Half of 2022 is somehow already done, and in that time, we have seen the release of some fantastic records. And the year is just starting to ramp up. Before we move on to what the second half of the year has to offer, the Boolin staff look back at the talking points of the year so far.
Joe Edwards — Site Manager
2022 has arguably been the most diverse year of metalcore and its orbiting genres, in both good and bad ways. We’ve seen creativity blossom with releases from Heriot, Northlane, Thornhill, and Static Dress. Yet its worst excesses continue to exist with Bring Me The Horizon, Architects, and Beartooth releasing some of the most mundane music of recent years.
Meanwhile, Vatican’s ULTRA is a sublime release and one that is seemingly slowly gaining traction, especially considering the recent announcement that they will be supporting Stray From The Path on their upcoming UK tour. Anyone with any sense about them should be spinning the record, if they haven’t already, as it’s one of the finest metalcore releases of recent years. Big up Vatican. Of what’s left to come, Counterparts is the key one for me; nobody has still yet managed to perfect their sound quite like they do, with each respective release being a treat. Fingers crossed also for maybe a bit of new Loathe this year, but that remains to be seen. We can only guess what the rest of 2022 has to offer.
Maximo David — Lead Writer & PR Manager
I won’t mince words — I believe 2022 is the best year that heavy music has seen in a long, long time. While 2021 showcased the rise of many now-beloved (and return of many formerly-beloved) acts, 2022 demonstrates many releasing artists in their absolute top form.
We kicked the year off with Fit For An Autopsy’s Oh What The Future Holds — a deathcore record so airtight and perfectly constructed that it has since joined the ranks of some of my favourite extreme music to date. Northlane continued their bold journey into the wild world of electronic soundscapes, all the while honing in on the heaviness that defined their sound to begin with. Static Dress followed up their stellar debut EP with a nostalgic, yet modern post-hardcore record in Rouge Carpet Disaster that is sure to remain within the cultural consciousness for many years to come.
The front-runners of the year, however, remain untouchable. Both Vatican and Thornhill released their sophomore efforts this past June, and both records are the absolute top of their class. These are inventive, unique, and, more than anything, downright fun metal records that demonstrate the very best of the genre right now. If the first half of this year is anything to go by, 2022 may well go down in history as the very best year for heavy music this century so far.
Harry A. Eaton — Editor & Writer
It looks like 2022 is set to be the year of some long-awaited records for me: Veil of Maya, Polyphia, and Oceans Ate Alaska, all of which have recently released singles teasing forthcoming full lengths. To this point, singles have largely been the defining feature of my 2022, with singles from Invent Animate and Lorna Shore preceding coming albums, and The Wise Man’s Fear, who I had the pleasure of interviewing, dropping a single every month ahead of their album, Atlas Ruinica.
This is not to say that we haven’t already seen some amazing records that have stuck with me, however; Shadow of Intent’s Elegy and Rouge Carpet Disaster from one of the UK’s rising stars, Static Dress, have rooted themselves firmly in my top 10, and I am sure they will stay that way come the year’s end. 2021 had the standout day in September which saw the release of records from Spiritbox, The Plot In You, and Eidola, but I am sure that the day 2022 will be remembered for one that kicked off the year: January 14th, which saw Fit For An Autopsy, Enterprise Earth, Shadow of Intent, and Worm Shepherd all stake claims for deathcore album of the year. Time will only tell if Lorna Shore have something to say about that.
Matt Jones — Writer
2021 could only be described as madness in terms of metal releases, and thus far 2022 has lived up to its predecessor, giving us no shortage of incredible releases and an even more promising latter half. January alone was insane in terms of releases, with January 14th being the release day for both of my current favourite albums of the year: Elegy by Shadow of Intent and Light Bends by Pridelands.
On Elegy, Shadow of Intent expands their horizons further from the deathcore sound of their past and further into the territories of progressive death metal, all without losing any of the passion that has defined their sound. Light Bends, the newest full-length from Aussie metalcore up-and-comers Pridelands, is a gorgeous display of ambient textures and beautiful soundscapes layered atop djenty grooves and rhythms, with passionate performances all around to make the record a captivating experience. Void of Vision, Grayscale Season, Thornhill, Conjurer, Allt, and Venom Prison also get shout-outs for stellar releases.
With such a successful first half of 2022, it is absurd to think that the second half is looking even more promising: The Devil Wears Prada, Fallujah, and Lorna Shore are just some of the bands who have confirmed new releases for the coming months, and it is likely that there will be many more to come. Needless to say, 2022 has already been a success, and it does not appear that will change.
Sean McCann — Writer
2022 has been quite the tumultuous year so far, but I think we can all agree that’s expected by now. Thankfully, we’ve also had some fantastic music releases to fall back on. Northlane’s most recent masterpiece, Obsidian, is likely my album of the year at the moment. It truly sounds like it’s from the future and delivered everything I want from a Northlane record. Perhaps my biggest surprise of the year has come from Foxtails with their most ambitious LP to date in fawn. It’s screamo meets midwestern emo, and it’s one of the most impactful and emotional albums I’ve heard in quite some time.
Another huge surprise was FKA twigs’ tape CAPRISONGS, which is just loaded with blissful, ethereal cuts that find new ways to impress on each listen. The wonderful Ada Rook has largely been the backsplash to my year as well. She was of course apart of Black Dresses’ recent endeavour, and her solo record, UGLY DEATH…, is one I reviewed very highly and loved. Rounding out my favourites, Thornhill’s sophomore record Heroine is exactly what I wanted from them, and they remain one of my favourite bands. For the back half of the year, I’m super hyped for releases from Ithaca, Polyphia, Turnover and Microwave. Let’s hope those unannounced ones do come out this year!
Tim Averell — Writer
2022 has certainly been a year, and I will be the first to admit to being behind on a number of its acclaimed and already well-loved albums. Even so, I have to recommend some of the absolute heaters that have crossed my desk, starting with Black Country, New Road‘s sophomore albums Ants from Up There, which may be better than their debut (my person album of the year in 2021). Similarly excellent have been Buñuel’s mercurial Killers Like Us, Voivod‘s 40-year anniversary celebration Synchro Anarchy, and Thumper‘s gate-crashing Delusions of Grandeur, each of which I’ve had the pleasure of reviewing on this very site.
Naturally, I haven’t had the chance to review every album I would like to recommend, so I’d like to also like to plug Foxquel Pope‘s layered and mysterious Polygitå, Ethel Cain‘s debut Preacher’s Daughter, and Big Thief‘s sprawling Dragon New Warm Mountain I Believe In You as equally worth your time and attention.
Dobbin T. — Writer
2022 is a shot at normality for many, be that on tour or in the studio. The releases we are seeing might be delayed, but the end results have seen improvement due to some extra time on the laps of the writers and performers throughout the 2020-2021 tumult.
Despite the “back in business” attitude the industry is stepping towards, I’ve given myself a break too this year by adopting a less-is-more approach to new releases. Where before I frantically tried to stay on top of the frothy rapids that are New Music Fridays, now I let the current take me and enjoy what flotsam washes up near me. I’ll no doubt miss some real pearls with this approach, but what I’ve gained is the time to spin the same records a few more times, and this is what seems to really anchor releases to my soul. Importantly, I’ve noted fewer disappointments; either I’m not noticing them or appreciating that spending more time with releases can only build my understanding of the artist’s vision.
If 2022 ended now, I think I’d still be reasonably satisfied. Here’s ten key releases that have really left an impact on me, in no particular order: Jettison by And So I Watch You From Afar; Perfect Light by 40 Watt Sun; Tuskar’s Matriarch; caroline‘s self-titled album; Return by deathcrash; Flight Mode’s EP Torshov, ‘05; Mizmor & Thou‘s Myopia; Artificial Brain‘s self-titled album; Rouge Carpet Disaster by Static Dress; and finally Ants From Up There by Black Country, New Road.
As with 2021, the second half of the year seems like it could make 2022 one of the best years for heavy music releases in a very long time. Imminent albums from Counterparts, Invent Animate, Polyphia, Lorna Shore, and a host of others seem poised to stake their claim as Album of the Year in their respective genres, and they are sure to spark discussion. Stay connected with Boolin Tunes to see our thoughts on them in due course, and check out some of the wonderful interviews we’ve published throughout the year.