Welcome to our wrap-up of the Top 25 Albums of 2022 as chosen by our staff. We dive into what has been an incredibly strong year for releases in metalcore, post-hardcore, alternative and indie, containing some of the finest releases their respective genres have seen in recent years.
25. Dayseeker – Dark Sun
MATT: Dark Sun finds the post-hardcore/rock icons committing fully to the synthwave vibe already found in the side project of vocalist Rory Rodriguez and drummer Mike Karle, Hurtwave, to create a beautiful exploration of loss, grief, and eventually even the joy of parenthood. Dayseeker’s greatest asset has always been their ability to captivate the listener on an intense emotional level, and this is evident more than ever on Dark Sun. Following the death of his father and the birth of his daughter, Rodriguez particularly puts forward every ounce of himself to create one of the most vulnerable, heartbreaking, and cathartic albums of the year, all while continuing to write some of the best hooks and melodies the scene has to offer. [FULL REVIEW]
24. Oceans Ate Alaska – Disparity
HARRY: Disparity, Oceans Ate Alaska’s third full-length, has been a long-awaited record following the release of “Metamorph” in 2020, and it certainly lives up to the hype. Though a little on the short side, it packs a great deal into its runtime, alive with the polyrhythms and inhuman drumming that has become synonymous with the band. Marked by the return of original vocalist James Harrison, whose clean vocals have improved immensely, tracks like “Empty Space” and “Sol” reprise their 2015 sound whilst giving it a tighter and fresher sheen. So, too, do the heavy-hitters. Mid-album duo of “Dead Behind The Eyes” and “Plague Speech” show the band pushing the bounds of heaviness, the former an interwoven masterclass of technicality and brutality, with vocals offered by I Prevail’s Eric Vanlerberghe, and the latter a downtuned, percussive barrage which sports the slowest breakdown I have heard all year – Black Tongue would be proud. Ultimately, whilst Disparity may be among the shortest on our list, it is also among the tightest, with every second put to great use. [FULL REVIEW]
23. Vein.FM – This World is Going to Ruin You
NISRIN: Coming from a band that is brilliant enough to drop a side project (Fleshwater) which has also made my top 10 for the year, Vein.FM have a colossal amount of talent. On their latest record, they don’t hold back in showing it. This World is Going to Ruin You is equal parts devastating and passionate, with one of the hardest hitting heavy cuts of the year, “The Killing Womb”, to kick it all off. I can count the amount of times on one hand I’ve almost run myself off the road listening to this song — that’s one too many. [FULL REVIEW]
22. Black Country, New Road – Ants From Up Here
DOBBIN: Whatever your opinion on 2021’s most-hyped band, you can’t deny their 2022 release doesn’t have an enchanting story. Ants From Up Here is the group’s second batch of material, swiftly written and sparsely road-tested. Their approach embraces heartfelt closeness in a supercharged chamber format; roof-raising music for people locked in their rooms. By my reckoning, the record is in fact backloaded, hitting heartbreak on “Bread Song“, and proggy pop on “Good Will Hunting” and “The Place Where He Inserted the Blade“. The closing tracks bring back post rock — “Snow Globes” is a minimalist masterpiece for screaming-into-pillows, and three part epic “Basketball Shoes” concludes the story in a confused, cathartic confession. It’s brilliant music, but this tale is bittersweet. All this material is behind the band, following their vocalist’s departure, citing mental health struggles that conflicted with his performances. Here’s hoping the band takes it easy for the next release. [FULL REVIEW]
21. Monuments – In Stasis
HARRY: Monuments are a band I have been a fan of for a long time. For many, they represent the best British progressive metalcore has to offer. For a decade, they have put out classic after classic, and In Stasis deserves its place as potentially the pinnacle of their discography. The addition of ridiculously prolific vocal superstar Andy Cizek only further elevates it. The vocals across the record are incredibly dynamic, from the wicked highs of “Arch Essence” and crushing lows of “Collapse” to the entrancing pop-esque cadence and melody of “Makeshift Harmony“‘s chorus. Cizek flits between them with ease, making the tracks feel alive. Guest features from Periphery‘s Spencer Sotelo and Monuments‘ original vocalist, Neema Askari, as well as compositional and production-focused collaboration with the exemplary Mick Gordon make this something truly special. In Stasis really has something for everyone; intricate polyrhythms and frenetic riffs, a flawless vocal performance which melds bombastic brutality with soaring cleans, and an incessant groove. If you’re at all a fan of progressive metal, I cannot recommend it enough. [FULL REVIEW]
20. Polyphia – Remember That You Will Die
SEAN: Virtuosity and swagger oozes from every minutiae of Remember that You Will Die; whether the bass, the guitar work, the drums, or any other aspect, each track thoroughly impresses and remains a joy to listen. It has some of the catchiest songs you’ll ever hear, while also blowing almost everyone else out of the water with their technical talent. My expectations were high after both New Levels, New Devils and the singles leading up to this new album, and despite that, Polyphia exceeded them — Remember That You Will Die is undoubtedly my album of the year for 2022. [FULL REVIEW]
19. Greyhaven – This Bright and Beautiful World
DEAN: Years after riding off the high that is Greyhaven’s 2018 record Empty Black, the band brought back the chaos with their latest record This Bright and Beautiful World. They dive headfirst into the chaos and step back from the more melodic-approach shown by Empty Black. This Bright and Beautiful World feels like a much more complete record in it’s own dark and chaotic atmosphere. [FULL REVIEW]
18. Shadow of Intent – Elegy
MATT: Further honing in on the symphonic metal and melodic death metal influences which had already been a staple in their sound, Elegy sees the Connecticut extreme metal juggernauts at their most dramatic and progressive. Shadow of Intent vastly leave the earth-shattering breakdowns and rapid-fire technicality of earlier works behind, instead focusing on sprawling orchestral soundscapes and expressive songwriting telling the horrors of war, conflict, and tragedy in an album that feels more like a death metal movie soundtrack than a simple deathcore release. As a result, Elegy sticks out like a sore thumb in its scene (in the best way) and further cements Shadow of Intent’s place as one of the giants of modern deathcore, and even extreme metal as a whole. [FULL REVIEW]
17. Fleshwater – We’re Not Here to be Loved
TIM: After teasing their capabilities with the excellent demo2020, Fleshwater lived up to the hype with debut LP We’re Not Here to be Loved. A brief but steadily excellent affair, this album checks all of the necessary boxes with a wave of 90s nostalgia and shoegaze-laden alternative metal. From the inspired opener “Baldpate Driver” to the cover of Bjork’s “Enjoy“, no moment on this one goes unremembered. [FULL REVIEW]
16. Venom Prison – Erebos
MATT: Previously best known for their sheer brutality and raw anger, Erebos sees UK-based death metal/hardcore outfit Venom Prison expanding their sound into many unforeseen territories with overwhelming success. Tracks such as “Pain of Oizys” and “Veil of Night” focus shockingly on melody and atmosphere compared to prior works, with the former being practically a full-on post-metal track. Yet, even with this strong focus on melody, the group does not lose any bit of the aggression for which they have become known, making Erebos an equal parts compelling and commendable expansion of sound. [FULL REVIEW]
15. The Callous Daoboys – Celebrity Therapist
SEAN: Celebrity Therapist is an exceptional body of work that takes mathcore and nearly stretches it to its limits. Complimented by more quaint moments on the record, it is an intense experience to listen to, while also mentally engaging. The songs are almost hard to digest, but that just makes subsequent listens all the more satisfying. The album has that “larger than life” quality to it too. [FULL REVIEW]
14. Darko US – Oni
MAX: Frenetic, rhythmic chaos. Darko US have emerged as a supergroup of sorts over the past couple of years. Formed by Josh Miller (Spite, ex-Emmure, ex-Glass Cloud) and Tom Barber (Chelsea Grin, ex-Lorna Shore), it’s no surprise that with the pedigree of the musicians behind this project that it’s good, but with their sophomore effort Oni, Darko US prove they’re something more than a sum of their parts. A truly unique and fresh perspective on deathcore from a band that only seems to be continually growing and developing.
13. Counterparts – A Eulogy for Those Still Here
JONATHAN: A Eulogy For Those Still Here doesn’t hold back emotionally. Its lyrical honesty pulls and stabs at the heartstrings, and the use of more melodic elements blends well into the feeling of pain and loss. Although it is more polished than its predecessors, the album uses this to its advantage to create a more nuanced take on the Counterparts sound, with ambient, post-rock passages intermixed with their traditional heaviness. It is one of the most cathartic records of the year, to say the least. [FULL REVIEW]
12. Brutus – Unison Life
DOBBIN: Brutus‘ sound is much bigger than any normal post hardcore three-piece: bass that brings the heft and clarity, guitarwork that soars and pirouettes, drums that do it all (from wind chimes to hardcore blast beats), and fierce, gritty vocals. Unison Life further reinvents the band with lean urgency; a thorough refinement of their songwriting and clarity of purpose. From the front to the back of the album, every inch of these titanic tracks has been optimised for destruction. The three-hit combo of “Chainlife“, “Storm“, and “Dreamlife” should not slip through the cracks, not to mention the singles “Victoria” and “What Have We Done“. Brutus are a shining example of a unique band, fitting no single genre-mold or cranny, that still make music that is immediate and impactful. [FULL REVIEW]
11. Rolo Tomassi – Where Myth Becomes Memory
DHAIRYA: There has never been a time where Rolo Tomassi haven’t delivered. Where Myth Becomes Memory is another stellar addition to the band’s already top tier discography. While it is somewhat less cathartic and atmospheric than Time Will Die And Love Will Bury It (and understandably so), it still does a great job of enticing the listener. Not straying far from the core sound the band have established, the blend of post-rock and mathcore is sure to entice. To add on top of that, they are easily one of the best live acts in the scene, and these tracks will especially be a treat to see live. [FULL REVIEW]
10. Fit For An Autopsy – Oh What the Future Holds
MAX: One of the most tightly crafted deathcore albums I have ever heard, Oh What The Future Holds is an absolute masterclass in the world of heavy music. Lyrical content beyond 99% of their peers, world class performances across the board and some truly effective songwriting make this record an absolute treat for anyone wanting to get pounded into the floor for about 45 minutes (and cry for about 10 of those). [FULL REVIEW]
9. Static Dress – Rouge Carpet Disaster
MAX: Static Dress’s come-up has been a long time coming, truthfully. For the past few years they have, while admittedly slowly, been putting out some of the best post-hardcore anthems out there. With their debut LP Rouge Carpet Disaster, however, they combine and uniquely modernize their influences in a way that feels incredibly fresh and well-realized. Combining elements of Underoath, My Chemical Romance and Taking Back Sunday, alongside their own unique aesthetic (both visually and sonically), Static Dress are one of the most intriguing and downright creative bands in modern heavy music, and their debut record is directly emblematic of that. [FULL REVIEW]
8. Bad Omens – THE DEATH OF PEACE OF MIND
HARRY: For a band once derided as a Bring Me The Horizon copy – albeit the music was great – Bad Omens have come a long way, and nowhere is their own identity and craftsmanship more evident than on THE DEATH OF PEACE OF MIND. From the outset, “Concrete Jungle” jumps right in with what makes the album so special: the smothering atmosphere, tasteful beat selection, addictive doses of aggression, and the elite vocals of the band’s creative force, Noah Sebastian. For an album which clocks in at over fifty-three minutes, it is undeniably consistent and packed with true classics – from the aggrieved and metallic “ARTIFICIAL SUICIDE” and the seductive title track to the delicate, epic journey of the closer. Not to mention that it boasts the chorus of the year on “Just Pretend”. THE DEATH OF PEACE OF MIND blends metalcore and hip-hop elements effortlessly, with layers of atmosphere and adventitious instruments such as violin and trumpets strewn throughout adding further depth and maturity. Now, we can only wait to see what a likely deluxe might offer. [FULL REVIEW]
7. Northlane – Obsidian
MAX: Northlane have always been one of the stronger bands in the metalcore world through their many eras. Whilst their sound has almost always shifted quite heavily from record to record, no shift was quite as stark as when the Aussie group dropped Alien in 2019. Pulling back on the post-hardcore/alternative rock-tinged sounds explored on Mesmer in favour of a bold combination of djent and EDM, the group seemed as if they were at an all-time creative high.
It turns out the only way was up, as Obsidian is, without a doubt, their most accomplished piece of work to date. While it could be argued that the wholly scatterbrained ethos of this record, jumping from influence to influence, genre to genre between each and every song, there’s something at the core of Obsidian that makes it Northlane, and more importantly makes it engaging. A truly inventive, creative and downright fun foray of metalcore, djent, EDM, trip-hop, rave and drum & bass, Obsidian is a lengthy exploration of Northlane’s raw capabilities when untethered. [FULL REVIEW]
6. Ethel Cain – Preacher’s Daughter
DHAIRYA: Ethel Cain’s quick rise in popularity is testament to the quality of Preacher’s Daughter. Masterful songwriting paired with a unique and tasteful blend of genres ensure an unparalleled experience with a runtime of 75 minutes where every second matters. Rarely are you left craving more with an album this long, but the album ensures you’re a victim of Stockholm’s syndrome just up on a single listen. If there is only one album that you listen to this year, make sure it is this one.
5. Holy Fawn – Dimensional Bleed
DHAIRYA: Cutting back on the heavier bits and leaning towards a softer and sombre tone, Dimensional Bleed solidifies Holy Fawn as masters of their craft. Tugging at your heartstrings at every moment, it’s a slow burn that will keep you hooked timelessly. Full of surprises and heartbreak, it is a massive step in experimentation for the Phoenix based quartet that pays off. The loud heavy pretty noises they offer are ones to die for. [FULL REVIEW]
4. The Devil Wears Prada – Color Decay
DEAN: As The Devil Wears Prada have been one of the most consistently great metalcore bands over the last decade, the bar was already set remarkably high for Color Decay. Little could one expect that they would completely smash through expectations and release their best project in what is their most devastating yet impactful record of their lengthy and storied career. Color Decay rightfully deserves its place in your “Top 10 Albums of the Year” lists, if not, at least an honourable mention. [FULL REVIEW]
3. Vatican – ULTRA
MAX: This came out of fucking nowhere. Combining influences from the worlds of Vein, Meshuggah and Dillinger, ULTRA proves to be one of the most enthralling metal releases I’ve heard in years. Vocalist Mike Sugars provides a barnburner performance, with some of the most ballistic vocal chops I’ve heard in 2022, all bolstered by insanely strong lyrical content. Working collaboratively with iRis.EXE, too, the band further hone in on their melodic edge, making for a record that keeps you guessing as it weaves in and out of pummelling hardcore riffs and ethereal clean sections. [FULL REVIEW]
2. Ithaca – They Fear Us
DALLIS: The UK-based outfit shows what it truly means to fear them in their devilishly daring sophomore LP, They Fear Us. Confronting politically captivating ideologies and going against the grain on social norms, Ithaca shed the skin of their former experimentally-tinged selves to create what is without question one of the best releases of 2022. Containing face-melting tracks in “Number Five” and uplifting anthems in “You Should Have Gone Back“, this record has a little bit of everything to touch base on. If you haven’t given this album a spin yet, you will 100% see how Ithaca have delivered. [FULL REVIEW]
1. Thornhill – Heroine
MAX: I’m gonna be bold here and say: Heroine is, without a doubt, one of the most special albums I’ve ever heard in my life. A stunning combination of glitzy shoegaze and riffy progressive metalcore, this is an album absolutely oozing with style. Above all others this year, I feel that Heroine is an album that was truly made for me, in the sense that almost everything about it feels hard-wired to my exact tastes. I sympathize with those who were left longing for more of The Dark Pool, but I truly believe that once you give Heroine a chance to shine in its own light, you will begin to see just how masterful this record is. [FULL REVIEW]