Tag Archives for Kali Uchis

101 Favorite Albums of 2024: 74-50

Hello again, welcome to another edition of me writing way too much about albums you haven’t heard of or didn’t like. There’s a massive range here, from Latin pop and country to industrial metal. I’m not going to repeat everything I said in the intro to my first post, just know that this year was truly remarkable for new music. There’s definitely some albums in here that topped other year-end lists, so if you’re mad about something being low, please understand that we’ve entered the territory of albums I truly loved. There was just a lot of them this year.

Also – these mini-reviews were copied directly from earlier posts, I edited but if there’s a reference that doesn’t compute, that’s why.

I hope you find something new through these posts! On with it:

#74. Blood Incantation – Absolute Elsewhere

I’ve said elsewhere that death metal is one genre where bands don’t have to be innovative and often aren’t – because even the most template death metal bands will still find a big audience. But some bands do experiment, none more so that Blood Incantation. Their 2019 record Hidden History of the Human Race is no less than one of the five or so best metal records of the last decade. The band has only grown more experimental, as this record edges hard on progressive rock alongside death metal standards. It’s only two songs – six on streaming, each song broken up into three sections – both over 20 minutes. Both tracks are odysseys, with sections of unfiltered death metal in parts. But both songs embrace prog rock just as much. The second track, “The Message,” takes an obvious inspiration from Animals, the best Pink Floyd album. It’s a purely unique record top-to-bottom, and an obvious candidate for metal album of the year.

#73. 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. 

#72. Shellac – To All Trains

Rest in peace Steve Albini. If you’re reading this, then you’re probably well-versed in Albini’s work already, but he was a god in the music scene. A talented musician who utterly despised the industry, most of his work was production behind the scenes. He produced records for anyone ranging from Nirvana to your shithead neighbor’s weird noise band – and never took a penny for his work. His last record as a musician came only days after his sudden passing, and it’s hauntingly beautiful. It’s also a pretty normal Shellac record; chunky and bass-heavy post-punk with snarled and often witty lyrics. The band was self-described as “minimalist,” I wouldn’t exactly use that term but these songs are all surprisingly easy. Most of them are perfectly digestible and just off-putting enough to drive away casual folks. Opener “WSOD” jams on a fun riff for a while. But the real ominous standout is “I Don’t Fear Hell,” where Albini sings about waiting to join all his friends down below. Classic Albini – dark, funny, groovy and hauntingly prescient. Albini was one of the best guys around but if he ended up in Hell, then brother, we’ll all see you there. 

#71. Chick Corea & Béla Fleck – Remembrance

I am but one man who mostly loves garage rock, so I simply don’t keep up with modern jazz like I wish I could. Imagine my surprise at seeing two of my favorite jazz artists collaborating, hit immediately by the shock of remembering that the former artist has passed. This record is technically a compilation, a mix of studio songs, improvisations and live tracks, but it doesn’t feel like one. Everything is coherent and similar, and the smatterings of applause throughout signify a captive, sometimes nonexistent live audience. With Corea on piano and Fleck on banjo, you likely know what you’re going to get – and there’s a lot of it. It’s a beautiful set of collaborations, often just the two men alone, together. Very pretty and very fun music for any jazz fan.

#70. Fange – Perdition

Like some of the best metal albums I’ve heard this year, I don’t actually know where this recommendation came from. The French band is on their seventh album, but were totally off my radar until this year. It’s catch up time for me, because I loved this. The French band does a punishing mix of industrial, death metal, sludge and a touch of rock (for melody seasoning). The vocals are menacing and the music is both metrical and unforgiving. It’s all very heavy and intense, but the band finds ways to warp a little melody in there as well. It’s closer to industrial than anything else, but you wouldn’t even confuse this with Nine Inch Nails. It’s straight metal, too.

#69. Vince Staples – Dark Times

This album shares much in common with the rapper’s 2021 self-titled album, and the reasons why I didn’t like that album are why I do like this one. Staples made his name doing bass-heavy, aggressive rap that married huge beats with lyrics that were often shockingly blunt and depressing. But he’s always one for making what he wants to, instead of falling to fan service. Dark Times is much more minimalist, calculated and jazzy. While he explored this side on his self-titled, it was ultimately very repetitive. This album is an unpredictable delight through and through. Vince even directly references that he’s not making another Big Fish Theory. This record is patient and unique, and represents a proper shift in tone while remaining distinctly Vince. Almost definitely going to be one of my favorite rap records of the year.

#68. The Body & Dis Fig – Orchards of a Futile Heaven

The Body are a band who can do basically no wrong by me. If you read my favorite songs of 2024 post, I went into what makes them special. The song chosen for that list does not in fact come from this album, so more on that later. This release is a full-album collaboration with Dis Fig. The band is used to these collabs, they’ve done a ton of them. This is standard Body stuff, which is to say purely dissonant, extreme noise music. It isn’t metal, but it’s less anything else. Dis Fig is an artist I’m wholly unfamiliar with, but her vocals help cement these otherwise exploratory or nonconformist extreme songs, in one of the band’s more logical collaboration efforts. This is music for a small audience but damn is it good.

#67. E L U C I D – Revelator

Although I’ve been a fan of the duo Armand Hammer for a few years, I didn’t know E L U C I D by name until he popped up on the excellent album that Shabaka released earlier this year. This new solo record is a whirlwind of avant-garde rap. Much of it is low-key, opting for bars over vibes. The first few songs are electrically thrilling, high-energy bangers with totally unpredictable instrumentation. The running thread is a nonadherence to traditional song structures, a very free-form work similar to the jazz album he popped up on. It’s all smooth, and his flow is excellent. It’s funny at points, at other points daring. The whole thing is unpredictable, even as it settles in a more relaxed state. It’s just extremely fun. I always seem to love the rap that’s on the fringe of the mainstream.

#66. 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.

#65. Machine Girl – MG Ultra

There’s nothing out there like Machine Girl. They have a lot of elements that I theoretically shouldn’t like, but I love their music. I guess the way to describe the duo is techno-hardcore, hardcore music with a lot of glitchy electronic elements and unpredictability. More often than not, this album is heavy and gonzo, which is right up my alley. It’s fun as hell, while still being mildly off-putting to anyone trying to embrace traditional electronic or hardcore music. Though Machine Girl have been at it for over a decade, I can see this unholy hyperpop-metal concoction being a new scene soon.

#64. Fontaines D.C. – Romance

The previous Fontaines D.C. records were inconsistent in how much they grabbed my attention, but they were consistent in that the songs all kinda sounded the same. The (very) Irish post-punk band has had a relatively standard sound prior to Romance. Well the book’s out the window. This record actually has a majority ballads, but the band hits the highest energy of their career too. They rap, there’s punk, and there’s tender love ballads. The band has always sounded a little inauthentic in their emotions previously; not here. This is earnest and real from a band that has never sounded so ambitious or energized. Don’t go in expecting the high-octant energy of the singles, but do go in expecting what is easily the band’s best album to date. This will go down as a highlight in a stacked indie year.

#63. Kacey Musgraves – Deeper Well

There’s been a few examples this year of artists I love rebounding from weaker albums (Vampire Weekend, St. Vincent, ScHoolboy Q). Add Kacey to the mix. Coming off her breathtaking and Grammy-crushing country album Golden Hour, Kacey turned to a more pop-focus for Star-Crossed, and it was, bluntly, meh. For Deeper Well, she’s gone back to the atmospheric country that made her an arena star. It’s a welcome return, as the whole here is excellent. It’s a dreamy album, the same summer-y camping vibes as before. She’ll probably never make another record as good as Hour, but that’s an immense bar to clear. This one doesn’t really have standout songs like that record did, but the full product is wonderful. She’s also shifted her lyrics into a more serious zone. So many of her previous songs coupled breezy music with lyrics about wasting time and days spent milling around. Here, she’s quitting weed and strengthening her relationships. This serves as both a sequel and companion piece to Hour. Loved it.

#62. The Only Humans – It’s a Beautiful Night. I Think I’ll Disappear Forever. 

Full disclosure – I know most of the members of this band. I’m ex-coworkers with three of them, and am actively friends with one. But removing any bias, I’m including a lil review here because this album is genuinely excellent. The band has the proper and orchestral look of the Decemberists, with the music to boot; and, singer Tim Howd sounds like a dead ringer for John Darnielle. The expansive album is a conceptual one, as death invades from all angles. But the record is a lot of fun, and no two songs are really the same. My personal fave is the maximalist “Esplanade.” I know it’s a way overinflated year for indie, but if you’re trying to look beyond the headliners, please check this one out.

#61. Hinds – VIVA HINDS

It’s been a long four years since the last Hinds album. In that time, the bassist and drummer both left, reducing the band back to the two vocalist-guitarists that initially formed it. That might be a disaster for some bands, but for Hinds it was freeing. I’ve been in their camp since the first album from the Spanish indie group (duo), and this record is probably their best one yet. These songs are sweet and unassuming, but confident and broader. That last note is important – this is the widest-ranging Hinds album, with tender songs, rousing ones like the excellent “En Forma,” and space for both Beck and Grian Chatten to show up and do their own thing. The 2024 indie pot has way overflowed, and in a different year this would be a standout. It’s still a real winner.

#60. Cursive – Devourer

When all is said and done and the dust on Cursive’s career is settled, they’d better be recognized as one of the most underrated groups in music history. Ask a casual indiehead and they’ll say they love The Ugly Organ. Well folks, Cursive is still putting out records that good twenty years later. Their tenth album Devourer is simply one of the best rock records of the year, and it doesn’t even have a damn Wikipedia page. It’s apocalypse time on Devourer, in case you were expecting the mood to have softened. But it is very fun, the band is still treading the same thin line of emo, indie and rock, and in the last few years they’ve expanded to include a full-time trumpeter and cellist. It’s a unique affair even if it doesn’t sound like one at a first glance. People are sleeping on Cursive, y’all should get with them.

#59. Camera Obscura – Look To The East, Look To The West

Another legacy indie artist, and one that I have relatively kept up with. Or at least I did during their original run, as this is their first album in eleven long years. It’s utterly fantastic, likely going to be one of the best indie albums in a severely crowded year. These songs are patient, mature and lowkey, and practically every one of them is extraordinary. My three picks are the opener “Liberty Print,” “The Night Lights” and the closing title track, but nearly every song works. Oddly, the only one that struck me as dull was “Big Love,” which seems to be the most popular so far. But, for all the hip parents out there still spinning Yo La Tengo and Hold Steady records, this is another entry for the record cabinet. 

#58. Godspeed You! Black Emperor – NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD

I never know how to write about Godspeed. I don’t even really like drone music that much or post-rock at all. But these folks operate on another level, and even a “lesser” album from them can still be extraordinary. Despite being fully instrumental, the band manages to capture the plague and despair of the ongoing genocide of Palestinians in touching and intense pieces. There’s also some of the inspirational music that has touched their more recent albums, too. If you’ve never listened to GY!BE, this may not be the best place to start. But their music can only be heard to be experienced. 

#57. Torey D’Shaun – Come And See.

I’ll take music recommendations from anywhere – including music a Lyft driver is playing that I like. I don’t know much about the rapper, but a song came up on shuffle on the drive home from the airport and I saved it, only to see a full album coming out ~2 weeks later. It’s a gem. The self-described Christian rapper does tackle the concept of faith across this album, sometimes more devout than others. Some songs here are life-affirming, others are doubtful tales of tragedy, sometimes with no resolution. The songs here are earnest and poetic, whether you’re religious or not. And if you’re not, well the beats are great and his flow is solid anyways. Well-rounded lyrics, big beats, and a ton of pathos. This was an unexpectedly great find.

#56. GUHTS – Regeneration

A decade removed from Deafheaven’s tectonic plate-shifting black metal album Sunbather, another band is going the pink cover route. While the book cover-judging comparison can be made, this album packs a different punch. Sludgy, unpredictable post-metal dominates this release, hitting all points between smooth and sinister. It’s abrasive, but not the point of, say, Full Of Hell or anything. It’s one of the most well-rounded metal albums of the year so far – and one of the best of the genre in any capacity. Don’t sleep on this one, if it’s your tune. 

#55. Little Simz – Drop 7

I debated on even considering this one eligible for my list – 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. 

#54. Thou – Umbilical

Historically I’m very hit-and-miss on sludge metal, but Thou holds a special place in my heart. The prolific group hasn’t been consistent over the years, but when you release as much music as they have, some of it is going to hit. The worst thing a Thou album can be is boring, and Umbilical is never boring. The band hasn’t really changed their tune – grim opining, screeching, riffs with the thickness and speed of molasses, and morose black and white imagery. But they’re completely checked in, pummeling the listener with relentless guitar and screams, making sure to fill (nearly) every song with unique elements. Hopefully, this won’t get lost in the sea of their other releases. It’ll certainly be one of the best metal albums of the year. 

#53. Chat Pile – Cool World

Chat Pile had an incredibly high bar to clear on their sophomore record and, if we’re being honest, they didn’t clear it. Their debut God’s Country remains one of the best records of the past 5 years. But the rafters aside, this record rips. The band continues their manic blend of post-hardcore and sludge metal into something that seems obvious but is wholly unique. The riffs are heavy as hell, the lyrics political and the vocals anguished and immediate. These guys are simply a band with a lot to say. The first two tracks on this album haven’t stuck with me, but the run of songs in the middle is nuts. “Frownland” and “Funny Man” are two of the best heavy songs of the year. Unpredictable and urgent, and loud as all hell. Chat Pile are here to stay.

#52. Beth Gibbons – Lives Outgrown

I’m not overly familiar with Portishead, what I’ve heard I’ve liked, but it isn’t music I feel any nostalgia for personally. I’m even less familiar with solo endeavors from their singer, Beth Gibbons, who dropped her first proper solo album 33 years after the first Portishead record. It’s a gorgeous album, one that starts innocently before expanding into something grander. The cover implies a folksy affair, and at most times it is. It’s brooding chamber pop, sometimes soft but sometimes sinister, like slipping back into a nightmare. It’s also usually acoustic, but when the guitars kick in, they really kick in – some of these songs drone and shout loudly, unexpected explosions after multiple songs of slumber. It’s a gorgeous record, one of both extremes, yet often just restrained chamber pop. We expected nothing less.

#51. 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.

#50. Sabrina Carpenter – Short n’ Sweet

I love the harmless pun of the title, referring to both the 36-minute runtime and Carpenter herself. Now, surely you’ve already heard this album, I got to it a bit late. It’s utterly delightful, I loved it. It scratches the same itch that Carly Rae Jepsen does – bouncy pop songs that deal with the complexities of relationships that also aren’t plastic. It can be difficult in today’s landscape to make pop music that’s truly authentic but this album is top-to-bottom. It’s raunchy and clever, nearly every song is a winner. It’s easy to see why this is the album that’s really broken her out of Disney containment; if it wasn’t for Chappell Roan, this would’ve been Carpenter’s year to lose. And if it wasn’t for Charli, this would probably be the best pop album of 2024. Those aren’t exactly setbacks, this is an album we’ll be talking about for years to come.

That’s a wrap on this part of the list, which has grown long and sour. Check back tomorrow for the next installment!

Because I cannot ever help myself, here’s five more albums I wanted to include: The Bug Club – On The Intricate Inner Workings of the System (lo-fi post-punk with goofy lyrics), Bat For Lashes – The Dream of Delphi (atmospheric indie legend), Full Of Hell & Andrew Nolan – Scraping the Divine (noise), Couch Slut – You Could Do It Tonight (gritty post-hardcore), Esh & the Isolations – Nowhere, To Be Found (indie rap)

The Rundown: January 2024

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!

100 Best Albums of 2023: 75-51

Jump to: Songs | 100-76 | 50-26 | 25-1

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!