Most Anticipated Albums of 2022

Graphic by Mikayla Alpert

Cordi Elba by Lime Cordiale and Idris Elba (January 14th)

A collaboration between one of the world’s biggest actors and an Australian indie-pop duo seems like one of the pop landscape’s strange experiments, throwing random ideas at the wall to see if they’ll stick. Based on the singles we’ve gotten so far, though, the combination of Idris Elba and Lime Cordiale works really well. 2021 single “Apple Crumble” ended up one of my favorite songs of last year with its swaggering buoyancy and catchy chorus. Hopefully, the rest of this EP delivers just as much. 

The Gods We Can Touch by AURORA (January 21st)

In 2018 and 2019 respectively, AURORA delivered the sprawling sister albums Infections of a Different Kind (Step I) and A Different King Of Human (Step II). So, what will her next be? A follow-up of sorts, inspired by the connections between man and myth. Based on recent singles, The Gods We Can Touch seems to promise explorations of faith, the Greek pantheon, and beauty, all delivered with AURORA’s signature wistful, ethereal vocals and propulsive instrumentals. 

Motordrome by MØ (January 28th)

It’s been four years since the release of MØ’s sophomore album Forever Neverland, an album entrenched with the thrills of youth. With a single rollout rich with moody midnight synths and lyrical themes about facing changes in life, Motordrome seems to be venturing into darker, more mature territory. Despite the shifts in tone and sound, hooky teasers like “Brad Pitt” and the disco-tinged “Live To Survive” show that Motordrome promises just as much of MØ’s signature sparkle as ever.

Laurel Hell by Mitski (February 4th)

2018’s Be The Cowboy showed that Mitski could orient her emotionally resonant insights on life and love around a catchy pop hook. The single rollout for Laurel Hell, her sixth album, shows that skill coming to the forefront, set against an 80s-inspired synth backdrop. Debut single “Working For The Knife” offered a burnout anthem set against a churning groove, and “The Only Heartbreaker” is flashdance perfection. Hopefully, the rest of Laurel Hell offers more songs suited for crying and dancing alike. 

Dragon New Warm Mountain I Believe in You by Big Thief (February 11th)

Big Thief has cemented itself one of the most consistently great acts in the indie sphere. The follow-up to their duo of albums in 2019, Dragon New Warm Mountain I Believe in You arrives on the back of several subdued yet resonant singles. The album was recorded in four distinct locations, New York, Topanga Canyon, the Rocky Mountains, and Tucson, Arizona. Hopefully, the project will offer an emotional range to match.  

Space Island by BROODS (February 18th)

BROODS came through with one of the most underrated pop albums of the 2010s with Don’t Feed The Pop Monster in 2019. Recent singles for Space Island have taken on a more laid-back, low-fi tinge than the 80s swell of its predecessor. In their Twitter announcement, BROODS promised the album “will take you through the wild terrain of love and loss and then tuck you into bed and kiss you on the forehead.” It’s a hefty promise to live up to, but one BROODS should be able to deliver on. We’re also getting a three-part short film to accompany the album too. 

Crash by Charli XCX (March 18th)

As far as I’m concerned Crash, the fifth album from Charli XCX, can’t come fast enough. Recent singles “Good Ones” and “New Shapes” have been bright, danceable delights pull off larger-than-life bombast. The list of features for Crash includes fellow pop stars Christine and the Queens, Caroline Polachek, and Rina Sawayama, as well as notable long-time collaborators like Ariel Rechtshaid and A.G. Cook. The project is also the last album in XCX’s record deal. While the hype for Crash is real, the anticipation to see where XCX ventures afterward is even greater.

Two Ribbons by Let’s Eat Grandma (April 8th)

I’ve been lying in eager wait to see how Scottish art-pop duo Let’s Eat Grandma will follow up their colorful, expansive 2017 project I’m All Ears. The two singles we’ve gotten so far offer a wide scope in the potential of what sound Two Ribbons will take on. The lush, sprawling dance-pop offering “Hall Of Mirrors” ended up one of my favorite songs of 2021, while the title track is a more minimal, silky ballad. I, for one, can’t wait to venture into whatever wonderland they ultimately offer up.

Motomami by ROSALÍA (N/A)

Four years have passed since ROSALÍA broke into the mainstream with her sophomore album EL MAL QUERER, a project full of genre-bending and blending, avant-garde pop stylings, and accessible hits alike. Since then we’ve gotten a slew of singles, ranging from subdued, inventive ballads to smash-hit collaborations with The Weeknd, Billie Eilish, and Travis Scott. It’ll be interesting to see if she pivots towards potential mainstream pop success, or decides to maintain the more experimental stylings that put her on the map. Knowing ROSALÍA, it’ll likely fall somewhere in the middle. 

10000 gecs by 100 gecs (N/A)

On their debut project 1000 gecs, hyper pop duo 100 gecs trailblazers a new path for pop, one that was a lot weirder, glitchier, and Internet savvy, the tracks memetic potential and catchy hooks alike. The group has since released a star-studded special edition and a handful of singles. Their recent Pitchfork interview revealed that this album is edging a bit more towards the mainstream, but from their past releases, it’s unlikely that the gecs will be mindlessly absorbed in the pop landscape. It’s far more likely that they’ll twist the conventions to suit their needs, and I can’t wait to see what strange stew of references they concoct this time around.

Reborn by Kavinsky (N/A)

The music landscape has changed significantly since Kavinsky released 2013’s OutRun. But somehow the demand for Kavinsky’s pulsating synth grooves best suited for a late-night drive is bigger than ever. New single “Renegade” featuring Cautious Clay is cut from the same cloth as Kavinsky’s past hits like “Nightcall” and “Odd Look,” but stands its own ground as well, offering a balance between sultry darkness and shimmering synth glow. I can’t wait to see how Kavinsky balances a return to form with reinvention on this new project. 

Potential Taylor Swift Rerecording (N/A)

In 2021, Taylor Swift released two entries into her re-recording project, an endeavor to gain ownership of her back catalogue after her masters were sold against her wishes. These re-recordings of Fearless and Red were faithful recreations of their original counterparts, but where the real value of these new versions lied was with the vault tracks. Whatever re-recordings come next, hopefully, they’ll offer archives and fresh insights just as rich. Rumors of Speak Now and 1989 coming next have been swirling, so it’ll be interesting to see which of her past albums Swift chooses to revive in the coming year.

Other artists that haven’t necessarily made official announcements but I’d love to see new projects from:

SZA: 2021 was a huge year for SZA, with the smash hits “Good Days” and “Kiss Me More,” as well as a slew of soundtrack work and the official release of new single “I Hate U.” Hopefully SZA rides this momentum into an album cycle in the year to come.

Normani: Fans have been eagerly awaiting an official debut project from Normani since her first post-Fifth Harmony released in 2018. 2021’s “Wild Side” with Cardi B has confirmed to be on the debut when it comes, so hopefully, it arrives soon and is worth the wait. 

Sky Ferreira: There hasn’t been a single drop of news from Sky Ferreira’s side about new music to come. I, however, will always hold out a shred of hope that we’ll get Masochism someday. Or, perhaps, we’ll get a new chapter in Ferreira’s career. Both would be welcome. 

BANKS: With the arrival of singles “The Devil” and “Skinnydipped,” a one-two punch of viscous electropop, it’s likely we’ll get the fourth album from BANKS soon. 

Caroline Polachek: Recent release “Bunny Is A Rider” may be a one-off single, but it may also be a peek into what Caroline Polachek has coming next. I hope it’s the latter. 

Hatchie: With the release of the standout single “This Enchanted,” hopefully a follow-up to 2019’s Keepsake is on the horizon. Whenever it comes, it’ll likely be as blissfully sweet as Hatchie’s past shoegaze-pop confections. 

Ryn Weaver: It’s been six years since Ryn Weaver released her debut album The Fool. It’s been mostly radio silence since then, but Weaver’s recent promises on social media that new music is soon to come to have me holding out hope.

Kendrick Lamar: It’s been a relatively quiet couple of years for Kendrick Lamar since the release of DAMN. in 2017 and the Black Panther Soundtrack in 2018. Hopefully the recent feature on Baby Keem’s “family ties” is a clue that new material is soon to come.