This is the pitchwork review, the show about the musicians we're obsessed with and the albums you need to know right now.

I'm Pooja Patel, the editor-in-chief.

Last week, we covered a lot of the best and worst music of the year from some of our biggest artists.

And in case you haven't listened to that yet, we didn't hold back.

I think that song is way overhyped and overtorced.

I think it is music for children.

I think it's performative and untruthful.

I think the emotional locus of the song, let me finish.

This week, we'll be diving into the indie scenes, because to be honest, that's where a lot of

the most extraordinary music of the year was being released. In just a minute, I'll jump back in

with reviews editor Jeremy

Larson and features editor Ryan Dombel to talk about the good, the bad, and the forgettable of

2022. Plus, our favorite songs of the year, and we'll hear from some of pitchfork staff

about the music at the top of their year-end playlists.

Hi, my name is Isabella Herrera, and I'm a contributing editor at Pitchfork. My favorite electronic album of the year is probably Shy Girls Nymph. I think it's such a fun, playful combination of

club music, hip-hop, lots of Y2K, sort of throwback nostalgic vibes, but also very much showing a more vulnerable side of shy girl

that we haven't seen before.

I think Cucci, a bedtime story, is my favorite one.

I think it just really encapsulates how sort of like flirtatious and playful

shy girl can be, but, you know, also really innovative when it comes to production.

All night, every know, also really innovative when it comes to production.

I think it's really fun to listen to, like, before going out, getting ready for the club,

...