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is literally endless.

It ends and you play it again, and you play it a thousand times, then you get bored, you put it aside for a while, one day you play it again and a new cycle of a thousand times begins.

It's a night you never want to end.

It tastes salty, it sounds horny, it floods you with heat

, it contains rhythms like whipping and it's so sexy it's scary.

It's a delusion.

It is a release.

It's Beyoncé's great gift to the world.

It has disco, funk, house and dance-pop updated so brilliantly that at its climax it's a rock to the back of the cortex, which is where consciousness resides: shut up and dance, idiot!

And on this glass nag, Beyoncé rides like a fantasy horsewoman.

When the world needed fun most, the singer-songwriter-producer shrewdly conceived, meticulously crafted, and exuberantly finished

a cathedral of joy and enjoyment

: academically rigorous, authoritative, crammed with references, liberating messages, and a love of truth. music and dancing which are a celebration in themselves.


Some Anglo-Saxon media have chosen


's album as the best that has been recorded in 2022 worldwide.

The best ever.


Les Inrockuptibles

, which is the most important cultural magazine in France, the British newspaper

The Independent

and one of the hegemonic magazines of entertainment in Hollywood,



For dozens of other media it has been among the top 10.

With this I want to try to show that saying that


is the second best album of the year after Beyoncé's


is not a cheap example of chauvinism.

But it is also a justification, which is one of the worst things there is, as well as something unnecessary: ​​the album is

a masterpiece of modern pop (modernazo)

, so fresh, groundbreaking, adventurous and full of surprises, so sophisticated in all its aspects, with an original and genuine vision that emanates from its own identity, which are the attributes of the best pop, and that does not need to be validated by the international press to be more true.

To know more


The US press surrenders to Rosalía: second best album of the year for the 'New York Times'

  • Drafting: JAVIER BLANQUEZBarcelona

The US press surrenders to Rosalía: second best album of the year for the 'New York Times'


Beyoncé, queen of 2022: the best album and the biggest party of the year

  • Drafting: PABLO GILMadrid

Beyoncé, queen of 2022: the best album and the biggest party of the year


But Benito, how could you imagine something so big?

And so varied, and so far removed from clichés, and with that immense range of possibilities, like a big hug to all the Latin music possible today, a record that would bring urban music closer to skeptics, to those outside the niche, a a record for everyone, so festive and fun, so crazy at times, that it suddenly speeds up as it softens or even becomes melancholic, oh, Benito,

an immense summer record

to escape in which the styles are not connected islands but the Ingredients for a large stew that bubbles over the fire, from reggaeton to cumbia, from mambo to dancehall, from dembow to merengue, from trap to salsa and bachata between jolts of electronic pop.

The enormous success, his almost ridiculous dominance in half the world, have reaffirmed the Puerto Rican as the great Latino icon of our time, the main person responsible for the fact that Latino cultures are so appreciated.



The rigor and artistic ambitions of the Los Angeles rapper have reached a new Everest on this gigantic album, for good, but also for great: 78 minutes in which there is no room to take a breath.

He spills out full of ideas, defined by

changes and jolts from song to song

and within each song, musical and lyrical jolts: contradictions, outbursts, insecurities and confessions.

He is the king of the game.


A new Phoenix record is the


that makes a can of soda ice cold when you open it with thirst.

It's all play,

it's all fun

and some mischief and a bit extravagant elegance in their cool pop songs, sustained songs on wonderful melodies, but in which, as is always the case with the French group, they flourish with arrangements and interpretations full of ingenuity.


They are old-fashioned girls, they have a sense of humor, they are prone to hooliganism and they couldn't be more cool.

And they couldn't be more English, with these slightly weird catchy songs, with indie guitar and post-punk basses and some garage rock claps and pedals and natural, wonderful voices, and with hardly any intervention from electronics, or synthesizers, or organs or sounds manipulated with a computer program, which is almost an eccentricity.


funniest retro ditties

about being in your underwear on the chaise longue of the year.


If Bizarrap hasn't recorded any album, what is it doing on this list?

Life doesn't make any sense, but neither would ignoring the six songs that the young Argentine producer has released in 2022 and that

are unrivaled in terms of relevance and influence


Only his session with Quevedo is the best example of the spirit of our time and, at this point, each new song that he unleashes is an international event, whether in rap or urban music.

Biza is the man with whom any singer would want to record.


Now that boys no longer want to do rock and roll and girls less, now that boys don't want to see guitar groups at festivals and girls less, now that gentlemen have learned to appreciate the difference between Bad Gyal and La Zowi and the girls more, now that basically no one cares anymore about angry guitar bands like bloodthirsty fleas, bands playing on the edge of a nervous breakdown,

defiant post-punk bands

with a wicked sense of humor, with no time to waste a minute, by rock groups that just want to annoy, now, I say, it's time to listen to Yard Act's debut over and over again.


Conceptually tighter than La Roca Johnson's buttocks, this great musical odyssey brings together concepts, sounds and references meticulously combined in a demonstration of both talent and work (Abel Tesfaye is a composer and producer).


journey from darkness to light

, inspired by purgatory, sounds like electronic pop from the 80s, an aesthetic that has been highly vindicated for years and that the Canadian recovers with all the brilliance it requires.


In the contour of sad American rock, which for not being a musical genre has thousands of groups, Big Thief is now the most exciting thing there is.

On her latest beautiful double album the desperate intensity of her early days is toned down considerably, though Adrianne Lenker's voice remains

a taut wire

even on soft ballads.

Between folk, city country, rock and bohemian author song, with literary aspirations and facing the contradictions of existential dissidence in the US, she continues to sing always inward and always wanting to escape from everything.

She is unique and she is wonderful.

According to the criteria of The Trust Project

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