Most Anticipated Albums of 2023

2022 was one of the best years of music in recent memory. The releases of incredible albums like Black Country, New Road’s Ants From Up There, Weyes Blood’s And In The Darkness, Hearts Aglow, and Big Thief’s Dragon New Warm Mountain I Believe In You, among many others, set a high standard for what music fans should expect in a given year. Despite a relatively uneventful January, 2023’s confirmed and likely upcoming releases promise another impressive year in all genres — including some that stand out as particularly intriguing and compelling.

February will bring the release of Gorillaz’ highly-anticipated Cracker Island, which appears to be a concept album packed full of inventive production and socially-conscious lyricism based on the project’s fantastic lead singles. The title track “Cracker Island (feat. Thundercat)” establishes the album’s themes over an addicting melody, “New Gold (feat. Tame Impala and Bootie Brown)” is a hypnotic super-hit in the making, and “Baby Queen” touts dreamlike production that supports its ethereal subject matter. I can’t wait to ingest this project from beginning to end, unpacking its commentary and enjoying the group’s unmatched signature sound along the way.

The only Phoebe Bridgers news more exciting than a solo announcement is a boygenius album announcement, which is exactly what fans received earlier this month. Expected on 03/31, the group’s debut studio album the record promises intricately composed singer-songwriter anthems, just like the sample tracks released by the group so far. “$20” features Julien Baker’s angsts, “Emily I’m Sorry” gives us a dose of Bridgers’ heartbreaking and ambient vocal talent, and “True Blue” offers Lucy Dacus’s earnest and heartfelt depiction of unwavering love. I fully expect this project to break my heart, put the pieces back together, and then destroy it yet again — I would expect and hope for no less from this indie supergroup.

On the other end of the sonic spectrum, it’s expected that eccentric and experimental rappers JPEGMAFIA and Danny Brown will both be releasing projects this year, and it’s possible based on social media hints that the two will be releasing a collaborative project, as well. Brown’s Quarananta is overdue, and promises to deliver more mindblowing production after his two most recent projects. JPEGMAFIA’s dedication to his craft, all the way down to his individualist approach to songwriting, continues to evolve. These are two of the most unique artists in the industry, and I hope they continue to push the boundaries of rap in 2023.

“Free Yourself”, a loose single after the release of her wonderfully disco 2020 album What’s Your Pleasure? teases the return of Jessie Ware, whose next project is toward the top of my most-anticipated list. Her 80s-inspired aesthetic is infectious, dance-inducing, and exactly what I’m looking and hoping for to brighten spirits this summer. While no project has been confirmed yet, I expect Ware’s next album to release later this year.

While there are many other albums and artists that I’d love to hear from in 2023, these are the projects I’m most looking forward to. Will Fiona Apple follow up her 2020 masterpiece Fetch The Bolt Cutters? Is Tyler, The Creator going to continue his pattern of releasing new projects every two years? Will Frank Ocean return from the void and bless us with another life-changing opus? Time will tell. What we do know now is that the future of music is bright, and while we’re still enjoying the best of playlists from this decade so far, new jams are right around the corner.

Top Albums of 2022

After another year of reviews, active listening, and a plethora of new releases, it’s finally time to yet again recap the best albums of the year. 2022 was one of the most prolific and impressive years of music in recent memory with great albums releasing across all genres, making it incredibly difficult for me to narrow my selection down to only 10 projects. After careful consideration, I’m glad to say my list is complete. Before we jump right into the long-awaited selections, I need to shout out some fantastic records that didn’t quite make this year’s cut, but are absolute must-listens.

Here are my honorable mentions for 2022: Cheat Codes is Danger Mouse and Black Thought at their most cutting and nuanced, providing insightful bars over scrumptious instrumentals. (SCORE: 8/10.) Most recently, SZA’s triumphant return sophomore album SOS showcases her abilities as both a rapper and R&B superstar, even if the project suffers slightly due to its overextended tracklist (SCORE: 8/10.) Pusha T’s It’s Almost Dry serves as a statement to the rest of the hip-hop community that Pusha doesn’t mince words, but also that Pharrell and Ye’s production are still phenomenal (SCORE: 8/10.) The Weeknd’s Dawn FM demonstrates Abel’s willingness to evolve and grow, leaning more into 80s synth ballad aesthetics than ever before (SCORE: 8/10.) Father John Misty’s Chloë and the Next 20th Century is a theatrical and classy pastiche that both criticizes and praises the genre it pulls its inspiration from (SCORE: 8/10.) Conway the Machine’s God Don’t Make Mistakes features some of the most revealing and vulnerable lyricism that rap has seen in a very long time (SCORE: 8/10). Perfume Genius’s Ugly Season uses experimentation to its advantage over its entire tracklist, pairing perfectly with the dance piece that it’s meant to accompany (SCORE: 8/10.) Finally, Natalia Lafourcade proves yet again that her balladry and poetic lyricism are unmatched on the gorgeous De Todas las Flores (SCORE: 8/10.) I loved every single one of these projects, but not enough to call them one of my 10 favorite albums of year - a prestigious title belonging only to the best of the best.

10. Once Twice Melody - Beach House

Once Twice Melody is just as much of a feeling as it is an album. Its palpable, gleaming instrumentation and panoramic vocal layering encapsulate its listener into a warm, soothing array of tracks. Surprisingly, the album remains cohesive without overstaying its welcome with a runtime of almost 90 minutes. Beach House’s aesthetic is well-established at this point, and Once Twice Melody doesn’t challenge that status quo. Instead, their sonic universe is expanded over 18 dazzling songs, with “Pink Funeral” and “ESP” serving as standouts for me. (SCORE: 8/10)

9. Melt My Eyez See Your Future - Denzel Curry

Denzel Curry has proven time and time again that he has what it takes to keep up with the best rappers in the world. On Melt My Eyes See Your Future, though, Curry proves for the first time that he’s capable of true self-reflection. A cinematic and cohesive experience, this album utilizes its instrumentals, features, and Curry’s bars excellently to respond to a world in strife while tastefully pulling inspiration from other versed creators and artists. “Walkin” and “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Kitty Ca$h)” are the two songs I return to most often on this inventive and boundary-pushing project. (SCORE: 8/10)

8. I Didn’t Mean To Haunt You - Quadeca

I was initially very surprised by the lead singles that led up to the release of I Didn’t Mean To Haunt You. While Quadeca had previously released promising tracks like his viral and acclaimed “Sisyphus”, his foundations as a YouTube rapper clouded my judgement of his artistic validity. Any of those doubts were quickly extinguished with the release of his newest album, which is told from the perspective of a ghost who is grieving those he has left behind. The harrowing beauty, haunting creativity, and heartbreaking lyricism and instrumentation on this project are entirely unique and unlike anything I’ve heard before. “Born Yesterday” and “Knots” are the two tracks I return to most often, but this entire project is an experience that will leave any listener in contemplation. (SCORE: 8/10)

7. NO THANK YOU - Little Simz

Firstly, we need to acknowledge that Little Simz has made all music publications re-think when they schedule and release their end-of-year lists. The follow-up to last year’s stunning Sometimes I Might Be Introvert, NO THANK YOU comes just over a year after Simz’ previous release. Its lightning quick rollout and 10-song tracklisting were promising, but part of me expected a project of SIMBI B-sides. I couldn’t have been more wrong. NO THANK YOU is just as well-thought-out of a project as anything Simz has released so far, albeit not as conceptually thematic. Instead, stripped back but catchy instrumentals allow Simz to deliver some of the most concise, confident, and genius bars I’ve heard this year. NO THANK YOU feels like both a victory lap and a “fuck you” to anyone has doubted her unparalleled skill along the way to fame. The entire project is a must-listen, but so far my favorite tracks are “Gorilla”, “Heart On Fire”, and “Broken”. (SCORE: 9/10)

6. Hellfire - black midi

English rock trio black midi are an indescribable bunch of dementedly talented, shockingly young artists. Lead singer Geordie Greep is the prime example of this youthful spirit, confidently delivering impressive vocal performances throughout the group’s latest album Hellfire. This album isn’t just thematically chaotic or random, but instead has been carefully crafted and constructed to transport its listener via its many ornate and overwhelming soundscapes. The technical and musical prowess needed to create a track like “Sugar/Tzu” is unmatched. The inventiveness necessary to come up with a track as demonic as “Welcome To Hell” is awe-inspiring. black midi is nothing if not different, but this unconventionality is exactly what makes their releases some of the most enticing in all of music right now. (SCORE: 9/10)

5. The Forever Story - JID

Although J. Cole has released some classic hip-hop albums, it very well may prove true that his final legacy will be his innate ability to find and elevate undiscovered talent. Dreamville’s roster is quickly becoming one of the most skilled labels in the industry, and that is in large part due to the meteoric rise of Atlanta’s own JID. The Forever Story is one of the most technically impressive rap performance albums in the past decade, with each of JID’s verses quickly becoming rainbows when his rhyme schemes are highlighted. Full of both bangers and introspective cuts, The Forever Story is the perfect mix of entertaining and insightful. Mark my words: JID will one day be a household name, and for good reason. (SCORE: 9/10)

4. Mr. Morale & The Big Steppers - Kendrick Lamar

Hip-hop’s biggest and brightest release of the year belongs to Kendrick Lamar’s Mr. Morale & The Big Steppers. The Pulitzer-prize-winning artist made his long-awaited return to music with this project’s release and its attached “The Heart Part 5” music video. Like all of his projects up until this point, Kendrick’s newest album was an artistic left hook worthy of endless discussion and dissection. Ultimately, it’s an album dedicated to addressing and tackling trauma both recent and intergenerational. A chronological narrative and demonstrates the work needed to grow, evolve, and heal, Kendrick is doing the monumental task of destigmatizing mental health awareness in his community. Sonically, this album is often just as ear-catching and immersive as Kendrick’s best works, with “Father Time (feat. Sampha)” and “Savior” proving the most compelling selections months after this incredible project’s release. (SCORE: 9/10)

3. Dragon New Warm Mountain I Believe In You - Big Thief

That title is still a mouth-full. Big Thief’s Dragon New Warm Mountain I Believe In You was the most surprising album that released in 2022 for me. 20 songs and 80 minutes long, this indie folk epic seems destined to eventually become stale, but instead continually reinvents itself and offers distinct storytelling, unburdened instrumentation, and ambitious beauty. Its sprawling tracklisting spans from humorous and joyful to reflective and sorrowful, laced with humorous quips and insightful reflections. Adrianne Lanker’s vocal delivery is hypnotic, and the band’s ability to cover almost every topic under the sun isn’t lost on me. (SCORE: 9/10)

2. And In The Darkness, Hearts Aglow - Weyes Blood

The second release of a confirmed trilogy and follow-up to Titanic Rising, Weyes Blood’s And In The Darkness, Hearts Aglow is everything I hoped it would be and more. Frontwoman Natalie Mering is quickly becoming a baroque chamber-pop icon, with an instantly-recognizable voice and exquisite, poetic lyricism. Titanic Rising was incredibly impactful at the time of its release because it seemed urgent, pressing, and a call-to-action to combat a foreboding future. That then hypothetical is now being realized on And In The Darkness, Hearts Aglow, which finds Mering and the listener picking up the pieces of the past three years. Angelic, swelling instrumentation is found on every track, no more so than on “Children of the Empire” and “God Turn Me Into a Flower”, the two standouts among many great songs found here. In any other year, this album would likely take the #1 spot on my list, and I can’t wait to see what Mering has in store for us with future releases. (SCORE: 10/10)

1. Ants From Up There - Black Country, New Road

When looking back at my top albums from each year so far this decade, I’ve noticed a pattern. The best of the best has a transcendent quality that makes each of these projects larger than life, greater than the sum of their parts, and elevated by the circumstances that surrounded their releases. For Fiona Apple’s Fetch The Bolt Cutters in 2020, it was the brutishly honest and raw, pent-up nature of her sonics in response to the beginning of the COVID-19 pandemic that made it such a special and memorable listen. For Floating Points, Pharoah Sanders, and the London Symphony Orchesta’s 2021 album Promises, it was the timeless motifs, ethereal quality, and realization that a collaboration of this magnitude was a once-in-a-lifetime opportunity, which was confirmed this year after Pharoah Sanders’ death. Ants From Up There is a perfect album not only because every note is intentional, powerful, and momentous, but because we will never hear the band who made it in the same form ever again. Just days before the project’s release, the band’s lead vocalist Isaac Wood announced his departure from the group, citing mental health as a primary factor that contributed to his difficult decision. With this in mind, many of the album’s themes garnered a new gravity that laced the triumph of the project with an overwhelming sadness. “Concorde” and “Basketball Shoes” are my favorite tracks here, if I had to choose, and demonstrate these themes perfectly. Simply put, Ants From Up There epitomizes bittersweetness. This album reminds us that we grow apart, that life is complicated, and beauty is often confined to the inherently finite nature of our existence. This is not only my favorite album of 2022, but my favorite album of this decade so far, and it isn’t close. (SCORE: 10/10)

I used to think it was silly when I called music one of my hobbies. Everyone enjoys listening to music - it’s a part of the human experience. But making that experience active instead of passive is one of the most invigorating and fulfilling decisions you can make as a listener. Great art wants to be understood. It wants to be analyzed, considered, discussed, and shared with others who will give it that same love and attention it deserves. As an active listener, 2022 has been one of the most incredible years of music in my life, and I’ve looked forward to sharing my best-of list all year. I hope you’ve had the chance to enjoy these projects, or whichever projects have spoken to you, all throughout 2022, and let’s plan to do the same in 2023.

Album Review: And In The Darkness, Hearts Aglow - Weyes Blood

Natalie Mering, known professionally as Weyes Blood, is no stranger to musical accomplishment. The release of her 2019 album Titanic Rising felt like just that — an unprecedented and unique ten track experience that palpably evoked a holistic doom on the horizon. The first album of a confirmed trilogy, Titanic Rising’s nearly flawless tracklist enraptured its audience in beautiful layers of multi-instrumental baroque chamber pop. Mering’s distinctive yet traditionally excellent lead vocals on the project were only made more effective by her compelling, wise lyrics and storytellings throughout. Most importantly, however, this first of three conceptually-related projects did its most important job by leaving its listeners ready for more. After three tumultuous years, Titanic Rising’s sequel And In The Darkness, Hearts Aglow has arrived and expanded upon the musings introduced by its predecessor, somehow even more rich, refined, and heartfelt than before.

One of the few silver linings to come out of the COVID-19 pandemic was the plethora of expressions and interpretations of such challenging times from talented musicians and artists alike. Titanic Rising, as occasionally upbeat as it was, prominently imposed a sense of incoming strife. As listeners, we were only able to listen to Mering’s calm before the storm and are now watching her assess the damage of the uproarious waves we all endured in the time between projects. And In The Darkness, Hearts Aglow wastes no time before embarking on the journey of self-reflection, as its opening track “It’s Not Just Me, It’s Everybody” reaches the conclusion that everyone else’s lived experience is just as valid to them as ours is to ourselves. Mering has a tendency to subtly deliver deeply insightful or prophetic lyrics throughout her discography, and one of the greatest examples of that is found on this track with: “Living in the wake of overwhelming changes / We’ve all become strangers / Even to ourselves.” By looking inward so deeply and earnestly, Mering is able to draw conclusions and further relate to the collective trauma endured in recent memory.

“Children of the Empire” is a sonically ornate and grand opus that almost inspires rebellion and revolution in its listener, with its chilling chorus “We’re long gone in that eternal flame / Trying to break away from the mess we made / We don’t have time anymore to be afraid.” This track evokes a sense of quiet recognition that while the odds may be stacked against us, there is no time to sit in recognition of that fact if we want to change it. “Grapevine” is next, a track whose title cleverly nods to California’s Interstate 5 and suggests an intertwined, complicated relationship that is discussed throughout. “California’s my body / And your fire runs over me” further explores this double meaning, and if you aren’t sold by now, just wait for the instrumentation found on the song’s chorus. Additionally, this song is perfect for anyone who enjoys disturbing visual accompaniments to seemingly sentimental songs.

“God Turn Me Into a Flower” is next, and not much can be said to adequately explain the beauty of this ascendant and poetic track. Backed only by light, ambient synths, Mering’s performance truly shines here, with biting lyrics found throughout, none more so than “You shatter easily and can’t pick up all those shards / It’s the curse of losing yourself when the mirror takes you too far.” I can easily see this becoming one of Mering’s most acclaimed and iconic songs.

The album’s title tracks are split in two, with “Hearts Aglow” preceding “And In The Darkness”, a solely transitional interlude that introduces the album’s back half. “Hearts Aglow” depicts the leap of faith of trust in a relationship by likening it to the heights of a ferris wheel. “You can’t control hearts aglow / I’m staring at that black water down below / Knowing I could fall if I let go” are the standout lines here, as this track begins to introduce the idea of choosing love in the face of the difficulties of life. “Twin Flame” is likely Mering’s most intimate look at relationships to date, further exploring the vulnerability needed to truly see and be seen by another. This song’s ‘80’s influence is clear and executed incredibly well — yet another example of her team’s attention to detail and skillful production.

“In Holy Flux” is another necessary reprieve from the deep dives this project encourages its listener to take, serving as a two-minute interlude that leads into the album’s final two songs. “The Worst Is Done” is one of my favorites here, as it sarcastically comments on how just because we’ve somewhat made it through the pandemic, not all has been fixed. If anything, more may be broken now than ever before. “But they say the worst is done / And it’s time to go out and see everyone / They say the worst is done / But I think it’s only just begun” perfectly expresses the skepticism many have as they view a world that has “healed” so misshapenly — there’s still so much work to do. “A Given Thing” is our closer, a piano-backed ballad that allows Mering’s gorgeous vocals to come to the forefront of our final track. The song centralizes on the theme of “love everlasting,” unconditional affection that survives all. A powerful closer, this track suggests that Mering’s perspective on the future may not be so grim after all, but instead optimistic and more hopeful than one could have expected.

After the release of Titanic Rising, many would have been forgiving if Weyes Blood had peaked musically and artistically. An album that beautiful is more than the life’s work of many other talented artists. Yet with And In The Darkness, Hearts Aglow, Mering has proven that her art is truly an expression of her own growth and maturity, as authentic and ever-evolving as she is. The vision needed to execute a trilogy of cohesive and interrelated albums is unimaginably disciplined and talented, and Mering has proven she has what it takes to do so here. Even better, however, is how triumphantly And In The Darkness, Hearts Aglow stands on its own, even if it wasn’t attached to other projects. It goes without saying that the trilogy’s concluding album cannot come soon enough — it’s time for Weyes Blood to become a household name.

Favorite tracks: All

SCORE: 10/10

Album Review: I Didn't Mean To Haunt You - Quadeca

Creating a concept album is one of the most difficult challenges that a musician can partake in. Often centering around a linear narrative or discussing specific topics in-depth, concept albums require an intense attention to detail and ability to continually captivate their listeners without becoming stale or repetitive. When executed poorly, these projects can come off as pretentious or overambitious, but when pulled off successfully, concept albums are able to offer compelling messages that resonate more with listeners than standard albums do. I Didn’t Mean To Haunt You, released recently by Los Angeles native rapper, artist, and YouTuber Quadeca, is one of the most intriguing concept albums released this year. Its creative perspective, heartbreaking honesty, and authentic vulnerability elevate Quadeca’s artistry to new heights that I previously thought unachievable for the 22-year-old rising star.

I Didn’t Mean To Haunt You’s foundation is a subversion and new interpretation of two widely-discussed topics: death and grief. Instead of being told from the perspective of someone who has lost a loved one, I Didn’t Mean To Haunt You is told from the perspective of someone who has died and is mourning the life and loved ones that they left behind. Sitting uncomfortably in an in-between state, the album’s narrator deals with the stages of grief and feelings of loss as they watch others cope with their new absence. This ambitious and captivating approach pairs perfectly with the album’s otherworldly ambiance and aesthetic — hauntingly ambient instrumental tracks and layered vocals create a ghostly delivery that will not be soon forgotten.

The album’s opening track “sorry4dying” is the perfect introduction to the narrator’s circumstances. This piano-backed and melodic track portrays someone who is realizing that they are now in the afterlife, situating themselves in relation to those who they left behind. The central conflict for the project is introduced here, as well, in the lines “I just want to hold you / Without haunting,” as the narrator realizes that holding on to the life they once lived will bring distress to those he just wants to reconnect with again. “tell me a joke”, one of the projects lead singles, sees the narrator reflect on the shortcomings of their life, culminating in the idea that their existence was a joke filled with hardships and difficulties. Like many of the songs on this album, this track builds and crescendos into a symphonic finale that incorporates all of the song’s elements at once, layered masterfully over one another.

“don’t mind me” is a haunting and downright depressing appeal to the narrator’s mother who is grieving her late son. The narrator wants her to move on, but going through his belongings keeps him in her memory. The song’s uptempo delivery understates just how intensely melancholic its messaging is. “picking up hands” is next - an acoustic and ambient offering that sees our narrator intensely mourning his childhood and upbringing from the other side. This track is slightly less sonically inventive than the others on the album, but its subject matter is consistent with the rest of the project. “born yesterday” is a highlight and served as the lead single for the album, paired with an incredible music video. This glitchy rap-influenced track finds the narrator finally accepting and coming to terms with his death, a perfect transition into the interlude like “the memories we lost in translation”.

Up until this point, I was thoroughly impressed with this album. That’s why with “house settling” onward, I was completely blown away by Quadeca’s artistic capability, as these are some of the best songs released in 2022, an already competitive and abundant year for music in general. While this track is largely open to interpretation, it has been confirmed that Danny Brown’s feature is told from the perspective of carbon monoxide, so do with that what you will. The production quality is immensely impressive here, outmatched only by the following track. “knots” was quickly in song of the year contention upon my first listen. Sounding like a combination of BROCKHAMPTON and Death Grips, this electro-experimental song impresses from beginning to end and serves as an entire experience in its own right. “fantasyworld” has a tough act to follow, but it does so hauntingly and beautifully, as the narrator reflects on the many experiences that we tend to put off in life. Doing so from the other side of death is a harsh and poignant reminder to make the most of the life we have. Deep stuff, handled masterfully.

“fractions of infinity” comes next and reminds me of the gorgeously ambient and transcendent tracks that Pink Floyd got famous releasing. The Sunday Service Choir’s repetition of “Those words don’t do you justice” won’t leave my mind after multiple listens - depicting just how deeply our narrator feels now and how they did throughout their time on Earth. “cassini’s division” is one of the more artistic and experimental tracks on the album, serving as a narrative conclusion as the album’s speaker evolves into static between life and death, letting go of all of their grief, anguish, and trauma. With almost three minutes of static to finish the song, I can see many viewing this conclusion as confusing if not unsettling, but I find that it serves Quadeca’s artistic vision well.

This project’s conceptualization is dark; to engage with it is to accept one’s mortality and empathically relate to the narrator’s grief and mourning of the waking world. But great art wants to be truly understood. Quadeca’s decision to expose his most vulnerable ruminations on this project is nothing short of admirable, and the dedication and care put into every track is palpable. While not every song here has a lasting effect on me, the whole is so much greater than the sum of its individual parts. Deeply philosophical, narratively captivating, and hauntingly intelligent, I Didn’t Mean To Haunt You sets a new bar of artistry and standard of excellence for the wickedly skilled Quadeca.

Favorite tracks: “sorry4dying”, “tell me a joke”, “don’t mind me”, “born yesterday”, “house settling”, “knots”, “fantasyworld”, “fractions of infinity”, “cassini’s division”

SCORE: 8/10

Review: House of the Dragon (Season One)

For years, I was glad to partake in the biggest television phenomenon in recent memory with the release of HBO’s mostly-acclaimed Game of Thrones series. Appropriately recognized with countless awards and praise from critics and fans alike, Game of Thrones made the most of its source material, the “A Song of Ice and Fire” book series from author George R. R. Martin, by dramatically depicting its medieval fantasy drama and intrigue on the big screen. Where Game of Thrones went wrong, however, is when the series surpassed the incredible foundation that its original author established, navigating uncharted territory as the show-runners seemingly made important plot and story decisions on their own since their story had surpassed what books had released up until then. At this point, all of the incredible writing, tension, and build up that had made Game of Thrones what is was dissipated, culminating in one of the least satisfying and rushed final seasons in TV history. This fall from grace disappointed many, including myself, but the lore and richness of the world of Westeros never ceased to draw me back in. So when HBO and George R. R. Martin announced a prequel series based on the author’s writings in “Fire and Blood,” I knew I would have to check it out. * This post contains spoilers for House of the Dragon (Season One.)

Based almost 200 years before the events of Games of Thrones, House of the Dragon follows the political conflict that arose during and after the reign of King Viserys, who selected his daughter Rhaenyra to succeed him after his eventual death. His Queen, Alicent Hightower, misinterprets the king’s dying words later in the season, thinking instead that he has had a change of heart and that he wants his son Aegon to succeed him. While the prospect of Rhaenyra becoming the first woman to lead the Seven Kingdoms already didn’t sit well with many of the Westeros common folk, the Hightower’s coup after Viserys’ death leads to the civil war known as the “dance of the dragons,” which will define future seasons as bloodshed and betrayal are all that Viserys The Peaceful will have left behind as legacy. This controversy, along with other intergenerational battles for power, dragons, and explorations of the lore of Westeros, made season one a treat with political twists and turns I never expected this show capable of executing so well.

Although skeptical at first because of Game of Thrones’ disappointing ending, I was quickly enthralled by House of the Dragon’s competent writing, compelling storylines, and incredible performances. Although re-casting throughout the first season due to story-based time jumps, all actors involved serve their characters and the greater story incredibly well. King Viserys', portrayed by Paddy Considine, was particularly impressive as his diseased character navigated the difficulties of ruling over the Seven Kingdoms. Rhaenyra, Alicent, and Daemon feel just as significant as any of the characters we grew to love in Game of Thrones. Despite having a much lower budget than a series like Amazon’s The Rings of Power, the production design and world building establish much connection to the character’s emotions and experiences. To reconcile the feelings I had about the end of Game of Thrones while moving forward to House of the Dragon, I’m reminded of this: No television adaptation of George R. R. Martin’s direct source material has disappointed yet, so there is no reason to think this will change. Season one of House of the Dragon was a surprising treat, and season two can’t come soon enough.