Bad Bunny’s Un Verano Sin Ti may have an iron grip on the top of the Billboard 200, but there have been a plethora of great records in 2022 so far. Admittedly, it’s been both a quiet and busy year for albums. We’ve gotten records from some of the biggest and most acclaimed artists of our time, but they didn’t really stick. The back half of the year will probably kinder to us, but, as always, there are gems to be found where there’s music involved. From ostentatious pop confections to contemplative reggae and R&B affairs, these are the best albums of the year so far:

15. CRASH (Charli XCX)

Charli XCX is as synonymous with modern pop music as bacon and eggs are with breakfast. CRASH is such a blast because we finally get to see a quintessential pop star tackle the most storied and mundane pop music tropes on her own terms. On her fifth studio album, which features collaborations with Rina Sawayama and Caroline Polachek, Charli dives headfirst into a swirling world of synthpop and dance-pop. Pounding synths and sugary hooks are the names of the game on CRASH, but the album never slips into being generic. Charli’s pop is well-researched (the Janet Jackson references are A1) and intensely personal. This is an artist that lives and breathes the sheer vastness of pop and the power that the genre holds over so many millions of hearts and souls. Charli knows the might of a well-crafted pop song, and she’s delivered an album full of them without compromising the core tenets of her artistry. Listen to “Yuck” and “Lightning.” Read the full review of CRASH here.

14. CANDYDRIP (Lucky Daye)

How do you follow up a Grammy-winning EP? If you’re Lucky Daye, you simply deliver your sophomore album. Candrydrip, his first full-length outing since 2019’s Painted, finds Lucky continuing to inject some energy into R&B’s current murky midtempo madness while crafting a carefully manicured soundscape alongside D’Mile. Both Lucky and D’Mile earned nominations at this year’s Bulletin Awards — for good reason. Even outside of “Over,” the marquee single from this set, Candydrip thrives off of Lucky’s carnal anthems. “F****n’ Sound” is as forward as his love-making odes get, but funky offerings like “Guess” and “Feels Like” are just as rewarding. Candydrip features guest appearances from Lil Durk and Chiiild, but it’s Smino’s scene-stealing verse on “God Body” that towers above them all. It’s not often you find an album as cohesive as this one that still has something for everybody. Then again, there’s only one Lucky Daye. Listen to: “F****n’ Sound” and “Fever." Vote for Lucky Daye and D’Mile at this year’s Bulletin Awards. Read the full review of CANDYDRIP here.

13. Blue Water Road (Kehlani)

Kehlani purists, look away! Blue Water Road may just be one of Kehlani’s very best projects. Kehlani uses Blue Water Road to try on different perspectives and broaden their sonic palette. With elements of surf rock, boom-bap, and orchestral pop, Kehlani adds myriad new elements to their foundation of soul, R&B, and hip-hop. Although the album features its fair share of collaborations, the Blxst duet is an instant standout, Kehlani functions best on her own. “Altar” made an appearance on The Bulletin’s Best Songs of 2021 ranking, but tracks like the saccharine “Melt” or the ethereal “Little Story” are even more impressive. There’s a warmth that emits from Blue Water Road, a warmth that’s colored by Kehlani’s own peace and how intensely they experience and convey love. Listen to: “Any Given Sunday (feat. Blxst)” and “Wish I Never." Vote for Kehlani at this year’s Bulletin Awards. Read the full review of BLUE WATER ROAD here.

12. Harry’s House (Harry Styles)

It’s always fascinating to examine the imperial era of a pop star. With the blockbuster Harry’s House and the monster smash hit “As It Was,” Harry has unquestionably entered his imperial phase. The Grammy-winner’s third studio album eschews the pop-rock tendencies of his first two records and finds the One Direction alumnus trying his hand at bombastic pop confections. Complete with tender ballads about chosen families (“Matilda”) and sunny Top 40 goodness (“Late Night Talking"), Harry’s House is at once expansive and revelatory. There are quieter moments where he offers us a peek into his life (the “As It Was” bridge, anyone?), but it’s his commitment to contrasting large-scale multilayered pop numbers with softer moments of introspection that really seals the deal. In a popstar’s imperial phase, the music doesn’t have to be their best to be their most successful. While Harry’s House is no Fine Line, it’s still damn good music and yet another strong offering from one of the biggest musical acts of the moment. Listen to: “Music for a Sushi Restaurant” and “Keep Driving." Vote for Harry Styles at this year’s Bulletin Awards. Read the full review of HARRY’S HOUSE here.

11. Caprisongs (FKA twigs)

Some of FKA twig’s oldest fans may have turned up their noses at Caprisongs, but it’s their loss. The enigmatic singer’s new mixtape finds her slinking her way through dancehall, R&B, and pure pop influences. In the same way that CRASH found Charli XCX diving headfirst into pop with a capital “P” on her own terms, a similar thing happened with Twigs and this mixtape. Caprisongs isn’t some massive transformation, it’s a full-bodied embrace of what already existed in FKA’s artistry. Her ability to craft shimmering pop hooks (“Tears in the Club”) and her careful balance of lust and restraint (“Honda”) shine throughout Caprisongs. The electronica base is still there, but Caprisongs is warmer and less industrial than any of FKA twigs’ other projects. Warmer, brighter, and packed with more surprises than one would think, Caprisongs is pop at its most interesting. Listen to: “Careless (feat. Daniel Caesar)” and “Papi Bones (feat. Shygirl)." Read the full review of CAPRISONGS here.

Survivors’ guilt plagues many of rap’s brightest stars. With more and more of rap’s new class falling victim to untimely passings, feelings of guilt, trauma, and fear characterize a large chunk of modern rap albums. On Ramona Park Broke My Heart, his fifth studio album and best since Big Fish Theory, Vince Staples soundtracks those feelings to slick West Coast beats courtesy of the likes of DJ Dahi and Mustard. It’s a surprisingly danceable record that finds Vince pacing back and forth down memory lane and parsing through the ways in which nostalgia has impacted those memories. “Reaching for my keys, she like, ‘Where you going? Stay with me’ / Hate to see her beg, she don't want me dead those memories,” he raps on the harrowing “Rose Street.” Guest appearances from Ty Dolla $ign and Lil Baby keep the album feeling fresh and current, but not at the expense of Vince’s layered storytelling and intricate narratives. Listen to: “Aye! (Free the Homies)” and “When Sparks Fly"

9. Gifted (Koffee)

Koffee made major waves with “Toast” and her history-making Grammy-winning Rapture EP, so the comparatively softer impact of her first full-length project came as a bit of a surprise. Regardless, it’s an excellent showing from one of the most fascinating artists of this era. Gifted finds Koffee grappling with the ways in which the COVID-19 pandemic transformed her outlook on life and approach to music. Koffee trades the bulk of her dancehall-adjacent rhythms (don’t worry there are still party tracks like “Pull Up”) for a greater emphasis on roots reggae stylings. On “X10” she reimagines Bob Marley’s seminal “Redemption Song” for an anthem of gratitude, and on “Defend” she reignites the flame for justice that burned throughout Rapture. Gifted is a mellow album, but it packs a mighty punch in its own way. Listen to: “Where I’m From” and “Lonely.” Read the full review of GIFTED here.

8. Palomino (Miranda Lambert)

After conquering the country music industry several times over, what else is there to do besides putting out great albums that feed the soul? That’s what Miranda Lambert gets up to on Palomino, her ninth full-length set. The record marks a solo return for Lambert who released the acoustic Marfa Tapes album alongside Jack Ingram and Jon Randall last year. The beauty of side projects is what comes after — how does an artist take the lessons learned and sounds experimented with and infuse them into their next proper release? With Palomino, the answer was adding some of the rugged bareness of the Marfa Tapes to the pop sheen that covers most of Miranda’s solo albums. Some reimagined versions of Marfa Tapes tracks ("In His Arms", "Waxahachie" & "Geraldene") make appearances on Palomino, and they fit perfectly within the sonic world of wandering and reflection that Miranda spends the album crafting. On Wildcard, Miranda’s last solo outing, a tendency to chase hits made the album feel uneven. Palomino remedies that issue with singles like “If I Was A Cowboy” and “Strange.” The big singles on this album on this album are more intimate with their reliance on wistfulness. Miranda just keeps getting better. Listen to: “Strange” and “Tourist.” Read the full review of PALOMINO here.

7. Dawn FM (The Weeknd)

Following up the biggest album of your career is never easy. When the biggest album of your career houses the most successful Hot 100 song of all time (“Blinding Lights”), several other massive hits (“Heartless,” “In Your Eyes” & “Save Your Tears”), and finds itself at the center of some of the most shocking Grammy controversy of all time… crafting a follow-up album probably feels like an insurmountable task. The Weeknd, however, is an artist who knows how to handle a challenge. Dawn FM, his fifth studio LP, finds him deepening the After Hours universe as his protagonist meanders through a funky purgatory laced with throbbing synths and Acheronian ballads. The Weeknd has perfected the 2020s approach to 80s synthpop, but that’s not even the most interesting thing about Dawn FM. In addition to narration by Jim Carrey, a spoken interlude from Quincy Jones, and immaculate transitions – the album is a larger commentary on The Weeknd’s career. A once anti-radio symbol turned radio darling, only he could have made the strongest entry into the radio-station-concept-album oeuvre. Listen to: “Out of Time” and “Is There Someone Else?” Read the full review of DAWN FM here. Vote for The Weeknd at this year’s Bulletin Awards.

Kendrick is back. The man behind cultural touchstones like good kid, m.A.A.d. city and DAMN. finally unleashed his fifth studio album this year. Featuring singles like “N95” and “Silent Hill,” the challenging LP finds Kendrick drowning in his own thoughts and clawing his way to the surface. There’s lots of talk about “universal themes,” but the indisputable impact of the COVID-19 pandemic on all of our lives is as universal as they come. Throughout Mr. Morale & the Big Steppers, Kendrick parses his way through all of the existential and personal questions that have existed on the periphery of his other albums. He unpacks his own abuse and trauma, clumsily recounts his journey towards accepting a trans family member, and rejects any proclamations that position him as a “savior” in any context. Mr. Morale & the Big Steppers is one of the most meticulously produced albums of the year. Every bass hit resounds with unmatched might and the album’s soundscapes frame Kendrick’s vocal performances nicely. Nonetheless, with the repeated use of the F-slur and the unfortunate appearance of Kodak Black, who pled guilty to first degree assault and battery in a 2016 South Carolina rape case, Mr. Morale’s missteps are hurtful and far-reaching. Kendrick gets in the way of his own growth and message with decisions like these, and, it’s ultimately not worth it. Listen to: “Rich Spirit” and “Mother I Sober (feat. Beth Gibbons).” Vote for Kendrick Lamar at this year’s Bulletin Awards.

5. It’s Almost Dry (Pusha T)

Confidence is everything. There’s a certain glow that emits from a person who knows that they are the only person that can do what they do, and Pusha T has that glow. On this terrific album, Pusha T continues his coke rap chronicles over downright otherworldly production from Kanye West and Pharrell Williams. It’s Almost Dry, Pusha’s fourth solo studio album, features one of the best JAY-Z verses in recent memory, a built-in pseudo-VERZUZ battle between Pharrell and Ye, and sneaky convergence of seemingly disparate spheres of rap. Easily Pusha’s most polished album to date, It’s Almost Dry’s polish doesn’t pose a threat to the grit and grime of Pusha’s rhymes. The album may sound “bigger” than his other offerings, but Pusha is still keeping the narratives close to home. The richness of Virginia grounds the vast majority of It’s Almost Dry. “Buffalo shrimps from Mahi Mah's / Coke deals upstairs at the Ramada / The oceanfront motels was popular / And crack was cemented phenomenon,” he raps on album standout “Call My Bluff.” Pusha has been claiming the Album of the Year title on Twitter for all of 2022, and with a release as strong as this one, he’s justified in doing so. Listen to: “Brambleton” and “Dreamin’ of the Past"

Few artists have a discography as consistent as Florence + the Machine. Consistently great that is. For the band’s latest record, Dance Fever, blends the mysticism of their earlier albums with the gruffer arrangements of their latest offerings. The mythos that grounds Dance Fever simultaneously pulls from the Christian and Greek traditions and casts Florence as the savior, heroine, and villain of her own constantly unraveling story. Like many of the albums on this list, Florence sings her way through her pandemic experience which features crushing questions that are existential in the sense that they interrogate what she thinks she knew about herself and her career. “And I was never as good as I always thought I was / But I knew how to dress it up,” she laments on “King,” the album’s opening track and lead single. Dance Fever also finds Jack Antonoff continuing his quest to work with every one of the marquee alternative pop/rock women in mainstream music. His contributions make Florence’s sound feel a tad less singular, but, more often than not, they result in wondrous creations like the whimsical free-wheeling “Heaven Is Here.” Florence’s art is notoriously steeped in history; her ability to make that history both accessible and fantastical remains unmatched. Listen to: “My Love” and “Cassandra.” Read the full DANCE FEVER review here. Vote for Florence + the Machine at this year’s Bulletin Awards.

3. Tana Talk 4 (Benny the Butcher)

Long live Griselda. The New York rap collective seems to pump out masterful projects like it’s nothing, and Tana Talk 4 is one of the jewels that shines the brightest. With The Alchemist handling the bulk of the album’s production, Benny the Butcher moves through the fourth installment of his Tana Talk series with a new set of narratives that further contextualize his traditional drug rap. Through playful vocal inflections and unpredictable delivery, Benny transforms his transactional approach to drug dealing. While he may not be relishing the literal act of dealing drugs or the perils that come along with it, he certainly relishes the art of rap — and the album is better because you can literally hear it. More often than not, terrific albums fail because the artist at the helm is taking themselves entirely too seriously. On Tana Talk 4, you can hear Benny’s dedication to the craft, but also, and more importantly, his dedication to himself and his own soul. He’s rapping from a place of self-reflection and maturity that’s incredibly grounded, so moments that should sound preachy instead sound as sincere as can be. “The first chance you get, you better get out this shit / Them old stories how you was gettin' dough won't amount to shit / Can't feed your child with it when they come wearin' jackets with alphabets,” he spits on “10 More Commandments.” Sure, Benny gets bested by a guest verse or two (namely the J. Cole feature), but it all makes for a thrilling record. After all, what’s a high without a comparative low? Listen to: “10 More Commandments” and “Johnny P’s Caddy (feat. J. Cole).”

2. MOTOMAMI (ROSALÍA)

“The girls who get it, get it” is often used as a cop-out, but, in all honesty, this description is apt for MOTOMAMI. For her sophomore studio album, ROSALÍA pulls off a stunning double-feature. Lyrically and thematically, she pulls inward. Motomami’s imagery doesn’t exactly give off warmth, but the album is an emotional reflection on how ROSALÍA’s relationship with herself, her family, and her God have evolved in the face of her newfound fame. At the same, however, the album bounces from reggaeton and dembow rhythms to flamenco and electronica. It’s a boundless sonic universe that’s held together by ROSALÍA’s self-awareness. Being hyperaware of your own immortality and impermanence is a crushing thing, but whether she’s dancing (“La Fama”; “Saoko”) or bearing her heart and soul (“Bulerías”; “Sakura”), ROSALÍA handles that knowledge with inimitable deftness. In her quest to unpack her own demons in her music, ROSALÍA has all but guaranteed that her name will live on in pop music history long after her limelight fades. An impressive showcase of vocal acrobatics and genius production choices, MOTOMAMI is a beast of an album that’s truly worth tackling. Listen to: “Bulerías” and “Sakura.” Read the full MOTOMAMI review here. Vote for ROSALÍA at this year’s Bulletin Awards.

1. Hypnos (Rayvn Lenae)

Maybe, just maybe, Hypnos will shut up all those (largely misguided) “R&B is dead” takes. Ravyn Lenae spends her debut full-length album studying the state of 2010s and early 2020s R&B. What sets Hypnos apart, however, is the way in which Ravyn injects different subgenres into the album. Notes of afrobeat, neo-soul, and house swirl throughout the album, eventually culminating in a symphony that floats above the atmospheric, and almost psychedelic, nature of the record. Featuring Steve Lacy, Mereba, Smino, and Foushée, Hypnos assembles alternative R&B’s brightest stars for tracks that are in conversation with one another as much as they are standalone capsules of greatness. Self-love, romantic relationships, and communication (or the lack thereof) are major thematic touchstones of Hypnos. Ravyn’s songwriting is excellent on its own, but her celestial voice gives her words an extra level of power. She’s not a belter, although there are a few hints of that on “Wish,” but her alluring tone and charismatic approach to phrasing make Hypnos feel timeless. Hypnos is, for lack of a better word, hypnotic. This isn’t hypnosis that’s a by-product of monotony; it’s a testament to how arresting the record is for its entire duration. Listen to: “Wish” and “Mercury”

Honorable Mentions: Ivory (Omar Apollo); God Don’t Make Mistakes (Conway the Machine); Un Verano Sin Ti (Bad Bunny); Before You Go (Blxst)

Listen to a playlist of the year’s best albums on Spotify, Apple Music, and TIDAL.