22 Quick Picks for 2022: Albums of my Life: an A-Z

2022 has been another year of discovery in terms of music and also of revelation. Many of the artists I enjoyed in 2021 have released new music which has been really exciting. MUNA and The Big Moon have released albums and I was lucky enough to see the latter in a record shop just a few months ago. My love for 80s music has grown and the realisation that the band, Toto, have been involved in music that I have loved for years of my life has ignited a deep love for these incredible musicians. I've walked miles to these tracks, endorphins have been overflowing in the gym and I've also shed the odd tear. I've procrastinated, dreamed, reveled, despaired, lusted and mused over these songs, listening again and again-- such is my obsession with music. I wanted to document twenty-two of my loved tracks for 2022.

Good at Falling/ The Japanese House (2019): Albums of my Life: An A-Z

...a time, maybe a year or two ago when I had more or less given up on finding new artists that I could get on board with. I'm from an era where there was Top of the Pops on TV and you'd go into Woolworths or Our Price to browse the chart music on a big wall and maybe pick up a single on cassette tape, or later a CD. That's not the world today, technology has changed the music industry inevitably and indefinitely. For years, I sourly declared myself out of the loop when it came to modern music because it was 'too generic', 'too auto-tuned', 'boring'. And in a sense, some of the mainstream chart music is that, but the very technology I berated for ruining the fun has over this last year or so opened my eyes to some incredible artists, those that sit on the periphery due to the lack of diversity in the charts. But then, within their genres, they are making massive waves and have huge fan bases.

I found Marika Hackman through Google Play after a fascination with the cover of Any Human Friend and like most long-lasting relationships, it took a while to fall in love. Once in, I was in. I was aware that that album was influenced by her split with Amber Bain from The Japanese House, and I dabbled in listening to a few songs, but, if I'm honest, my aversion to vocal effects (due to a saturation of them in chart music) made me less inclined to give my time to really listen.

Of course, it was an error of judgement on my part because The Japanese House, whilst having voice alteration as a trademark in her production, is far, far more than that. In fact, I would say that after much listening, Amber Bain is a trailblazer.