Damn, 2022’s over huh. Wild stuff. I got into birding. I fell down the stairs and made my concussion-destroyed head even worse. I fell down the stairs again like a week later because I liked it so much the first time. I became a mailman and lost my humanity for a few months and then stopped being a mailman. Maybe this new one will be better. Probably not.

But it was a year marked by my music listening habits trending more toward taking deep dives into discographies rather than keeping tabs on new releases. For that there are some big winners this year: Stereolab, who I’ve long appreciated but never ventured too far into beyond a handful of albums; Souled American, whose brand of “country on quaaludes” is unlike anything else; Cocteau Twins, a band I always appreciated but never totally vibed with outside of a few songs; The Wrens, who ok don’t really have very many albums but who, damn, were pretty good huh. And so on: Spires That in the Sunset Rise, Karate, Movietone, The Durutti Column, etc. It truly was the year of seeing even slight mention of a band and thinking “I need every one of their albums on my computer”.

This of course came at the price of not paying nearly as much attention to new releases than I typically do. This is an inherent truth with any end of year list, but I still feel obligated to say: I haven’t listened to nearly as much as I’d have liked to, so my favorite album of the year might still be out there! But I’ll work with what I have, and there’s still plenty.

I’ve historically never ranked my lists when I’ve done these sorts of things and have even said I do not like it, but for no real reason whatsoever I’ve decided I’m going to give it a shot this time. Take it with a grain of salt, of course—do I truly know the difference between, say, the tenth- and fifteenth-placed albums? Absolutely I do not. What’s my favorite as I write this might not be in a month, a day, an hour after I hit the push button and get this thing out there on the internet for everyone to see. Take it as a very rough snapshot of what I think of these albums at this very specific moment and nothing deeper than that.

I am going to write a bit about each album, but keep in mind that I am a terrible writer and an even worse music writer, so bear with me. What will likely happen is that you’ll see some paragraphs that have some effort put into them and then a bunch where I’d clearly given up. From there you can play a little game where you figure out the rough order I wrote these in. All that said, let’s get going:

43. Sonic Youth - in/out/in (Three Lobed Recordings)

A new Sonic Youth album in 2022? What the?? Well, kind of. in/out/in compiles some sessions spanning 2000 to 2010 of the band at their jammiest. As someone who once would have without hesitation called Sonic Youth my favorite band, I’ve since lost a lot of my love for them. I don’t especially care for Kim’s vocals, and Thurston’s lyrics were often, to put it bluntly, really fucking bad. But damn did they know how to make cool sounds with guitars. And so a Sonic Youth album without all that stuff I’m not into is exactly what I’m looking for these days. Probably an inessential Sonic Youth album for the typical person, but I can see it being one of the SY albums I reach for most often in the future.

42. Brian Eno - FOREVERANDEVERNOMORE (Opal Records)

I guess this guy’s famous for making the startup sound for Windows 95. Making music for a computer. What’s next, making music for an airport? Stupid. Well, he made a whole album here. And sings a lot! Huh. Well in any case it’s pretty good.

41. Raum - Daughter (Yellowelectric)

Collaboration between Liz Harris (Grouper) and Jefre Cantu-Ledesma, put together as a goodbye to a friend they’d lost. Devastating drones, a beautiful requiem. You know from the names involved if it’s something you’re interested in.

40. The Comet is Coming - Hyper‐Dimensional Expansion Beam (Impulse!)

I’ll admit it: I’m usually a skeptic of newer fusion-y “future jazz” type shit. So much of that stuff comes off to me like it’s made by people who know too much about music theory but not enough about making music that doesn’t sound like a YouTube video. But if Impulse! is putting these guys’ records out, surely they must be pretty good, right? As a matter of fact, they are. This is good, this is cool.

39. Andrew Bernstein - A Presentation (Hausu Mountain)

Solo album from Andrew Bernstein of Horse Lords (hey, perhaps more from them in a little bit). While Horse Lords work at least somewhat in the form of a rock band, Bernstein’s A Presentation is pure minimalist school kinda stuff: long-form drones formed by layers of overdubbed saxophone. Very nice, extra points for having some of my favorite album cover art of the year.


Putting this on here to prove once and for all that I’m not incapable of having fun with music. I can, I swear! “Matilda” is written from the perspective of lead singer Stefan Babcock’s once-loved guitar that has been tossed aside and forgotten about in lieu a more expensive, “better sounding” instrument. Sad song of the year! But Matilda is temporarily revived to bust out one last solo, and damn, what a triumph. She sounds great to me. Justice for Matilda!

37. Lambchop - The Bible (Merge)

The band who once referred to themselves as “Nashville’s most fucked-up country band” have become so fucked-up that they’re hardly a country band at all by this point. “Little Black Boxes” is a full on dance song filled with extreme use of autotune. “That’s Music”, one of the best songs of the year, is a beautiful chamber music tune that closes the album with 63-year-old bandleader Kurt Wagner seeming to pass the torch to a new generation before his voice fades into a mess of electronic garbage, the song’s title being his final words.

36. Animal Collective - Time Skiffs (Domino)

When I was in high school and just starting to get into “weirder” music, I blindly bought Sung Tongs after seeing it on end-of-year lists. Animal Collective quickly became one of my favorite bands. I bought everything I could find: Here Comes the Indian, the rerelease of Spirit They’re Gone, Spirit They’ve Vanished and Danse Manatee, Panda Bear’s Young Prayer, the Prospect Hummer EP with Vashti Bunyan. A worker at the long-and-sadly dead Buffalo record store Home of the Hits offered to sneak me into an 18+ show Animal Collective was playing here and like a damn fool I didn’t take him on his offer. Feels came out while I was in college, which I also loved, but thus marked the end of my love for the band. By the time Strawberry Jam was released I was becoming a real idiot about experimental music, and I poopoo’d anything not sufficiently weird enough for my refined palate. Saying all this, you can probably guess what I felt about their huge breakthrough Merriweather Post Pavillion. From that point on I was fully out except a few of the Avey Tare solo albums (which are very good!).

But word was going around with the release of Time Skiffs, “hey, now is the time for Animal Collective to be back, baby!” I gave it a listen, and, it’s good, folks! That got me thinking: what if Animal Collective was actually good this whole time? I went back and dug through their discography, the ones I used to love, the ones I never loved. Some I’d never heard. I still don’t love MPP like so many others do but it is quite enjoyable, Centipede Hz despite being oft-maligned might be one of their best. Turns out they actually were good, I was wrong and stupid, and I’m sorry.

And this is why you shouldn’t trust the word of a guy in college who just learned about the Nurse With Wound List or some shit.

35. The Smile - A Light For Attracting Attention (XL Recordings)

Somehow Thom Yorke and Jonny Greenwood put out some new music in May and I didn’t know about it until, like, a month ago. I don’t know man, it’s not a Radiohead album. But it’s basically a Radiohead album. There’s no subversion of expectations here: it does exactly what you’d think it would do. Why not.

34. Chat Pile - God’s Country (The Flenser)

After two insanely good EPs, Chat Pile’s debut full-length was probably my most anticipated album of the year. It mostly delivers, though I do think there are some clumsy spots where I find myself preferring the style of those EPs. This album found truly strange amounts of success and as a massive shithead I have found myself distancing from the album a bit because of how annoying people online have been about it. That’s a problem with myself rather than the album, no doubt, but that’s just how it goes.

33. black midi - Hellfire (Rough Trade)

One of the UK’s two great big art-rock buzz bands going today, I don’t especially feel I need to say a whole lot about them at this point. Nor do I want to try because I’m getting sick of writing these damn things! But anyway, Hellfire draws from even more influences, it’s unrestrained and chaotic, and it might be my favorite album from the boys yet.

32. Eli Winter - Eli Winter (Three Lobed Recordings)

Virtuosic guitarist Eli Winter joins up with a huge cast of guests, including David Grubbs, Yasmin Williams, Ryley Walker, jaimie branch (RIP), et al. Let’s not forget Sam Wagster, whose work on the pedal steel guitar is worth the price of admission. Damn I love those things. Fantastic little psych-folk album.

31. Tony Molina - In the Fade (Run For Cover Records)

I won’t settle until I get every person on this damned planet to listen to Tony Molina or his earlier band Ovens. For my money the best guitarist in the game and the true master of the short power pop song. This one’s got a nice mixture of his earlier sounds that hint at his punk/hardcore roots and the later Beatles-like stuff. As good a starting point as any of the albums. Go listen to it; don’t tell me you don’t have 18 fucking minutes! And then listen to the rest of his stuff!

30. Charlemagne Palestine, Oren Ambarchi & Eric Thielemans - ਚੈਨਲKAANALचैनलRÁÐעָרוּץ (Matière Mémoire)

An incredible collab and the first of a few times you’ll see Oren Ambarchi on this list. Charlemagne Palestine is known as an absolute legend of the New York minimalism scene, but this improv (I think?) set lies pretty close to jazz territory. Extremely good.

29. Boris - fade (Fangs Anal Satan)

In 2022, Boris “only” released three full albums: W, a real weird one that never fully clicked with me; their 700th album called Heavy Rocks, which I honestly barely remember; and to close out the year, a surprise release, fade, an album that recalls their early days as a drone band in the vein of Sunn O))). It should come as no real shock to anyone who knows me that this is the brand of Boris I like most, so this is my “Boris Album of the Year” (BAOTY).

28. Mamaleek - Diner Coffee (The Flenser)

Mamaleek are one of the most indescribable acts in music going today. Somewhere way back there is a foundation rooted in metal, but they’re also lounge, they’re surf, they have Badalementi vibes. A wild ride.

27. Puce Mary - You Must Have Been Dreaming & STUCK (Hypersomnia)

Two albums in one spot! Now that’s a good deal. Copenhagen sound artist Puce Mary released two albums a day apart and they’re right up there among her best. Puce Mary has always been somewhat subtler than her noise/power electronics contemporaries, opting for a more atmospheric approach instead of the all-out onslaught of so many others. Here she even further trends in that direction, using very little harshness but not giving up her ability to unnerve the listener. A harrowing, mysterious listen.

26. Carmen Villain - Only Love From Now On (Smalltown Supersound)

Kind of jazzy, kind of dubby, ambient whatever-you-call-it. First track features trumpeter Arve Henriksen, and that’s enough to get me immediately on board. I could see this one jumping up in rank quite a lot, but truth be told: I just haven’t listened to it enough yet.

25. Drowse - Wane Into It (The Flenser)

Heavy (musically) and heavy (emotionally) slowcore-adjacent stuff. Maybe there’s just something in the Northwest air, but shades of Mount Eerie’s more sound-drenched works come out in this. Quite possibly Kyle Bates’s best yet.

24. Daniel Bachman - Almanac Behind (Three Lobed Recordings)

Daniel Bachman emerged as one of the young American Primitive guitarists to carry the torch for Fahey, Basho, the sadly departed Jack Rose, etc. But like late-career Fahey, Bachman has a knack for experimentation, with this album incorporating noise, sound collage, and glitching to make a moving meditation on this planet’s ever-worsening climate crisis. Real case of “this one sounds exactly like the cover art” with this one.

23. Ryley Walker - So Certain (Husky Pants)

Nice lil EP from guitarist Ryley Walker. Is using comparisons overly reductive? Maybe. But hey, I’m just calling ‘em like I see ‘em: Check this out if you like Jim O’Rourke’s poppier stuff. I mean this extremely kindly—Jim O’Rourke is one of the biggest geniuses in music! And this is fucking good!

22. Shit and Shine - Phase Corrected (The Garrote)

You never know quite what you’re getting yourself into when you put on a S&S album. Maybe you’ll get all-out noise. Perhaps you’ll get some psych-rock jams, or something approximating grindcore. Busted-up disco? It’s possible. Or maybe you’ll get a single riff played over the course of 45 minutes (this is probably their best album for the record). Here on Phase Corrected, Shit and Shine are in blown-out, never-leave-the-red noise-rock mode and it kicks ass. Hell, if The Goslings aren’t around to do it anymore, someone’s gotta, right?

21. ulla - Foam (3XL)

A glitchy, ambient(?) album largely put together from cut-up piano and voice. Insanely hard to begin describing. Sample-based, glitched-out electronic music often has a dehumanizing effect but ulla manages to maintain a thread of humanness prevalent throughout. Extremely cool.

20. Branko Mataja - Over Fields and Mountains (Numero Group)

I was going to set aside an entire section dedicated to reissue and archival releases, but the fact is: I simply haven’t heard enough of them to warrant an entire section. And so instead, they’re going right on the list like everything else. Here we have an album of Yugoslavian guitarist Branko Mataja’s solo guitar work. I knew this would be a favorite ten seconds in. Haunting, cinematic, incredible. As a general rule: if Numero Group reissues it, it’s probably worth listening to.

19. Clarice Jensen - Esthesis (130701)

There’s nothing I am worse at writing about than highly conceptual works of music, especially if they’re made by real composer types. I guess this was at one point meant to be longer and with a live performance aspect to it that COVID fucked up, and I guess it had once (maybe still?) been meant to do this thing where it went cycled through the circle of fifths, but I’m just a stupid guy with very little musical training so I can’t talk about any of that. The tracks each use a base emotion to evoke and explore, all through the lens of the isolation we’ve all been experiencing. A great “not-quite-ambient, not-quite-drone” modern composition album. I don’t know, it’s good! Maybe my favorite cover art of the year too? Sorry I’m so stupid!

18. Oren Ambarchi - Shebang (Drag City)

Probably Ambarchi’s most accessible work to date. If you’re into The Necks (speaking of which, Chris Abrahams shows up in the cast), or perhaps even something like that Steve Reich album performed by Kronos Quartet & Pat Methany, I urge you to give this one a listen.

17. Jockstrap - I Love You Jennifer B (Rough Trade)

Georgia Ellery (of Black Country, New Road) and Taylor Skye’s debut full-length as Jockstrap is an enigmatic, genre-hopping album. This type of thing can often come off ironic, but I Love You Jennifer B is as sincere and intimate as it is Big. Extremely hard to think of how to even begin approaching writing about this. I did listen to this all day delivering mail once, so it’s for the foreseeable future entwined with a very specific time and place in my life. That doesn’t really give any meaning to the album, but it is a story. It did get me through a day, so that’s cool right. Or I mean, I imagined it all day as I delivered mail. Mail carriers aren’t allowed to listen to music while delivering, so I definitely didn’t do that.

16. Soul Glo - Diaspora Problems (Epitaph)

Kicks ass. All I got for this one. It kicks ass!

15. Duster - Together (Numero Group)

Duster surprised us with a follow-up to their good but not great 2019 self-titled comeback album. And this time: they’re fully back, baby! I guess unless you like the more meandering, spaced-out parts of Stratosphere, which you won’t get much of this time around—for the most part, Together is reasonably tightly-constructed, at least by Duster standards. But the songs are great, and it was one of the albums I found myself constantly spinning when I couldn’t think of what else to listen to.

14. Oren Ambarchi / Johan Berthling / Andreas Werliin - Ghosted (Drag City)

The king of this year’s list makes his third and final appearance with Ghosted, an incredible album with the deep driving groove of krautrock and a minimal jazz instrumentation. Again, if you like The Necks… this one’s for you. Easy to get lost in these rhythms.

13. Silvia Tarozzi & Deborah Walker - Canta di guerra, di lavoro e d’amore (Unseen Worlds)

There’s no way I can describe this album better than the prose on its press release does, so I’m just going to unashamedly lift it:

With “Canti di guerra, di lavoro e d‘amore” the duo add folk music to their contemporary classical and improvised music roots, reinterpreting songs from their youth in rural Emilia that originated from the emancipation of working class women and the partisan Resistance in World War II, especially ones sung by choirs of female rice field workers, called Mondine or Mondariso. Their songs tell a story of hard, poorly paid work, love, the hypocrisy of society, protests, war, the challenge of working far from home, the violence of oppression and the need for political awareness. Following years of incorporating, reinventing, and transforming these songs within their practice, Tarozzi and Walker unlock emotional territory where their relationship with Emilia resonates in concert with other sounds and places.

This is a remarkably moving album, with a spirit that clearly shines through despite me not understanding a word of Italian.

12. Diamanda Galás - Broken Gargoyles (Intravenal Sound Operations)

Even at the age of 67, Diamanda Galás is capable of unleashing horrors with her voice that makes everything else seem tame. She’s so cool.

11. Bill Orcutt - Music For Four Guitars (Palilalia)

This album sees the guitarist of the seminal noise rock band Harry Pussy working in a space more formal than his bluesier improvisational albums but also more, I’ll go with, immediately listenable than his Fake Estates experiments such as A Mechanical Joey, which deconstructs a Joey Ramone song count-in and rebuilds it into the closest to a dissociative experience you can get in music. Here in 14 sketches that never outstay their welcome, he weaves a number of guitars I’m sure you can figure out into a complex web, the kind of thing that leaves people unable to keep themselves from saying the words “Steve Reich”, and hell, not be off base for saying them. Bill Orcutt is probably the most interesting guitarist alive, and this time around he’s got four of ‘em. Can’t beat that.

10. Carl Stone - Wat Dong Moon Lek (Unseen Worlds)

One of the pioneers of live computer music continues his late-career hot streak with an album composed of a bunch of discrete samples firing off at a rapid pace. This kind of deconstruction of music can often come off as overly academic, but this one is fun. This one’s got hooks. What we get feels like a celebration of the joy of music creation. Unmissable album, full of life, one of the year’s best.

9. Ellen Arkbro & Johan Graden - I get along without you very well (Thrill Jockey)

Minimal, restrained, slow chamber pop songs. Arkbro has a background in modern classical, jazz, ambient, etc., and in a way any one of those descriptors fit this album. Or maybe none of them? I am reminded of Julia Holter’s poppier works, or at times the sorts of chords, intervals, and instrumentation heard on These New Puritans’ masterpiece Field of Reeds, just without ever boiling over in the way the tracks on that album do. But do not get me wrong—this is not an album lacking in tension. It’s not breezy. There’s a sense of unease permeating throughout this whole thing. And that’s what makes it so special.

8. Pan Daijing - Tissues (PAN)

Operatic and tormenting, Pan Daijing’s Tissues is pure emotion at its rawest. Challenging and essential.

7. Eric Chenaux - Say Laura (Constellation)

There was this mid-00s project I think I’m one of maybe five total fans of called The Reveries, whose gimmick was what they called mouth-speakers, in which their instruments were all connected to cell phone speakers in each other’s mouths, wherein they would shape—literally!—how the instruments sounded based on how they formed their mouths, sang, etc. What resulted was the wooziest, drunkest covers of jazz standards you’ll ever hear. Fucking brilliant stuff. Well, Eric Chenaux was in The Reveries and he’s since made a minor splash as a songwriter on his own with a handful of incredible albums on Constellation. Recognizably rooted in pop music but through a distorted lens, I can’t think of anyone doing anything at all like what Chenaux does. Also: I can’t confirm it but it sure sounds to me like he’s back at it again with the “mouth-speaker”. The other four Reveries fans and I are hooting and hollering.

6. Horse Lords - Comradely Objects (RVNG Intl.)

Are Horse Lords the best band going? They might be. There’s nothing like them on the planet. Is it free jazz? Is it krautrock? Is it a chaotic, maximal take on Steve Reich or La Monte Young-styled minimalism? Bluegrass? Afrobeat? The answer: yes. A band doing this much and being this in sync is an awe-inspiring experience. It leaves you floored from start to finish. And on top of all that it’s just plain fun!

5. Širom - The Liquified Throne of Simplicity (Glitterbeat)

Slovenian trio Širom call themselves “imaginary folk” music. This may sound like a baffling description until you listen to it. Using dozens of acoustic, worldly, and maybe even handmade instruments, The Liquified Throne of Simplicity feels like a study in ethnomusicology, but from what culture, exactly? It is a psychedelically transportative album, but to where? It is this that makes this one of the year’s most compelling albums.

4. Patrick Shiroishi - Evergreen (Touch)

I hadn’t become aware of Patrick Shiroishi until 2020’s Descension, an unflinchingly relentless album of solo saxophone and electronics. Last year’s excellent series of albums under the Fuubutsushi moniker brought to mind the sorts of jazz you’d hear on ECM, proving he’s got more than just ferocity under his belt. Here on Evergreen he shows even more stylistic diversity, with this haunting album of field recordings and ambient soundscapes.

Since I’m getting lazy again, let’s hear from Shiroishi himself on his record:

“…I wanted to create a work that was unique in its own world. Someone reading this may or may not know that I have been diving into my family history and processing that through music. Last year, I took a couple of trips to Evergreen Cemetery in Los Angeles, where several generations of Shiroishis are buried and a place often visited when growing up. Sitting there with my Zoom recorder on, at what seemed like the peak of the violence towards Asian Americans, I felt at peace being close to them.


Hoping that you listen to this music in one sitting and think about your ancestors as you do - we all come from somewhere, and there is not a moment when they are not with you.”

3. Richard Dawson - The Ruby Cord (Domino)

The Ruby Cord opens with the 41-minute epic “The Hermit”, which starts out painting a landscape that would be perfectly at home in Dawson’s 2017 storytelling masterpiece Peasant, an album that in its Middles Ages setting tells tales urgent to us yet today—families being torn apart by an unjust society, the oppression of the poor, all that sort of thing. But we soon find out this surely is not the setting of Peasant, nor is it the setting of Dawson’s followup album 2020, which brings us into the modern day with such stories as Amazon workers watching their coworkers collapse or the inhuman treatment of the homeless. No, instead we are transported into the future, and it seems like humanity hasn’t done so well for itself.

In “Museum”, The Ruby Cord’s most direct song, we visit a museum display of the lives of everyday people, centuries after we’ve ceased to exist. Shoppers, classrooms, sports fans. Climate protestors being beaten by the police. So we’ve done this to ourselves, haven’t we. Well, they’re just distant memories now, curios in a museum. Sucks for us.

Gun to my head, with the freak holding it inexplicably wanting to know who I would consider the best living songwriter instead of robbing me of my wallet, there’s a good chance I would land on Richard Dawson. Certainly the best storyteller in music at least. Another incredible one from him.

2. Kali Malone - Living Torch (GRM)

The most powerful drone recording in years. An overwhelmingly emotional experience. Transcendent, holy.

1. Lucrecia Dalt - ¡Ay! (RVNG Intl.)

If I made a ranked list last year, Colombian musician Lucrecia Dalt’s collaboration with Aaron Dilloway, Lucy & Aaron, probably would have topped that list. Well, she’s performed the repeat with ¡Ay!, an album that recalls the music she grew up around but abstracted through time and space, a sci-fi transformation. Endlessly adventurous and full of life, every subsequent listen has me finding a new favorite moment. I don’t recall where, but I remember reading a comment comparing this album to Wong Kar-Wai’s 2046, which seems like the perfect description to me. Can’t miss this one.

Albums that likely deserve a spot on the list, maybe even high up, but which I either need to listen to more or which entered my mind well after I had given up adding more things. We’ll just call it “Honorable Mentions”, I suppose:

  • Laura Cannell - Antiphony of the Trees (Modern composition, Brawl Records)
  • Sarah Davachi - Two Sisters (Modern composition/ambient, Late Music)
  • Black Country, New Road - Ants From Up There (art rock, Ninja Tune)
  • Bill Nace - Through a Room (experimental, Drag City)
  • Bitchin Bajas - Bajascillators (psychedelic? krautrock?, Drag City)
  • Carla dal Forno - Come Around (experimental pop, Kallista Records)
  • Matthew J. Rolin - Passing (nice guitar stuff, American Dreams)
  • caroline - caroline (uhhh post-rock-but-not-really, Rough Trade)
  • Björk - Fossora (Björk, One Little Independent Records)
  • Myra Melford’s Fire and Water Quintet - For the Love of Fire and Water (jazz, Rogue Art)
  • Mary Halvorson - Belladonna (jazz, Nonesuch)
  • Oiseaux-Tempête - What on Earth (Que Diable) (the one band who is Godspeed-like but also, like, “get” Godspeed, NAHAL Recordings)
  • Winged Wheel - No Island (shoegaze kind of, 12XU)
  • Olli Aarni - Loput (ambient, LAAPS)
  • Taylor Deupree - Harbor (ambient, LAAPS)
  • Tomotsugu Nakamura - Nothing Left Behind (ambient, LAAPS)
  • everything The Reds, Pinks & Purples did (pessimistic jangle pop, some self-released/ some on Slumberland)
  • Huerco S. - Plonk (electronic/experimental/ambient, Incienso)
  • Beispiel - Muster (experimental electronic, Faitiche)
  • Weyes Blood - And in the Darkness, Hearts Aglow (pop, Sub Pop)
  • Winter - What Kind of Blue Are You? (dream pop, Bar/None Records)

And with that, I am calling the list complete. I have put an astoundingly idiotic amount of work into this thing and frankly, I just want to get it out there before I and everyone else stops caring about it. I am a bad writer and this was difficult for me to do, but hopefully someone out there thinks it’s worth it.

There are likely a ton errors—both factual and grammatical—and things I would change if I did a heavy revising session, but again: I’m fully done with this after this amount of effort. It is what it is.

Be on the lookout for some more little bits of writing on this site; I would like to get back into the habit of even if only for my benefit getting some words down somewhere. I intend to write about my time at the post office, I have a few other things I’ve wanted to write about for months now but was too tired to get into while I was working. I guess now is the time to do so if there ever was such a time.

Hope your 2023 is a good one. Be well.