Welcome back, time for another quick rundown of some 2024 albums I’ve listened to! You can check out the January edition, where I did brief reviews of about a dozen 2024 releases. This time around, I’ve got 14 quick blasts, and one local rec for good measure. First time around the albums were ordered by grade, this time around it’s by release date. I hope you like the number 7.5, because there’s a disproportionate number of albums with that grade. I still haven’t done the Smile’s album, somehow, whoops. Let’s crack on:
Infant Island – Obsidian Wreath
I’ll be honest, I put this one on when I was putzing around the apartment cleaning, so it didn’t quite get the same kind of attention that most albums get (when I’m mindlessly processing stuff at work with headphones on). That said, I deeply appreciated the way this band made a wholly unique and creative blackgaze album within the confines of traditional metal. There’s nothing particularly special on a surface level, but scratch even just a bit into these songs and they reveal a density, a cruelness, and a certain sereneness that counteracts the volume. It’s always refreshing to hear a cool blackgaze album like this.
Initial release date: 1/12/24 Grade: 7.5/10
Kid Cudi – INSANO
Oof. First off, I respect that Cudi isn’t trying to make a grand statement. This is an issue that plagues modern albums, especially in hip-hop – the thought that every record needs to be an Atrocity Exhibition or an Astroworld, something Earth-shattering. Cudi eschews this for a relaxed, fun reminder of his strengths. The monkey’s paw of that is that this album is just weak all-around; loud but boring beats are matched with bland lyrics. Cudi sounds like he’s having fun, which does translate over, but it isn’t enough to carry the record’s ridiculous 64 minute runtime. You can extrapolate the best five songs or so and trash the other fifteen. It’s a stopgap album.
Initial release date: 1/12/24 Grade: 5.5/10
Katy Kirby – Blue Raspberry
An album as sweet as its title. This is standard-fare pretty indie, to the point where one of the singles sounds a little too reminiscent of Angel Olsen’s “All Mirrors.” But when everything works as well as it does here, who cares? I was taken aback by how much I liked this one, something I mindlessly threw on based on two songs I’d heard. Very patient, gorgeous indie-folk that knows when to be soft or bombastic. The focus is on melody above all, with obvious care put into every track. And while it mostly stays soft, the whole album builds to a much grander, 2-minute finale that takes you by surprise. Genuinely loved this one.
Initial release date: 1/26/24 Grade: 8/10
Vitriol – Suffer & Become
Not much to say about this really other than it’s some articulated, dense, and rip-ass death metal. This feels akin to the band Aborted, featuring maximalist songs with little to no breaks, chaotic rhythms and pristine production. It’s not as tongue-in-cheek as those legends though, played very seriously here. I ended up having to listen to this one in parts, which I don’t like doing, so once I give it a full one-day runthrough I might bump the grade up.
Initial release date: 1/26/24 Grade: 7.5/10
J. Mascis – What Do We Do Now
Ok so same thing goes for this as with the Infant Island record – I was moving around the apartment with this one playing. I’m always a bit trepidatious about J. Mascis’s solo music, because it’s often just him and a guitar, which is my least favorite version of him. But this is much more, it often sounds like a full band, just one that is a lot janglier than Dinosaur, Jr. is. This music is loose and midtempo, enough energy to be fun but not so much so that it just sounds like more Dino. The album does suffer from repetition, as practically every song follows the same template. But, the best tracks here do what J. does best; jangly guitar, lyrics about regrets and miscommunications, and strained talk-sung vocals. Definitely one of his better solo releases.
Initial release date: 2/2/24 Grade: 7.5/10
Little Simz – Drop 7
I probably wouldn’t review something this brief – it is a drop, after all, and clocks in at just under 15 minutes. But when you’ve got the dark horse candidate for best current rapper in play, even the one-offs are extraordinary. While some of Little Simz’s previous works have been steady and heady, this is her at her most impatient, firing a bunch of short songs off the cuff. Big beats and quick tempos make this a whirlwind of a little EP.
Initial release date: 2/9/24 Grade: 8/10
Chelsea Wolfe – She Reaches Out To She Reaches Out To She
If you’re a Chelsea Wolfe fan, you pretty much know what you’re going to get here. This album is full of slow, patient, goth-folk. The tracks here are brooding, dark and still melodic. Though the songs are not lengthy, the consistent eerieness and relaxed tempos give them a lot of space (and make them feel longer – which is not a complaint). This is Southern Gothic at its finest, a soundtrack for a Flannery O’Connor work. It falls victim to repetition on the back half, which is unfortunate, but the whole thing is saved with a stunning closing track. It’s not Wolfe’s best, but that’s a high benchmark.
Initial release date: 2/9/24 Grade: 7.5/10
Laura Jane Grace – Hole In My Head
I appreciate how Laura Jane Grace always makes sure that her solo albums are not just Against Me! records under a different name. I haven’t been too fond of some of her more pop-punk solo outings over the past few years, but this one worked for me. The first couple songs on this one do sound like Against Me! runoffs, aka excellent punk bruisers, but most of the album has more of a folk-punk feel. It’s largely acoustic, but still energetic, witty and original. It does feel like a solo record in the proper sense – put a backing band and you’ve got an AM! record, but they’re not missed, either. It’s a fun avenue for Laura, one she really hasn’t explored since Reinventing Axl Rose all the way back in 2002. There’s nothing life-changing here, but it’s a very fun and earnest record if you’re a fan.
Initial release date: 2/16/24 Grade: 7.5/10
IDLES – TANGK
I’m doing the exact thing I shouldn’t do with an album like this and vomiting some thoughts immediately after listening to it. I love the UK indie-punk hybrid IDLES, but I specifically love Joy As An Act Of Resistance. and I always want my IDLES albums to sound just like that one. Naturally, they don’t, because staying fresh is always the name of the IDLES game. TANGK, in fact, tries to be the polar opposite of Resistance, in that it relies heavily on slower tracks. There’s a haunting quality to this one, even with bangers like “Hall and Oates” and the LCD Soundsystem-assisted “Dancer.” The opening and closing tracks are particularly slow and quiet, but there’s patience throughout. I don’t think it really works well! The band utilizes these downbeats effectively when they’re infrequent – but here it’s every other song. Going along with that, it doesn’t feel like the band has much to say this time around. Admittedly, I haven’t dug into the lyrics much yet and I should, but this band has always been at the forefront of urgency, and here they sound like backseat drivers. With all of that said, the album still bangs hard sometimes, it’s still a solid release – I just expected more oomph.
Initial release date: 2/16/24 Grade: 7/10
serpentwithfeet – GRIP
I simultaneously went into this one having never really heard the music of serpentwithfeet and still getting exactly what I expected – sultry, beautiful R&B. This exists in the realm of artistic R&B artists like Janelle Monae that make rhythmic, seductive music that nonetheless feels like it eschews any kind of “radio value.” Chalk it up to the homoerotic album cover, maybe, but this is absolutely on the alternative, experimental side of things. Breezy and hypnotic, this is a gem.
Initial release date: 2/16/24 Grade: 7.5/10
MGMT – Loss Of Life
A lot of the albums on this list I’ve had to listen to in segments (because I’m listening at work – don’t ask). For this one, I’m glad I did. This is a quietly gorgeous album, from a band not really known for that type of thing. Their first album is of course an experimental classic, but the next two shit the bed. Album #4 was a great-if-not-standard synth pop record, and it’s what I expected here. Really, it’s more guitar-focused, the plainest songs they’ve written to date but far from the worst. There’s some fun ones (especially the whiplash “Bubblegum Dog”) but a lot of songs are just excellent indie ballads. The back half has some patient, subtly impactful songs, and I would’ve missed them if I did this record in one swoop. Allow yourself some time to absorb these songs.
Initial release date: 2/23/24 Grade: 7.5/10
Mannequin Pussy – I Got Heaven
This album had a lot to live up to. Mannequin Pussy are one of the only bands where I generally love every song they’ve put out. Ferocious, unpredictable and catchy, they’re a punk band that doesn’t really seem to think they’re a punk band. And on their fourth album, they do branch out a lot more. I don’t think the 100% streak continues, however, the best songs here are the best they’ve ever done. It’s a ripper of a record, and one that has more ideas and, *ahem,* patience than previous releases. Missy Dabice gives her best-yet vocal performance on “Sometimes,” a song that stretches closer to indie than anything else. But there’s still punk bruisers everywhere, too. Tremendous stuff.
Initial release date: 3/1/24 Grade: 8/10
Pissed Jeans – Half Divorced
In direct opposition to a lot of albums in this post, and the norm in general, this is the leanest and meanest version of Pissed Jeans we’ve ever seen. The post-hardcore band has always treated its aggressive music as a pseudo-joke, as they satirize specific topics like middle managers and guys who have humiliation fetishes. There’s some of that here, specifically in screeds against used underwear sales and guys who disturb you when you’re on break. But there’s also a general, visceral anger here. These songs are way shorter than normal, most under two minutes, just ferocious punk blasts from a band that normally stretches things out. The best song is still tongue-in-cheek; “Everywhere is Bad,” a parody of songs where singers get easy clout by listing cities, instead decrying every city, planet, galaxy, and dimension. Best album of the year so far.
Initial release date: 3/1/24 Grade: 9/10
Kim Gordon – The Collective
Haha what the hell. The beautiful thing about listening to the solo projects from Sonic Youth members was seeing what influences they individually brought to the table – Thurston Moore brought the noise guitars, Lee Ranaldo brought the classic rock vibes, and Kim supplied the most experimental elements. On her second solo record (mind you, she is SEVENTY years old), she creates something entirely new and diabolical. This is noise-trap. It’s a noise-rock record centered around hip-hop beats, but not in any kind of Death Grips way. Some of these songs were intended for Playboi Carti, but somehow ended up in her lap. And that’s really the only way to describe them. I’ve never heard anything like this, even from Kim. It’s pure experimentation, and it certainly won’t work for everyone. But I absolutely loved it. 2016 rap filtered through 80’s no wave. After several decades, Kim is still just operating on a different level.
Initial release date: 3/8/24 Grade: 8.5/10
LOCAL NOOK: So, given that I already write for a local blog, and I naturally listen to artists I or we cover, it feels a little weird to me to write about them here too. However, I’ll use some space for recs. The indie group Happy Just to See You dropped a great, fun and heartwarming indie album, garnering yet another 7.5 rating from me.
Happy new year everybody! Is February 13th a bit late to say that? It probably is. Anyways, I’m always thinking of ways I can use this blog more, so I figured I might as well do monthly check-ins with all of the new albums I listen to. This is 1) a way to promote more music than just a year-end post, and 2) a way to help me remember exactly what I liked or didn’t like about middle-tier albums! I probably won’t include everything, just what I feel like. However, this first post has all 14 of the 2024 albums I’ve spun so far. I also don’t know what the order will be each month (it’s by rating this time). No, somehow I haven’t dropped the needle on the Smile album yet. Check back next month and spin these while you’re waiting.
SPRINTS – Letter To Self
Live music can be transcendent. Legend has it that Stu MacKenzie was inspired to start a band (King Gizzard & the Lizard Wizard) while at a Tame Impala show. Sprints was birthed by a couple people at a Savages gig – one of the best live bands, and most dearly missed bands of the last 15 years. They realized they could simply make the music they want to hear, and years later, we’ve got their debut. It sounds like Savages. That couldn’t be more of a compliment for me. Loud, noisy, melodic and just restrained enough to fall under indie. This is already going to be a top contender for 2024.
Initial release date: 1/5/24 Grade: 8.5/10
Ty Segall – Three Bells
It’s probably no secret that I’m a Ty Segall fanboy across all his projects, but I do generally prefer his barebones garage punk stuff more – Slaughterhouse, Freedom’s Goblin, Pre Strike Sweep. Some of his more recent, more experimental releases have been a bit above my head (First Taste in particular). So I approached this one with apprehension – only to find that this album ties the knot between Freedom’s Goblin and Manipulator, a great whale sized album that is lighter and more varied in tone, but doesn’t stray too far from Ty’s garage roots, too. It’s maybe his most well-rounded album yet, lengthy but varied where every song feels important and unique. It’s experimental and exciting, but warmer than an average Segall release all the same.
Initial release date: 1/26/24 Grade: 8.5/10
Bruiser Wolf – My Stories Got Stories
Bruiser Wolf and Danny Brown go way back, and it shows here – this album is full of darkly comic tales of binges and dangerous situations. Brown guests early too, on a whiplash track. Bruiser Wolf builds his lyrics in the same way DB does, poetic and funny with dense meters. But he also couldn’t sound different, rapping matter-of-factly and methodically, like he’s teaching a lesson. His vocals and lyrics are engaging, all bolstered by booming and exciting beats behind him. This is my first foray into his music, I’m gonna check out the previous album now too.
Initial release date: 1/12/24 Grade: 8/10
Kali Uchis – Orquídeas
My knowledge of Latin music is limited, and my knowledge of the Spanish language is nonexistent, so I will always have to view music like this as an outsider. This album is a companion piece to last year’s Red Moon In Venus – an English language album and #63 on my 2023 year end list. Orquídeas is a blast, a comprehensive album that both sticks to traditional reggaeton and strays well beyond it. Even as a companion piece, it feels distinctly separate from Red Moon, highlighting Uchis as a multi-threat artist. Have fun with this one.
Initial release date: 1/12/24 Grade: 8/10
Brittany Howard – What Now
The fun thing about Howard’s debut solo album was the way it expanded well beyond the scope of her band Alabama Shakes. Her sophomore solo release sharpens her broader influences, incorporating elements of blues, punk, R&B, whatever, into an album that’s equally comprehensive but more singular than Jaime. Her vocals are, of course, incredible. That’s always been her strength. But everything works very well across this one. It’s a ton of fun, a winding and unpredictable experience.
Initial release date: 2/9/24 Grade: 7.5/10
Pile – Hot Air Balloon EP
Pile, who claimed a top 10 spot on my Best Albums of 2023 list, supplement that release with a back-to-basics EP. This isn’t a “leftover tracks” EP, this is a band who have strayed far from their original indie roots returning to a sound of the past. It’s just as good as their dense, heavy 2023 album was but wholly different. A quick burst of fun from a band proving that they can still have some, when they want.
Initial release date: 1/5/24 Grade: 7.5/10
Cheekface – It’s Sorted
This has all the makings of something I wouldn’t like – talked vocals, jangly post-punk guitar rhythms and lyrics focused heavily on ‘IYKYK references.’ And yet, a lot of this worked for me. The band sounds more like a cleaned-up version of Gang of Four than they do a reflection of the middling talk-punk bands of the moment. And the comedy lyrics are often quite funny, even if they are often references to memes. The line “I love mixed messages, I hate mixed messages” has stuck with me. There’s a lot of love and perfectionism hiding behind these jangly tunes.
Initial release date: 1/22/24 Grade: 7.5/10
glass beach – plastic death
I’m far from being a member of the hive that has an unhealthy obsession with this group’s debut album, but I did really enjoy the way it refused to nail itself down to any one genre. They’re like the indie-punk answer to 100 gecs. The sophomore album, long-awaited, is the same! It jumps wildly between punk, acoustic ballads and noisy, screamy stuff. Even the song lengths are unpredictable. You could argue it’s unfocused – I personally would argue it’s too long – but it is a fully singular entity. Something for everyone, and yet not for everyone. Good stuff.
Initial release date: 1/19/24 Grade: 7.5/10
21 Savage – american dream
Thanks to his album with Drake, 21 Savage has hit a level of fame equivalent to Drake. And if he wanted to, he could crap out an album of rudimentary beats and improvised, high-school poetry just like Drake. But Savage still has things to prove, and this album runs laps around the track. It does suffer from unevenness and bloat, but it hits more often than not. Savage’s flow is engaging and his lyrics are vulnerable, raw and earnest. It’s a human record, one that cements Savage as a new top-shelf force.
Initial release date: 1/12/24 Grade: 7.5/10
Sleater-Kinney – Little Rope
This album was inspired by some very real turmoil in the life of Carrie Brownstein and, when coupled with internal turmoil the once-trio-now-duo went through a few years ago, the album is super-charged. SL-K hasn’t sounded this energized since their 2015 reunion album, or possibly even since 2000. These are short, punchy indie-punk songs that don’t reinvent the SL-K wheel, for once, and just bang. The front half of the album definitely punches harder than the back half, which falls somewhat into repetitive territory. Still, it’s an improvement over the last two records and another entry into a nearly flawless catalog.
Initial release date: 1/19/24 Grade: 7.5/10
Resin Tomb – Cerebral Purgatory
My first attempt at a metal album in 2024 gave me a sad realization I’ve been putting off having – my tinnitus has gotten to the point where I can’t reasonably listen to loud music with headphones on anymore. Resin Tomb’s new one had to be the one to sell me on that fact, and my listening was hampered by pausing it after three songs and resuming the next day. However, it is a fantastic album, a noisy and fun maximalist death metal album that feels somewhat akin to Aborted – nonstop full volume, fast paced, and not exactly serious (four of the eight songs are exactly 4:20). I will run this one back when I find a better listening method, I want to love this one more.
Initial release date: 1/19/24 Grade: 7/10
Green Day – Saviors
The fact that this album is as good as it is serves as a testament to the legacy of Green Day. After the muck of cinematic poppy stuff like “21st Century Breakdown,” Green Day could’ve easily become 1) Fall Out Boy, who transformed into a fully corporate pop-slop band that seems to exist to play NFL pre-game shows, or 2) Pennywise, a punk band constantly touring and releasing the same album over and over again. Instead, they’ve settled into something in between. They’re not beholden to their original morals, but this album is just lean, fun punk. The first three songs are the standouts, three future minor classics. What follows is fun and forgettable power chord rippers. Too many, for sure, but it’s energetic and fun.
Initial release date: 1/19/24 Grade: 6.5/10
Future Islands – People Who Aren’t There Anymore
Not a surprise here, “Seasons (Waiting For You)” is one of my all-time favorite songs but Future Islands in general don’t do it for me. I find that my interest in a FI song is directly tied to how upbeat it is, and they do far more ballads than not. The first few tracks here are interesting – especially the transition between tracks 1 and 2. But it quickly falls into repetition. Not for me, sorry!
Initial release date: 1/26/24 Grade: 6/10
Bolts of Melody – Film Noir
I don’t know much of anything about this artist but the album title/art both grabbed hold of me. True to note, this feels more like a film score than anything, like a less comedic version of that Chris Farren film score album. The music here is transcendent, mostly instrumental, and feels aimless in a way that is complimentary. It’s breezy, working as both background music and something that can really grab hold of you. It ultimately isn’t really my thing, and it sorta shuffled into the background for me, but it’s certainly intriguing.
Initial release date: 1/19/24 Grade: 6/10
Round 1 done! I meant to get this up at the end of January so…who knows when I’ll do round 2. But check back for more reviews!
Well, I’m gutted. Surely everyone who stumbles on this has heard, but in case you haven’t – Pitchfork is being “folded into GQ.” It’s a nice way of saying that one of the internet’s most premiere and long-running music blogs is being liquified and dumped down the sink. The staff is gone. And the timing really couldn’t be worse.
Pitchfork was a necessary evil in the music world. You can, and should, lambast the earliest days of Pitchfork, but once they were established, they became a proper thorn in the side of the industry. Pitchfork was a rare outlet that had both a wide reach and an ability to say no to arena artists. How often have you been perusing Wikipedia for some shit U2 album and seen that Pitchfork were the only ones that gave it a middling review? In the earliest days, it was done out of spite and ego, sure. But with those rough few years removed, Pitchfork will be remembered as a site that told it like it was.
The site offered constructive criticism in a way no other outlet really does. Pitchfork were forward-thinkers, offering advice to artists on how to build on the album actively being reviewed. They also thought in the past, helping listeners to understand why they may or may not like an album, and what the context is, always done with a deep knowledge of the backstory. Pitchfork offered the rare service of teaching you something about an artist you didn’t already know, even if you disagreed with the review. And that’s what proper music criticism is.
Even after the purchase by Conde Nast, when claims of “poptimism” became ubiquitous with P4k, the site still offered a ton of value. They covered metal, they gave insight into muddied artist histories, they still weren’t afraid to bash the walls out of another crapped-out Ed Sheeran release. The biggest thing they ever taught me was not to give credence to an artist just because they’re a name. This blog and this writer loves to celebrate music – I don’t really like to write negative reviews! I find I enjoy most music. But let’s look at my least favorite albums from 2023 – Mac Demarco, Metallica, Maneskin, Miley Cyrus. These albums from big-name artists all got mostly positive coverage, but not from P4k. I believe strongly in speaking positively about music, but I am vehemently against poptimism – which is effectively giving positive coverage to big-name artists because negative coverage might hurt their feelings. Poptimism is also, naturally, a concept that disregards artists that aren’t headlining festivals because why would anyone ever listen to them? It’s as algorithmic as a human can develop.
Vulture – excuse me, venture capitalists are a plague amongst American society. Just recently, they knifed and bled out Jezebel. Sports Illustrated, one of the most important magazines in American history, is gutted in favor of libel-inducing AI. I have already had so many friends laid off because a VC bought a popular blog just to fold it. David Zaslav will have animators work tirelessly on a movie that everyone is hyped for only to toss it in the bin as a tax writeoff. Jim Spanfeller, the G/O owner, is making it his personal mission to lay off every employee until his company has 0 writers, 0 clicks, and $0. These men deserve an ending more cruel and more unceremonious than Saddam Hussein. These people are actively destroying the internet and all that we love about it, so they can save a few hundred on taxes. It’s despicable. And they’ve now come to Pitchfork with, well,
There may be feuds in music, but there’s none in music criticism. I am far from the first person unaffiliated with Pitchfork to woe its likely demise. One of their main competitors, Consequence of Sound, published a touching piece on how necessary the site was. The best I can do is to mimic others, but it’s something that needs to be mimicked regardless.
It was always my dream to write to Pitchfork. When the site was peaking (in my opinion!) in the mid-2010’s, I used to read every review. There was nothing more exciting to me than listening to an earth-shattering new album, going to Pitchfork, and seeing the bright red circle with “8.7 – BNM” in it. I found so much new music there, and taught myself a lot of about music writing. Since “Hollywood screenwriter” will probably never play out, I thought Pitchfork would be a more modest dream goal. I even had an introductory post thought up, I just never knew how to get my foot in the door. Now screenwriter is looking more likely after all.
So what’s next for P4k? I have no idea. That’s GQ’s problem to figure out. Maybe they’ll keep it running as is – horribly unlikely though. Most likely, each edition of GQ will have one paragraph on page 45 giving a perfect 10.0 to the new Selena Gomez album with no $10 adjectives. Maybe it’ll be AI-generated.
Pitchfork was at times a villain. But if it has to go, it deserved a much more honorable death than this.
I hope you’ve been doing a drumroll for four days, because it’s time: here’s my 25 perfectly ordered, objectively correct favorite albums of 2023. This has been a year of pleasant surprises, massive disappointments, and huge handful of wonderful discoveries. There are a couple big name artists on this list, and probably few surprises, but this final edition is mostly under-the-radar albums that I found myself returning over and over again. Happy new year’s folks, and here’s to another great year of music in 2024.
#25. Fucked Up – One Day
This album is suspiciously basic. Fucked Up have made careers out of universe-spanning, deeply complex and dense conceptual albums. Their last release was actually a four-disc, four-song “album” that was part of their ongoing Year of the ____ series. This album is back to basics hardcore, something they haven’t done in over a decade. It also proves that they can still put out one of the most brutal and blisteringly-intense albums of the year even with their ambition reined in 1000%. This album isn’t as good as, say, Dose Your Dreams or David Comes to Life, but its placement is a testament to how unbelievably good those heady, lengthy albums really are. The run this band has been on is unprecedented.
RIYL: Converge, Titus Andronicus, feeling angry every moment you’re awake
#24. Throat Locust – Dragged Through Glass
I’ve been going back and forth on the inclusion of this one, as it is just a 3-track demo EP. But if we’re calling it an EP, then it’s eligible for the list. There’s also little to say other than “it’s good ass death metal.” This is very standard death metal, with immaculate production and a confidence of a band that’s been doing it for decades. And they’re named after my favorite TAD song to boot. Metalheads, get this on your radar now. You heard it here first!
RIYL: Cannibal Corpse, Bolt Thrower, you know, death metal
#23. boygenius – the record
The first boygenius EP was near perfection, taking three of the brightest and best indie talents and tossing them all together. The full-length, initially a surprise but now a wildly popular release, only builds on it. There’s more diversity in the songs here, as some songs like “Satanist” and “$20” are closer to rock than you’d expect. Others, like “Not Strong Enough,” sound exactly like you’d expect a Julian Baker/Phoebe Bridgers/Lucy Dacus song to sound like. Soft, sensitive and sad. What makes boygenius work so well is that they clearly came together as friends first and musicians second. The interplay between the members is more natural than most supergroups. This could still be a one-off, but I hope we get more from the Traveling She’llburys.
RIYL: Big Thief, Snail Mail, either being or loving a sad girl
#22. Noname – Sundial
For some reason Noname seems to have dropped off the radar. This came out in August but I only noticed in November. The reason could be, of course, her utter refusal to play by the rules of the industry. The rap icon has always worn her heart on her sleeve, unabashedly political and earnest in a way even the “political” musicians shy away from. In one key song here, she connects the dots on how superstars contribute to the country’s insultingly overinflated defense budget, namechecking Kendrick and Beyonce (and herself) for playing Coachella. On top of the refreshingly honest politics, there’s just great rhythms and raps here. These songs are quick, full and fun. It’s a short but intense rap record from someone choosing to stand alone.
RIYL: Flatbush Zombies, Clipping., getting nauseated at whatever the hell “hologram Tupac” was
#21. Black Country, New Road – Live At Bush Hall
Under normal circumstances, I would never consider a live album for a year end list, as they are collections of previous material, usually at least somewhat the artist’s best. But Black Country are never ones for normal circumstances. After dropping their first two albums in quick succession, their singer dipped. Rather than break up or hold tryouts for a replacement, they brought in a handful of guest singers and recorded a live album of entirely new material. And because this is Black Country, these songs are everything from smooth and jazzy to manic and unpredictable. The band loves to stretch themselves in every direction, ostensibly under the “alternative” banner but touching many different points. The use of multiple singers and a live setting lends a particular vibrancy to these tracks. On the DL, I didn’t care for their second album – and this one is a marked improvement! There’s something for everyone here.
RIYL: black midi, the Hold Steady, going to a classy party you’re dreading but having a surprisingly good time
#20. feeble little horse – Girl with Fish
This is the exact byproduct when you take 90’s fuzzed out alternative and channel it through today’s DIY bedroom movement. At only 26 minutes, this album looks slight. But jump in and you get a number of intricately-layered, crunchy and introspective alternative songs. They may be brief, but they are not underdeveloped. There is a painful earnestness to the vocals and lyrics of this record, which can often get buried (intentionally?) under the ceaseless distorted guitars. If you’re a sucker for 90’s grunge-adjacent sad rock, like me, then grab this one right away.
RIYL: Pavement, Hotline TNT, reading your old journal entries
#19. Young Fathers – Heavy Heavy
The British funk scene is strong right now, all things considered, and the biggest standout of 2023 was Young Fathers. The group has always embraced their funky ways, but “Heavy Heavy” is a downright party. It’s a short album, and the tracks don’t stick around too long, which only adds to the ambiance. Songs come and go, occasionally feeling incomplete, like wandering through a party listening to parts of conversations. But one thing is for sure: it’s impossible to not have fun listening to this.
RIYL: Sudan Archives, Four Tet, making friends with everyone at the party (i don’t know what this one is like)
#18. Boris/Uniform – Brand New Disease
The collaborative album from Boris and Uniform brings exactly what you would expect and, perhaps more importantly, a lot of things you wouldn’t. Japanese noise institution Boris have frequently left their comfort zone, releasing straightforward rock or even jazzier albums. But NY noise upstarts Uniform – who have graced my lists before – generally stay in one noisy, angry lane. This album is bookended by harsh, bitter and grinding songs that you wouldn’t want to play at a party. But in the album’s middle is some more meandering, introspective tunes. Frankly, I wasn’t expecting it. The whole end result is a well-rounded album that doesn’t feel constrained to the walls of noise music, but takes time to revel in them gleefully nonetheless.
RIYL: The Body, Melt Banana, thinking about an interaction that made you angry and getting angry about it again
#17. Genesis Owusu – STRUGGLER
Oh man I love this one. I had the lucky opportunity to cover Genesis twice this year and let me say, this man puts on one of the most thrilling live shows you’ll ever see. The tracks on STRUGGLER are very funky, very synthy, very jazzy and still shaped around conventional rock songs. Everything feels very simple, and yet it is a mindmeld of genre fusion. And it is done completely effortlessly. For a man with very little experience under his belt, Owusu has supreme confidence in the power of his tunes. That this is also a concept album – about still finding reasons to love and cherish in the midst of an apocalypse – only adds to the strength. I have said it before: get this man on your radar.
RIYL: Talking Heads, Parliament, dancing as the bombs fall
#16. The Hirs Collective – We’re Still Here
The metal band that made their name doing albums full of 90-100 songs that are all <1:30 made a bold decision: do something a little more normal. The album clocks in at 31 minutes, less than half the length of some of their bolder works, but features their strongest production and most well-written songs to date. The band ropes in elements of grindcore and black metal into a ceaseless aural pounding. As always, they’re joined by huge name guests, like Melt Banana, Shirley Manson and Soul Glo, among others. How hard does this band go? They did a two-month tour behind the album and didn’t take a single night off.
RIYL: G.L.O.S.S., The Locust, slamdancing until you get so sweaty that your mohawk collapses
#15. 100 Gecs – 10,000 gecs
Listening to the first 100 gecs album was a humbling experience, because it was the first time I felt too old for an album. I didn’t entirely “get” it, and thought it was wildly hit-and-miss. For whatever reason though, their sophomore album clicked. From ska songs about frogs to genuine nu-metal, this album revels in everything that is uncool, thus making it cool again. These two kids have firm control over the zeitgeist, bringing old influences into brand-new hyperpop madness. Find me an album released this year more unique than this.
RIYL: Fire-Toolz, Machine Girl, every song on every machine at an arcade playing at the same time
#14. Oozing Wound – We Cater to Cowards
Oozing Wound have long been one of my favorite metal bands, with a distinct blend of rough thrash and tongue-in-cheek, pessimistic vocals. Well, this album is different, as the band takes more of a grunge approach. The tracks are slower and even rougher, with less of a focus on vocals/lyrics. And I’m a massive grunge-head, so I think I like this one *even more* than their previous albums. The new direction blindsided me, but once I adjusted I welcomed it wholeheartedly.
RIYL: Soundgarden, TAD, committing vehicular manslaughter
#13. JPEGMAFIA/Danny Brown – Scaring the Hoes
Peggy and Danny have always been masters of the same thing – rap that exists on the fringe of the mainstream, balancing the precision of radio sweetness with the ambition of pure avant-garde, and both men have allowed their solo work to swing in both directions. On their collaborative album, they simply both do what they do best: wild raps with huge beats, over the top comedy and intensely catchy rhythms. There’s a certain sense of derangement here, comedically apocalyptic. It’s fun as hell. It was only a matter of time before these two linked up, and it produced some of the finest work of both men. Check out the bonus EP they put out, which is just as great as the album.
RIYL: Run the Jewels, Denzel Curry, the Alfred Molina scene from Boogie Nights
#12. Pile – All Fiction
I’m all in on bands messing around with genres and experimenting, but sometimes you just need some good old-fashioned rock, too. Pile does get sympathy points for being a Boston group, but their newest earns a high spot solely on songwriting. This album is full of dense and conceptual alt-rock, often lingering towards post-hardcore rather than indie. The band favors complexity over melody, which makes for a general lack of earworms, but a tremendous amount of curiosity. This is a rare mix that demands immediate replays – and not because the songs are stuck in your head. Tremendously original stuff.
RIYL: Pissed Jeans, Big Ups, knowing that you have better music taste than someone else
#11. Mandy, Indiana – i’ve seen a way
There seems to be a growing trend in music to blend genres beyond the normal definitions. Now this has always happened, of course, but there are always new avenues to explore. Mandy, Indiana – hailing from Europe – are a moody but fun group that tosses elements of dark synth and noise rock into indie. The final concoction is one of the best debut albums of the year, and one of the most eclectic albums in general. Recorded in a cave, you’ve got noisy guitars, foreboding synths and lyrics all in French. And yet it’s groovy. I can’t figure it out, maybe you can. I found them on indie radio, but I also didn’t bat an eye when one of their songs was remixed by Clipping. It’s all over the place, in serenely unpredictable chaos.
RIYL: Sonic Youth, Savages, the general feeling of confusion
#10. Jeff Rosenstock – HELLMODE
My favorite musician, so it’s almost guaranteed he’d rank highly here. Rosenstock made his name doing immature, lonely and inebriated ska-punk songs, so with each passing year, he finds his muses further and further away. This is his prettiest record, with a number of songs softer and/or poppier than fans are used to. This is maturity, and while his lifelong themes of jealousy, loneliness and occasional fun are still present, they’re now more nuanced and diluted. But it’s also still distinctly punk – 90-second bruiser “Head” is one of the wildest songs he’s ever done. Rosenstock may have changed a lot over the years, but he’ll never be different. Perfect sound, whatever.
RIYL: Against Me!, PUP, hangovers
#9. Caroline Polachek – Desire, I Want to Turn Into You
This one got super hyped, and for good reason. Polachek took her decent previous albums and elevated every single good element, giving us an unexpected classic on impact. Polachek has been pivotal in the mainstream development of hyperpop, and this may be the first album to successfully dilute hyperpop to a broader audience while still keeping it interesting. Really, it’s just a fantastic pop album, one that bangs start to finish. It’s all bangers, all songs that are fun and wildly unique. It rocks. Chances are, you know that already.
RIYL: SOPHIE, FKA Twigs, basement raves
#8. Margo Price – Strays
With a release date of January 13th, this is the earliest entry on the list, and it sat at #1 for quite a while. Of course, a country album was always going to be a longshot to be the chart-topper here at PGMR, but I do love a good one when I hear it. Price fine-tuned every track on this album so they are all distinct and memorable songs, and most of them are bangers; there’s no getting bogged down in repetitive weepers here. Throw in some guest spots from decidedly non-country artists (Lucius, Sharon Van Etten, and Mike Campbell, guitarist for Tom Petty), and you’ve got an absolutely delightful stew of songs that really sneak up on you. The album doesn’t feel memorable at first, until you realize your feet have been tapping the whole time, and you toss it on repeat.
RIYL: Nikki Lane, Jason Isbell, havin’ a cold one on a hot night
#7. Jessie Ware – That! Feels Good!
With an album title like this, you kinda know what you’re getting into. Jessie Ware’s fifth album doesn’t reinvent the wheel, because it doesn’t need to. It’s the biggest party of the year, an album chock-full of disco-pop bangers crafted solely to make you, well, feel good. If you gave these songs to a different artist, you could very well end up with overly-produced plastic slop. But with Ware, we’re gifted by her outstanding vocals and healthy touches of soul music. These songs feel startlingly original and earnest within the confines of a genre that often disavows that. It’s simply the most fun album released all year.
RIYL: Lady Gaga, Rina Sawayama, playing that funky music, white boy
#6. Bully – Lucky For You
After the year opened with a string of disappointing albums from artists I adore, I was delighted that Alicia Bognanno released her best album yet. This compact album follows in the ways of her previous three albums, of indie rock heavily influenced by grunge and, more specifically, grunge-adjacent 90’s icons like Dino Jr. and Pavement. These songs, largely inspired by the passing of Bognanno’s dog, are despondent and jealous, and her snarl has never sounded better. Crisp production matches her best songwriting yet. A late-album pinch hit by Soccer Mommy is great, but it’s not needed – the whole album is already a distorted, melodic and depressive home run. It’s gonna make you feel like shit, but it’s so catchy that you won’t even care.
RIYL: Screaming Females, Hole, obsessively checking your ex’s social media to see that yes, they’re still doing better than you
#5. Kelela – Raven
Something about me, possibly evident from this list, is that I always tend towards the bangers. Nine times out of ten, I’ll choose the louder and faster songs, whether that’s hardcore or bubblegum pop. Well, this is that tenth time. The R&B singer’s sophomore album is so minimalist and so fluid that it serves as one long 62 minute song cut into fifteen tracks. The album rarely moves at anything louder than a whisper, resulting in something that’s both calming and haunting at the same time, somehow. And even though there is fundamentally very little going on here, it grabs you from the opening moments and doesn’t let go. The album never wavers or falters, staying remarkably consistent across all fifteen songs. It is smooth and addictive, with positive lyrics about inclusivity within the dance music scene. It’s soft and feel-good, admittedly a nice antidote to many albums on this list.
RIYL: The Fugees, FKA Twigs, sitting inside and watching the rain
#4. King Gizzard & the Lizard Wizard – PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation
Yeah, yeah, more Gizz. I’m fully initiated into the cult of Gizz. This album is about as ridiculous as the title implies, and they aren’t doing any favors to the naysaying crowd that for some reason thinks this band is to be taken seriously. This album – their second true metal album after Infest the Rat’s Nest – covers an extremely familiar Gizz topic: the apocalypse. In this one, the world is destroyed, and the survivors begin to praise a new god, in the form of a Gila Monster. Unlike their first metal album, which mind you was also about the apocalypse, this one is dense and slow. They’ve ditched the thrash influences that permeated both their previous metal album and some of the psych albums in favor of an old school hard rock album. It sounds similar to last year’s good-not-great album Ice, Death, Planets, Lungs, Mushrooms and Lava, in that everything feels very dense and murky. There’s a full production to this. It’s the opposite of Rat’s Nest, which wasn’t even recorded with the full band. It isn’t exactly the newest ground they’re treading in this one, but there isn’t another Gizz album like it, either.
RIYL: Deep Purple, Black Sabbath, cool little lizards
#3. Model/Actriz – Dogsbody
Bands often come out of the gate hot, but this is one hell of a debut album. This band occupies the same sort of paranoid noise hellspace that Daughters vacated (because there is no jail that Alexis Marshall is worthy of being buried under). These are songs that have a certain paranoia to them, but one drawn through patient melodies. It’s not really post-hardcore, but it’s even less anything else. It’s extremely noisy and crazy while remaining even-tempoed, like the anxiety of realizing you’re bombing at an important job interview. This music is straight up stressful. Fun for the whole family!
RIYL: Daughters, black midi, accidentally perjuring yourself in a court of law
#2. Liturgy – 93696
If you’ve ever seen movies like Come and See or Ikiru or even Requiem For A Dream then you’ve probably described them as “absolutely incredible and I never wanna watch it again.” Well that same logic applies here. Liturgy, a paradoxically religious black metal band, have dropped some classic albums during their run; but the last couple have been weak, and I didn’t think they had the juice left. Well, 93696 proves otherwise, taking everything they’ve done in their career from heady and complex metal to maximalist harsh noise, and throwing it all into one 82-minute long album. It’s too much for one listen – it is two discs – as it is just too heavy, too daunting. I haven’t relistened to this one yet, and I may never. But my brain, which often forgets songs and albums the second they end, remembers this one start to finish. Thank you for reading this list, this is the single heaviest album on it.
RIYL: Deafheaven, Thou, suffering from religious trauma
#1. Wednesday – Rat Saw God
Instant classic. You may have seen my songs list, where this band took up three spots – and the guitarist took another with a solo track. This album is proving as a worthy breakthrough for the North Carolina group, which defies all classifications while remaining grounded in a grim reality. The band was already making waves in the indie underworld for their blending of country, americana and grunge into something resembling early Wilco, Drive-by Truckers, or – strictly contextually – Neil Young. Songs like “Chosen to Deserve” have a lot of country flair, while “Bull Believer” is straight grunge, the heaviest song the band has recorded to date. Lyrically, singer Karly Hartzman explores all of the lonely alleyways of America; these are songs of teenage alcoholism, domestic disturbances, loveless marriages and days spent just passing the time. There’s a specific type of American loneliness that runs rampant on this album, something that isn’t necessarily sad but just exists. It’s more flyover state, but all Americans feel it. Ten years from now, we’ll be holding this in the same regard that we hold Sonic Youth in now.
RIYL: Neko Case, Drive-By Truckers, visiting your hometown and realizing all your childhood friends are in jail
Thank you for reading this or, at least, thank you for scrolling to the bottom. As always, there were tons of other records I wanted to write about but didn’t have the space. Just to highlight a couple, those are: Dryad – The Abyssal Pain, an awe-inspiring metal album that blends tons of subgenres into one; The Armed – Perfect Saviors, a once-pop-metal band turned indie in an album that’s suspiciously conventional; Purling Hiss – Drag on Girard, one that initially made the list but didn’t stick in my brain enough – think a rougher Dino Jr.; The Croaks – Croakus Pokus, a wickedly fun local band that mixes all types of folk from folk-punk to straight medieval music; Death Valley Girls – Islands in the Sky, a punk group I absolutely adore that is reluctantly growing up and moving towards indie – maybe their weakest album, and still almost made the cut.
Tired of this yet? I am! For previous coverage, check out: Songs | 100-76 | 75-51 | 25-1
We continue on with my expertly planned-out, lab-tested top 100 albums of 2023. No reason to say any more here, so let’s dig in.
#50. Olivia Rodrigo – GUTS
Gatekeepers be damned, this kid rocks. Rodrigo has an obvious affinity for rock and alternative bands of years passed, and incorporates them into her pop music in ways that her peers haven’t even attempted to do. I mean, she’s got the Breeders opening for her next year. The Breeders! Anyways, this album is full of appropriately youthful energy, full of high school tales and music that is both digestible, bouncy pop and punchy rock elements. She also corrects the one flaw I had in her debut – too many slow tunes. This album is a more consistent collection, a rare sophomore album that stays in the same lane as a debut while improving on it steadily.
RIYL: Billie Eilish, Dua Lipa, i mean chances are you know this one already
#49. Susanne Sundfør – Blómi
Easily, and I mean easily, one of my favorite artists, the Norwegian singer-songwriter is constantly reimagining things. Her first two solo albums are ho-hum singer-songwriter stuff, but every album since then has had a unique, fascinating identity. Her newest is in some ways a continuation of the sparse, acoustic guitar-vocals-piano of her last record Music For People in Trouble, but where that album had a creeping ominous aura, this one feels warm and nostalgic. That may be due in part to fewer songs in English, as well as a “back to basics” feel that feels refreshing after a journey through a bunch of other influences. Her music is often complex and difficult, but this record is still very approachable. That she isn’t on the radar of Americans is criminal.
RIYL: Marissa Nadler, Angel Olsen, pulling the covers back over your head
#48. Everything But the Girl – Fuse
I went into this one as an outsider. The softer side of new wave (i.e. Tears for Fears) is something I have only very recently learned to appreciate, so I didn’t have the highest hopes for this. It’s their first album in 24 years! Instead, I absolutely ate it up. This is a collection of dance songs for a sophisticated audience, a reminder for professional adults to go out and have some damn fun. It is difficult to make dance music that doesn’t sound at least a bit plastic, but these songs are emotional and raw, not to mention immaculately produced. With mixes of electronic and acoustic, it is a diverse set, all brought together by earnestness, crisp mastering and raw vocals.
RIYL: Tears For Fears, Massive Attack, stretching before you dance
#47. Frankie and the Witch Fingers – Data Doom
Many of the artists on this list I have a deep knowledge on. This is not one of those artists. I know practically nothing about this group, but I saw them mentioned alongside plenty of bands I love. It’s easy to say that this band is name-brand Oh Sees. But, Dwyer & gang are one of my favorite bands, and their sole release this year was super underwhelming, so there was a hole to be filled. This is incredibly fun psych-rock, designed purely to stimulate and clear the seats of butts. When I say “psych-rock,” don’t think prolonged, meandering Jerry Garcia jams. These are brief songs jampacked with energy, rawness and a million little ideas. A pure blast.
RIYL: Thee Oh Sees, early Tame Impala, two hits of acid
#46. Billy Woods/Kenny Segal – Maps
Billy Woods was one of my favorite finds of 2022, releasing two albums I adored, and he keeps the train rolling here. His sole album is a travelog, chronicling the intense touring schedule he underwent “post”-COVID. Segal provides production across the album, and both men keep things simple and serene. Woods is a natural raconteur, and the stories he weaves across the album are so innately interesting and revealing. Woods might be one of the most undersung talents in the rap scene, hopefully this one proves to be the breakthrough.
RIYL: Ghais Guevara, R.A.P. Ferreira, telling your friends you were listening to the hot new artist five years ago
#45. Lana Del Rabies – Strega Beata
Yeah yeah, the name is a throwaway pun, but it lets you into the music too. LDR – this LDR, the primary one is coming later – is a harsh noise artist, chunneling in the exact opposite of Lana Del Rey in every possible way. This specific album, though, is a much lighter approach, incorporating hefty amounts of ambient. The fishhook divide between harsh noise and ambient is one that has been explored countless times, but rarely as effectively as here. This is sheer catharsis, at the hands of both extreme noise and the absence of. Very limited audience on this one, but those that stumble on it should appreciate it.
RIYL: Pharmakon, Uboa, that one particular Deafheaven album where they pissed people off by doing ambient music
#44. Paris Texas – MID AIR
Just some good ass rap. When you name yourselves after one of the most notoriously despondent films, you’re already setting yourself apart from your peers. Paris Texas makes very thrilling and bombastic music, avoiding both the cliches of conventional hip-hop and the noisiness of experimental rap. Their debut album sees a hefty load of songs that are occasionally difficult, but always fun. For bonus points, check out the tongue-in-cheek late addition “Lana Del Rey,” named as such because Lana put a song on her album called “Paris Texas.”
RIYL: OutKast, Injury Reserve, your car’s speakers
#43. Slowdive – everything is alive
There are a hundred million different timelines where we aren’t getting new Slowdive albums, so we should take anything from the shoegaze legends as a blessing. The fact that their reunion albums are this good, especially when the shoegaze reunion albums are usually awful? Unbelievable. Everything about this release is soft, even for them. Even the title is lowercase. This album is a gentle touch, a spring breeze, a bunny hopping through a field. Some songs have rhythm and percussion, some are just aura, but all are full, affirming and warm. It’s a nice antidote to much of the hostility on this list.
RIYL: Cocteau Twins, Mazzy Twins, opening the windows for some spring air
#42. James Blake – Playing Robots Into Heaven
After a solid debut and a sophomore album I adored, the English alt-electronic artist James Blake went on a run of albums that were at worst total duds and at best decent but forgettable. Luckily, that streak is over, as his newest recaptures the energy that made his early music so palpable. This album is all over the place – cohesion is the biggest drawback – but Blake is clearly playing with competing aspirations. Nearly everything works, from the moodier, slower songs that we’ve become used to, to the wall-to-wall electro-bangers of years past. If you’re into dance music, then rest assured: James Blake is back.
RIYL: Hot Chip, Jamie XX, crying in da club
#41. Chained to the Bottom of the Ocean – Obsession Destruction
From my home city and named after a Thou song, this band already had points in their favor for me. But the album is that good, too. I’m not a big doom metal guy, but I appreciate good doom when I hear it, and this is some of the best of the year. With titles like “Ten Thousand Years of Unending Failure” you know you’re going to get some sludgy, heavy and morose stuff. The riffs are incredible, the songs are extended without ever growing tedious, and there’s just enough non-doom influence to spice up every song. If doom is your thing, you may have missed this one – rectify that.
RIYL: Sleep, Thou, the misery of continued existence
#40. Arlo Parks – My Soft Machine
I had lofty expectations for the Arlo Parks sophomore album. Her debut Collapsed in Sunbeams was arguably my favorite album of 2021. This one doesn’t quiiiite live up, but it’s still remarkable. Parks somewhat trades in the jazzy and loose elements of her debut in favor of more standard pop instrumentation and songwriting, to no diminished effect. There’s still plenty to pull apart here, mostly surrounding her consistently heartfelt and earnest lyrics. Her voice is as strong as ever. Her music remains an enigmatic mix of alternative and R&B that sounds totally natural. This one goes down real smooth.
RIYL: Sudan Archives, SAULT, morning snuggles
#39. Yaeji – With A Hammer
Yaeji first popped up on my radar way back in 2018 with an introductory single, but I didn’t keep much of a tab on her until she rocketed back into the limelight with her debut album. The title and accompanying image make a grand statement, that the multi-genre pop singer isn’t here to play. Like many of the best pop singers out there now, she’s reinterpreting the genre to be diverse tunes that aren’t factory-assembled chintzy radio bangers. These are songs with incredible amounts of depth, influence and unpredictability. It isn’t really hyperpop, but more along the lines of a very mature and patient type of pop like we’ve seen out of Rina Sawayama. It’s super unique stuff.
RIYL: Rina Sawayama, Toro Y Moi, hooks upon hooks upon hooks
#38. Lifeguard – Dressed in Trenches
Another one that snuck past debatability! I normally do not include EP’s but there were too many excellent ones this year. Unlike some headier entries on this list, this is just 18 minutes of rippage. These kids (yes, children) know how to write a damn good rock song, or five. “Alarm” features one of the simplest but most effective riffs you’ll hear all year, coupled with one of the catchiest choruses. The other four songs mostly follow this path, with some slower deviations. This group has the energy of literal teenagers with the confidence of musicians much older.
RIYL: Superchunk, Sleater-Kinney, moshing in dry heat at a festival
#37. Pacing – Real poetry is always about plants and birds and trees and the animals and milk and honey breathing in the pink but real life is behind a screen
I don’t know anything about this artist. I don’t know how they ended up on my listen-to queue, whether it was a recommendation from someone or they’re friends with a friend, or what. What I do know is that it caught me completely off-guard. I’m hit and miss on lo-fi bedroom stuff, but this was a collection of songs that were mostly fun, occasionally dramatic, and 100% earnest. These quick ditties are full of earworm melodies, jokes, honest reflections, and uncomfortable truths. Every song wins. Genuinely loved this.
RIYL: Kimya Dawson, claire rousay, still spinning the Juno soundtrack
#36. Ada Rook – Rookie’s Bustle
Alright so I listened to this one early in the year and I don’t remember it fondly, but it’s a great Ada Rook so I can tell how it goes anyways – a blend of particularly forceful and strained screamo mixed with synths and a healthy touch of pop music. Rook is part of Black Dresses, hyperpop extraordinaires, and their solo music pushes the intense elements even further. Rook is my favorite screamer in music right now, and this mini-album is chock full of it. Heavy and emotional stuff.
RIYL: Uboa, Pharmakon, the hottest and most deranged goth girl you’ve ever seen
#35. Burner – It All Returns to Nothing
I’ve mentioned it elsewhere on this list, but there is a current trend in making the most abrasive and dense music possible. Burner might have cracked the code completely. This album, which exists on the fringes of noise and metal, is 34 minutes of relentless chaos designed to shun away even the most ardent noise fan. It is a pure spectacle, and the fact that these are well-constructed songs takes a backseat. But they are, as otherwise this would be a pointless exercise in noise. I’m rambling. Check this out if you like the heaviest of heavy.
RIYL: Nails, Full of Hell, folk horror
#34. Lana Del Rey – Did you know that there’s a tunnel under ocean boulevard
I’m an unabashed Lana fan, but I always take her new releases with a grain of salt. Her catalog has been so inconsistent over the years; thankfully, this is a top 3 Lana album. Despite the daunting length, every song feels important. We also get Lana at her most diverse – we have trap on A&M, we get Jon Batiste, we get a Father John Misty collab that’s the most 50’s song either artist has ever done. It’s a winding collection of inspired tunes. It’s not quite the best album Lana has done, but it’s easily the best album Lana has done. But surely you’ve already got an opinion on this one.
RIYL: Adele, Ethel Cain, being a housewife in the 1950’s
#33. Sightless Pit – Lockstep Bloodwar
The band/album names may insinuate something heavy. The members of Sightless Pit – Dylan Walker of Full of Hell and Lee Buford of the Body – insinuate something disgustingly heavy. And for the most part, it is. Members of two of the heaviest and most unpredictable bands in all of music come together for their second official collaboration. Two kings of sheer noise bring a natural melding of their music. But they bring other influences too – across this album, there’s all sorts of trap, jazz and ambient influences mixed into the normal abrasive chaos. Everyone from melodic ambient upstart claire rousay to rap legend Gangsta Boo make appearances. The album brings everything you’d expect, and everything you wouldn’t, from the men involved.
RIYL: Lingua Ignota, Nothing, just any kind of music you don’t hear on the radio
#32. Foo Fighters – But Here We Are
I’m not much of a big Foo guy. I think they’ve got a pair of great albums, and a career of weak ones that have 2-4 great songs. On the whole, low batting average. But sometimes a tragedy can bring out the best in a group, even when it’s the biggest rock band in the world. The Fighters haven’t sounded this energized in decades, and haven’t sounded this despondent ever. It’s obvious the band looked inward, trashed their template and wrote from the heart. These songs are earnest, difficult and affirming, declarations from a band that is choosing to soldier on without Taylor Hawkins. These songs also, of course, rip total ass.
RIYL: Queens of the Stone Age, the Smashing Pumpkins, did you really need to read this one?
#31. Portrayal of Guilt – Devil Music
Upstarts Portrayal of Guilt had already established themselves as one of the most ambitious and unique bands in modern metal before this album, which boasts one of the most intriguing concepts of the year. Side A of this album is five standard POG songs, aka short and abrasive noise jams that stray away from anything melodic or familiar and thrust the listener into a world of unknown. Side B consists of the same songs, performed with a string section instead of the normal band. The whole album is only 31 minutes, and frankly both sides could’ve had more juice. The concept just flat out works and provides for one of the single most unique releases of the year.
RIYL: Full of Hell, the Body, dreams that start out scary but get weirdly normal
#30. GEL: Only Constant
There is a new (?) blend of punk out there, with bands pushing the ‘hardcore’ label to the extreme levels and producing something that sounds like thrash metal’s dirtbag cousin. The divide between hardcore punk and noise music has never been more blurry, and GEL is just one of a few examples of it on this list. This album – all 16 minutes of it – is blistering, bruising hardcore specifically designed to pummel your senses in a convention hall basement. This band seems to have rockets strapped to their backs, so if you see their names crop up on a festival bill or as an opening act, get there in time.
RIYL: Mannequin Pussy, Knocked Loose, music venues that are fire hazards
#29. Yves Tumor – Praise A Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds)
The multi-genre music athlete Yves Tumor follows the trend he hinted at in his previous LP, ditching the abrasive and complex synths in favor of sultry guitar tracks. There is a lot of uncharted territory here for Sean to explore, and they touch most of it. A whiplash of tracks sends the listener through indie, experimental and hard rock tunes, all wrapped together in seductive production and appropriately religious lyrics. Fans of their older work will eat this one up, even with a general change-up in instrumentation. The one drawback of this album, it seems to be lacking in staying power; it was hotly discussed upon its release in March and is barely registering a blip these days. Still, it’s a powerful release.
RIYL: Lenny Kravitz, Miguel, fornicating
#28. The Men – New York City
No reason to spend a lot of time on this one – it’s just some exceptional garage rock. The Men sometimes like to drift off into other territories, so it’s refreshing to hear them pivot back to their punky, noisy roots. This album is super back-to-basics, even in its title; a simple declaration from one of the premier NYC bands. Rock on.
RIYL: Cloud Nothings, Ty Segall, getting the band back together
#27. Perennial – The Leaves of Autumn Symmetry
This EP doesn’t even crack 8 minutes but it’s some of the most fun you’ll have with headphones on. I’m pals with them so of course I had to include them. The five songs here show the band at their most chaotic, quick little fireballs of dance-punk. You don’t need more than 8 minutes here because you’ll be out of breath by the end.
RIYL: The Hives, The Fratellis, adderall
#26. Yo La Tengo – This Stupid World
I’ll hold my hands up and say I went into this album knowing little about YLT. There’s a handful of legacy indie bands – YLT, GBV, New Pornographers, Belle & Sebastian, etc – who have lengthy catalogs that I’ve just never tackled. Well I’m halfway through theirs now, because I loved this album. Patient, mature, and still refreshingly energetic, this album represents a legacy band still at their highest ambitions. I’ve listened to a number of YLT albums now, and I still think the opening track here (“Sinatra Drive Breakdown”) is my favorite. Yo La Tengo has the confidence to be ambitious, and the experience to know where to stop. Legacy bands aren’t supposed to be this good.
RIYL: Wilco, Belle & Sebastian, taking your son to the music festival
Before we jump into the final section, I should point out that there are so many albums from 2023 I still haven’t gotten to. Nicki Minaj and DJ Shadow dropped albums late in the year I didn’t have time for. Drake, Kim Petras, Metric, Sofia Kourtesis and Blackbraid all released albums I simply haven’t gotten to. I haven’t finished the Andre flute album yet. I missed new ones from Marnie Stern and Radiator Hospital until it was too late. Bell Witch, the Drums, Chris Stapleton, and who can forget Smokey Robinson’s “GASMS”? My apologies to the artists and their 99 albums still on my listen-to list. I won’t adjust this list, but if your favorite is missing – it’s possible I simply haven’t gotten to it yet!
Check back tomorrow for the big finale! You can expect: a metal band turned grunge, hyperpop, a death metal demo, a raucous rap collab album, multiple indie debuts, hardcore legends, and something that I normally disqualify from a best of list – a live album.
Hello and welcome to day two of counting down a needlessly high amount of records! Catch up on the first 25 records if you haven’t already. Otherwise, let’s roll.
#75. Scowl – Psychic Dance Routine
Scowl sounds practically identical to the band Gouge Away – which is fine by me, as the latter band left a void by taking a hiatus (though they themselves returned with a new song this year). This is aggressive and abrasive hardcore, but without sacrificing melody. Despite only being 10 minutes long, this EP leaves room for experimentation and temptation within brutal hardcore. This group does not have a proper full-length out yet; when they do, the throne is theirs to take.
RIYL: Gouge Away, Birds In Row, getting your nose broken
#74. Ratboys – The Window
To call Ratboys “exciting” is a slight stretch, but it is cool how the band makes songs that are so familiar and digestible and yet don’t really follow any proper genre conventions. They’re ostensibly an indie band, but they’ve always infused their songs with enough raw energy to be punk (and have toured with proper punk bands). Their new album tosses in more roots rock elements, too, which only complicates things. And yet the songs are so smooth, so catchy, and mostly extremely fun. Good for the whole family!
RIYL: PUP, Beach Bunny, rocking out but safely
#73. Antony and the Johnsons – My Back Was A Bridge For You To Cross
ANOHNI makes beautiful music, this is not news to anyone familiar with her work. Her heartbreaking lyrics are always matched by her unique, lounge throwback crooning voice. She reunited her old band and their first album in 13 years is a dreary, soulful affair. The experimental indie vibes of ANOHNI’s solo albums are mostly gone, replaced by more straightforward soul. It suits her voice well, which was fit for 50’s sounding ballads. With a photo of Marsha P. Johnson on the album’s cover, you know we’re not getting any less political.
RIYL: Perfume Genius, Zola Jesus
#72. Carly Rae Jepsen – The Loveliest Time
Another banger album from the best pop singer on the scene now. Ever since the days of E*MO*TION, the best pop album of the last decade, Jepsen has had a brilliant niche for herself. Her music is straightforward pop, and her vocals are breezy and smooth in a way that hints at a youthful innocence. But her lyrics always give nuance – usually in the form of mixed emotions or counterintuitive responses to social situations. It’s just as true here, as Jepsen acts a barely-veiled raconteur for human complexity. As always, this is a two parter – this album is a sequel to 2022’s The Loneliest Time. We gotta love someone who always gives us some extra.
RIYL: Tove Lo, Jessie J, solo dance parties
#71. Dream Wife – Social Lubrication
Yeah okay, you only name your album something like Social Lubrication in certain spaces. Dream Wife are a chaotically fun band, who fuse punk and pop together in a way that is distinctly not pop-punk, but two forces working against each other. Toss in some indie elements too, and you’ve got a super unique blend. The band’s bluntly feminist lyrics are a plus, often as tongue-in-cheek as they are serious. I mean the lead single is “Hot (Don’t Date A Musician).” Thrilling, unique and urgent – this is the future of punk.
RIYL: Hinds, The Menstrual Cramps, fucking up an abuser
#70. Kenny Mason – 6
Rappers have been blending rock into their music for decades now, but few do it in the way Kenny Mason does. Across his brief album 6, he uses rock influences sparingly. Sometimes, it’s straight rap, sometimes there’s hints, other times it goes full on shoegaze. Unpredictability is the key player here, leaving the listener guessing as to where Mason might go next. The flares of horror influence give this album a proper morose mood, too. Rock influences are used to deepen the grim tone, not to make bangers. And yet, it’s exciting.
RIYL: clipping., Brockhampton, pretending not to like nu-metal but secretly enjoying it
#69. Danny Brown – Quaranta
After the raucous insanity of his classic album Atrocity Exhibition, I found his more centralized follow-up album to be disappointing. After a few years away, Brown bounced back big, dropping two albums in 2023. The first was a collaborative album with JPEGMAFIA – more on that later – and the second is an album that works to recapture some of the old, wild magic. Brown is newly sober, and that change permeates this record. Quaranta follows the same darkly funny, manic rapping from years past, but leveled out a bit. It’s a more mature side of Danny, which he seeks out while still being one of the most exciting musicians in the country.
RIYL: Run the Jewels, Vince Staples, limbering up for the pit
#68. Reverend Kristin Michael Hayter – SAVED!
You may know Kristin Hayter more as Lingua Ignota, a now finished noise project where she matched her operatic vocals with harsh screaming and disturbing lyrics of self-hatred and religious paranoia. She’s now operating under this moniker, delving further into the religious aspects of the music. This album has plenty of fire and brimstone moments, but it ultimately lies closer to a Southern gothic sound than a noise one – think Ethel Cain or, I guess, Flannery O’Connor. The result is music that is more accessible than the stuff with Lingua Ignota, but would still send people screaming.
RIYL: Ethel Cain, Xiu Xiu, demonic possession
#67. AJJ – Disposable Everything
For a number of reasons, I’ve taken myself off the AJJ train over the last decade. But, an opportunity to cover one of their shows came up, and I figured I might as well for old times sake. Turns out, it was in support of their best album in a long, long time. The band had struggled for a while to meld their older songs, which were hyper-fast folk-punk with shocking lyrics, with a more mature sound. They finally nailed it here, as they embrace some of their older ways (short songs, raw lyrics) with more nuanced melodies and discussion topics. It’s quick, diverse, adult, and all still distinctly AJJ.
RIYL: Defiance Ohio, Mountain Goats, finally taking a shower
#66. Nickel Creek – Celebrants
I don’t think anyone expected a new Nickel Creek album in 2023. Their first album in 9 years was released with little announcement and little fanfare. The bluegrass legends came firing back with a damn near perfect bluegrass release. I don’t really go for music like this much, but threw it on just as something new to listen to. It’s a hefty album, and yet every track feels vital, as if the band has secretly been saving all of these songs up for the last decade. This album is just naturally fun, with insanely talented musicians confidently steering it.
RIYL: Alison Krauss, Willie Nelson, doing square dances? idk anything about this way of life sorry
#65. Anjimile – The King
A formerly local artist, Anjimile’s music has always been emotional and raw. Their newest triples down on it, analyzing life as a black nonbinary artist in America (hint: it’s not great!). It’s a beautiful and impactful folk record, with some of the most powerful songs of the year. That it’s also an intricate release musically makes the album that much better. These songs are bleak, and they sound bleak, but they also sound a lot fuller than you may expect from such morose folk.
RIYL: Vagabon, Bartees Strange
#64. Kali Uchis – Red Moon In Venus
This is just good ass R&B! I’d never really listened to Uchis prior to this, so it was a pleasant surprise. She blends English- and Spanish-language lyrics together in a super-fun neosoul record, a perfect summer soundtrack. Everything here feels refreshing, and the fifteen tracks ensure that no idea sticks around too long. Not much else to say: it’s fun as hell.
RIYL: SZA, Frank Ocean, block parties
#63. Nation of Language – Strange Disciple
I discovered this band by chance just after I had a moment where the music of Tears For Fears finally ‘clicked’ for me. Having the poppier side of new wave, which I had always maligned, finally make sense to me opened up a world of new music. These folks do exactly that, and they’re very good songwriters. Their synthy-indie pop could get boring quickly, but they put care into making every song unique and excellent. These tracks are smooth, rhythmic and built with just a touch of tenderness. I anticipate getting even more into them in the future.
RIYL: Tears For Fears, Erasure, putting your hair up in a way that’s going to look very dumb in a few years
#62. Feist – Multitudes
There were a handful of welcome returns this year, few more welcome than indie goddess Feist. Her first album in six years doesn’t see any real change from her previous albums, and why should it? The Feist template of nuanced and mature folk-rock songs with pretty rhythms, haunting vocals and complex emotions is still running strong. She hasn’t missed a beat, as Multitudes is another notch in an excellent catalog.
RIYL: Cat Power, Sharon Van Etten, getting one drink at a show and taking the next day off work
#61. Janelle Monáe – The Age of Pleasure
I mean, it’s Janelle. What do I need to say here? This is far from her best work, and it’s still among the best albums of the year. Smooth, breezy and sultry, there’s fewer distinct bangers here and more of a prolonged vibe. And that vibe is, well, coital. There’s only two tracks over 3 minutes, highlighting just how flowing and digestible this album is, like a sweaty summer day. The fact that people were expecting grand political statements by Janelle’s return to music is incredibly funny, as we instead got a rousing sex playlist.
RIYL: Prince, Tinashe, [redacted]
#60. Lonnie Holley – Oh Me Oh My
You may or may not know the name Lonnie Holley as a visual artist with a career spanning back decades. At a spry 73 years old, he’s released his third piece of audio art, and that’s exactly what it is. This is abstract, experimental music, full of songs that couple a political angriness with a religious wholesomeness. It’s a complete persona, the positive and negative. A lot of experimental music falls victim to an ironic repetitiveness, but this album will always keep you guessing. There are some heavy assists, too: Bon Iver, Sharon Van Etten and Michael Stipe all show up, among others.
RIYL: Kara Jackson, William Basinski, achieving a complete and total clarity about the world
#59. Blondshell – Blondshell
Feels a little weird to call this a debut given that Blondshell, aka Sabrina Teitelbaum, had previously released pop music under a different moniker. But those songs went nowhere, and she’s done a hard reboot with a set of fuzzy, guitar-based indie. Many albums on this list try to reinvent the wheel; Blondshell revels in the already-established. These are just great, punchy indie tunes that hearken back to a 90’s sound. Poppy, noisy, and innately rhythmic, this is indie rock at its finest.
RIYL: Momma, Snail Mail, pleasantly liking some of the songs your teen kid is playing
#58. Lil Uzi Vert – Pink Tape
What a victory lap. Uzi is one of the last stars of the cursed mumble rap scene, but he’s on top of the world. And this album sees him throwing all of his ambitions and excesses at the wall and seeing what sticks. There’s no idea too ridiculous – in fact, the two best songs are a song that samples Shinsuke Nakamura’s entrance music, and a full cover of “Chop Suey!” At 87 minutes, I will concede that it could’ve been edited down a lot, but a vast majority of the songs here are fun bangers that don’t overstay their welcome. It may be a slog to get through – but it’s rewarding.
RIYL: Young Thug, Playboi Carti, the party of the century
#57. Spanish Love Songs – No Joy
This band has a natural knack for writing grown-up, despondent tunes that feel like a much-matured version of pop-punk. These songs are a little too indie to be punk, a little too prickly to be indie, and way too adult to be pop-punk. They owe more to the irreverent raconteurs in the Hold Steady than anything else, yet most often get namedropped alongside bands like the Menzingers. It’s a patient and engaging album. The characters across the songs feel earnest and real. There’s simply a lot to relate to here.
RIYL: The Menzingers, the Gaslight Anthem, having the stark realization that you’ve lived enough to relate to Springsteen lyrics
#56. Geld – Currency // Castration
I’ve written about it earlier in the list and I’ll write about it again later, so let’s keep this brief – hardcore bands are currently pushing themselves to the absolute limit. This quick release (22 minutes) stands firmly on the trifold border of hardcore punk, thrash metal and harsh noise. It’s a limited audience record, but for those who find it, it’s wildly great.
RIYL: Knocked Loose, Mammoth Grinder, listen I’m running out of hardcore jokes here. Uhh uhh smashing a PBR can against your head
#55. Depeche Mode – Memento Mori
There isn’t much I can say about MM that I haven’t already said in my Depeche Chronicles series from earlier this year. This collection was born out of tragedy, of the loss of Andy Fletcher. And although some of these songs were already in progress when he passed, his ghost haunts the album. The two remaining members face their own mortality up and down, with a number of diverse and intricate tunes that nonetheless revel in the morose. It’s one of their better albums! And while they may face their own mortality, they didn’t let it get to them – embarking at their age on a massive, arena tour.
RIYL: Gary Numan, The Cure, calculating how much you’ve spent on black eyeliner in the last 35 years
#54. LURK – Natural Causes
There’s a lot of punk on this list, and most of it is similar in the way the groups push the boundaries of labels and sheer sonic terror. LURK, though, is closer to traditional hardcore punk. I only found this band because a coworker’s group played a gig with them, but I’ve spun this one a couple times now. It’s just an EP, so nice and brief, but the band packs a lot into it. Some songs are noisy and abrasive, some are focused more on melody. Despite only being 20 minutes, it’s a diverse effort within the realms of punk. Really left me wanting more.
RIYL: Rise Against, Knocked Loose, idk i’m totally out of hardcore jokes here
#53. PJ Harvey – I Inside the Old Year Dying
PJ Harvey remains unpredictable. She’s one of the few artists with a perfect batting record when it comes to albums, but it’s fair to say that her previous work, 2016’s Hope Six Demolition Project, was one of her weaker efforts. This album, she’s decided to take things back to medieval times. Not actually, but the album is based on an epic poem and is littered with biblical and Shakespearean references, and the near-constant minimalist feel gives it more of a chamber aura. It isn’t like anything Harvey has done before, chalked up at least a bit to the improvisation on the album. It’s not her most accessible work, and it took me a few tracks to vibe with it. But there’s a mesmerizing core to this album, even in the moments where there is very little happening.
RIYL: Nick Cave, Patti Smith, reading a book in the woods
#52. Kesha – Gag Order
Kesha’s initial turn towards earnestness still felt a bit forced, even in spite of the implosions happening within her career and personal life. Now, these years later, she’s never sounded more sincere. This album is brutally emotional, and sees Kesha offer her best-ever vocals and her most vulnerable lyrics. It’s also probably her most diverse album musically, refusing to pigeonhole her into one sound. Kesha – or Ke$ha, even – had always been as much a character as an artist. That character is finally, fully, shed. This is a deeply and darkly human album, and easily her most impressive work to date.
RIYL: Britney, Christina, gonna be honest it feels very wrong to do a joke response to this one
#51. King Gizzard & the Lizard Wizard – The Silver Cord
Immediately upon release, this record – the band’s 25th (!!) – proved to be one of their most divisive among fans. A lot of the band’s guitar purist fans don’t like the electronic/krautrock direction the Aussies have decided to go in. And that’s fine, the sheer point of Gizz is that you’re not going to like everything they do (for me, it’s the boogie stuff). I was expecting to be bored, honestly, but this one is pure fun. The band channels Kraftwerk into some songs that are both metrical and exciting, particularly the urgent songs “Set” and “Gilgamesh.” There’s a ton of lyrics about ancient gods and what not – it’s still Gizz after all. And of course, there’s the album’s gimmick – the record comes in two versions, one running about 30 minutes and one running about 90 minutes, where every song is “extended,” stretching past 10 minutes. The extended “Theia” goes 21 minutes. Both versions are excellent, and work together to service all electronic fans.
RIYL: Kraftwerk, Can, when Dylan went electric
Thanks for reading! Tomorrow we soldier on with entries 50-26. The albums will only get better (or worse, this is all personal tastes). Up tomorrow, we’ve got some local metal, shoegaze legends, electronica legends, one of the biggest albums of 2023, a band with a song called “Lana Del Rey,” an artist who parodies Lana Del Rey, and Lana Del Rey Stay tuned!
I apologize in advance because I went sicko mode this year. But looking down at the list of albums & songs this year, how could I not. 2023, just like nearly every year, delivered an incredible amount of excellent music, with hundreds of albums not getting the national coverage they deserve. So I had to go to the extreme and talk about 100 albums.
The year started off cold. There were a number of albums from both big-name veterans and personal favorites that disappointed. New releases from Miley Cyrus and Metallica were dead on impact. Damon Albarn went 0-2 with a disappointing Gorillaz album and a disappointing Blur album. The Dirty Nil, a band I’ve previously called the best band in music, released one of the worst albums of the year. It was a dire start which, thankfully, was a red herring for the rest of the year. Because when things started to tick up, they really ticked up.
I really wanted to write about so many more albums than what’s already here. My final tally was 346 new releases, with another 100 still on my list. I also manipulated the list a bit, which originally included Bad Bunny and Peter Gabriel towards the bottom – but do they really need more coverage? I am already sacrificing tons of under-the-bubble groups. You know whether or not you like Bad Bunny & Peter Gabriel.
From experimental bedroom pop, to French indie, to a dozen hardcore albums, bluegrass, new wave, indie veterans, bubblegum pop, religious black metal and a handful of the loudest noise records ever produced – it’s all here.
#100. HEALTH – RAT WARS
One of the very last albums I listened to (somehow I missed the release) sneaks in at the bottom. Ever since I saw HEALTH for the first time in 2019, they’ve been one of my favorite bands. They’re still chasing the highs of their best album, but this industrial-heavy album comes damn close. This is heavy, pounding music, always offset by the distant, high vocals. There is more of a sweaty club vibe on this one which really aids the slower tracks. Rarely does a band capture the 80’s industrial intensity as consistently and successfully as HEALTH does.
RIYL: Nine Inch Nails, Author & Punisher, getting into a fight at the sex club
#99. Slaughter Beach, Dog – Crying, Laughing, Waving, Smiling
The trajectory into slightly Americana-based indie is simply not what I would’ve predicted for Jake Ewald. When Modern Baseball split – the pop-punk group beloved by all, even me who does not like pop-punk – Ewald ramped up his side project. Now a decade later, he’s doing folksy indie, and this album is his best SB,D work yet. These are songs with rich characters and storied histories, with love and tenderness inserted each time. While these songs are not upbeat, there is a consistent engaging quality to them, one that nags at the listener. This is Ewald’s best songwriting to date!
RIYL: Real Estate, Grizzly Bear, finding your old ripped CBGB’s shirts a decade later
#98. The Beaches – Blame My Ex
I dropped the ball on this one. In advance of Boston Calling, I received a dozen interview requests from the Beaches’ PR person. I passed, not having the time or knowledge of the group. Well now they’re big! And rightfully so. The band’s sophomore album is a spunky, catchy indie-punk record filled with snarl. These songs are built around melodies, but they come straight from the heart. The amount of energy and earnestness across this record is apparent immediately, especially on the aptly-named opener “Blame Brett.” They have hooks for days.
RIYL: Beach Bunny, Clairo, knowing your break-up will end in a defamatory radio hit
#97. Suzie True – Sentimental Scum
This is the first of a handful of blisteringly fun, feminine indie-punk records on this list. Suzie True does fast and heavy songs, loud enough to be punk and catchy enough to be indie, all wrapped up in compact records. The overly girly imagery of the group matches with the old-school punk riffs in just the right way to piss off some old gatekeepers. Listen closely for what I believe is an uncredited Sean Bonnette on vocals (from AJJ – more on them later). Fast, fun, angsty, loud – perfect for 2023.
RIYL: Teenage Halloween, Oceanator, reading your old diary
#96. Speedy Ortiz – Rabbit Rabbit
Rabbit Rabbit. It’s what Sadie Depuis tweets on the first day of every month. A new start, a new beginning. The first Speedy Ortiz album in five years (following an excellent Sadie solo release) is kind of more of the same, kind of not. A great indie-punk album, it’s got some of the fiery energy of old Ortiz tunes, with a lot of maturity and patience thrown in. This is maybe the most well-rounded Speedy album yet, and they’ve always had a handle on complete packages. I was not anticipating another Speedy Ortiz release, so this was a delightful surprise.
RIYL: Hop Along, Charly Bliss, getting too old for street punk shows
#95. Deerhoof – Miracle-Level
I will not claim to be remotely knowledgeable about the experimental group Deerhoof or their approximately 100 albums. But I know fun experimental indie when I hear it, and that’s exactly what they provide on Miracle-Level. It’s unpredictable stuff, often manic, but without the abrasive unpleasantness of a lot of experimental rock stuff. This is their first album to be sung entirely in Japanese, further removing it from any curious normie audiences. But it’s a celebratory album, a joy in a scary world.
RIYL: Xiu Xiu, Battles, getting hypnotized
#94. Chris Farren – Doom Singer
Chris Farren the person is a hysterical and respectful guy I’ve always loved, especially as a lifelong friend of Jeff Rosenstock (more on him later). Chris Farren the musician has never really done it for me, his brand of smooth pop-punk/indie has chronically been a bit soft for my taste. So imagine my surprise when his newest – which doesn’t really deviate from the formula! – grabbed me. It’s a high-energy and just fun indie-punk record. Farren’s voice is always smooth and his production clean, resulting in a brisk listen and a nice antidote to much of the depressive music on this list. It’s fun!
RIYL: Chumped, Lemuria, living in Brooklyn baby
#93. Wilco – Cousin
Wilco might be considered one of the premier dad bands, but that doesn’t mean that they don’t still have the juice. Wilco’s 13th album sees them hand off the production reins for once, to test themselves. We’re in a creative boom for Wilco, too – following last year’s excellent country double-album Cruel Country, we’re now getting the most experimental Wilco album in over a decade. Now it’s nothing like Yankee Hotel of course, but these songs pack a lot of little punches. There are a lot of intricate details here, aided by Cate le Bon on production. Wilco could easily be producing “another Wilco album” but they’re still finding ways to stay fresh, instead.
RIYL: Arcade Fire, Spoon, being the cool uncle
#92. Body Void – Atrocity Machine
Finally music that really answers the question, what would body horror sound like? In a list filled with abrasive and off-putting metal, this is one of the most intense records. It also purposely refuses alignment with any specific metal subgenre, incorporating elements of doom metal, black metal and industrial. While the songs are lengthy, they’re also completely unpredictable. There’s something for nearly all metal fans in here (except power metal, thankfully). Add in body horror lyrical concepts and you’ve got yourself one of the wildest metal releases of 2023.
RIYL: Full of Hell, Primitive Man, scaring your neighbors
#91. Joanna Sternberg – I’ve Got Me
Folk music should always be honest and vulnerable. Sternberg’s sophomore album, written during COVID, as they pulled away from substances and from a manipulative music industry, is chock full of it. This is a painful record, with heartfelt grief sessions peppered in frequently. But don’t think it’s a sob session, because many of these songs are fun, too. Complex emotions with layered lyrics and uppity acoustic guitar make for a well-rounded folk record. There’s never any certainty to what the next song holds. And what’s more like life than that?
RIYL: Julie Byrne, Cassandra Jenkins, having a breakthrough at therapy
#90. Agriculture – Agriculture
One of the last albums I listened to in prep for this list, this one left me blindsided. I’ve never heard something like this. This is black metal, but with roots tied in experimental music. It is beyond heavy and extreme, with raging guitars and screamed vocals, all meshing together in lieu of a sense of melody. Sometimes. Other times, it’s got steel guitar and harmonies. It’s totally unpredictable and thrilling, something wholly new even in the black metal world. I mean, the band is called Agriculture. Black metal bands are normally named like Sancti Stigmata or Festering Gushes or something. Anyways, this is sick as hell.
RIYL: Vile Creature, Mizmor, black metal that pisses off Nazis
#89. Capra – Errors
You’ll notice a trend on this list – boundary-pushing hardcore. There were a great number of hardcore albums this year that pushed out of genre barriers, usually in the form of sheer intensity. Capra is a little more standard, but they’re still very unique. Errors is a fiercely intense hardcore punk record, one that comes with some variations and some scant outside influences. It sounds closer to Gouge Away, with songs that balance volume and heaviness with leveled tempos and mature rhythms. And all of this comes with rough, rough vocals that give the group a lot of credibility.
RIYL: Ithaca, Gouge Away, slamdancing in a 100-degree church basement
#88. Cattle Decapitation – Terrasite
Cattle Decap has been a band for a very long time and I’ve always considered them one of many interchangeable, not particularly interesting death metal-adjacent groups. But when I heard a single on the radio, it caught my attention. These are some of the most well-written metal jams of the year, all crafted with a graceful touch and ceaseless brutality. Not to mention, the production is immaculate. This goes beyond death metal into deathgrind territory, but the nomenclature doesn’t matter. What does matter is riffs, headbangers, and songs called “Scourge of the Offspring,” and this one delivers on all fronts.
RIYL: Cannibal Corpse, Aborted, earplugs
#87. Alex Lahey – The Answer is Always Yes
There’s a couple albums on this list that blend indie and punk, which is Lahey’s specialty. These songs are a little too energized to be indie, but a little too patient to be punk. Really, this album – more so than similar ones on the list – are the advancement of the more memorable emo bands of the mid-10’s. These songs are emotional, but often affirming, and mix rhythmic melodies with just enough oomph to be bangers. There were a few great emo-punk albums on this list – this one should not get lost in the shuffle. This is a special collection of songs that are both fun and deeply personal.
RIYL: Camp Cope, Swearin’, smiling through the pain
#86. Squitch – Tumbledown Mountain
RIP Squitch long live Squitch. The final offering from one of the best local indie bands is a delightful and emotional journey. Despite the opening track “Not The End,” this is definitively the final album, and the band is going out on top with their best record. The guitar-based songs here are both catchy and complex, drawing on strong vocals, dense production and heart-on-sleeve emotions. It might be the end, but there’s still time to get Squitch on your radars.
RIYL: Puppy Problems, Real Estate, a little cry in a comfy bed
#85. Worriers – Trust Your Gut & Warm Blanket
Similar to Squitch, Worriers have always occupied a space in indie that hints at punk edges but never truly explores them. While classified as punk, Worriers – mostly the solo project of Lauren Denitzio – craft intricate and vulnerable singer-songwriter tunes. Much of the lyrical material here is derived from small interactions, misunderstandings, and hurt feelings, and not any grand, vague scopes, which helps give these songs a raw earnesty. It was a busy year for Denitzio, releasing two great albums. “Gut” is a bit edgier than the very low-key “Blanket,” but they play off of each other very well.
RIYL: The Menzingers, the Gaslight Anthem, sneaking liquor into a poetry reading
#84. Be Your Own Pet – Mommy
One of my favorite bands, and it’s a marvel they reunited. They split up in 2008 as quietly as they had lived, a garage punk that was always bubbling a little too under the radar to make an impact. But they’re back – at the request of Jack White! – and they haven’t missed a beat. I was concerned that they would be too mature these days, and while these songs don’t necessarily have the same unfiltered chaotic energy of the band’s debut, there is still a healthy amount of inappropriate and loud stuff. I mean, look at the title and cover, not to mention lead single “Worship the Whip.” This borders on the ledge between indie and punk, but it’s meant purely for the latter’s crowd. Long live Be Your Own Pet.
RIYL: Ty Segall, Heavens to Betsy, crashing a wedding for fun
#83. Russkaja – Turbo Polka Party
This is easily the biggest guilty pleasure on this list. It’s the only one that I’ll reckon isn’t “good” but it is fun. A Russian group that blends polka and ska into punk and metal, something that’s loud and laughable. There’s a healthy mix of genuine cultural appreciation via traditional Russian music, and tongue-in-cheek songs about the somewhat ridiculous mix of genres. This is the type of thing I would’ve loved in high school. The band mixes a lot of “uncool” genres, and to double down on that, there’s a genuine cover of “Last Christmas” towards the end (and the album came out in February).
RIYL: Alestorm, Korpiklaani, Weird Al if he had an attitude
#82. Orbit Culture – Descent & The Forgotten
Many of the acts on this list are artists who experiment around and toss genre templates out the window. But in order to appreciate music like this, there has to be a base love of the bands that can do basic templates well. Orbit Culture, a death metal group out of Sweden, play standard death metal songs, they just do them ridiculously well. These songs are heavy and brutal, direct, and all the while insanely catchy. Descent is a proper studio album, while The Forgotten is a follow-up EP with a couple of longer songs. There isn’t a bad track across the two releases, a serious breakout year for the band. If you like your music to be a quick punch to the brain – these guys are for you.
RIYL: Suffocation, Machine Head, throwing your voice out trying to growl along
#81. The Mountain Goats – Jenny From Thebes
After releasing approximately 1001 records that didn’t really have themes, John Darnielle et co. have begun to do conceptual albums. And this album takes on the toughest concept yet – a full album about Jenny, a character who has existed on the fringes of Darnielle’s lyrics dating back to 2003. Whether you’re invested in the intricacies of Darnielle’s lyrics or you just appreciate their gleefully depressive music, then you’ll love this back-to-basics album. This one sounds like it came out in 2004, in Goats lore. The songs are lean and simple, yet super catchy and always tinged with paranoia, American loneliness, and outright depression. The indie-folk legends never left, but in a way, they’re back.
RIYL: Neutral Milk Hotel, the Decembrists, crying in a hotel room alone
#80. Ragana – Desolation’s Flower
Black metal for the sake of black metal can be excellent on its own. But black metal with a message can be powerful. Ragana have always held this to be true, and their new record is downright stunning. A queer duo, Ragana bring antifascist politics to a genre that is historically, well, fascist. This record is visceral, complex and angry, with lengthy and relentless metal songs. But the band puts on the brakes frequently, knowing the power of somber bridges and interludes. In fact, a lot of this album rests, and it makes the metal songs all the more powerful. Think this is the only queer black metal album on the list? Think again.
RIYL: Mount Eerie, Thou, the film “The VVitch”
#79. Year of the Knife – No Love Lost
Grindcore albums shouldn’t be long. This one is 9 songs and 20 minutes, a blissfully short blast of sonic warfare. I know little about this band, only discovering this one on a metal station shortly before I began writing these entries – but on this mini-album, the group is joined by insane heavy-hitters like Full of Hell and Sangusiugabogg, two bands who both narrowly missed this same list. This is super intense, super abrasive and super quick stuff. Not for the faint of heart, but also not the same song 9 times over. There’s care put into separating these songs, even the ones that are under a minute. Brutal, brutal things are afoot.
RIYL: Nails, The Locust, getting 13 songs into your 15 minute set
#78. Dreamwell – In My Saddest Dreams, I Am Beside You
Hardcore often gets more interesting when bands don’t stick to a rote one-two-one-two formula. Dreamwell, a group from my neck of the woods, don’t so much follow a new path as they do take the hardcore formula and set it on fire. They are a deeply original and thrilling group, channeling the best days of Fucked Up (more on them later). The band explores so many territories that it no longer feels like hardcore, but Keziah Staska’s consistent growled vocals always bring things back home.
RIYL: Converge, Deafheaven, trying to get your friends into metal
#77. Squirrel Flower – Tomorrow’s Fire
Another local artist, at least formerly so. Squirrel Flower has always made great guitar-based bedroom indie, but this is her finest work yet. Ella Williams is always one to keep things honest, and this record is emotions on full display. It’s still the indie rock that fans expect, but things are a little bit darker, a little bit heavier. Many tracks move away from the folksy influences and into a heavier rock atmosphere. And some don’t – diversity is a strength here. But everything here is unexpectedly grimier than before. Straightforward, but dense and cathartic, it’s a great set of old-school indie rock tunes.
RIYL: Indigo de Souza, Cat Power, pretending you’re Gen X
#76. Palehound – Eye On The Bat
Normally, indie groups that come out of the gate with high-energy, fun tunes eventually settle down into midtempo stuff. But Palehound is only getting more fun. The rest of the album never quite hits the high of the raucous title track, but the whole journey is a blast. El Kempner is always one to wear their heart on their sleeve, and does so here. These songs are earnest and emotional, mostly chronicling the unsteady nature of the last couple years. And yet, it’s an absolute blast to listen to.
RIYL: Adult Mom, Jay Som, early-00’s goofy indie bands with names like “Structural Integrity in Istanbul”
Thank you for reading! My hope is that you, dear reader, find at least something you’ll like and may have missed. Check back tomorrow for entries 75-51. What can you expect? Some new wave legends, a bit of bubblegum pop, back-to-back folk albums, back-to-back moody rap, and a pop singer getting more honest than ever before.
Hello and welcome to another edition of excessively long year-end coverage courtesy of me, someone who has had too much time on their hands lately. 2023 was a great year for music, yet again. My Spotify playlist where I dump all new songs I like is up to 563 (!!) tunes as of the time of writing. And while a condensed version of songs I loved is at 77 entries, I decided to cap it at 35 for my own sanity. I have a lot of album posts coming up.
These are 35 songs, from 30 artists, that I really enjoyed. I didn’t put a great deal of thought into these since there were so many to choose from, and I’ve left this list alphabetical. Also, I should note, much of the new music I discovered this year was thanks to the Sirius indie station I listened to on my commutes, so both my songs and albums lists are heavily indie-skewed this year.
100 Gecs – “Frog on the Floor”
I mean how else could this start? One of Gen Z’s most shining bands is out here reflecting their generation in shedding away any sort of musical norms. Is this a pop band dropping a ska song in the middle of the album? Yes. Is this just a song about a frog? Yes. Is it catchy as hell? Yes. I’d be lying if I said this wasn’t one of my most-played songs this year, despite really sounding like a children’s song. Hell it’s basically made by children.
KEY FROG PUN: I heard he was telling croaks at the party.
Arlo Parks – “Devotion”
The sophomore Arlo Parks album was excellent, but it did see the alt-R&B singer move away from jazzy indie in favor of more rote pop beats. So it makes this song – which starts off as a sultry coital anthem before doing a hard reset into straight rock – all the more out of place. Catch a Deftones namedrop early as a hint of what’s to come. Loud and catchy R&B rock; it’s simple, yet unique.
KEY NAMEDROP: Shaking to Deftones, glitter in my bones
Big Thief – “Vampire Empire”
Even in a year where indie titans Big Thief have only released two songs, they make the list. The Best Band In Music is known primarily for disastrously sad songs, so this seemingly genuine love ode feels extra suspicious. But whether there’s a flipside to this one or not, it’s one of the band’s most inventive tracks yet, with some of Adrienne Lenker’s best-ever vocals.
KEY LYRIC: I wanted to be your woman, I wanted to be your man / I wanted to be the one that you could understand
Bully – “Days Move Slow” & “Lose You”
There’s a few instances on this list where I couldn’t narrow it down to one song per artist, and they always relate anyways (except one instance). Alicia Bognanno’s grunge-flavored indie has always been filled with a certain sense of ennui, but on her best-yet album, it comes with a purpose. The album is dedicated to Alicia’s late dog, Mezzi, and these two tracks about the impermanence of life – and the impermanence of grief – represent some genuine and complex emotion. Some assistance from Soccer Mommy bolsters the latter track, but they’re equally great.
KEY GOOD BOY: RIP Mezzi, the best boy
Cherry Glazerr – “Ready For You”
Cherry Glazerr have always been an indie group of the guns-a-blazing type, edging closer to straight rock than anything else. The second single off their new album is their best track yet, with heavy melodies and Clementine Creevy’s best-ever vocals. Her powerful vocal rhythm dominates this song and adds a hefty layer of confidence into the lyrics. Although the lyrics are actually quite vulnerable, they sound vaguely threatening under the guitars and vocals. Side note: catch this band live if you have the opportunity.
KEY I’M THE JOKER: Wish I could meet you with my eyes / I’m sick inside my twisted mind
Clark D – “It’s a Stickup!”
I didn’t listen to much rap this year, just wasn’t in the mood really! But this song by local rapper Clark D fell into my lap at the end of the year and hot damn is it one of the most fun tracks of 2023. An absolutely manic and tongue-in-cheek track with the highest possible energy. It’s a banger to the max, and doesn’t even stretch to 2:30. Add in a wild verse from kei and you’ve got a monster song. He cleaned up at the Boston Music Awards and proved that this song translates very, very well to a live setting.
KEY SCREAM IT: BITCH YOU GETTIN’ ROBBED
Death Cab For Cutie – “An Arrow in the Wall”
It’s been 15 years since I said “hey I really like this new Death Cab song,” and naturally this is the one that sounds the least like Death Cab. The Postal Service tour must have had a positive effect on Ben Gibbard’s primary indie group, as they trade in their guitars for a gloomy, minimalist beat. There’s a sense of foreboding in this that is totally foreign to DCFC, and it’s a welcome change.
KEY LYRIC: This machine was built to be broken
Faye Webster – “But Not Kiss”
Faye Webster exists in the same tragic indie-folk sad girl scene as, say, Phoebe Bridgers, but she’s always had a comical innocence to her music. That’s stripped away on this cold, baroque tune centered on a pounding, two-chord piano line and a simple but powerful “yeah yeah” in the chorus. It’s simple, but good luck getting it out of your head.
KEY LYRIC: I want to sleep in your arms………..but not kiss
feeble little horse – “Steamroller”
I’ve obviously been listening to mainly indie here this year, but there aren’t many indie bands like this anymore. These young upstarts are channeling the likes of Dino Jr. and Pixies in the way they layer their stuff under fountains of distortion. Underneath all the peels is a paranoid and apologetic tune about personal space, but it’s okay if you never make it that deep. Just enjoy the experience.
KEY RELATABLE PARANOIA: I’m the only one who sees me naked
Genesis Owusu – “Leaving the Light”
This list isn’t ordered at all (hopefully you’ve figured that out by now), but if it was, this would be #1. This absolute banger is my favorite song of the year, as it stands. It isn’t a particularly unique or wheel re-inventing song, but it is a paranoid dancehall banger. Owusu’s album STRUGGLER, which will be found on my albums list, is an album that is about a paradoxical concept – humans surviving an apocalypse. The song’s lyrics are simultaneously paranoid and prideful, and the music is blood-pumping synthy funk. It’s extremely easy to overlook the fact that the song is intended to be violent and depressing! The biggest party of the year is, in fact, the apocalypse.
KEY EARNED BOAST: Crush me with your holy hell, I feel no damage
The Hives – “The Bomb”
God bless the Hives. Their first album in 11 years sees the dance-punk legends stretching out a bit, crafting some songs that aren’t quite as high-energy as before. Logical – they’re in their mid-40’s now, even if Pelle Almqvist did split himself open and soldier on recently. But the Hives blueprint still works. “The Bomb” is a barely-two-minute track with a BPM of 1000 and the most ridiculous lyrics of the year. There isn’t a point to songs like this, it’s just extremely high-energy, goofy fun. And if the Hives can still do it this well, then they’re never going to lose it.
KEY PELLE ALMQVIST: What do you wanna do? Get down! What don’t you wanna do? Get up! What don’t you wanna not don’t do? Not get down! What don’t you wanna not don’t wanna not do? Not get up!
Jason Isbell & the 400 Unit – “Deathwish”
I’m a big fan of everything Isbell has done, but there’s something specific that permeates all of my favorite tracks of his – vocal melodies. This song, the first track off his country band’s “Weathervanes” album, starts immediately with a lengthy but simple and effective vocal rhythm. It’s something that runs through the course of the whole song, very repetitive but never tiring. Isbell’s songs are often lyrically despondent, but not necessarily sad songs – this one feels downtrodden immediately, which only adds to the effectiveness. This is downright hopelessness.
KEY EXTREMELY RELATABLE OPENING LINE TO YOUR ALBUM: Have you ever loved a woman with a deathwish?
Jenny Lewis – “Psychos”
I love dirtbag Jenny Lewis. Twenty years ago, she was singing youthful and introspective indie ballads about love and loneliness. Now, she recognizes that her era has passed, and is singing offhand country-folk songs like this one with vaguely problematic lyrics like a cool aunt. To be clear, the lyrics of this song are not good, but the 11pm-on-a-weeknight-in-a-bar vibe of this song is excellent. And, her voice has improved significantly since the Rilo Kiley days. I hate to say it, but she’s a lot cooler now than before.
KEY RELATABLE NONSENSE: This shit is crazy town
Jungle – “Back on ‘74”
I get that I have a broader spectrum of music than most people, but one of my hardest beliefs around music is that I can’t trust anyone who doesn’t like funk. The band’s latest hit, their biggest in both America and their native UK, is a smooth and sultry vocal song ripped out of the 70’s. The nostalgic lyrics touch on past innocence and lost opportunities, but it’s more than acceptable to shut the thoughts out and just enjoy the fluid melodies. This is a banger, after all. I believe this song has gotten big on The Tik Tok website, so here’s to a whole new generation getting into soul music. Oh, and if you’re only going to watch one video on this list, make it this one.
KEY CRY-DANCE: Never gonna cry anymore, where did it all go?
JW Francis – “Swooning”
Some of the artists on this list are ones I’m extremely knowledgeable on. This is not one of them. I know absolutely nothing about this guy, but I do know that this is one of the most well-constructed songs of the year. At its core, it is a simple indie song about struggling to find the words to tell someone you’ve fallen for them deeply. But there is a lot going on – a rumbling guitar rhythm backs a sweet synth, there’s a guitar freakout, there’s a riff that mimics a butterfly, and there’s a late-song octave change. For people who like to analyze individual elements of songs, this one is a goldmine. Really fun stuff.
KEY LYRIC THAT REFLECTS THE MUSIC: Oh my, I’m swooning / I think we hit the right chord, new tuning
King Gizzard & the Lizard Wizard – “Gila Monster”
The second proper Gizz metal album is unlike the first, which was loose thrash. This album is dense, slow and heavy. But much like “Infest the Rat’s Nest,” it centers on an apocalypse and the animals that take over afterwards. In this one, we’re praising the new king, a Gila Monster, whose adorable face graces the album cover. This one is raw and catchy, bolstered by Ambrose taking over for vocals at the bridge and pumping things into a new gear.
I couldn’t keep these together. The second Gizz album of 2023, “The Silver Cord,” is an electronics one, cashing in their Kraftwerk tickets. Like “Gila” this one is just fun as hell. And like “Gila,” it kicks into high gear off a bridge where Ambrose loses his mind. There’s five different things going on at once musically, which doesn’t even address the cryptic lyrics about ancient Egypt. Everything here is manic. I didn’t think I would like electronic Gizz this much, but I was wrong.
KEY NONSENSE: Eighty years of conflict, crocodile dog birth, Lucifer inverted, slender usurper, piece of work
Lifeguard – “Alarm”
My, where did this one come from? One of the most rousing rock songs of the year comes out of these upstarts, literal children who are channeling the best days of Pixies and Bikini Kill. The song is intensity above all, but it remains extremely catchy too. It’s an absolute bruiser, and it makes the band sound both as youthful as they are, and far more experienced than it. Although I’ve heard this one on indie rock radio, I’d hesitantly call it punk.
KEY VAGUE BUT SCREAMABLE CHORUS: Switch! Switch! Trip or take me!
Lil Uzi Vert – “Nakamura”
Almost no one has a better entrance theme in the world of professional wrestling than Shinsuke Nakamura, so much so that he had to add Japanese lyrics to it to try and quell American audiences from singing it throughout his matches. It was also begging to be sampled. Well Uzi was of course the man to do it. That wildly memorable violin line serves as the foundation of this song, with Uzi rapping over it. This was an easy slam-dunk for any artist, and a shoo-in for this list.
KEY GO WATCH IT RIGHT NOW: Shinsuke Nakamura vs. Sami Zayn from NXT Takeover: Dallas
Little Dragon – “Slugs of Love”
There isn’t much to say about this one other than it’s just one of the most fun bangers of the year. There’s a sax hit just seconds into the song that lets you know it’s gonna be a fun one. The music is fast and funky, the vocals are upbeat, and the lyrics are chaotically funny and sexual. Try getting this one out of your head.
KEY NO THANKS: Have a feast at the table / slugs of love
M83 – “Amnesia”
Easily one of my favorite songs of the year; I absolutely did not think that Anthony Gonzalez had songs like this one left him. The slow synth build-up feels ominous, building to one of the biggest cinematic choruses you’ll ever hear. It’s Kaela Sinclair’s short but powerful lines during the chorus that really make this one stand out. The song sounds like a late night drive through a crowded but sleepy city on a warm night. It’s got a fullness to it that feels free and warm, even with a touch of dread thrown in. It might be the best song of 2023.
KEY PHRASE I’VE BEEN SHOUTING IN MY CAR: Four minutes with you
Mandy, Indiana – “Pinking Shears”
One of the best new bands of 2023 is also one of the most confounding. Quite possibly the shortest song on this list, this Mandy, Indiana track mixes mechanical percussion, heavy synths and buried vocals into one burst of sound that is very catchy while still dense and wholly unique. Oh, and it’s all in French. The end result isn’t really classifiable, and it sounded out of place on indie rock radio. It isn’t quite my favorite song of the year, but it might be the new one I’ve listened to the most times.
PHRASE CLÉ: Je suis fatiguée, tu sais parce que je suis fatiguée
MJ Lenderman – “Rudolph”
It wasn’t enough for the band Wednesday to drop an all-timer album on us, the guitarist had to drop this excellent solo track too. A crisis of faith plagues the speaker, professing his love to someone from within the walls of a seminary. Throw in some self-doubt, Rudolph the Reindeer and a Pixar reference, and you get a rollicking spellbinder. As with his other solo songs, this is an americana-grunge tune, with rough guitar and loose vocals.
KEY LYRIC: I wouldn’t be in the seminary if I could be with you.
Model/Actriz – “Donkey Show”
The opening track from my favorite debut album of 2023 is a manic mess. The group starts hauntingly soft, with just a little synth line that sounds like a bug crawling around, until the rest of the band kicks in heavily. The song wastes no time in getting intense – singer Cole Haden sounds like a man who has just realized he is in deep trouble. On the first few listens of this song, I thought “wow this is heavy.” After a few more, I thought, “this is also….groovy.” It’s not like anything I’ve heard before. The song sounds comparable to “City Song” by Daughters, but it swaps out 50% of the paranoia in favor of funk. You can absolutely dance to this, but it might only happen in the nightclub from Blade.
KEY TROUBLING VAGUENESS: All night, me and my wretched device
The New Pornographers – “Really Really Light”
There’s hardly anything new about the pornographers, who admittedly wear out the formula a bit on their ninth album. But the opening track is an absolute delight of breezy indie. The lyrics are both poetic and empty, singing about nothingness. The fading guitar lick that runs the song sounds like wind entering your car windows on an empty Midwestern highway. There’s a certain listlessness to this song, like everything about it exists only to kill time, but it’s a pleasant feeling. A distinct balance that only a band this deep into the game can pull off.
KEY BOREDOM: We sit around and talk about the weather / My heart just like a feather / really, really light
Orbit Culture – “Vultures Of North” & “Descent”
Sometimes you just need some good death metal. Orbit Culture’s newest album is a victory lap and a breakthrough, with a bunch of great songs that do a lot with a little. These two songs feature rhythms that are, quite frankly, very simple! But they’re super fun and incredibly catchy while still being heavy and brooding. The growled vocals are top notch and the production is stellar. The metalheads probably have this band on radar already, but here’s a note in case you don’t.
KEY BROODING: The descent into madness is all I see, and it’s all I’ve seen
Palehound – “Eye on the Bat”
How much fun can one song be? Local legends Palehound hit an absolute home run (pun intended) on their latest album’s title track. The song kicks off with a fun and complex acoustic guitar line, with bright and cheery vocals and one quick slide guitar hit thrown in too. Although the song is ostensibly about how grueling a tour can be, the lyrics cherry-pick some nostalgic moments too. This feels like a song we’ll still be listening to in a decade. Spin it a couple times:
KEY SAME: Black Sabbath as the sun goes down ‘cause I like heavy metal / We’re the only people for miles around and we’re headbanging to Paranoid.
The Rolling Stones & Lady Gaga – “Sweet Sounds of Heaven”
I’m not gonna sit here and pretend that the new Stones album is anything really worth listening to, but you’re doing yourself a disservice if you skip this one. This 7+ minute track is possibly the best Stones song since…the 80’s? Gaga brings the best out of the Stones, who face down mortality on this apocalyptic track. Her background vocals provide a moving aura that earnestly feels akin to “You Can’t Always Get What You Want.” There is also a vulnerability here that we don’t see from Mick much, though it’s still wrapped in ego too.
KEY LYRIC: No, I’m not goin’ to Hell, in some dusty motel / And I’m not goin’ down in the dirt.
Sleep Token – “The Summoning”
One of the first new songs I heard in 2023 ended up being one of the best, a heady and highly conceptual song that acts as metal, but dissuades any real classification. A simple and pounding riff comes and goes as huge choruses rise and fall, as the song meanders between radio rock and straight metal. The whole thing has this aura that there’s a great bridge coming, but where it ends up going is unpredictable – an extended ambient segment followed by a poppy, jazzy coda. The song messes around with genres and expectations, with supreme confidence.
KEY RADICAL TONAL SHIFT: Oh, and my love, did I mistake you for a sign from God?
Slowdive – “Alife”
This is aural Xanax. We should be so thankful that Slowdive reunited back in ~2015 because the niche they left behind had been imitated by countless bands, but never perfected. While many of their shoegaze contemporaries like My Bloody Valentine and Ride often searched for bliss and clarity in sheer volume, Slowdive did it in minimalism. “Alife” recaptures the stunning and cathartic aura of their original 90’s work. Everything is so slight that it feels improvised, but it’s all so polished that it could’ve only been done by perfectionists.
KEY LYRIC: Two lives are hard lives with you.
Slow Pulp – “Cramps”
Slow Pulp is an indie-pop group that would usually not get mistaken for doing anything heavy or edgy, but the first single off their newest album is just that. The song, which yes is about period cramps, comes complete with fuzzy guitar and full-to-the-brim vocals. It’s an extremely fun song, reminiscent of a more 90’s indie pedalboard sound, and helps the band expand their sound some. It’s a simple song, but I spun it a whole bunch this year.
KEY I AM NEVER JEALOUS OF PEOPLE WITH PERIODS: I play out the same scene, bleeding on my new sheets / I wanna bake out on the concrete
Wednesday – “Bull Believer,” “Chosen to Deserve,” “Quarry”
One of these things is not like the others! I couldn’t help but include three songs by the Band of the Year in here. For those unfamiliar, Wednesday deliver a brand of americana-infused indie with a healthy amount of heavy guitar, in a total package that feels similar to Neil Young on paper, though not in practice. “Chosen to Deserve” and “Quarry” are country-fried indie tunes that tell tales of American loneliness; the former is a first-person tale of two bored people forcing a relationship, the latter is a walk down a poor street deep in the suburbs. “Bull Believer,” meanwhile, is a 8+ minute dose of heavy grunge that culminates in minutes of screaming. You simply won’t believe it’s from the same album.
KEY STORYTELLING TIME: Somebody called the cops on Mandy and her boyfriend / When they busted in they found that her house was a front for a mob thing / Pulled guns and cocaine from the drywall wrapped in newspaper / We gathered in the tall grass and watched unblinking as they cuffed ’em and hauled ’em away
There were of course many, many other songs I wanted to write about for this list. Real quick, here’s five that just missed the cut: 26Fix – “Stonekiller” (electronic/indie), Full Body 2 – “wonder limit” (shoegaze/hyperpop), The Kills – “New York” (guitar indie), Nation of Language – “Sole Obsession” (electronic/indie/new wave), Slaughter to Prevail – “Viking” (deathcore)
Check back in tomorrow when I start my official countdown of *cough* my 100 favorite albums of 2023!
I am aware that it is now 2023 and that talking about 2022 is illegal, but I love talking about films I’ve watched and I wanted to wait until the year was properly over to do this list (do not report me to the police). I’m not going to do a proper “Best Films of 2022” list because, frankly, I didn’t see that many. I loved a couple, didn’t care for some, and have still yet to see 90% of the ones I wanted to. Rather than that, I’ll just tell you that The Banshees of Inisherin is my favorite 2022 flick, so far. (This also helps me whittle down this list!) So, instead, here’s a list of my favorite first-time watches, and a few deep cuts I really enjoyed too! For the sake of keeping this interesting, I won’t write about movies twice, though there’s a few that could grace both lists.
Fifteen lesser-known films I cannot recommend highly enough:
BLUE COLLAR (1978) – Paul Schrader’s follow-up script to Taxi Driver (and directorial debut!) finds the complementary cast of Harvey Keitel, Richard Pryor and Yaphet Kotto as union members at an auto body shop in Detroit trying to overthrow their evil boss. Engaging but brutally real and cynical drama shows you flat out how The Man will always keep you down, even when you think you’re winning. As real in 2022 today as it was then. Also features one of the most shocking and heartbreaking deaths I’ve seen in a while.
DAYS OF WINE AND ROSES (1962) – Utterly tense and heart-pounding drama sees Jack Lemmon – in a breakout role as a dramatic actor – fall into the throes of alcoholism. He challenges a pretty, teetotaling coworker to a drink and soon enough, they’re married, miserable and drunk. The movie uses imperceptible time jumps to make everything shady and unclear, mimicking the lives of the characters. Powerful and deeply upsetting film, almost definitely the best one on this list.
DREAM DEMON (1988) – Dreamy, psychedelic horror flick sees an average woman about to marry a rich man in a highly-publicized engagement. But she’s plagued by nightmares, and develops a bizarre friendship with an American tourist. When her nightmares cause a paparazzi to disappear in real life, it gets weird. Movie is extremely dependent on dream sequences, which can be off-putting for some, but I loved it. The ambitious opening sees a dream sequence where her wedding turns into a decapitation. It’s wild, bold and very gory while also being borderline nonsensical.
ELEVATOR TO THE GALLOWS (1958) – A French new wave/noir about a cheating wife and her plot for her boyfriend to kill her husband, who is also his boss. What starts smoothly goes awry when the man realizes he’s left something incriminating behind, and gets stuck in a broken elevator, which also allows some rowdy teens to steal his car. As a confused and worried wife wanders the streets, the teens go on a crime spree of their own. Extremely fun to watch what’s essentially two films smashed into one.
THE EMPTY MAN(2020) – This indie horror movie went unnoticed but had its heyday this year when horror fans set it ablaze. A group of hikers get lost in Nepal as one gets drawn to a long-dormant supernatural being. Years later, teens in a flyover state awaken the same beast – this time intentionally – and start disappearing one by one. It’s up to an incredulous investigator to put things together before The Empty Man gets him too; or, will it? Conventional horror flick gives way to some over-the-top psychedelic, psychological stuff in the final act. Absolutely tremendous.
FAMILY PLOT (1976) – It sure feels weird to include a Hitchcock movie here, but people have just missed this one. Those that haven’t, have wrongfully misaligned Alfred’s final flick as being phoned-in, when really it’s just a much smaller scale. Gone are the international incidents, in favor of a grifter psychic and her husband (Bruce Dern!) tracking down a long-lost nephew – who is in turn plotting a robbery and does not trust the folks on his trail. More comical than anything, it’s wonderful to see Hitch transpose his talents to a smaller story.
FIVE GRAVES TO CAIRO (1943) – An early Billy Wilder film sees the sole survivor of a German attack on a British battalion hunker down in an Egyptian hotel, posing as the recently-deceased waiter. Rommel and his men set up camp there as the British soldier finds out that – you guessed it – the waiter he’s assumed the identity of was also a spy. Taut and exciting thriller keeps upping the ante while remaining extremely fun.
HUSH… HUSH, SWEET CHARLOTTE (1964) – A follow-up to Whatever Happened to Baby Jane? sees Bette Davis as an elderly woman refusing to give up her mansion to the town and losing her grip on sanity, decades after the murder of her husband (Bruce Dern!). Whether she committed the murder remains a mystery, as does the true intentions of Charlotte’s niece, who gets called in to help save the mansion. Really thrilling and tense stuff, and an all-time performance from Davis.
I AM A FUGITIVE FROM A CHAIN GANG (1932) – Love a movie that tells you what it’s about right away. A WWII vet comes home a hero, only to find himself unemployed and accused of a robbery he did not commit. He ends up on a chain gang, breaks free, and climbs up the ranks of a construction company – until the law catches up and arrests him again. A tough and brutal look at the way the country values justice and veterans, and it ends on an action sequence that holds up as shocking and thrilling even 90 years later.
IN THE SOUP (1992) – The first of two films on this list that stars Steve Buscemi as a filmmaker! In this one, he’s got an unfilmable 500 page script that he wants to…film. He struggles to find a producer, until a very suspicious gangster promises to fund it, and keeps putting it off while Buscemi does odd jobs for him and keeps him company. Funny and original, the script is solid but Seymour Cassel as the gangster really elevates it into a cult classic. An absolute delight with just a pinch of terror.
LE BEAU SERGE (1958) – French film sees François return to his hometown after many years away. His best friend from childhood, Serge, has wasted away. He’s a bad-temepered, poor alcoholic in an unhappy marriage with a kid on the way. François becomes worried that Serge can’t fend for the kid and doesn’t want it and starts to interfere. This drama has some slow points, but the final stretch is impeccable and the final shot is burned into my brain.
LIVING IN OBLIVION (1995) – Very funny, very tense no-budget indie comedy sees director Steve Buscemi have his passion project crumble before his eyes. The film is split into three extended scenes, each one of which sees Buscemi filming a scene which inevitably goes awry. An all-star cast bolster this movie that is simultaneously whiplash-inducing and utterly pointless. It works as a satire of the film industry, but one accessible to anyone on the outside. This one should be held in much higher regard.
ROADGAMES (1981) – Australian thriller sees Stacy Keach as an isolated, sarcastic trucker who finds himself on the run from a serial killer, and the police, as the serial killer has managed to pin his crimes on Keach. Add in a mysterious hitchhiker in the form of Jamie Lee Curtis and you’ve got a volatile but extremely fun little yarn.
THOMASINE & BUSHROD (1974) – This totally missed Western romp sees a black couple going on a well-planned crime spree across the West in 1911, aided by the newfangled invention of the automobile. It’s original, amusing and dramatic, embroidering the “moral criminal” Robin Hood mentality very well. It’s tense, but stays very charming and enthusiastic too.
WATERMELON MAN (1970) – A wild, confrontational and funny satire sees a very charismatic but deeply racist white man wake up one day to find he’s turned black. After a few days of constant bathing, the new reality sets in, as his family and friends (also racist) begin to scorn him. The downward spiral he falls is both comic from a karma perspective and palpably real, which makes for a very uncomfortable watch. Maybe a little dated in its own right, but still all too real.
Just for fun, because I am too self-indulgent, here’s three more:
3 Bad Men (Western/silent, 1926); Suture (Thriller, 1993); Wolfen (Horror, 1981)
And now, for the main event:
My 20 favorite first-time watches of 2022 that I didn’t already mention above:
20) YOJIMBO (1961) – One of many classic films that grace this list – a reason why I included so many “under the radar” ones above; if you’re reading this, you probably already know to watch Yojimbo. The Kurosawa classic follows a wandering ronin who finds two competing crime bosses puppeteering a small town, and uses himself to leverage the sides back and forth to avoid an all-out war. It’s a brilliant screenplay and one of the finest performances from Toshiro Mifune.
19) BAD DAY AT BLACK ROCK (1955) – This tightly contained little bruiser walks the line between Western and noir in a truly unique way, as it follows Spencer Tracy’s normal-man character searching for somebody in a very small town, only to be met with confusion and hostility from the locals. Did I mention, it’s a very small town. Things escalate quickly and Tracy finds himself in trouble, looking for information and trying to survive until the train comes through the next day. It’s basically a bottle episode of a film, but look at the cast – ten total characters, five Academy Award winners.
18) THE 400 BLOWS (1959) – Another “I don’t need to write about this one” entry, as I finally laid eyes on one of the most revered films ever. Truffaut’s earnest and brutally uncomfortable tale of a troubled schoolchild falling further and further into trouble and hopelessness ends on one of the most iconic – and potentially hopeful – shots in film history.
17) WHEEL OF FORTUNE AND FANTASY (2021) – With all the hype around Drive My Car, people seem to have completely missed Ryusuke Hamaguchi’s other 2021 film. The film is an anthology, with three unrelated stories of direct person-to-person confrontations. The first two involve a love triangle and a college professor who gets caught cheating with one of his students, but the real standout is the third film. Two women convince themselves they were classmates together and spend a day catching up, only to realize they’re total strangers. Rather than part ways, they use each other as stand-ins to confess long-buried secrets. Readers, my eyes did not stay dry.
16) Z (1969) – The first foreign film to be nominated for Best Picture is an Algerian release about a real-life government-orchestrated assassination of a leftist politician in Greece and the proceeding fallout. It’s bleak and brutal, and successfully presents itself as both a timeline of a real event and a plausible scenario for any country with political struggles (which is, all of them). Watching this in America in 2022 was…well, uncomfortable.
15) THE LONG GOOD FRIDAY (1980) – What a delight, I threw this on as background noise but got fully engrossed. Bob Hoskins stars as a midlevel crime boss trying to make a major play by bringing in an American investor, just as someone starts offing his men one-by-one. A taut and thoroughly nerve-wracking thriller takes place over a Good Friday and has Hoskins at his very best. Stunning directing, too. This one was an obvious influence on Uncut Gems.
14) BAD LUCK BANGING OR LOONY PORN (2021) – I could barely make heads or tails of this one and yet I loved it. The Romanian comedy follows a school teacher whose sex tape gets leaked, and she’s subjected to scorn and debate over whether she can remain in her position. It’s a satire on cancel culture and the way people weigh the actions of others subjectively. The first act is funny and tense, but the final act is an absolute riot – with one of the single wildest and most unpredictable endings I’ve ever seen. Curiously, the middle act is an unrelated, avant-garde production about Romania, good and bad, made for ignorant viewers like myself. The film opens with a full-on sex tape, but I unintentionally watched the edited Hulu version, which was very funny. Also gets points for having the best depiction of COVID on film yet (watch the questionable usage of masks).
13) HEAT (1995) – Again, what do I need to say here? It’s Pacino, de Niro, Kilmer and Mann. A damn-near perfect crime thriller that’s almost 3 hours but doesn’t feel longer than 1. Heart-pounding, fun and complete. The second-best scene is a chaotic shootout right in the middle of downtown LA, the best scene is entirely dialogue inside of a diner. A well-rounded picture.
12) CAPE FEAR (1962) – Sorry to those of you expecting a double dose of de Niro, but this is the original Gregory Peck & Robert Mitchum flick. This is one of the most heart-pounding movies I’ve ever seen, really. Peck stars as lawyer who gets Mitchum put away, only to have to flee years later when Mitchum is released and seeks revenge. Both the screenplay and Mitchum are so, so good that in the climax, you genuinely believe that a child is going to come to harm in a B&W film.
11) THE HAND OF GOD (2021) – I am a little incredulous of autobiographical films since they can often get self-indulgent, but this Italian drama smartly places weight on vibes instead of narrative. This technically-fictional coming-of-age tale sees the good and bad of growing up in the Italian country, from wanting to becoming a filmmaker to bored days watching Maradona to tragic accidents that upend entire lives. The scenery is gorgeous, the characters and dialogue all interesting and the vibes are totally engaging. I could live inside this movie, even the upsetting parts.
10) ROPE (1948) – My new favorite Hitchcock flick centers around the tensest dinner party in history. A sociopathic student and his reluctant lover friend kidnap and kill one of their friends, hide his body in a trunk, and invite all of their colleagues and the boy’s family over to a party. Why? Just to see if they get caught. Jimmy Stewart, as their nihilistic professor, is the only one to catch on that something very, very wrong has happened. The film is edited so it looks like long takes, and the whole thing takes place in one apartment. It all amounts to an incredibly tense and uncomfortable film that far outlasts its 80 minute runtime.
9) A MAN ESCAPED (1958) – Speaking of small-scale tension, this prison break drama might be the most heart-pounding film I’ve ever seen. With almost no backstory, we see a French resistance member held captive by Nazis and his multiple attempts to escape. As his friends jump the gun to run away and get executed, he works meticulously to break his door and plan his escape. The last act of this film is done in almost pure silence, with the man and an accomplice moving slowly and carefully through the jail undetected. It is so quiet that you can hear your own heavy breathing because it is, truly, nail-biting. One of the all-time best.
8) THE CRANES ARE FLYING (1957) – This Russian WWII drama sees a young woman’s lover whisked off to war without a chance to say goodbye. As the years go on, the communications cease and she can only assume the worst. Eventually, she moves in with the man’s somewhat intolerable brother. While the story is effective and conventional, this film’s beauty lies in the directing. Eye-popping cinematography and painstakingly perfected long shots elevate this from a decent war film to one of the all-time greatest pieces of art.
7) BEFORE SUNSET (2004) – For a guy who always talks about loving long films, this is my second entry that doesn’t hit 90 minutes. There’s nothing to be said about this one that hasn’t been said – the perfect sequel to the somehow even better Before Sunrise sees two people meeting by chance, nine years after their first chance encounter. While the first film centers on their characters, this one shows how they’ve advanced. It takes place nearly in real-time, with the two wandering around Paris reconnecting before Ethan Hawke has to catch a flight. Pockets of combativeness arise where they didn’t before, and ego steps in the way; and yet, this movie is 80 minutes of completely wholesome, heartwarming love. I still need to see the third!
6) THE WORST PERSON IN THE WORLD (2021) – This Norwegian romcom touches on just about every emotion and every genre. At times funny, other times dramatic, and occasionally surreal, this wonderful picture follows a woman in her late 20’s as she tries to navigate life and imperfect romantic relationships. Horrible elevator pitch, but it is written with a perfect, intricate hand. There is a genuine love for these characters, even as they make wretched mistakes, and it’s that love that makes this relatable for just about anyone who cares to invest. A beautiful and moving picture.
5) ON THE WATERFRONT (1954) – One of the most famous and revered films ever, and for good reason. Brando utterly commands every scene, even when he renders a lot of his own dialogue unintelligible. The story about longshoremen union members involved in a fight is an all-time story from Budd Schulberg, written with genuine urgency and malice. Elia Kazan’s directing just adds even more.
4) THE ASCENT (1977) – Another Russian WWII drama, this one is far, far more brutal than Cranes. As a Russian troop of soldiers struggles through a harsh winter in Belarus, two men break off to beg for food from townspeople. But, they’re captured by Nazis, and held separately in a concentration camp. Eventually, both men are given an ultimatum – join or die. I won’t go further for risk of spoilers, but the last quarter of this movie is intensely heartbreaking.
3) THERE WILL BE BLOOD (2007) – I know! I’d never actually seen it in full! I went in with the highest expectations and it still surpassed them. I can’t watch other Daniel Day-Lewis films now knowing how perfect he is here. The “I’ve abandoned my child” scene is just simply some of the finest acting ever put to film. This one is damn near perfect, but chances are you already know that.
2) DRIVE MY CAR (2021) – No recency bias here; the best film of 2021 is just one of the best of the century so far. A grief-stricken director struggles with the death of his unfaithful wife and reluctantly takes a role producing a stage production of Uncle Vanya. One of the primary actors he ends up casting – the man his wife cheated on him with. While Hamaguchi comes up with a punchy plot, the film revolves more around communications, with multilingual actors in Vanya serving as a metaphor for the man’s own introverted tendencies. He bonds with the actor and, more so, his personal chauffeur, herself a shy and withdrawn person. It is simply remarkable start to finish, with a justified runtime and arguably the best title card drop in history.
1) A SEPARATION (2011) – It’s been a long time since a film knocked me on the floor like this. The Oscar winner for Foreign Feature in 2011, this Iranian drama sees every taboo element you can think of. A fighting couple fails to secure a divorce, which sees a wife and teen daughter leave Tehran for the countryside while a husband (Nader) stays home to take care of his incontinent father. Nader hires a destitute, religious woman to care for his father during the day – but when Nader comes home, he finds his father tied to the bedpost and the woman gone. She returns, a fight ensues, and she ends up falling down the stairs. Was she pushed? The viewer does not know. But the woman’s husband, a man unemployable due to rage issues, convinces her to sue Nader for killing their unborn baby. The court case only gets messier. This film is shot documentary-style, which adds a sense of realism to it. Every single scene here is gut-punching, without ever being overbearing about it. Simply said, one of the best I’ve ever seen. Just prepare yourself.
I can’t help myself, here’s 9 more first-time watches I loved:
A Brighter, Summer Day (Drama/Coming of Age, 1991); All About Eve (Drama, 1950); Bande àPart (New wave/crime, 1964); Dune (Sci Fi/worms, 2021); I, Tonya (Biography/Comedy/Drama, 2017); The Killing (Noir, 1956); M (Thriller, 1931); Mulholland Drive (Noir, 2001); Suspiria (Horror, 2018);
That time of year again! The time of year where the talking heads all list out their own “definitive” Best Of lists and drive up their ad revenue through rage clicks. Normally I love to participate, but this year I’ve decided not to do any sort of rankings and just list a bunch of albums I enjoyed. This is because 1) some of these bands I covered in other publications, and it feels weird to insert them into a ranked list, 2) how am I supposed to compare and contrast the house revival of Beyoncé with the industrial rap of Backxwash, the the disco pop of Charli XCX with the post-hardcore of Chat Pile, the low-key jazz of King Gizzard with the high-stakes prog of King Gizzard, and 3) I’m so tired, man. So these albums are ranked only alphabetically. However, I’ve thrown in some songs for some albums I do find particularly noteworthy. I finished the year having listened to 414 albums released between January 1st and mid-December. Yes, that’s a personal record. So without further adieu, here’s 75ish albums from this year I am simply excited to talk about!
Note: The original version of this list included the album Erebos by death metal group Venom Prison, but right before I edited it, the singer got outed with some transphobic nonsense. We don’t support that here. If you’re looking for good metal, stream their album on Spotify so they don’t get paid.
The 1975 – Being Funny In A Foreign Language
I’ve been pro-1975 for a while, but their biggest fault has always been bloat. Their albums – even at their best – have been overlong and suffering from inconsistent ambitions. This one is shorter, leaner and more scaled-down while still sounding distinctly 1975. It’s a nice surprise that’s well-needed after their previous, overlong ho-hum affair.
Actor|Observer – Songs For the Newly Reclusive
The first local entry on this list also gives me the opportunity to share the best piece of writing I did all year, when I premiered this album’s lead single. The whole album that follows is effortlessly brutal hardcore that shows both an urgency in its lyrics and a patience in the songwriting, a difficult balance to pull off. This is not hardcore for the sake of hardcore, this is a band that has a lot to say, and those messages are delivered successfully and angrily. Consistently one of the most underrated groups, Actor|Observer have done it again.
Alvvays – Blue Rev
The first two Alvvays albums were great little releases of radio-friendly powerpop, so it was a shock for their third to turn up the edge and turn down the song lengths into something that feels a little more punk-inspired. It helps to round out the band’s image and distance themselves from the overall bloat of bands they resemble. Even though it sounds smaller in scale, the album feels bigger than the ones they’ve done before.
Backxwash – His Happiness Shall Come First Even Though We Are Suffering
I’ve been a huge Backxwash fan since the moment I pressed play, so it’s no surprise that I loved her newest offering. The albums follows in the footsteps of her previous releases – finishing off a trilogy – with industrial rap/horrorcore that puts some absolute respect on the genre’s name. She’s backed up by some excellent features with Pupil Slicer and Ghais Guevara (more on him later), though as always her forceful rapping and controlled chaos beats are the focus. There’s simply no one else operating on her level.
Bad Bunny – Un Verano Sin Ti
Nothing to say that hasn’t been said already; Bad Bunny is just on another platform. The man has been releasing music like crazy, all of which manages to be breezy pop for the masses that has tons of depth and personality, and all in a language foreign to half of his American listeners (myself included). What a king.
Beach Bunny – Emotional Creature
Similar to Alvvays, Beach Bunny are one of the best in a bloated genre, and this album sees them breaking out. The album feels fuller and more mature, even though a youthful immaturity was their previous selling point. Beach Bunny are destined for megastardom, and this is another wonderful stepping stone. Pretty funny that we got two straight bunny entries, huh.
Beach House – Once Twice Melody
And right into two straight Beach entries. We gotta diversify these artist names. Anyways, Beach House had really fallen off the radar prior to 2022 – only one album in seven years, after a much more regular release schedule. That was undone with this sprawling 18-song, 84 minute sectioned album. There’s sections of classic shoegaze Beach House as well as parts that see the band dive into even more lush, dreamy territory. It’s certain to be one of their best albums, which is high praise, though anyone looking for bangers should seek elsewhere.
Beyoncé – Renaissance
The Queen was in a tough position after her album Lemonade, a decade-defining, genre-sprawling masterclass destined for the record books. No follow-up was going to feel as important or immediate, so she instead did a lower stakes house revival album. It was a necessary and perfect left turn; far from her best work, but it isn’t meant to be, and what it is still damn near perfect.
Big Thief – Dragon New Warm Mountain I Believe in You
Similar to Beach House, this is a behemoth, brass ring-grabbing mission statement of an album; it even came out the same week! Possibly the best indie release of the year, it sees the band take their normally reserved album ideas and stretch them into grander territory. Everything feels expanded and yet distinctly Big Thief – warm, earthy melodies accompanied by Adrienne Lenker’s tender voice and emotionally crippling lyrics. In an era where album bloat plagues every genre, Big Thief delivered an 80-minute album that still leaves the listener begging for more. They elevated themselves to Best Indie Band in 2019, a title that I believe they still hold.
billy woods – Aethiopes and Church
First double-entry! The Armand Hammer member has had a wildly prolific solo career, and both of his 2022 offerings are just great, low-stakes hip-hop albums. While the alphabetical and chronological antecedent was the better of the two albums, both showcase woods as a humble and intelligent master, unafraid to challenge rhythm and tropes.
Birds In Row – Gris Klein
Straight up one of my favorite groups, France’s Birds In Row have delivered another visceral, powerful and understated album of hardcore that establishes them as one of the genre’s most creative forces. Too many hardcore bands sound interchangeable, but Birds have always been sonically challenging, genre-defying and socially conscious, trends that have all kept up on Klein. One of the most criminally underrated groups in all of music, even if they set themselves up to have a limited audience.
Björk – Fossora
There’s a number of entries in this post that feel pointless to write – if you’re reading this on my blog, with the type of stuff I cover, then you’ve already heard Fossora. Björk rarely misses, and hasn’t missed in many years, but even for her this is a triumph. Few artists could think about the concept of mushrooms and produce an album that actually feels like the damp moss of a forest floor, but that’s what Fossora is. The mysteriousness of the forest – both innocent and unforgiving – litters this album in a way that’s pleasant and so entirely original. Quintessential Björk.
Black Dresses – Forget Your Own Face
Hyperpop is maybe the first thing to come around in music that makes me feel like I’m too old to understand, and truthfully I don’t really “get” all of this, but I do love it. This doesn’t so much move the goalposts of what “pop” can be but uproots and incinerates them. The chaotic outbursts of glitchy synth, the pessimistic lyrics and the demon-fueled screams from Ada Rook (one of the best screamers in the game today) all make this a brief album that’s equal parts fun and terrifying. Pretty good for a duo that’s technically broken up!
black midi – Hellfire
Coming into Hellfire I was hit and miss on black midi – literally, I thought their debut was a hit and the sophomore record was a miss. So I had a little trepidation, but this is easily my favorite of the three. This is extremely “me” music. Hellfire is a ton of absolutely chaotic, noisy indie songs that sound like a frustrated band taking it out in studio. I’m sure these songs are written precisely, but they often sound improvised. A little noisier and they could be mistaken for prime era Lightning Bolt. Really loved this one.
Bonny Light Horseman – Rolling Golden Holy
I’m not 100% positive this one would’ve made the list if I hadn’t just seen this band a couple weeks ago, but it’s totally deserving either way. The folk supergroup released their second album in November and it follows their debut exactly. Soft acoustic folk is met with gorgeous harmonized vocals in a collection of songs that you want to just disappear into forever. The group sounds like Fleet Foxes if they had less of an indie bend and didn’t subscribe to the concept of a frontman; the three musicians here all work equally and in tandem with one another. It’s quite possibly the prettiest album I heard all year.
Carly Rae Jepsen – The Loneliest Time
My my, there were a lot of B artists for some reason. Carly is here to dance us out of it with another album of pure pop bangers. Her previous album Dedicated was a moderately solid release, but a drop in the bucket to 2015’s game-changing E*MO*TION. This album feels closer to the latter, a self-contained collection of bangers and ballads that never tries to reinvent the wheel, just makes sure it runs as smoothly as it ever has. Anyone that doesn’t like Carly is either lying or just simply hates everything fun.
Chat Pile – God’s Country
My god, where did this one come from? The best debut album of the year is also maybe the best damn rock album of the year, too. An uncompromising, bold and enjoyable noise rock album that takes itself very seriously even if it closes with a song called “grimace_smoking_weed.jpg.” While most post-hardcore bands try to eschew any metal influences from their music, Chat Pile lean right into it with gnarly vocals, screams and – especially on “Pamela” – riffs. This is a major play by a fearsome young group.
The Chats – Get Fucked
The Australian drunk punk band is rising in popularity and facing the same issue that’s plagued many similar bands prior – soften the sound for a bigger audience, or lean into the niche. Well the album is titled Get Fucked so they sealed their own deal. This is just great, old school punk twisted through ridiculously delightful Aussie accents. Coming in at 13 songs and 28 minutes, with titles like “The Price of Smokes” and “I’ve Been Drunk in Every Pub in Brisbane,” this is a loud and raucous good time.
Danger Mouse & Black Thought – Cheat Codes
Danger Mouse, as both a producer and active musician, has always been one to ignore trends and musical climates. His full-album collaboration with arguably the most underrated rapper in the world is a very fun whirlwind that combines a lot of soul, prog and psychedelic influences that flies right by. It’s very much a throwback album to older hip-hop and something that sounds totally unique in 2022.
Demi Lovato – HOLY FVCK
Following up on the Chats is another album title that makes a statement. I’ve always had a soft spot for Lovato’s music, more so than most, and this turn back to a pop-punk/rock base is a very interesting one for her. There’s a distinct and intentional lack in subtlety, filling the album with confrontational statements that jump between honesty, heartbreak and horniness. It’s a great rebirth after a difficult period for the artist, and an album that I feel got buried too quickly.
Denzel Curry – Melt My Eyez See Your Future
Curry is one of the most interesting and energetic rappers in the world today, which makes it all the more interesting that this album opens with some slower, reflective tunes. As it moves on, we get some of Curry’s more forceful songs, but it’s a surprising left turn by an artist that specializes in messing with the formula. All of Curry’s albums are great, but this is his best since TA13OO.
Diane Coffee – With People
This absolute indie gem from the former Foxygen drummer might end up being the most overlooked album of the year. Seven of the album’s ten tracks haven’t cracked 10,000 plays on Spotify yet, people are really missing out. It’s airy and fun in the way that Foxygen is, without any of the bloated ambition. It feels similar to some of Will Butler’s solo stuff – messy, low-stakes indie music that’s a lot more playful than you might expect. There’s some really fun stuff going on here.
Ethel Cain – Preacher’s Daughter
The very last album I listened to this year that made the list – listened to on 12/30! – is something I didn’t even realize I was sleeping on. This name was not on my radar until Obama of all people put it on his year end list. Cain is like Lana Del Rey filtered through the horror puritanism of Flannery O’Connor. Daughter is a lengthy, bold debut full of Southern gothic dream-pop ballads and old school Baptist existentialism. Every song sounds similar on paper, but there’s elements of everything from gospel to sludge metal across the album, a truly unpredictable concoction. That all of this was devised by a 24 year old is wild; the future is hers.
Florence & The Machine – Dance Fever
When it comes to the unique indie/baroque pop of Flo & co, there’s really nothing wrong with “more of the same.” This excellent album sees the group treading some similar waters, although there is blendings of many different facets; it’s as synthy and danceable as it is chamber pop, which still leads to some unpredictability. We can belabor about rankings, but this might be the most fun album from them.
foxtails – fawn
I went into this totally blind, and given the album’s title and very plains-inspired cover painting, I was expecting some soft indie. So credit me surprised when the screams started; this band is legit. Mixing classic screamo with post-hardcore, indie and even some jazz elements, this is stuff that’s supremely heavy and completely unique. I immediately ran through their other albums; not a bad song among them.
Gang of Youths – Angel in Realtime
The band name might imply some tongue-in-cheek rascalness, but this is a truly serious record written as an ode to the frontman’s father. The alternative band made an early AOTY contender with an impenetrable and difficult record, one that presents a ton of sonic ideas washed over by emotional lyrics. It’s too long – much too long – but it is super rewarding, comprehensive and effortlessly intelligent music.
Ghais Guevara – There Will Be No Super-Slave
One of the best underground releases of 2022 comes from experimental rapper Ghais Guevara, who litters his album with astounding beats, experimental structures and explicitly leftist lyrics. Songs like “This Ski Mask Ain’t For COVID” and “I Personally Wouldn’t Have Released John McCain” don’t just come out of nowhere. It’s witty, earnest, extremely loud and extremely engaging. Also, check out the “Breakfast in America” sample.
Gladie – Don’t Know What You’re In Until You’re Out
My big criticism of the bands that straddle the pop-punk/indie line is that they often play it safe and don’t explore their own energy. Gladie isn’t one of those bands. The band’s sophomore album (I have yet to hear the debut!) sees them masterfully navigate both tender pop songs and raucous punk, like in the fierce opener “Born Yesterday.” It’s simply a stellar record that is comprehensive and – most importantly – simply fun.
Harry Styles – Harry’s House
I still like his debut solo album more, but his third offering is such a delightful statement release. This is fun, humble and low-key pop, an album that was sorely needed in a year where his personal life was thrust into the spotlight (due to a bad film). He’s just great at this stuff!
Interpol – The Other Side of Make Believe
After the initial hot streak Interpol went on to start their career, it became apparent that they did slower ballads better than bangers (all exceptions to “The Rover”). Their last album, Marauder, was all bangers and it’s their only album I dislike. Thankfully they slowed things down for this somber, post-punk affair. They’ll never reclaim their highs again, but I do think this is genuinely one of their best records.
Ithaca – They Fear Us
Although I felt this year wasn’t as strong as most recent years in general, it was a standout for post-hardcore groups. This album blends those influences through traditional metal/hardcore into one of the rawest releases of the year. This is not music for the faint of heart, but it is a thrilling and emotional listen. Got this one via recommendation, I will be checking out their other releases.
Jack White – Fear of the Dawn
When Jack White announced two albums – a blistering blues record and an acoustic folk one – I knew I was going to like the former more. This packs all the punches of standard wild White stuff, from blues melodies to dizzying guitar licks. There’s even a Q-Tip feature, randomly. Some people might be tired of his schtick, but I’ll always take these records.
JID – The Forever Story
Many of the rap records on this list are here because they’re innovative, nostalgic or just different from anything mainstream. But for JID, this is just a good ass rap album. His flow is impeccable across The Forever Story, which helps bolster his convincingly autobiographical lyrics. It’s a soulful album too, and one complete with some guest spots from festival big-prints like Lil Wayne and Yasiin Bey. Top notch stuff!
Jobber – Hell In A Cell
This is a band called Jobber with an EP called Hell In A Cell, of course I’m into this. It’s an extension on the Mountain Goats album Beat The Champ in that it’s centered entirely around pro wrestling (more on them later). But even if you don’t have an appreciation for the art or aren’t familiar with the brilliance of Mankind, you can still appreciate the tunes. These are four energetic indie tunes with deceptively great vocals in a wonderfully fun debut. I’m not sure if the wrestling gimmick can stay fresh over time, but I’m positive the band can.
Julia, Julia – Derealization
The debut album from the lead singer of long-running punk band The Coathangers is anything but. The album tosses away all of the politically-charged punk energy in favor of soft folk. Most of these tracks are nothing but acoustic guitar and dreamy vocals from Julia. Hell it’s often barely audible! These songs mimic a soft spring day, a pleasant morning as the sun rises. This is probably the softest record on this list.
Kal Marks – My Name Is Hell
This is one of a handful of local entries on my list, but this list would be incomplete without it. Hell is simply one of the best rock albums of the year, filled with post-hardcore tracks that are both patient and angry, heavy and melodic. The band really lays into the same space occupied by IDLES on this one, and for good reason, as they pull the sound off completely. It’s urgent and bitter, but without sacrificing some tongue-in-cheek funk as well. Absolutely hard-hitting stuff and this album should serve as a firm rebuttal to any inane person saying “rock is dead.”
Kim Petras – Slut Pop
No comment.
King Gizzard & the Lizard Wizard – Omnium Gatherum and Changes
Another double entry, although in Gizz terms that’s a poor year – this is just two of the five albums they released this year (six if you count a remix album)! I enjoyed all five, though none were among the highs in their still-young, dummy prolific 23 album career so far. And the two albums selected could not be more different; Gatherum is their most expansive album yet, clocking in at 80 minutes and filled with heady concepts and challenging prog elements (sometimes). Changes meanwhile is a fun, lowkey album of breezy, jazzy pop that acts as a follow-up to their delightful Sketches of Brunswick East. Gizz celebrated their second five-album year, and while it wasn’t nearly as unmissable as 2017, there was still a lot to love.
L. S. Dunes – Past Lives
I am always a little weary of supergroups, especially emo supergroups – they often produce some ho-hum music that is a fun change of pace for the performers, but not necessarily enjoyable for the listener. But L. S. Dunes, comprised of members of My Chemical Romance, Thursday, Coheed and Cambria, and Saosin, gave us a mission statement debut album. It sounds like all of their respective bands distilled, combined, and refined, into something that is both familiar and progressive. The album hits a wide range from personal to raucous, and it’s a high recommendation if you like all – or any – of the bands that contributed members.
Leikeli47 – Shape Up
One of the best breakthroughs of the year was that of New York rapper Leikeli47, whose album Shape Up is filled top-to-bottom with short, loud bangers that all flow together in constant whiplash. You’ve probably heard the album’s first track “Chitty Bang” in a (car?) commercial, but it’s such a great track and indicative of the whole rest of the album. Though she performs behind a mask, she’s destined to breakthrough much further than she already has.
Little Simz – No Thank You
My favorite album from 2021 came from British rapper Little Simz, who pushed herself out of her comfort zone with an uncharacteristically bombastic, overstuffed mission statement album. But the spotlight wasn’t kind, and her follow-up is a much more cynical release aimed at the music industry and at the very fans that propped her up. It’s tough and fair, and an extremely deep record that does not sacrifice energy or melody for its goal. It was also released mid-December, probably to avoid all of the gun-jumping publications that publish their best of lists a month early. We wait til New Year’s Eve, here.
Mammoth Weed Wizard Bastard – The Harvest
I wrote in my songs post about the title track from this album and how it advances doom metal beyond its shriveling template. Well, the album follows it, an absolute sonic pummeling of riffs, synths, and dreamy moments. It feels like a record that is not supposed to take place on Earth, something from a space wasteland. It is, simply, really cool music. Plus ten points for having my favorite band name.
The Mars Volta – The Mars Volta
I don’t think anyone saw a full Mars Volta reunion & album coming, especially after a full At the Drive-In reunion and album. And if anyone did, they surely did not predict that the band would entirely leave their prog-rock comfort roots in favor of shorter, blunter pop songs with Latin flare. Naturally, the group pulled it off, a totally enjoyable clean slate of a record. The lyrics are also less cryptic and often deal with singer Cedric Bixler-Zavala’s wife’s battle with the Church of Scientology – a heartbreaking and disgusting story, should you choose to look into it.
Meat Wave – Malign Hex
I’m a sucker for any kind of fuzzed-out garage punk, from The Trashmen to Ty Segall, and this album more than scratches that itch for me. This band does one thing and they do it remarkably well, just a full sonic blast of pedal-heavy guitar and drums. The lyrics range from tongue-in-cheek to political to honest, though the band’s punk energy is what the listener is more directed towards, anyways.
MJ Lenderman – Boat Songs
Lenderman’s name has been on my radar for a while but I had never listened until this album, as I was expecting more of a tepid, sad boy indie schtick a la FJM. To my surprise, it was an album of fun, humorous and fuzzed-out indie that sounded closer to the days of Pavement than anything else. It feels unserious and off-the-cuff, in all the best ways.
The Mountain Goats – Bleed Out
The Goats are never bad, but in their current prolific period, they’ve released some albums that don’t stand against their best. Bleed Out does. Like some other recent Goats albums, this is one is hyper-focused on a concept John Darnielle finds interesting; this time around we get songs about action films. This is also the loudest Goats album – the first to center around electric guitar and rock-driven songs, courtesy of production from Alicia Bognanno, from one of my favorite groups Bully. It’s one of my favorites of the year, and I think it’s a contender for top 5 Goats albums; impressive when you remember it’s their 21st (!!) studio album.
Nerina Pallot – I Don’t Know What I’m Doing
One of the most talented and underrated songwriters in all of music delivered again on her seventh studio album, a work filled with homely, lush and self-reflective ballads. She’s a talented musician, but her strength has always been her beautiful voice and her brutally honest lyrics. Her music has remained popular in the UK but she’s never been even a blip here in the States, I yearn for that to change.
Nikki Lane – Denim & Diamonds
One of the joys of maturity is realizing how stupid I used to sound when I would say something dismissive like “I don’t like country music.” While it’s true that the country-pop that dominated the charts when I was a teen still doesn’t appeal to me, I’ve come to appreciate outlaw country. This is the best country release I heard all year, a collection of low-stakes, unassuming country tunes that are simply fun as hell. These songs are personal, but they’re bops. The album is earworms galore. It’s an album that may not leave a huge impression on first listen, but one that draws you back multiple times. Really fun stuff and a nice antidote to many of the other entries on my list.
Oceanator – Nothing’s Ever Fine
This one was a nice surprise! I checked this one out as sole Oceanator member Elise Okusami was on tour with Jeff Rosenstock, an automatic win in my book. It’s a ripping, fun and earnest indie debut with a bit of edge on some tracks. There’s still room for some folksy elements too. It sounds well-worn and patient, all the more impressive for a debut!
Orville Peck – Bronco
I think it’s no secret that I’m a devoted Peck-head, his debut album Pony rapidly became one of my all-time favorites. I was a little concerned after his follow-up EP was frustratingly saccharine, but the proper sophomore album picks up exactly where Pony left off: alt-country bangers and ballads, all sung from behind a mask, from a gravelly voice with the gravitas of an old West gunslinger. But also, it’s queer. If I really had to choose – and the point of this list is that I don’t – this might be my favorite album of the year.
Otoboke Beaver – Super Champon
I knew in my heart that a band like Otoboke Beaver existed, such a delight to finally find them. The group mixes Japanese pop and noise influences into a blend of punk that’s both absolutely ripping and completely fun. It’s a balance of J-pop and Melt Banana, with bouncy, gang vocals and lyrics inspired by both feminism and comedy, all delivered in a micro package. With song titles like “Dirty Old Fart Is Waiting For My Reaction” and only two songs over two minutes, this is an absolute riotous, unique blast.
Perennial – In the Midnight Hour
I had the immense pleasure of interviewing 2/3rds of this band and hosting the album premiere, so I am a little biased here, but 11 months later and this remains in my top 5 releases for the year. The band, inspired heavily by noise-punk groups like Be Your Own Pet, mesh punk, post-hardcore and experimental elements into something that is as chaotic as it is fun. This album is an unabashed good time, an apocalypse party, full of spooky influences. My only complaint is that it’s over too soon; 10 of the 12 tracks don’t hit the two minute mark!
Perfume Genius – Ugly Genius
Perfume Genius is always an automatic shoo-in for any best of lists, and this year’s offering is no different. After his surprisingly guitar-driven album Set My Heart On Fire Immediately, he tones things way down for a sparse, dreamy production. It’s as brilliant and heartbreaking as anything he’s done before, and by this point I think he’s incapable of producing something that isn’t like this.
Petrol Girls – Baby
This album is a pure refusal of complacency. Loud, brash, dissonant and angry, this is what hardcore punk is really about. The British group funnels explicitly feminist lyrics and harsh vocals through pumping drums and power chords. Not every track kicks into the highest gear, but every one does crack with earnest fury and political anxiety that resonates across the pond. Punk can never, and will never die.
Porridge Radio – Waterslide, Diving Board, Ladder to the Sky
I never know quite what to make of Porridge Radio. On paper, you can call them an indie band, but they rope in many outside influences from post-punk to pop. It’s often loud, and it’s horribly depressing. Their unique sound is on full display here, through melancholic ballads and rhythmic ennui. It’s a top-heavy album, but the good is very good. Not for someone with a cheery disposition.
Pretty Sick – Makes Me Sick Makes Me Smile
It’s always refreshing to me, a total grunge head, to hear any band that hearkens back to the cursed early 90’s. Pretty Sick sounds like one step forward from bands like Hole, Lunachicks and L7, with a messy, angry and riot grrrl-adjacent sound. Pretty Sick doesn’t always push up the volume here, but when they do, their curated sloppiness could mark a dead ringer for a band thirty years their prior. What I’m saying is, this is extremely me music.
PUP – The Unraveling of PUPTHEBAND
Another contender for my favorite album of the whole damn year comes from Canada’s pop-punk-kinda group PUP, who stuck a necessary landing. Each album of theirs has seen increased visibility and fans, as well as just being better than the one prior. So for their fourth album to be a meta concept album about whether they should sell out and go big or make a weird concept punk album, and how it tears the band apart, is bold, brilliant and damn near perfect. It’s fierce and rough, tongue-in-cheek while also being brutally critical of the music industry. It warrants repeated listens, especially to catch little narrative details.
Saba – Few Good Things
One of the most flawless rap albums of the year comes from Saba, who spends each track on his album wearing his heart on his sleeve and masking it at the same time. These lyrics are brutally honest and deep in a way rap lyrics often aren’t (and don’t have to be!). And yet, the music is soft and dense, mimicking the flowers on the album’s cover. There’s an affirming warmness to this record that separates it from the year’s other rap records, even the ones on this list. It’s a shame this one has yet to pull in a wider audience.
SAULT – Today & Tomorrow
I’ve been preaching the gospel of SAULT to anyone who will listen for a couple years now, so imagine my childish grin when the anonymous R&B group released not one but six albums this year. They range from their standard R&B, to borderline gospel and even an atmospheric ambient album. The best was this one, which sees them take their standard crisply produced R&B and up the ante with funk, disco and even some punk elements. This one was a party album, which perfectly soundtracked me wrapped Christmas presents. Long Live SAULT.
Slipknot – The End, So Far
Well, it finally happened – Slipknot made their critical darling record. Their sound, and more importantly their misanthropic angst, was never going to keep up through all the years. This aptly-titled album could serve as a turning point, as it does feature some loud, abrasive metal tracks but a softer side as well. It doesn’t always work – quiet opener “Adderall” is ironically interminable – but the signs point to a changing band, one ready to experiment and embrace the adulthood that washes away all that juvenile anger. It should’ve happened a few albums ago, but hey the formula still worked.
The Smile – A Light For Attracting Attention
Yeah, yeah, Radiohead is my desert island band so naturally I loved this offshoot project. It allows Thom & Jonny et al to let loose and have fun, while also making some songs that would be minimalistic even by Radiohead standards. It’s tough not to compare it to Radiohead albums – it doesn’t stand up to most – but that’s a high grading curve. It’s a great debut and a record that has deserved more of my time this year.
Soul Glo – Diaspora Problems
Credit to any band who can find a way to innovate within a scorned genre. Soul Glo are, by all descriptions, a rap-rock group, but one that play with full intensity and unpredictably. It’s part Death Grips, part 80’s experimentation, and no parts 00’s chuggy riffs and cringey lyrics. This is direct, honest and political stuff and it’s one of the most exciting records of 2022. It has no trouble getting abrasive and confrontational – it is supposed to be a shocking genre, after all.
Spoon – Lucifer on the Sofa
One of the very first albums I heard in 2022 was a welcoming breath of, well, stale air. Spoon’s tenth album sees the band reverting back to the fundamental indie music of their mid-00’s heyday. It’s a welcome joy, as the band proves they can still write some indie bangers, and it’s their best album in years. Focused, pleasant and timeless, this is a high notch in their catalog. Spoon is back, baby.
Sudan Archives – Natural Brown Prom Queen
The first Sudan Archives album was a patient and well-rounded R&B record that seemed to promise better things. Well, her sophomore album is the better thing. One of the best albums of the year sees the singer/violinist assume a first-person role in a concept album taking place in her Cincinnati hometown. It’s an overstuffed, comprehensive and funky release that never overstays its welcome and never teeters on self-indulgence when it could easily do both. It’s earnest and it’s refreshingly original. Truly remarkable piece of work.
Sylvan Esso – No Rules Sandy
This is easily the most ambitious album from the vibes-heavy indie band, a band who approach their albums with a “try anything” attitude. Although it rests at 16 tracks, it’s really made up of 5 or so sections with interludes, split into more bite-sized songs. It creates more of a nightclub DJ feel than their previous, minimalistic dance tracks. It’s still the same fun, warm and light-hearted music as always, though.
They Are Gutting A Body Of Water – s
This one was a wrench thrown into this list – I listened to it after 50+ of the entries in this post had already been written! I’d heard multiple people sing their praises but I jumped in totally blind. It’s shoegaze-based music, but with elements of trap, DNB and chiptune – really a hodgepodge of “off the beaten path” genres tossed into a blender. The result is something totally unique and nearly indescribable – all rules tossed out the window. I really dig this.
Titus Andronicus – The Will to Live
I wrote extensively about this album when I covered their live show, but what I’ll say here is that this is the first time Patty Stix et co. have successfully wrangled their ambitious side with their complying side; it’s really the first time they’ve even tried. This is a concept album, albeit a loose one, but not a hyper-inflated overlong grand affair like their other two concept albums (their best and worst releases, respectively). Instead, it’s a controlled record, one of a band recognizing their own heights but still reaching them. Seeing some of these tracks live helped me to contextualize how this is not a punk record but a rock and roll one, and even if this album was birthed from grief, they’re settling into adulthood surprisingly nicely.
Van Buren Records – DSM
Another local release that ranks among my very favorites from this year comes from Brockton MA’s rap collective. The album is bold and boisterous, with a cascade of different vocalists that allows each song and hell, each verse to sound fresh and fun. This album stays well within the realm of comfortability, and when the group is as good as they are, there’s no reason not to. It’s a blast, turn it up.
Vince Staples – Ramona Park Broke My Heart
Ramona Park acts as a follow-up to 2021’s weirdly disappointing self-titled release, and thankfully it reclaims the magic of older days. And yet, this doesn’t sound like Vince. Gone are the abrasive beats, experimental rhythms and worrying lyrics, replaced with beats and melodies that are crisp, fluid and conventional. Vince is still Vince though, and these tunes are grippingly reflective and earnest. This is as good as anything Staples has ever done. He barely misses.
Wet Leg – Wet Leg
I was absolutely delighted that the new duo Wet Leg was able to capitalize on their surprise debut hit “Chaise Longue” with a great first album. It did exactly what it needed to – prove the group wasn’t a one-trick pony, with a collection of songs that don’t exactly sound similar but feel similar. It’s infectious and hysterical, with tons of pop hooks and plenty of curveballs. The band sounds wise beyond their years, and yet songs like “Piece of Shit” and “Ur Mom” show off their playful immaturity. If by any chance you’re still reading this, then you’ve probably already heard this record, but what was I gonna do, not include it?
Weyes Blood – And In The Darkness, Hearts Aglow
I’ll be honest and say that I didn’t like Titanic Rising as much as most, so I approached this one with caution. It floored me. This album is filled with stunningly beautiful chamber pop that feels warm despite the cold, cynical lyrics. It really is unpleasant stuff but presented in a more welcoming fashion. After some disappointments from the likes of Sharon Van Etten and Angel Olsen, we needed a late-year album of breathtaking ballads like this.
Wilco – Cruel Country
In a way, this is Wilco coming full circle. They toyed early on with country influences before mostly abandoning them for an indie sound. And now, twelve albums in, they’ve embraced it entirely. After a few albums of comfortable complacency, Wilco gifted us with a double album of moody country that welcomes the sound Wilco pushed off twenty years ago. It’s maybe too long and a bit unnecessary, but it stands as a fun and welcome outlier in the catalog – their best albums usually are.
Yeah Yeah Yeahs – Cool It Down
What a relief this album was. The band’s quest for a total reinvention with each album petered out after 2013’s unlistenable record Mosquito. After nearly a decade of radio silence, they’ve done another full 180. Cool It Down, another in a series of aptly-named records on this list, comes close to ambient territory, with its atmospheric rhythms and airborne feel. It’s clearly a new territory for all members, and if the album had run beyond it’s short runtime it could’ve easily fallen repetitive, but the band keeps it tight. Fans looking for bruisers like “Man” are going to be severely disappointed, but this is a fascinating rebirth.
Zeal & Ardor – Zeal & Ardor
My favorite type of metal is usually “whatever would make the purists mad” and I figure this counts. Black metal, as much as I love it, has a storied history intertwined with full-on Nazism, so it is refreshing to hear a black metal artist who is, well, black. The album combines traditional black metal sounds with African influences, jazz, even a damn stomp-clap. It is sonically and lyrically subversive, a meting pot of influences determined to keep you guessing, especially in a genre where repetition is usually the biggest fault. I recommend this to anyone who even remotely likes metal.
Zola Jesus – Arkhon
Zola’s music expertly walks a line between conventional pop/indie and synthy goth throwback to the 80’s post-punk scene. Arkhon is no exception, as songs bounce to and from these competing influences to create a landscape that is hypnotically catchy and yet grim and moody. It’s often very fun and unpredictable, as some songs search for that catchy rhythm and others eschew it completely. This one flew well under the radar, and I wish it hadn’t.
Just for fun and self-indulgence, here’s some other albums I nearly included in this list:
Charli XCX – Crash (pop/hyperpop), Fontaines D.C. – Skinty Fia (indie/post-punk/Ireland), Froglord – Army of Frogs (stoner metal band that sings about frogs), Lizzo – Special (pop/R&B/it’s Lizzo), Sasami – Squeeze (indie/noise rock), Thee Oh Sees – A Foul Form (80’s thrash metal/hardcore throwback)
Post-Grad Music Reviews 