsen\u2019s partner, Beau Thibodeaux. The love shared between these two is embodied in every decision made with this track, and it\u2019s hard not to feel part of this warm and welcoming serenade. Olsen\u2019s signature vocals are on full display, and despite the country sound being a bit of a unique departure from her previous albums, it works perfectly here.<\/p>\n\n\n\n
– Alex Casey<\/p>\n\n\n\n
Billions – Caroline Polachek<\/strong><\/p>\n\n\n\nBody – 070 Shake<\/strong><\/p>\n\n\n\nBread Song – Black Country, New Road<\/strong><\/p>\n\n\n\nCash In Cash Out – Pharrell Williams, 21 Savage, & Tyler the Creator<\/strong><\/p>\n\n\n\nAfter over 20 years in the game, Pharrell could easily claim to be the greatest to ever do it and no one would bat an eye. \u201cCash In Cash Out\u201d reaffirms his gift for collaboration by combining a crunchy beat with 21 Savage and Tyler, the Creator\u2019s smooth vocal backflips. It\u2019s the modern spiritual successor to classic Pharrell posse cuts like \u201cGrindin\u2019\u201d and \u201cLemon\u201d, tailor-made for feeling hard with the crew. 21 and Tyler sprinkle in some perfectly absurd bars (\u201cShe swallow all my kids\/she a bad babysitter\u201d comes to mind), but it\u2019s Pharrell\u2019s straight-to-the-point production that cements \u201cCash In Cash Out\u201d as one of the best songs of the year. Banger.<\/p>\n\n\n\n
– Connor Telford<\/p>\n\n\n\n
Chaise Longue – Wet Leg<\/strong><\/p>\n\n\n\nThe viral hit that catapulted the Isle of Man-based rock duo to fame is so clever, inventive, and catchy that it even captured the ears of rock\u2019s biggest legends. \u201cWhen I heard [it] for the first time, I got really excited,\u201d said the iconic Iggy Pop in a recent profile for The Guardian, \u201cit\u2019s cheeky, with a wicked groove, but it\u2019s the vocals \u2013 they\u2019re almost metronomic. You could ask 100 people to sing it and it wouldn\u2019t sound the same.\u201d He hit the nail right on the head \u2013 complete with tongue-in-cheek lyrics, an earworm-worthy bassline, Mean Girls references, and a deadpan vocal delivery that would make Bob Dylan jealous, \u201cChaise Longue\u201d encapsulates everything that made the world fall in love with Wet Leg.<\/p>\n\n\n\n
– Rachael Crouch<\/p>\n\n\n\n
Climate Crisis Redux – Wasp Factory<\/strong><\/p>\n\n\n\nIn terms of bands that have been around the block of the Columbus DIY scene, Wasp Factory have looped the circuit more than once, and it shows in this recording. Starting out with a blast of noise and vocals that create a sound that feels like a sense of impending doom, \u201cClimate Crisis Redux\u201d channels the frustrations, fears, and annoyances of a participant in the DIY scene and regurgitates them in a masterful manner. The instrumental itself matches this tone perfectly, both being abrasive and loud at times as if one is hyperventilating, but also slowing down in certain sections like a person catching their breath mid-panic attack. This feeling is further added to by the vocals that build on that very feeling. Boiled down, \u201cClimate Crisis Redux\u201d feels like a sonic interpretation of the all too familiar emotions of dread, panic, and just being fed up, feelings most have dealt with and relate to easily.<\/p>\n\n\n\n
– Izzy Davis<\/p>\n\n\n\n
Concorde – Black Country, New Road<\/strong><\/p>\n\n\n\nConcrete Over Water – Jockstrap<\/strong><\/p>\n\n\n\n\u201cConcrete Over Water\u201d is a generally conventional song for the first minute and 50 seconds of its 6-minute runtime. The song begins with echoey vocals over keys that sound as if an early Internet computer making a lullaby. Suddenly, a parade of dog-human hybrids begins to yelp and chant a sort of lead-up to the eventual beat drop, a whirlpool of electronic keys and synths with hard-hitting drums. Then the beat clamps down, and after an intimate, acoustic verse, we do it all again. It\u2019s delightful and just as weird as it sounds.<\/p>\n\n\n\n
– Brady Virtue<\/p>\n\n\n\n
Dressed Up – A-Go-Go<\/strong><\/p>\n\n\n\nEast Point Prayer – Vince Staples, Lil Baby<\/strong><\/p>\n\n\n\nReminiscing on his tumultuous past and rise to success, East Point Prayer sees Vince Staples and Lil Baby floating on a melancholic, spaced-out beat from producers Kenny Beats and Reske. The song sees Vince open up about his current anxieties that come from his success, brought on by his rough and misguided past. Lil Baby provides a smooth, melodic feature that brings an introspective yet triumphant feeling. The last line candidly sums up the theme of the song: \u201cI can\u2019t keep on going back and forth, I gotta let it be\u201d.<\/p>\n\n\n\n
– Alex Lopez<\/p>\n\n\n\n
Eat Men Eat – Black Midi<\/strong><\/p>\n\n\n\nFather Time – Kendrick Lamar<\/strong><\/p>\n\n\n\nFish Tank – June Henry<\/strong><\/p>\n\n\n\nFreight Yard – The Garden<\/strong><\/p>\n\n\n\n\u201cFreight Yard\u201d is without a doubt a staple for The Garden. Its lyrics convey the band\u2019s confidence through self-expression and their unforgettable attitude. Throughout the song, the pair bring a vengeful energy, making sure to stay far from anything soft or slow. Fletcher Shears showcases this theme with pounding drums.<\/p>\n\n\n\n
– Izzy Furl<\/p>\n\n\n\n
Gary Ashby – Dry Cleaning<\/strong><\/p>\n\n\n\nGirls – The Dare<\/strong><\/p>\n\n\n\nGood Will Hunting – Black Country, New Road<\/strong><\/p>\n\n\n\nGrimace_smoking_weed.jpeg – Chat Pile<\/strong><\/p>\n\n\n\nQuickly becoming one of the most talked about things in metal, Chat Pile is what happens when Frankenstein\u2019s monster is assembled out of thrown-out Arby\u2019s beef and class consciousness. Their 2022 full-length debut God\u2019s Country<\/em> is 9 tracks of harrowing sludge detailing the reality of living in a capitalism-wracked American South, and while it sounds funny on the surface, \u201cgrimace_smoking_weed.jpeg\u201d is a terrifying account of a heroin addict overdosing and experiencing haunting visions of the McDonald\u2019s mascot. Following a few spoken word verse\/chorus pass-throughs, the bulk of the track\u2019s length consists of a 5-minute combo musical and mental breakdown, with one of the most theatrical vocal performances the metal world has seen in years. Capping off one of the year\u2019s most notable heavy releases, \u201cgrimace\u201d is an exercise in brutal, unfiltered realism.<\/p>\n\n\n\n– Rohan Rindani<\/p>\n\n\n\n
HAHAH – Bladee<\/strong><\/p>\n\n\n\nBladee said it himself: \u201ccause- cause it is crazy.\u201d<\/p>\n\n\n\n
– Aidan Lawler<\/p>\n\n\n\n
Happiness – The 1975<\/strong><\/p>\n\n\n\nJimmy Neutron – Enumclaw<\/strong><\/p>\n\n\n\nJust Wanna Rock – Lil Uzi Vert<\/strong><\/p>\n\n\n\n<\/strong>Lil Uzi Vert collaborated with Jersey producer MCVertt to create a song worth playing on repeat. Coming in at a streamlined two minutes and four seconds, the track steadily heats up with adlibs sure to fire up any listener and keep them coming back to experience its energy. Undoubtedly, \u201cJust Wanna Rock\u201d will powers its listeners to get up and move.<\/p>\n\n\n\n– Izzy Furl<\/p>\n\n\n\n
Kill Her Freak Out – Samia<\/strong><\/p>\n\n\n\nKnow Your Name – The Backseat Lovers<\/strong><\/p>\n\n\n\nMagenta Mountain – King Gizzard & The Lizard Wizard<\/strong><\/p>\n\n\n\n\u201cMagenta Mountain\u201d is the perfect track to imagine the start of your fantasy journey, setting off on a quest in a unique and puzzling land that promises treasure and discoveries like no other. The track\u2019s concept originated from a dream band member Stu had, after which he kept trying to convince his band members that this mysterious place would be proved real one day. This daring and exciting voyage is set to ethereal keys and lyrics that bring the listener along on the narrator\u2019s fervent quest to find the elusive Magenta Mountain.<\/p>\n\n\n\n
– Alex Casey<\/p>\n\n\n\n
Mother I Sober – Kendrick Lamar<\/strong><\/p>\n\n\n\nOrange County Punk Rock Legend – The Garden<\/strong><\/p>\n\n\n\nBand mates and brothers Wyatt and Fletcher Shear started their musical career in Orange County, California. The track expresses how the pair grew from their exposure to the county\u2019s punk scene and affirm their reputation as legends from their hometown.<\/p>\n\n\n\n
– Izzy Furl<\/p>\n\n\n\n
Poppin – Yeat<\/strong><\/p>\n\n\n\nYeat’s melodic voice on this cracked beat saved a multitude of individuals’ lives. The song of 2022 spring semester for the vlone, ski mask-wearing gangbangers who go by the names of Kyle and Jake.<\/p>\n\n\n\n
– Hannah Gillespie<\/p>\n\n\n\n
Runner – Alex G<\/strong><\/p>\n\n\n\nSimulation Swarm – Big Thief<\/strong><\/p>\n\n\n\nSoftly – Arlo Parks<\/strong><\/p>\n\n\n\nIt takes a savvy songwriter to meld heartbreaking lyrics with upbeat production, but the effect can be mesmerizing (here\u2019s looking at you, \u201cDancing on My Own\u201d). In 2022, Arlo Parks contributed an entry to the sunny\/sad pop canon with \u201cSoftly,\u201d a gorgeous portrait of a romance in its dying days. Its gloriously specific lyrics (\u201cStealing me traffic cones, smiling at babies\u201d) mark a continuity with her 2021 debut Collapsed in Sunbeams<\/em>, yet Parks has some tricks up her sleeve: a hypnotic chorus, with an Alunageorge-esque flair at the end, and a more unabashed pop sensibility than was to be found even on Sunbeams<\/em>\u2019 most radio-friendly cuts. \u201cHas something changed?\u201d Parks wonders. It sure has.<\/p>\n\n\n\n– Nigel Becker<\/p>\n\n\n\n
Somewhere Near Marseilles\/Bad Mode – Hikaru Utada<\/strong><\/p>\n\n\n\nFollowing their grandiose and instrument heavy 2018 album Hatsukoi<\/em>, Hikaru Utada returns to the smaller electronic sound that defined their early career. Hungry to make something \u201csonically very weird again,\u201d Utada delivers on this with the closing track on BAD\u30e2\u30fc\u30c9<\/em> (\u201cBAD MODE\u201d), the twelve-minute acid house epic \u201cSomewhere Near Marseilles.\u201d Co-produced by Floating Points, \u201cSomewhere Near Marseilles\u201d finds Utada cautiously longing for a distant lover over a smooth and laid-back synth line. As Utada urges their lover to meet halfway, the song swells and bubbles with fun synths, percussion, and bass before simmering back down to its conclusion. The track is subtle and relaxing but still consumes you with its energy. Flirty and bright, genuine and cozy, \u201cSomewhere Near Marseilles\u201d is Utada at their best. <\/p>\n\n\n\n– Luke Turner<\/p>\n\n\n\n
Spud Infinity – Big Thief<\/strong><\/p>\n\n\n\nSugar\/Tzu – Black Midi – AROUSE\u2019s #1 song of 2022<\/strong><\/p>\n\n\n\nA live staple for almost two years before it released, AROUSE\u2019s number one song of the year perfectly showcases why Black Midi are the band to watch – lightning fast riffs, wailing sax leads, and a spiraling, building song structure construct a futuristic story of a boxing spectator looking for his own violent opportunity to get into the spotlight. A microcosm of everything appealing about the band, the eccentric vocal delivery from Geordie Greep along with the blistering percussion of Morgan Simpson all work together in harmony to create our top track of 2022.<\/p>\n\n\n\n
– Rohan Rindani<\/p>\n\n\n\n
That\u2019s Physics, Baby – Pool Kids<\/strong><\/p>\n\n\n\n2000s pop-punk is in the midst of a revival, and Pool Kids are one of the genre\u2019s best-kept dirty little secrets. \u201cThat\u2019s Physics, Baby\u201d stakes their place as a younger, more online Paramore, complete with wet guitars, howling-yet-precise vocals, hooks the size of diving boards, and that tiny sprinkle of melodrama that ties the whole affair together. If the world was caught up, every Hot Topic would be playing \u201cThat\u2019s Physics, Baby\u201d from their speakers, and every customer would be singing along. Pool Kids sound like they\u2019re on the edge of an emotional outburst, but that\u2019s how we really know that the kids are alright.<\/p>\n\n\n\n
– Connor Telford<\/p>\n\n\n\n
The Flag is Raised – Bladee, Ecco2k<\/strong><\/p>\n\n\n\nThe Place Where He Inserted the Blade – Black Country, New Road<\/strong><\/p>\n\n\n\nThere They Were – Eric Chenaux<\/strong><\/p>\n\n\n\nWalkin\u2019 – Denzel Curry<\/strong><\/p>\n\n\n\nWelcome to Hell – Black Midi<\/strong><\/p>\n\n\n\nX-Wing – Denzel Curry<\/strong><\/p>\n\n\n\nYou and Me on the Rock (In the Canyon Haze) – Brandi Carlile<\/strong><\/p>\n\n\n\nYuck – Charli XCX<\/strong><\/p>\n\n\n\nSonically, \u201cYuck\u201d from Charli XCX\u2019s fifth studio album CRASH<\/em> utilizes distorted and modulated guitar-like chords behind very forward and effortless vocals. Wavering, silly synths contain a contagious crying and falling \u2018wah\u2019 that transport the listener from phrase to phrase. A groovy bassline and a simplistic drum pattern flatter Charli\u2019s relatable expressions in this song where she details the flirtatious encounters with a boy that simultaneously makes her blush and makes her nauseous. The dichotomy in her feelings towards this specific romance is reflected in how endearing, uneasy, and unconventional the instrumentation is; the butterflies make her sick!<\/p>\n\n\n\n– Collin Meek<\/p>\n","protected":false},"excerpt":{"rendered":"
2022 flipped the \u201cout with the old, in with the new\u201d mantra on its head as songs of ages past became young again through TikTok trends and Spotify searches. However, the world is always growing bigger and getting better, and it gets harder every day to spend your time taking chances on new things. The […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"_links":{"self":[{"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/posts\/138"}],"collection":[{"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/comments?post=138"}],"version-history":[{"count":1,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/posts\/138\/revisions"}],"predecessor-version":[{"id":1585,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/posts\/138\/revisions\/1585"}],"wp:attachment":[{"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/media?parent=138"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/categories?post=138"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/arouseosu.com\/home\/index.php\/wp-json\/wp\/v2\/tags?post=138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}