RIFF's 67 Best Albums of 2022

Grammy and Americana-award-winning singer-songwriter and violinist Amanda Shires has pushed the reset button with 'Take It Like A Man', releasing a record that is so unlike anything she has ever recorded that you would be tempted to think it’s her debut album instead of her seventh. Shires, who also plays in The Highwomen, worked with producer Lawrence Rothman (Angel Olsen, Kim Gordon) to make a fearless confessional, showing the world what turning 40 looks like in 10 emotionally raw tracks.

In late 2020, Kevin Morby holed up in the then-quiet Peabody hotel in Memphis to escape a pandemic-burdened winter in his hometown of Kansas City. There, he wrote *This Is a Photograph*, a folky, left-of-the-dial rock album and a particularly reflective entry in his catalog. Its sound is sometimes earthy and gospel-inflected, sometimes lush and symphonic, with lyrics tinted by existential reflection and the specter of death. The sinewy title track was inspired by family photos that Morby and his mother went through after thinking they’d just seen his father die following an accidental double dose of heart medication. The lived-in duet “Bittersweet, TN,” about the loss of a friend, features vocals by Erin Rae and floats along on its banjo lines. And the sparse but upbeat “Goodbye To Good Times” doesn’t offer any resolution, but instead presents a eulogy for better days as the songwriter strums his acoustic guitar, simultaneously nostalgic and grounded in the difficult present.

The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him. Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning.

Carrie Underwood took a few detours before her ninth studio LP, first realizing a longtime dream of recording a gospel album via 2021’s *My Savior*. Where that album found Underwood turning inward, *Denim & Rhinestones* is an exuberant return to form from the “Before He Cheats” superstar, chock-full of festival-ready anthems (“Pink Champagne”), scorched-earth send-offs (“She Don’t Know”), and a healthy dose of rock ’n’ roll (“Crazy Angels”). “I want to have fun,” Underwood tells Apple Music. “I want to think about going out on the road. I want to think about being on tour. I want to think about being with people again and how these songs are going to translate in front of people. So, that\'s what we did. We didn\'t think about it too much. We made music that really felt good, that feels good to sing, that felt fun to write.” Below, Underwood walks Apple Music through several key tracks on *Denim & Rhinestones*. **“Pink Champagne”** “It’s just fun. The music is super fun. It\'s super happy. It\'s bubbly. When we wrote it, it was just a fun, easy day, and it\'s one of those that you want to sing along with.” **“Ghost Story”** “‘Ghost Story’ was very difficult to sing. That was the one that by the end of it, I was like, ‘Don\'t we have it?’ And I don\'t ever do that, because I will sing a song 20 times in the studio, longer than that, however many times I have to sing it. And I feel like I can keep going. And if I don\'t feel like I have it but the producer over the years has been like, ‘I think we got it,’ I\'m like, ‘Nope. Nope. I haven\'t reached it. I\'m not there yet. I feel like I still got some gas in the tank. I want to see what I can do with it.’ But ‘Ghost Story’ was hard. It was the hill to climb, for sure.” **“She Don’t Know”** “It’s just playing a character, and it\'s fun to go there. And especially a song like ‘She Don\'t Know.’ It is a cheating song, but it\'s still got this cinematic quality in that you just play the movie in your head. And you can see these characters that you have in your head; you can just see the girl in her heels, pushing the little cart down the aisle.” **“Garden”** “I had a garden before, but hadn\'t really invested myself into it that much. But I had a lot of time to do that in 2020. It\'s something that I love so much for a lot of reasons. I do love having our own food for health reasons. I love that. But then there\'s so many life metaphors that you think about when you\'re in the garden. You think about, ‘Well, which one of these is bearing fruit, and what do I need to do? I need to cut this off because it\'s not contributing to the plant.’ Growing things, relying on God to make some miracles happen—it is a miracle to me. You have this tiny little seed that means nothing and you stick in the ground, put some water on it, and then magic happens. It\'s amazing.”

Ghost mastermind Tobias Forge was in a Seattle bookstore in 2014 when he came across what would become the theme for the Swedish occult rockers’ fifth album, *IMPERA*. “I saw this book called *The Rule of Empires*,” he tells Apple Music. “I’ve always been quite interested in history and politics, but you don’t need to be an expert to know that every empire eventually ends. Right then and there, I knew that at some point I was going to make a record about the rise and fall of empires.” At the time, Forge was already planning to make a record about the bubonic plague, which became Ghost’s startlingly prescient 2018 album *Prequelle*. “I felt like those two subjects represented two completely different threats of annihilation,” he says. “One feels a little bit more divine, and the other a little more structured and fabricated. So I compartmentalized the two themes and made two different albums.” Below, Forge details some key tracks from *IMPERA*. **“Kaisarion”** “The story this song tells, or the perspective it shines light onto, is basically stupid people destroying something that they don\'t understand with a frantic smile on their face. This has happened many times and unfortunately will probably happen many times in the future, because unfortunately things that we don\'t understand or that we cannot control have a tendency to arouse those feelings. We want to kill it. We want to destroy it.” **“Spillways”** “In ‘Kaisarion,’ we have the en masse, frenetic, frantic buzz of being in a group. In ‘Spillways,’ we have a very internalized pressure that builds up to the next song, which is a distant call that ends up being a voice in your head—the insulated person who’s being communicated with from a higher power. That’s loosely how we move geographically between these three songs. If the leads remind you of Brian May, that’s because I like stacking solos and adding harmonies, which automatically puts you in Brian May territory.” **“Call Me Little Sunshine”** “This is similar to our song ‘Cirice’ in the sense that you have this betraying hand that leads you into the night pretending to have a torch in the other. Which is interesting, because we’ve placed ourselves in the devil’s corner, pop-culturally, so it becomes this paradox. Myself and other peddlers in the extreme metal world use a lot of biblical or diabolical references, and up until recently we felt we were doing it with a distance from history—like this was in the Old World, when people were stupid. But no—this is real. This is now.” **“Hunter’s Moon”** “This song was written specifically for the *Halloween Kills* soundtrack, which made it so much easier to write because I knew the context. If ‘Call Me Little Sunshine’ is a voice inside the head that’s actually coming from outside, ‘Hunter’s Moon’ is inside the empire of the brain of a maniac: ‘I’m coming to get you because you belong to me. Can’t you see I’m doing this as an act of love?’ It’s absolutely illogical, but if you place yourself inside the head of a maniac, it makes sense. It’s burning love.” **“Watcher in the Sky”** “This reverts back to the imperial world of Flat Earth Society members, basically. The narration is calling upon the scientific community to use whatever science we have here within this empire to stop looking at the stars and look for God instead. Can we reverse the tools that we have to watch the stars to communicate with the Lord? And is there any way to scientifically prove that the world is actually flat? Because it looks awfully flat from where we\'re standing. So it’s a song about regression.” **“Twenties”** “This is a machine disguised as a leader talking to liberal persons because we need their manpower, and without them there is no society. So it’s this cheer about the twenties, saying that it will lead to an even more hopeful thirties—but 1900s-style. It’s meant to give people hope, if you’re bent that way. It’s similar to our song ‘Mummy Dust’ in that both are more primally aggressive and have an element of greed.” **“Grift Wood”** “I love Hollywood rock like Van Halen and Mötley Crüe, and it just feels fitting to have an uplifting track towards the end of the record. Musically, one thing that inspired the more Sunset Strip elements of the song was knowing that it was going to throw you off with a really long curveball that felt like something no Sunset Strip band has ever done. And that enabled the more glossy bits to be even more in line with the traditional elements of an early-’80s Sunset Strip song.”

“When I make records, I make them with the idea that no one else will hear them,” Florence Welch tells Apple Music’s Zane Lowe. “When you get to the realization that this private dialogue is going to be completely public, it’s like I’ve tricked myself again.” On her band’s fifth album *Dance Fever*, such private dialogues include rejecting real love (“Girls Against God”), dance as the greatest form of release (the anxious synth-folk of “Free”), embracing less healthy coping mechanisms in her past (“Morning Elvis”), and the push-pull between a creative career and the possible desire to start a family. “I am no mother, I am no bride, I am king,” Welch declares in baritone on “King,” in which she ponders one of *Dance Fever*’s most prominent themes: her complicated relationship with her own artistry. “A lot of it is questioning what it gives to me as well, and being like, ‘Why do I need this so much, sometimes at the cost of more sustainable forms of intimacy or more stable relationships?’” she says. “I think this record is questioning, ‘How committed am I to my own loneliness? How committed am I to my sense of a tragic figure?’” Work on the album had begun alongside producer Jack Antonoff in New York in early 2020 before the pandemic forced Welch back to London, where her creativity was stifled for six long months. *Dance Fever*, then, also covers writer’s block (the cathartic “My Love,” a track intended to help shake off Welch’s blues, and our own) and her despair of what was lost in a locked-down world. Her lyrics occasionally poke fun at the image she has created of herself (“I think there\'s a humor also in self-knowledge that runs through this record that I\'ve actually found really liberating,” says Welch), but they are often as strikingly vulnerable as on 2018’s *High as Hope*. And even if the singer admits on “King” that she is “never satisfied,” her band’s fifth album has brought her rare peace. “I feel like I managed to take everything that I learned in the last 15 years and consolidate it into this record, into this art, into the videos,” she says. “I felt like, if I had to prove something to myself, somehow I did it on this record.” Read on as Welch talks us through a selection of tracks on *Dance Fever*. **“King”** “Sometimes songs just arrive fully formed, and it\'s always when you think you\'ll never write a song again. I felt like my creative abilities were finally at the peak of how I understood myself as an artist and what I wanted to do. But if I wanted to have a family, there was this sense that suddenly I was being irresponsible with my time by choosing this thing that I\'ve known my whole life, which is performance, which is making songs, which is striving to be the best performer that I can be. Somehow, it would be your fault if you miss the boat. I think that scream at the end of ‘King,’ it\'s just one of frustration, and confusion as well. I was thinking about Nick Cave and Leonard Cohen. I was thinking about how they can commit their body entirely to the stage. I was like, ‘Oh my god, I\'m not going to be able to do that. I\'m going to have to make choices.’ It\'s a statement of confidence, but also of humor that the album has, of ‘If I\'m going to sacrifice these other things in my life, I have to be the best.’ I was like, ‘Why not me? Why can\'t I be king?’” **“Free”** “I think out of all the Florence + the Machine songs, it\'s sort of the purest sentiment of why I do it, distilled into why music is so important to me, why I need it, why performance is so important to me. Sometimes you just know a song is working: When we started playing it before it had even come out, just this ripple started in the audience of people catching onto the chorus and starting to move. And it was one of those moments where I was like, ‘Oh, this is a special one. This is really hitting something in people.’ And that\'s so magical for me. That\'s when the celebration starts.” **“Daffodil”** “I thought I\'d lost my mind, because I remember coming home and being like, ‘Okay, I wrote a song today. It might be the most Florence + the Machine thing I\'ve ever done. We\'re a year into the pandemic, I think maybe I\'m losing it. The chorus is just “daffodil” over and over again.’ I was like, ‘Can you do that? That\'s a crazy thing to do.’ There were so many moments where I had nearly gave up on this record. There were so many moments where I nearly went, ‘It just feels like the way that the world is, this is just too hard to finish.’” **“The Bomb”** “There\'s a lot of nods, I think, to the previous records. All three of them are in this album, which is nice. Because I feel like somehow I\'m bridging the gaps between all of them on this record, like all the things I\'ve been interested in. This song is nodding to what I was thinking about, in terms of unavailability in people, in *High as Hope* in songs like ‘Big God,’ with like the obsession of someone who\'ll never text you back. Why is the person who creates the most space and gives you nothing the most appealing person? And really that\'s because if you\'re a songwriter, they give you the most enormous space for fantasy and you can write anything you want because they don\'t really exist. Every time I think in my life I\'ve been in a stable place, something or someone will come up and be like, ‘How do you feel about blowing all this up?’ It\'s also a fear of growing up and a fear of getting older, because if you regenerate yourself constantly through other people by blowing up, changing everything, you never have to face aging or death.” **“Morning Elvis”** “I\'m obsessed with Nick Cave as a performer, but the performer he\'s obsessed with is Elvis. So that\'s how it feeds back to me. I was at home and stuck and there was an Elvis documentary. It made me remember us, when we were on tour in New Orleans, it would have maybe been on the second record. The wheels were really coming off for me, in terms of drinking and partying. I just got very in the spirit of New Orleans and was at a party and just went, \'You all leave without me, I\'m staying at this party.\' I ended up with my dress completely shredded, because I\'m always wearing these vintage things that basically just disintegrate: If you’re on a rager, you will come back with nothing. You would\'ve thought things were going so well for me. What was it about me that had such a death wish? I had such little care for myself. It didn\'t matter what I had done the night before, or the week before, or what chaos I had created, I knew if I got to the stage, something there would save me and that I would be absolved. And that song is about that feeling, but also a testament to all the performers I\'ve seen turn pain into something so beautiful.”

With the second installment of their *Vaxis* story arc, emo-prog wizards Coheed and Cambria continue the highly ambitious *Amory Wars* sci-fi epic that has defined their musical career. *Vaxis II: A Window of the Waking Mind* is an intricate cinematic narrative following a couple on the run from tyrannical forces while trying to find a cure for their young son’s mysterious condition. For Coheed vocalist, guitarist, and conceptual mastermind Claudio Sanchez, the story is a highly personal one cloaked in futuristic fantasy. “That’s kind of why I created the concept 20 years ago,” he tells Apple Music. “As the singer, it’s really hard for me to be the center of attention, the one where the messages are coming from. So, it was easier for me to construct this thing to hide behind. That’s why Coheed has been primarily shrouded in a story called *The Amory Wars*.” Below, he discusses each song on the album. **“The Embers of Fire”** “This is the intro to the record, and it hearkens back to a theme that came on the record before it, which was a track called ‘Old Flames.’ The thing that I really enjoy about this piece is that my son got to sing on it—he was five at the time. The idea of the character of Vaxis is that he’s this omnipresent sort of being that lives in all states of his life. So, I thought it would be interesting to have the child voice as well as the adult singing on the same track, singing the same lines, kind of stretching across time in a way. I really love that piece.” **“Beautiful Losers”** “A lot of these songs are directly inspired by my life, but I utilize them to inform the fiction. ‘Beautiful Losers’ came from the idea that Coheed was coming into its 20th year, and for a long time, there’s been this sense of and feeling within the band of being the underdog, and I find that there’s kind of a beauty in that. Being able to put 20 years of history behind us, I made ‘Beautiful Losers’ as sort of an anthem and tribute to that. Of course, it has its place within the fiction, but truly I think the roots of the song are that.” **“Comatose”** “Some of these songs were written pre-pandemic and were then sort of given their identity during the pandemic. ‘Comatose’ is one of them. The music has been around for a moment, but when I started to pen the lyrics to it, we had been trapped in isolation. My wife and I may have gotten into an argument, and I think that fueled the identity of that song. The line about being comatose comes from something my mother would jokingly say about my father when he was relaxing on the couch after work—she’d say he was comatose.” **“Shoulders”** “‘Shoulders’ is kind of in the same department as ‘Beautiful Losers,’ where it’s feeling the pride of history behind us, but also the sense of feeling the weight of things that I might not have accomplished during that time. But it’s also about coming out of that tunnel and feeling empowered by it. It’s also a little bit of a play on my son’s name being Atlas. So, again, there are these very personal themes that I’m utilizing to inform the story of Vaxis.” **“A Disappearing Act”** “When I started to actually solidify what this song was about, I started thinking about losing all that time during the pandemic. I was living inside my own head during the lockdown period, and then came out at the other end realizing that all this time had disappeared. People have disappeared. I lost my grandfather at the top of the pandemic without the chance to say goodbye. My wife had the same thing with her grandmother. It felt strange to come out of this period where it felt like nothing changed, but a shit ton really has.” **“Love Murder One”** “This one falls into the department of ‘Comatose.’ My wife and I have been together now almost 20 years but not married the entire time. I think we’re pretty rock-solid, but when you get imprisoned in your own confines, like during lockdown, things happen and you can struggle. ‘Love Murder One’ was an opportunity for me to exercise an emotion that I was having and just leave it in the song and not take it into reality. I got to experiment on this one, too. I explored synths on this song and also played an eight-string guitar.” **“Blood”** “For me, this has a lot to do with feeling misunderstood most of my life—and seeing that maybe that might be the same for my son. So, it’s a message to my son, Atlas, really. I’ve written a lot of songs for him. Going back a couple of years, I wrote the song ‘Atlas’ in anticipation of his birth. But with ‘Blood,’ I just want him to understand that if you experience the things I have, you’re not alone in those experiences.” **“The Liars Club”** “Right after we finished the first *Vaxis* album, *The Unheavenly Creatures*, I wrote ‘The Liars Club.’ But like a lot of songs on this record, the lyrics took form during the pandemic. Life just felt a little uncertain and a little scary. It came from the idea that maybe a false reality would be better. Who doesn’t want to live the better side of everything we experienced, even if ignoring the rest is like living a lie? That was the loose theme when I wrote this one.” **“Bad Man”** “This is a funny one because I was high as shit when I wrote it. I’m a very paranoid, introverted person, so aside from having a few drinks, I don’t really participate in that kind of thing a whole lot. But when we were in lockdown, I figured, ‘Why not? It’s been a long time.’ I think the last time I wrote music and got high like that was probably for \[2003’s\] *In Keeping Secrets*. My wife had some stuff, so I got into a certain headspace and attacked the vocals in a way that I haven’t in a long time. That whole verse section, I’m under the influence and doing my best to imitate Michael Jackson.” **“Our Love”** “At the top of lockdown, I got a Korg ARP 2600 \[synth\] and started fooling around with it. ‘Our Love’ came out of one of those ideas, but I didn’t really do much with it at first. When I came back to it a few months later, I thought it would be a good segue piece because it’s this moment where our characters have decided to sort of enter the lion’s den to acquire the thing that they feel could help their son. In that moment, they have this sentimental moment of, ‘Our love will persevere. We will get through this.’ I felt the same way with my wife during lockdown.” **“Ladders of Supremacy”** “This song was originally going to open *The Unheavenly Creatures* album, so it’s been around for a while. I held onto it because, lyrically, it wasn’t there yet. But at this point on the album, our characters are entering the lion’s den. It’s maximum security. It’s fear. It’s chaos. That was the visual I had in my head when I started writing the lyrics. Then all the stuff happened around George Floyd, and it started giving me this perspective that I’ve never had before, so I started to explore that in the song as well.” **“Rise, Naianasha (Cut the Cord)”** “That’s another one in the ‘Blood’ sort of world, geared towards my son. It’s saying that I’ll always be there for him, regardless of if I’m here or not. I’m saying, ‘You’re going to have me forever, and I’ll do whatever I can to protect you.’” **“Window of the Waking Mind”** “Before I started working on the concept of the *Vaxis* records, I read a little bit of this book called *NeuroTribes*, which is about neurodiversity. When you have a child and they’re developing, there are all these milestones in place for what is the typical mind. I just found it fascinating because I saw so many connections to myself and my son. This idea of strict normality really helped create the character of Vaxis. In the album’s story, these two people are trying to find something that they think could help cure their child, but in actuality, their child is a higher consciousness—a being far beyond their comprehension. In later stories, that will be important for *The Amory Wars*.”

The notion of The Black Keys as some kind of neo-primitive blues machine risen from the swamp to bring you what rock was supposed to be has always been a little overstated: Like The White Stripes, they’ve always been highly style-conscious, not to mention more occupied with simplicity in concept than in practice—they work at it. *Dropout Boogie* feels of a piece with 2019’s *“Let’s Rock”*: catchy, concise, stripped down but polished, with references to glam (“Wild Child”), psychedelia (“How Long”), and post-Stones blues (the Billy Gibbons co-write “Good Love”). With 20 years as a band behind them, they have their story and they’re sticking to it. And the more sophisticated they get, the easier they make it sound.

Miranda Lambert hits the road on *Palomino*, her eighth solo album and the follow-up to her 2019 Grammy-winning LP *Wildcard*. Across 15 tracks, Lambert treks all over the United States, spinning colorful yarns of a rambling life out on the road. “We go to 36 different locations in this record and meet all kinds of characters that we made up,” Lambert tells Apple Music. “Or it might have been characters we have all met in our travels, put into these songs. I\'ve never written with that much purpose.” Lambert sets the freewheeling tone with opener “Actin’ Up,” a swampy ode to bad behavior. Tracks like “Scenes” and “Tourist” are some of Lambert’s most image-rich material yet, while “Music City Queen”—a collaboration with pioneering New Wavers The B-52’s—is easily one of her most fun. Some songs, like standout “Geraldene,” previously appeared in demo form on Lambert’s critically acclaimed *The Marfa Tapes*, a 2021 collaborative LP with Jack Ingram and Jon Randall, and take on new life thanks to thoughtful production from Lambert, Randall, and frequent collaborator Luke Dick. Below, Lambert shares insight into a handful of tracks on *Palomino*. **“Geraldene”** “She\'s everyone. I feel like we\'ve all known one or been one at one point or the other. I just had that title because I was watching *Heartworn Highways* like a million times, and in that movie, Townes’ dog is named Geraldine. And Geraldine\'s this German shepherd, and I was like, ‘That\'s a cool name.’” **“Country Money”** “Aaron Raitiere pulls me in on a write one day. He\'s like, ‘Hey, come write with me and Mikey Reaves.’ I had never written with him before, and I was like, ‘Okay, cool, that\'d be different,’ and we wrote ‘Country Money.’ It fit right into the vibe of this road trip we were taking. So it all just happened easily, which makes me a little nervous because I\'m like, ‘Okay, when\'s the other shoe going to drop?’” **“Carousel”** “That is a real feeling. We joined the circus in one way or another, and we\'re so lucky to be part of it. I mean, I\'m like, ‘If I ever lived before, I think I was either best friends with Calamity Jane or riding an elephant somewhere.’ Truly, that\'s what I was doing, because this is as close as I could get to those two things, what I do for a living. I miss so many weddings and funerals and baby showers and important moments of people that are important to me, and of my own, just because I\'m rolling. But I think ‘Carousel’ puts this romantic spin on it where it\'s like, ‘It\'s okay. There\'s this whole other life that can happen, too.’”

“You can’t come get this work until it’s dry. I made this album while the streets were closed during the pandemic. Made entirely with the greatest producers of all time—Pharrell and Ye. ONLY I can get the best out of these guys. ENJOY!!” —Pusha T, in an exclusive message provided to Apple Music

On Jillian Banks’ fourth album, the avant-pop performer has reinvented herself: Her alt-R&B sonic signatures remain, sure, but she’s leaned into the darkness. “Someone write my new name down,” she sings in the intro of lead single “The Devil.” “I’m the devil/Did they tell you I’m the devil?” The wickedness sounds good on her: “Misunderstood” is goth church, “F\*\*k Love” is glitchy trap production, “Burn” is a ballad from the great beyond, closer “I Still Love You” is a relationship dirge. Despite—or perhaps due to—Banks’ sophisticated approach to pop music, this is a deep album with unique pleasures: soulful harmonies, dance-driven bass, contorted synths, club-ready love songs. This is a new Banks, the result of a victorious battle with depression and anxiety attacks during the COVID-19 pandemic. Clearly, she’s emerged stronger than ever.

Roland Orzabal and Curt Smith have been through a lot together in their 40-plus years as collaborators. They’ve toured the world countless times in Tears for Fears, the New Wave group they founded in 1981; bounced back from a breakup in the ’90s; and released their sixth album, *Everybody Loves a Happy Ending*, as well as a smattering of singles, in the 2000s. Their 1982 breakout single “Mad World,” “Head Over Heels,” “Shout,” and “Everybody Wants to Rule the World” remain timeless favorites for generations of listeners, and several chart-topping artists, from The Weeknd to Kanye West and Drake, have sampled their hits to elevate their own. With *The Tipping Point*, their seventh studio album and first LP in 18 years, they’re immensely satisfied with what they’ve written together—partly because they took their time to write their way back to each other, and largely because they did so on their own terms. “We spent a lot of time doing all these writing sessions over a bunch of years with a lot of what are considered more modern songwriters, and it didn\'t really work out for us because we felt it was slightly dishonest,” Smith tells Apple Music. “We were left with a lot of things that seemed like attempts at making a modern hit single, and I don\'t think that\'s what we do. We\'re really an album band. We made *The Hurting* before \'Mad World\' was released. We made *Songs From the Big Chair* before \'Everybody\' and \'Shout\' were released. We sat down, just the two of us, with two acoustic guitars, and tried to forge a path forward. It felt more honest, and the material at the end of it was far better, probably because it was more honest.” “No Small Thing,” *The Tipping Point*\'s first track, is a folk-tinged ballad that builds into a sweeping epic, and it\'s one Smith points to as an example of what they hoped to achieve when they reconnected and started writing: “This song is definitely a journey, and albums for us should be a journey.”

When a DIY ethos is baked into your core, your intuition is always likely to guide you right. Since forming in 2014, Nova Twins have established themselves as alt-rock explorers constantly crossing genre boundaries to absorb ideas and recast them in their own vision. The London-based duo of Amy Love and Georgia South approached their second album by dialing up both the brightness and heaviness of their debut, 2020’s *Who Are the Girls?*, operating on gut feel. “We have label support now, but it’s all still about us,” Love tells Apple Music. “It’s the shit we’ve always done, but they’ve helped us to facilitate the things we need to make the sound even bigger. There was no pressure, no schedule; we were just writing because we wanted to.” Written broadly during the pandemic and from within the Black Lives Matter movement, *Supernova* centers on the duo’s experiences of grief, heartbreak, erasure, and the empowerment of self-owned sexuality, as they battle their way through darkness to find light. The result is an album of intensity, energy, and enough fighting spirit to share around. “Life isn’t perfect, and we all have shit times,” says South. “But with *Supernova*, we want to give people that extra skip in their step, to feel like they can push through. Whatever you have going on, there is always a way to come out as a winner.” Let Nova Twins guide you through the album, track by track. **“Power (Intro)”** Georgia South: “We wanted a word that set the precedent for how we wanted the album to make people feel, and that word was ‘power.’” Amy Love: “It feels like a new beginning, a new era for the Nova Twins world. By putting this as the beginning and then ending on ‘Sleep Paralysis,’ it’s a wake-up call, like being born again.” GS: “It was just a nice little way to introduce the album and bookend the world that we created. If you were to be transported through a vortex, this is what it would sound like.” **“Antagonist”** AL: “This one came after the heavy lockdown. It felt so good to be able to finally meet up in person, and that energy and sense of connection is audible. It was just us together in a room, having fun.” GS: “We worked with Jim Abbiss again on production for the record, but in lockdown, we got really into Logic, the nitty-gritty of making beats and doing vocal production and sound effects ourselves. We learnt so much more about quality this time that a lot of the demos were good enough to go right on the album, and then, with Jim’s production style and live drums, we could focus on building up that really big sound.” **“Cleopatra”** AL: “The resurgence of the Black Lives Matter movement in 2020 was a traumatic time. It was so dark and depressing and terrifying, but when we all started unifying and marching, it felt like there was some sort of hope. It spurred us on to write something that would make people feel good, to feel powerful and proud of where they’re from. ‘Cleopatra’ was written in that moment of feeling truly part of something; we’re confident Black women, but it’s only when you start talking with others that you shine light on areas even you didn’t understand properly. We wanted to have a song that reflected the times, but also something which would give hope in the future.” **“K.M.B.”** GS: “With ‘K.M.B.’ \[Kill My Boyfriend\], we homed in on the sassy ’90s R&B that we both love. We love groups like Destiny’s Child, and we also love heavy music, so we thought that if we paired the two, we’d have the sassiest, most badass thing ever.” AL: “So many people can relate to the idea of getting revenge on a ex. When we read the lyrics back in isolation, we were like, ‘Is this a bit much?’ But then we were like, ‘Nah, it’s a joke. Right?!’” GS: “That’s why we made the music video so bright and colorful, to really get the joke across. The day of filming was so fun; the woman who owned the house came in and was like, ‘Can we rename the song “Kill My Husband?”’” AL: “He had cheated on her 47 times! She was like, ‘This video is the perfect send-off.’ She definitely saw the sense of humor in it.” **“Fire & Ice”** GS: “‘I tend to start with drums and then write riffs on top of the beat, building up in layers. We didn’t use any synths on the album, just bass, guitar, drums, and a bunch of pedals, which will make it a lot of fun to play live. I’m going to need a third leg!” AL: “Conceptually, it’s about all our moods as human beings. People assume that we’re scary or we’re this and that, but we’re all those things and the opposite. As women, we’re never just one thing; we can be moody, upset, loving, happy, vulnerable, sweet. It’s just about being a normal girl today—it’s not always pretty, but that duality is always going to be something you love about us.” **“Puzzles”** GS: “‘Puzzles’ puts us back in our ’90-2000s era. When you’re in a club, there’s those classic sexy tracks that you just want to dance to, like Khia’s ‘My Neck, My Back’ or ‘Pony’ by Ginuwine. We all want to feel sexy, to feel good about ourselves. We wanted it to be heavy—something you can mosh to but get down to at the same time.” AL: “It’s a fun song, but it’s also there to challenge people who are still living in the dark ages. There’s no line with Nova; we might like wearing baggy tracksuits, but at the same time, we also know how to let loose and have fun with our sexuality. If people are still uncomfortable about that, then a song like this is needed.” **“A Dark Place for Somewhere Beautiful”** AL: “We don’t always share our personal home truths in our music. Time is the biggest healer, and if something is still quite fresh, you can only talk about it so much. People can read between the lines and take what they want from it, but we all experience grief in our lives at some point, and this song is just describing what it feels like to go through that. A part of you disappears, but you also grow so much. Loss really does change you.” **“Toolbox”** GS: “It’s all about flipping the script on all the social pressures and beauty ideals that are usually aimed at women—changing up the roles so we’re singing it to a man. We’ve had to say, ‘Fuck you’ to so many men all the way along our career, and it’s built us into these strong women as a result. I’m grateful for it because it comes across in tunes like this.” **“Choose Your Fighter”** GS: “This was the last song we finished; we only had 24 hours to do it because of vinyl lead time. We were in the home studio writing, really tired. Whenever one of us was lagging, we’d have a tea break, put ‘Work Bitch’ by Britney Spears on, and then be like, ‘OK, we can do this.’ We truly have to thank Britney for this one—without her, we would have just slept.” AL: “In lockdown, we were sending songs back and forth, and then, suddenly, this was one where we were like, ‘I guess we’re writing an album.’ Lockdown was terrible, but it really helped us to find our way to this body of work, to say all the things that we wanted to say.” **“Enemy”** AL: “‘Enemy’ is about the time in our career where people weren’t quite getting it. We’ve seen other people be able to walk through so much easier because they fit the mold of what people perceive to be a riot grrrl. This was our kick back to the people who said that we look like we should only be doing hip-hop.” GS: “It’s pure rage, but we were also laughing so much while making it, putting people on our imaginary hit list. Obviously, we’re not trying to promote violence, but people can relate to that feeling in the moment. They can listen on their headphones going to work with their horrible boss, or at school if somebody’s picking on them. It’s a song about standing up for yourself.” **“Sleep Paralysis”** GS: “We were playing with different dynamics. It feels like you’re on a crazy loop because it joins back with the intro, and it’s a bit trippy and chaotic. It was definitely reflective of where we were at the time. We were locked down, BLM was going on, there was so much loss, and it was just like, ‘This is a full-on nightmare.’” AL: “We created this world where it almost felt like *Stranger Things*, The Upside Down. Everything seems really peaceful and calm and then, suddenly, the chorus hits. That gnarly hellscape feeling truly felt like what we were living through. It shows that we’re not afraid to not be super loud, that we don’t put boundaries on ourselves. Everything we’ve done with this band, we don’t plan; we just jump and see what happens. It’s always worked for us, so we’re going to keep jumping.”

“When I work on music, I always feel like I’m trying to do something new,” Jack White tells Apple Music. “But I know quite often I’m taking things that worked in the past that I think are less well-known, or they’re interesting or idiosyncratic or whatever it is, and juxtaposing it with something I’ve never done before.” In the case of *Entering Heaven Alive*—his second album of 2022, after *Fear of the Dawn*—that might mean gothic folk with a reggae coda (“All Along the Way”) or a mellow, Neil Young-style jam overlaid with nursery-rhyme rapping (“A Madman From Manhattan”). But where *Fear of the Dawn* felt almost confrontationally eccentric, *Heaven* is rustic and restrained: the marital oath of “Help Me Along,” the Celtic waltz of “Please God, Don’t Tell Anyone.” Then there’s something like “A Tree on Fire From Within,” whose lyrics are as obscure and enigmatic as its music is robust—a mix that not only characterizes White’s best songs, but the early blues he often calls back to. But this is the dynamic with White, who, like Paul McCartney, is as equally capable of writing “Honey Pie” as he is “Let It Be,” and whose most interesting stuff tends to fall somewhere in between. He isn’t breaking tradition, nor is he perpetuating it—he’s building on it. Or, as he puts it, “jump\[ing\] in the river that’s already moving.”

Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, and released by Third Man Records. Coming summer 2022.

Ambitious as a rule, Melbourne ensemble King Gizzard & The Lizard Wizard devote their 21st studio album to exploring each of the seven modes of music’s major scale. The resulting seven-track odyssey—just one of three albums King Gizz is releasing during a single month in 2022—was born from open jams with band members freely swapping instruments. You can hear that celebratory spirit at every turn here, especially in the whimsical flute passages. Opener “Mycelium” plays like a jaunty 1960s psych-pop tune, while wah-wah guitar washes over a snappy rhythm section of “Ice V.” Considering all of their elaborate scene changes in the past, it’s no shock to hear King Gizz move fluidly across prog, folk, Afrobeat, and funk on these marathon experiments. Yet the intricate layers and seamless dynamic shifts are just as impressive as the band’s communal vocal harmonies and the newfound influence of Stevie Wonder and Herbie Hancock.

Recorded by Stu Mackenzie Mixed by Stu Mackenzie Produced by Stu Mackenzie Mastered by Joe Carra Performed by King Gizz on Wurrundjeri land Cover art and layout by Jason Galea Special thanks to Nico Wilson