The Best Canadian Albums of 2022

Best Canadian Albums of 2022

Label: Five Stone

Released: May 11

True to its title, Dylan Sinclair’s No Longer In the Suburbs unfolds against the backdrop of a relationship Sinclair began shortly after moving to Toronto. Given the honesty and vulnerability in his singing and songwriting, rooted deeply in his gospel background, Sinclair’s experiences are extremely relatable to anyone trying to find themselves in their early 20s. Largely under the aegis of Jordon Manswell’s skilled and soulfully sumptuous production, the album finds Sinclair deploying his plaintive voice to various stages of internal and external relationships. Album opener “Rational,” replete with TTC chimes finds Sinclair riddled with self-doubt about his move towards self-reliance in the city, while tracks like standout “Open” and “Lifetime” navigate the emotional landmines that can plague and ultimately undo early relationships. The potent blend of gospel-tinged R&B Sinclair explores has been compared to that of fellow Toronto artist Daniel Caesar, but it’s clear on No Longer In the Suburbs that Dylan Sinclair is clearly telling his own story in his own captivating way. —Del Cowie

Label: Chung Tzu

Released: September 19

Chung raps with a level of refinement that you don’t often find over sample-heavy, nearly drumless beats. Her soft-spoken verses are consistently nonchalant, almost as if rapping comes as effortlessly to her as her self-confidence does. See You When I C U is a testament to Chung’s growth, both as an artist and as a woman, made explicitly clear on the standout track “Bellona.” Don’t mistake Chung’s porcelain-like delivery for dullness, she raps like a freshly sharpened katana. —Louis Pavlakos

Label: Rico Rich

Released: October 21

Raccoon’s “Shoot” may be a year old, but its solemn subject continued to ring true throughout 2022, a year when Montreal youth were affected by violent crime. The track appears on C00N: la prophétie, an album that explores deeply personal topics like his Haitian identity, alcoholism, and depression. Despite explicitly sombre moments, Raccoon never self-loathes nor is he ever self-indulgent. Songs like “Victime,” “C00N” and the aforementioned “Shoot” show the more ominous side of the city that molded him through raps that rarely ever leave room for misinterpretation. —Louis Pavlakos

Label: Unit 01

Released: October 14

With Albion Road Demos., Thelonious’ polished lyricism and buttery smooth flows are on full display, as he delivers a sound and style reminiscent of early 2000s midwest hip-hop. Rife with fusions of jazz and soul, the project’s instrumentals evoke warm feelings of familiarity and nostalgia from the first listen, while Thelonious’ verses familiarize listeners with his story. The song “Yesterdays.” perfectly encapsulates the spirit of this EP, as Thelonious takes listeners on a trip down memory lane, painting pictures of his youth in Rexdale over a laid-back, guitar-laden instrumental, featuring a beautiful hook from Toronto’s own Benita. It’s a near-flawless five-song foray into the story of one of Canada’s best up-and-coming lyricists, and a perfect introduction to Thelonious as an artist. —Wesley McLean

Label: Arts & Crafts

Released: April 29

Winner of this year’s Polaris Music Prize, Pierre Kwenders latest effort is a logical sonic extension of Kwenders’ previous releases, while drawing deeper from his own personal experience. Montreal-based Kwenders draws on and reassembles Black musical diasporic forms to exhilarating effect. Kwenders pays little heed to genre throughout, liberally bouncing between Congolese rumba, electronica, R&B among other sounds while delivering lyrics in a variety of languages including Lingala, French, English Tshiluba and Kikongo. The trance-inducing “L.E.S,” the reverential “Papa Wemba” and the beguiling “No No No” are among the album’s eclectic highlights. It probably all shouldn’t work together, but Kwenders’ fearless singular artistic vision, thematically bonded by Kwenders’ familial inspiration is the resonating and binding force. —Del Cowie

Label: Mike Shabb

Released: March 3

2022 was a huge year for Mike Shabb. He scored a huge production credit on Westside Gunn’s 10, but he also dropped his own albums, including Sewaside II. Shabb comes as a complete package, whose unique flows, and healthy combination of personal and witty bars make him an enticing MC. These qualities are emphasized throughout Sewaside II’s 16 tracks. On “Pray to God,” he makes his flow seem effortless over a challenging vocal-looped beat. “Couldn’t care less about what they sayin’, I made my mom proud,” he proudly exclaims. He’s mature and intuitive on the mic, but also experimental and quick-witted. “I Aint Even in My Prime” confirms that this is just the start for Shabb. —Isaac Fontes

Label: +1 Records

Released: August 12

After about a decade as one of Montreal’s brightest stars, Nate Husser has finally released his debut solo album All Time High. The short collection of songs, all of which would work as singles, truly displays Husser’s magnetism and star power. The guest appearances from Babytron, LUCKI, Cousin Stizz, Reeves Junya and Brockhampton alumnus Merlyn Wood showcase Husser’s chameleon-like ability to be the highlight on tracks with any rapper. The album’s solo tracks are a testament to Husser’s allure, as even on the weaker instrumentals, his dynamic flows and undeniable charisma carry songs entirely. All Time High is a fantastic coming out party for new fans, a welcome treat for older fans, and proof that Husser has yet to reach his ceiling. —Wesley McLean

Label: Beezee Inc.

Released: June 10

The Toronto mainstay gave us a taste in 2021 with the undeniable single “30,000 ft” with Northsidebenji, but proved he was only getting started on locking down major features for his inevitable full-length. Now it’s here and it’s as much a celebration of Charlie’s stature in this industry as it is a platform for what’s next in his hometown. He asks for Smiley in the intro and he receives an opening salvo. Duvy, Roy Woods, Pressa, Haviah Mighty, and more all lend their voices with enthusiasm. If Khaled can race through his rolodex and build a dream team album with whoever he wants, so can Charlie B. —Erik Leijon

Label: OVO/Warner

Released: October 28

The first question that comes to mind after a full-listen of Working On My Karma is: Who hurt you? While DVSN have always been known to make sexy R&B love songs, their past albums seemed more hopeful about their love lives. The OVO Sound signees’ newest record takes a pessimistic, albeit perhaps realistic, approach to these love affairs. Through their leading singles “What’s Up (feat. Jagged Edge)” and cheating anthem “If I Get Caught,” DVSN show a mix of emotions when it comes to navigating relationships, creating an album that feels both like a love letter to the past and a foreshadowing to an uncertain future. -—Jacob Carey

Label: Unique Applause

Released: April 8

There’s a palpable sense of evolution at play on Tanika Charles’ third album. While her first two albums Soul Run and The Gumption leaned heavily on polished retro soul vibes, Papillon de Nuit: The Night Butterfly is a triumphant synthesis that flits through a number of contemporary styles. Whether it’s the rubbery R&B sheen on the Dijahsb assisted “Different Morning” or the beguiling Robert Glasper-esque title track, the songs foreground Charles’ captivating versatile voice and courtesy of the stellar songwriting on display, stay rent free in your head long after listening. —Del Cowie

Label: Universal Music Canada

Released: September 24

Savannah Ré has never been afraid to tell us how she’s feeling and when she does, there’s no denying that we’ll all be able to relate. On No Weapons, Ré links back up with Toronto natives Boi-1da and Yogi The Producer to produce a project that seems a bit more vulnerable and way more self-reflective. Whether it be the EP opener “Caution,” which shows a more boastful collected side of Ré, or the closing track “WTF” where her tone is stronger and her frustration pours through, she goes through the tumultuous feelings of someone growing into themselves and reflecting on the mistakes of their past, and it’s an entertaining ride. —Risi Bello

Label: XO/Republic

Released: September 9

Nav’s fourth studio album in five years arrived earlier this year and was backed by some serious hype following the star-studded lead single “Never Sleep” and a vintage-sounding single in “Wrong Decisions.” Within the album, there are glimpses of the vulnerability and sincere reflection that were present on his debut self-titled tape that helped propel him to the level of stardom he’s at today. Mixed with his effortless ability to flow melodically over an array of beats, as well as his knack for flexing the perks of his lifestyle in entertaining (and sometimes humorous) ways, Demons Protected By Angels is Rexdale’s own settling into his position as one of Canada’s sure bets. —Isaac Fontes

Label: Distorted Muse

Released: December 2

After a few jam-packed releases that went for the Polaris Prize grand jury jugular, the Vancouver-via-Kitamaat duo get a well-deserved victory lap on their easygoing surprise year-end drop. That’s good, because Young D and Yung Trybez have a lot to celebrate. In a sea of solo acts they’re likely so-called Canada’s finest group, and with every release seem to pick up more momentum. This time around, they’re feeling themselves and not overly concerned with hitting another artistic plateau, which makes I’m Good, HBU? and even more unlikely triumph. No one ever doubted they had bars or charisma, and now we’re seeing just how multi-faceted they can be. —Erik Leijon

Label: OVO/Republic

Released: November 4

Drake said 21 Savage pushed him to be “unfiltered” on their collaborative album, and it’s exactly why Her Loss arguably stands as the year’s most divisive big release. The pair are at their absolute bawdiest and mischievous here, with Drake especially enjoying his heel turn a little too much. The totally uncalled-for line seemingly about Megan Thee Stallion is probably where many fans will dip, although it’s hard to deny he’s not at the top of his game in other moments, especially on a song like “Middle of the Ocean.” And giving Savage the starring role on a timestamp track? They’re clearly looking for listeners to take the bait at every turn, meaning your mileage may vary as the barbs fly. —Erik Leijon

Label: ArtHaus

Released: February 11

Throughout the 11 tracks that make up When Flowers Bloom, Adria Kain never relinquishes her celebration of love. Even when certain relationships seem like they’re doomed to fail, like on “Lost One,” Kain’s voice still retains an ounce of hope, one that keeps returning until the very end of the project. Though the album ends with a dissolving relationship, Kain still holds the tender moments that she experienced close to her, packaging it in a teary-eyed farewell to her significant other. When Flowers Bloom is about the acceptance of failure and the importance of looking for a better tomorrow. —Louis Pavlakos

Label: Nicholas Craven Productions

Released: September 30

On paper and in practice, a Nicholas Craven and Boldy James collaboration is a perfect match. Since Boldy’s joint album with The Alchemist in 2020, the Detroit rapper has consistently put out albums with the guidance of a single producer, while Craven has proven to be an expert at molding his beats to fit a rapper’s sound. Fair Exchange No Robbery is no exception. Boldy’s storytelling never sounds boring, switching seamlessly from the cinematic “Stuck in Traffic” to the purgatorial “Scrabble” all the way to the lullaby-like closing track “Power Nap.” —Louis Pavlakos

Label: Ugly Hag

Release: October 31

The final chapter of an album trilogy that sounded off in 2020 with God Has Nothing To Do With This Leave Him Out Of It and pumped up the volume with 2021’s I Lie Here Buried found the industrial hip-hop talent in complete control of her all-around composition quality. Backxwash’s ear for creating uncomfortable, angular beats that balance pain, rage, and hope through iconographic lyrical imagery made the leap from the fleshed-out experimentalism exhibited in previous efforts to a fully-formed final boss monster that both concludes the series and invites repeat binge-listens to the entire three-album she-bang. —Darcy MacDonald

Label: FMLY/Island

Released: September 16

Reyez gives you everything she has, and when there’s nothing left to give, she finds even more layers to peel. It’s this unflinching honesty about who she is and where she’s from that has endeared the Torontonian to so many, and it’s what makes Yessie a personal diary listeners can’t put down. There’s only one collaboration, from 6lack, and that’s for good reason: Reyez is the singular storyteller here, and while she draws upon challenges from her past to add emotional weight to her earworms, she’s never bogged down by what’s come before. And for that reason, if there was ever any belief she couldn’t follow up her meteoric rise, those doubts have been resoundingly squashed.  —Erik Leijon

Label: OVO/Republic

Released: June 17

Drake entered his house era when he served up the album that no one was expecting this summer. From roasts that claimed he was making Zara music, to people who doubted the success of an album dropping so close to Beyoncé’s Renaissance, Drizzy took all the criticism and jokes in stride with a wink, and proved that he’s never afraid to keep pushing the boundaries of hip-hop, even when others might not “get it.” It’s an album that keenly observed the global appetite for more Wizkid- and Burna Boy-sounding tracks and leaned further into those influences than ever before. Weaving in Afrobeats and dance throughout the album, Drake proved that he is paying attention—he’s someone always looking ahead and waiting for the rest of the world to catch up. While Honestly, Nevermind isn’t an album that showcases his best wordplay, it gets major points for creativity because of the experimentation. He’s created a colourful mosaic of genres, in a way that only Drake can. Other hip-hop artists aren’t making anything that sounds like “Massive” or “Sticky,” which is why it’s so exciting to see Drake to not care, have fun, and continue evolving, even after all this time. —Natalie Harmsen

Label: XO/Republic

Released: January 7

Abel Tesfaye is no stranger to forming his records around a loose conceptual framework, but on what’s considered his fifth long-player, the Jim Carrey-hosted radio station from purgatory somehow keeps things both macabre and light. Alongside executive producers Max Martin and Oneohtrix Point Never, arguably two men at opposing ends of the pop spectrum, The Weeknd dances with mortality, making for some of his most explosive, satisfying pop singles in a career full of them, without losing the trademark darkness. But while past leaps into the underworld relished the suffering with nary a wink, Dawn FM has hints of whimsy throughout, whether in the form of the aforementioned Carrey cameos or a glittery Tomoko Aran sample after a scarring childhood story from a frank 89-year-old Quincy Jones. If you can’t laugh at your own grave misfortune, what can you laugh about? —Erik Leijon