Tag Archives for Lil Uzi Vert

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!

35 Songs I Loved This Year

Jump to: Fav albums 100-76 | 75-51 | 50-26 | 25-1

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. 

KEY SCREAMABLE CHORUS: Gila! Gila! Gila!    Gila! Monster!

King Gizzard & the Lizard Wizard – “Set”

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!