It’s been an incredible year of music, and an incredible year of covering it for Staged Haze. 2023’s “50 Best” marks our sixth year sharing our yearly album round-ups, and for that, thank you. It’s no easy feat running a publication, but knowing that we’re able to connect artists with fans and fans with artists is a gift in and of itself.
Below is our list of the 50 best albums of the year: and looking at it from a freshly-finished vantage point, as well as taking a peek at major publications’ lists, it’s clear that we’ve made some ~controversial~ choices with our list, including the omission of several major releases. But, we are going with our gut and what we think was the best projects of 2023. I hope you enjoy!
From 50 to 1:
That’s Life, the fifth EP from Los Angeles-based punk band FIDLAR, serves as a sort of “proof of life” statement. After enduring the pandemic, and the loss of guitarist and vocalist Elvis Kuehn, FIDLAR went quiet: a bit too quiet for anxious fans like me. This year, though, the band came roaring back with That’s Life, a six-track EP that clocks in at only 14 minutes, but still ended up as one of my favorite albums this year.
The EP is also a return to form for the band, after branching out stylistically on the 2019 LP, Almost Free. While I’m not one of the fans who lamented FIDLAR changing up their style a bit, as nice as it is to change, it’s also nice to relish in something that you already love.
That’s Life is full of fast-paced music, quippy, relatable lyrics from the band’s guitarist and vocalist Zac Carper, and a genuinely fun and engaging pop-punk release. – Erin
This lullaby of an album has healing qualities. The Portuguese artist, Maro, released her fifth album less than a year after her acclaimed electronic album, can you see me?, which departed from the acoustic blueprints she has crafted for herself.
hortelã revisits the path previously set with a renewed clarity. Each track showcases Maro’s impressive guitar playing abilities, as well as her breathy, emotional vocal capacity. While the majority of the record’s lyrics are sung in Portuguese, Maro’s tone transcends language, conveying sorrow and pondrance through the hesitance and occasional collapse of her voice. The album is full of raw emotions echoed by raw acoustics. – Meleah
Listening to Sampha’s Lahai feels like floating above a meadow, there’s an aerial perspective of lived experiences while maintaining a light and airy quality. The long awaited follow up to his perfect debut, Process, had a lot to live up to. The R&B auteur, who has graced projects such as Solange’s A Seat at the Table, Kendrick Lamar’s Mr. Morale and The Big Steppers and Drake’s Nothing Was The Same, carries himself with a new optimism on this record.
As a new father, there’s a texture of gratitude and grace in his already deeply welcoming voice. In “Evidence,” he sings “An angel is teething, giving me more reason/ To watch what I’m eating and how I spend my time.” Sampha continues to push what is thought to be possible in production, wrapping his tender voice in a pillow fort of synths that never seem to crowd the messaging. This album holds fears of the future, ruminations on the past, but it’s an album about peace.
– Meleah
The question is not to stay or to go on Esther Rose’s Safe to Run. She’s set her mind on leaving, but rather than finding a destination, Rose is comfortable wandering around, gaining perspective with each stop along the way. This road trip of an album takes place in transit, as Rose traverses up and down the mountains of moral ponderings and human desires. As with all great road trips through the southwest, there are vast plains of simplicities, as seen on “St. Francis Waltz,” contrasted by pockets of charming towns full of light and possibility, such as those highlighted in “New Magic II.”
Rose’s unpredictable cadence, accompanied by her charming country twang, acts as a perfect blanket over the expansive instrumentation, journeying from steel guitars to synthy drum loops across the album. As the only country album on our list this year, Safe to Run holds up as a representation of all the new and interesting places the genre can go if given space to breathe.
– Meleah
The Jonas Brothers’ highly anticipated comeback, with the aid of Jon Bellion’s musical prowess, delivers a triumphant return to the scene on their latest album. The mere announcement of this collaboration ignited expectations, and the resulting album surpasses those anticipations, solidifying its place as a standout in the trio’s discography.
“Wings,” the lead single, sets the tone with its infectious energy, cleverly complemented by a music video featuring the exuberant mega fan, Haley Lu Richardson. The Jonas Brothers’ signature harmonies are seamlessly interwoven with Jon Bellion’s funky sound, creating a dynamic and fresh auditory experience that resonates with both longtime fans and new listeners.
The follow-up single, “Waffle House,” taps into the Jonas Brothers’ family-oriented narrative, delivering an irresistibly catchy track that showcases their distinctive pop-rock sensibilities. Its relatable lyrics and lively melody make it an instant crowd-pleaser, emphasizing the trio’s ability to connect with their audience on a personal level.
However, the true magic of the album extends beyond its singles. Tracks like “Americana” exude a Paul Simon-esque charm, showcasing the Jonas Brothers’ versatility and ability to explore different musical territories. “Summer in the Hamptons” takes a slightly sexier turn, adding a sultry dimension to the album while maintaining its familial undertones. Jon Bellion’s production, coupled with contributions from the Monstsers & Strangerz, creates a sonic landscape where each individual Jonas Brothers’ voice shines through, allowing their distinct personalities to coalesce seamlessly.
In essence, the Jonas Brothers, with the artistic guidance of Jon Bellion, have not only delivered a comeback album but a celebration of their journey and relationships. The album is a testament to the enduring power of familial bonds and showcases the trio’s evolution both musically and personally. With infectious singles and hidden gems, this collaborative effort leaves an indelible mark on the Jonas Brothers’ legacy, proving that their musical journey is far from over. – Jesse
A part of me inevitably loves this album because BROCKHAMPTON was such a huge part of my life, but considering that Blanket goes in a completely different route than anything BROCKHAMPTON ever even attempted, I think it’s a fair pick. Kevin Abstract, aka Ian Simpson, was undoubtedly the rap collective’s frontman, mainly because he was the original founder, but also because he was the “charismatic one” with the stardom potential. Once the band broke up last year, we all knew a lot of them were going to start working on their own music, with Ian being the only one that had already put out not one, but two full length albums in the past.
Both American Boyfriend: A Suburban Love Story and ARIZONA BABY remained close enough to BROCKHAMPTON’s iconic sound—they’re still rap projects—but on Blanket, Ian completely branches out. The whole project reminds me of Alex G, particularly of some of his darker songs, which is definitely not what I was expecting.
Guitars were not really a thing throughout BROCKHAMPTON’s discography, like at all, and they’re the main piece in the entire album’s production, which is already a big change. Lyrics wise, the 27-year-old has always been someone to talk about what’s most personal to him, his family issues, broken friendships, and even race and his sexual orientation. On Blanket, you can still hear the same sentiment but from an older and even more personal perspective, now that these songs are fully his.
I could write so much about this album and so much about how I will never get over BROCKHAMPTON’s disbanding, but for now I’ll just say that this album surprised me in many ways and I believe will make Kevin Abstract’s music reach so many new ears, which at the end of the day has always been his dream. – Javi
Lil Yachty’s fifth studio album, Let’s Start Here, is an audacious departure from the rapper’s well-established trap roots, marking a monumental shift towards the realms of psychedelic rock. Widely recognized for his signature sound, Lil Yachty’s foray into this uncharted musical territory has redefined expectations. The album, following its debut at number nine on the US Billboard 200, stands as a testament to Lil Yachty’s artistic evolution and willingness to explore new genres.
The influence of Lil Yachty’s collaboration with Kevin Parker on the remix of Tame Impala’s “Breathe Deeper” is palpable throughout the album. Let’s Start Here not only showcases Lil Yachty’s commitment to pushing creative boundaries but also demonstrates a newfound appreciation for the psychedelic rock genre.
In a revealing pre-release interview, Lil Yachty disclosed a crucial detail that distinguishes Let’s Start Here from his previous works—the entire album is crafted using live instrumentation. This departure from digital production adds an organic depth to the music, elevating the listening experience.
One standout track, “Drive ME crazy!,” co-written with Mac DeMarco, exemplifies Lil Yachty’s collaboration prowess. The song exudes a chill Motown-like sound, seamlessly blending Lil Yachty’s rap sensibilities with Mac DeMarco’s laid-back musical style. This fusion not only adds an extra layer of complexity to the album but also showcases Lil Yachty’s ability to seamlessly collaborate across genres.
The album not only challenges the conventional expectations associated with trap music but also establishes Lil Yachty as a dynamic and forward-thinking artist. The eyes of both fans and critics are now fixed on him, eagerly anticipating the trajectory of his musical journey and the exciting possibilities that lie ahead.
Let’s Start Here is more than an album; it’s a sonic metamorphosis, a departure that signifies Lil Yachty’s evolution as an artist. With its genre-defying soundscapes and collaborative ingenuity, the album propels Lil Yachty into a new echelon of musical exploration, leaving listeners intrigued and excited about the future directions his artistry may take. – Jesse
Doja Cat’s latest offering, Scarlet, marks a significant departure from her previous works, as she boldly stated after the release of Planet Her that her past albums were mere “cash grabs” and compromises. This time around, she promised something entirely different, and “Scarlet” lives up to that proclamation by establishing her as a force to be reckoned with.
The lead single, “Attention,” accompanied by a visually striking music video, set the stage for what was to come. The track not only lived up to its name but also captivated audiences with its infectious beats and Doja’s signature charismatic delivery. “Paint the Town Red,” another pre-album single, showcased Doja’s willingness to explore new sonic territories.
However, it wasn’t all smooth sailing in the pre-release phase. “Demons,” another promotional single, raised eyebrows and sparked controversy. The anticipation intensified when Doja teased an album cover eerily resembling that of a German Metal Band’s, but she ultimately switched gears, opting for a different visual direction. The unpredictability only added to the intrigue surrounding the project.
Upon its official release, Scarlet made an immediate impact, debuting at an impressive number four on the US Billboard 200. This success is undoubtedly a testament to Doja Cat’s massive and dedicated fanbase, as she proudly declared herself the “fastest growing b*tch on all your apps.”
The album’s standout tracks, including the viral sensation “Agoura Hills,” have become TikTok favorites, further solidifying Doja’s relevance in the digital age. What distinguishes “Scarlet” from her previous works is its overall aggressive tone, reflecting a more assertive and empowered Doja Cat. The artist’s messages are clearer and bolder, resonating with both her ardent supporters and those who may have previously criticized her.
In Scarlet, Doja Cat has successfully reinvented herself, shedding the perceived limitations of her earlier discography. With its chart-topping debut and the undeniable impact of its singles, the album cements Doja Cat’s status as a versatile and influential figure in contemporary pop music, leaving fans eager to witness the next chapter of her artistic evolution. – Jesse
Latin pop and reggaeton are surging in popularity throughout the United States, and a major reason for that is exciting, innovative performers including Karol G, who released her most energetic and spirited album earlier this year, Mañana Será Bonito.
The album, Karol G’s fourth studio album, is a creative, thematic output by the Colombian artist, in which she sings about love, and heartbreak. Throughout the album, Karol G mixes and melds different Latin genres, alternating from straight up pop and reggaeton to musicá Méxicana — it’s one of the most sonically interesting albums that I’ve listened to all year.
On top of all of that, though, Karol G is just great to listen to. The singer is in possession of a voice that’s able to be strong and forceful and at the same time delicate and beautiful whenever the song calls for it. It’s a joy to listen to her sing over 17 tracks on the album.
Not only is Karol G fantastic, but her collaborations on Mañana Será Bonito only help to bolster regard for the album. Reggaeton is a seriously collaborative genre — check out nearly any album in the genre and there’s a handful of collaborations between artists. Karol G has curated who she wants to work with well, especially on the track “OJOS FERRARI,” in which she collaborates with reggaetonero Justin Quiles and Angel Dior, a rapper from the Dominican Republic. – Erin
This is one of the few projects included in our “Best Albums of 2023 (So Far)” list that I actually kept on my personal picks for this final one, and it’s not even a full-length record. Produced by rising artist and all your favorites’ new favorite collaborator Marinelli, scaredy cat is another perfect portrayal of youth, growing up, and becoming your own person. At just 23-years-old, Drew Tarves has already been going through some changes and also has had the time to look back on them and reflect.
Mixing up slow, acoustic tracks with others that at times feel a little bit like hyperpop, young friend’s stage name becomes alive as he sings about all the confusing feelings and up and downs that come with becoming a young adult. The EP is only five songs long, and each one of them touches on a different aspect of the journey; “met this girl on the internet” is a love song that acknowledges how for this generation everything is influenced by the digital age, meaningful moments happen on our phones and significant memories come from things we see on screens. “little pieces” talks about growing apart from someone and grieving their accent, because they have inevitably had an effect on all the little things. “17” sounds like a love letter to Drew’s parents, thanking them for dealing with his coming-of-age shenanigans—and his tattoos.
The title track, “feral canadian scaredy cat,” is a cute song where young friend tells us all about his most vulnerable traits. The name of the song itself already says so much about him, about the way he perceives himself versus how he portrays himself in front of others. I’m not much of a slow music person, but I’ve always found it hard to skip over this one particular song because of how touching it is and how catchy it can be—even though it’s not necessarily a song that should be catchy. At the risk of sounding cheesy, I’ve come to think that listening to young friend has turned into exactly that, listening to a friend who’s going through the pains of growing up and it’s just telling us about it in a very transparent way. – Javi
I don’t know if it’s possible to be a casual fan of 100 gecs—you either hate the duo that’s an amalgamation of so many genres it’s hard to pick just one to describe them, or you’re a hardcore, devoted fan. Prior to this year, I’d never heard a song by the group, but after listening to 10,000 gecs, I’m absolutely in the latter.
100 gecs’ sophomore effort, is such a chaotic blend of genres, styles and themes that it’s easy to see how it could be off putting, but instead I was charmed and instantly obsessed. At certain points the album is ludicrous to the extreme (“Frog on the Floor” is a chief example), others it’s bizarrely personal (who among us has not felt as if they’re the dumbest girl alive?), but it’s always engaging, never boring—it’s a collection of instant hyperpop classics that I can’t stop returning to time and time again.It would have been hard to live up to the hype surrounding 10,000 gecs—the album was recorded in 2021, and fans waited two years for it to finally be released—but it was well worth the extensive wait.
10,000 gecs established that 100 gecs weren’t just a gimmicky flash in the pan, the duo, comprised of Dylan Brady and Laura Les, who both co-produced the album themselves, have a serious staying power. I can’t wait to see what the future holds, and how many gecs we’ll eventually get up to one day. Until the time that we hit 1,000,000 gecs, I’ll happily be blasting 10,000 gecs. – Erin
The Beaches are probably the music industry’s best kept secret I’ve uncovered in 2023, even though it’s very much obvious that they’re completely blowing up and have already sold out their headlining tour for early 2024. I admit that I hadn’t been aware of the Canadian four-piece before mid-year, stumbling across their name on the Lollapalooza 2023 lineup and soon after becoming absolutely obsessed with their music.
I was able to then catch the band open the Bud Light Stage on Thursday afternoon at Lolla, performing a handful of their singles and a couple unreleased songs that eventually landed on the tracklist of their sophomore album, Blame Brett, which dropped in September.
After the band split with their management and got dumped by their label, they were overcome with a feeling of anxiety and inspiration, allowing themselves to take their sound to unchartered territory and to take advantage of their newfound creative freedom.
“As is true for many people who are creative, sometimes the best music you’ll ever write in your life comes when you’re the most sad in your life. Which I think is really the case with this record,” lead singer Jordan Miller said.
Despite the general consensus that the album is in fact a break-up album, it’s not all entirely sad. “Me & Me” is a feminist ode to embracing the single life, “Kismet” explores the feeling of unexpectedly meeting someone (sadly) unconventionally: in real life, not on an app, “Shower Beer” could have been the song that soundtracked making reckless decisions in my early 20s and embracing chaos. – Kristin
Gag Order, Kesha’s fifth studio album, is filled with righteous anger. The pop singer certainly has a lot to be angry about. The past decade has seen Kesha in court several times, in a legal battle with her former producer Dr. Luke, who Kesha claims raped her. While Gag Order isn’t entirely about that situation, and the lengthy court battle that the singer went through, it definitely serves as the source material for so much of the singer’s rage that’s expressed throughout the wrenching pop album.
Highlights are songs like “Eat the Acid,” and “Fine Line,” in which Kesha expresses the full extent of her anguish in lyrics “Don’t fuckin’ call me a fighter, don’t fuckin’ call me a joke.”
But Gag Order isn’t all about rage, it’s also about the attempt to heal from trauma, and Kesha’s journey navigating through depression. Though she may have shed her party girl image, Kesha reassures fans that she’s still herself in the song “Happy,” when she sings “And I refuse to be jaded, still painting rainbows all over my face.”
The album is an inspiring piece of work—not just that Kesha still expresses hope through darkness, but also because she feels free enough to showcase her true emotions, at her rawest and angriest, and at through her joy and hope. – Erin
22-year-old Peter McPoland has officially been crowned indie white boy of the year (in my heart). As someone that struggles to listen to slow music, I followed Peter’s rise to fame from the sidelines, keeping up with his releases but not really going out of my way to listen to them. But once “Tonight” came out in August last year, I started falling down a very deep and inescapable rabbit hole. Although that single—which is probably still my favorite song by him—didn’t make it onto PIGGY, it was the perfect transitional track from his earlier music to the one he’s making now.
Peter’s TikTok origins painted him as a soft, folky and acoustic boy that wrote and produced very DIY-sounding songs in his bedroom, but apparently he only fell into that prototype because of a temporary lack of resources. Once he learned more about production and got better tools to work with, he made an enormous jump that I think many artists would never actually take. He’s admitted that he’s been angrier than usual; his life changed overnight, his parents were going through a divorce, and, of course, he’s a guy going through his twenties. All of this luckily made its way out of his brain in a fairly healthy way, and in a very loud manner, too: “Digital Silence,” his first single from the record, was as overwhelming as it could get, perfectly portraying all the noise that was going through Peter’s mind.
PIGGY as a whole made me realize how angry and overwhelmed I was too. I needed this type of loud music that would make me want to scream and jump and forget about the actual noise from everyday life. I’ve come to learn that a lot of people didn’t like this switch up in Peter’s music and genre, but he did! And you can tell. It’s like this was the music he was always meant to be doing, it comes so natural to him to make these songs and to perform them live (even with a broken foot) and it seems to have given him a new found purpose for this career that he’s still just beginning to build. – Javi
Janelle Monáe’s return with The Age of Pleasure marks a significant moment in their artistic journey, following the groundbreaking release of Dirty Computer in 2018. The hiatus from music saw Monáe delving into the world of cinema with notable roles in films like “Welcome to Marwen,” “Harriet,” and the recent “Glass Onion: A Knives Out Mystery.” However, the anticipation for new music reached a crescendo when teasers surfaced in December of 2022, hinting at a forthcoming musical endeavor.
The first taste of the album came in February with the release of “Float,” a collaboration with Seun Kuti & Egypt 80. While the single didn’t make monumental waves, it served as a precursor to the more impactful arrival of “Lipstick Lover.” Accompanied by a music video that can be described as both delicious and salacious, “Lipstick Lover” became the herald of Janelle Monáe’s The Age of Pleasure.
The album, as the title suggests, is a celebration of love, sensuality, and freedom. It’s a thematic departure from the conceptual nature of Dirty Computer and presents Monáe embracing their queerness, and a more carefree and pleasure-centric approach to their artistry. Collaborations with the likes of Doechhi, Grace Jones, Nia Long, and Amaarae contribute to the album’s rich tapestry, adding diverse layers to Monáe’s sonic exploration.
The inclusion of The Age of Pleasure in the nominations for Album of the Year and Best Progressive R&B Album at the 66th Annual Grammy Awards speaks to the album’s critical acclaim and its resonance within the music industry. It showcases Monáe’s ability to continuously push boundaries and redefine their sound while maintaining a level of excellence that garners recognition on a grand scale.
The Age of Pleasure is not just an album; it’s a declaration of Janelle Monáe’s artistic evolution. As listeners embark on this journey through pleasure, they are treated to an exhilarating celebration of life and love, making it a vibrant addition to Janelle Monáe’s distinguished discography. – Jesse
Including an EP in my top 10 albums of the year felt a little bit like cheating to be honest, but Sofa Kings just could not go unrecognized in my book. Royel Maddell and Otis Pavlovic had already put out two truly great projects before and this one feels like a good follow up for a well rounded trilogy. On Campus (2021) you could hear the heavy Foster. The People and MGMT influences as they figured out their dynamic and artistry together, and then during their Bar & Grill (2022) era they got one of their big breaks with the single “Oysters In My Pocket,” a quintessential pop rock anthem that seems to be mandatory in every indie playlist.
This year with Sofa Kings, it seems like they have finally settled on the sound they want to be known for, and it’s even gotten them more mainstream recognition, including an ARIA Awards nomination in their homeland of Australia.
The Sydney duo also seem to know exactly the kind of artists they want to be off the stage; Royel’s face is sort of a mystery, while Otis has the pretty boy looks that you’d expect from a young indie artist, making for a perfect balance that makes the whole Royel Otis lore even more interesting. Music wise, they seem to sound like nothing else right now, mainly because of the extremely unique vocals in all of their songs. It’s almost like they’re not trying to sing well or hit all the right notes, but manage to make that fit perfectly with the pretty much magnificent instrumental of each and every song.
As an avid upbeat listener, this EP in particular felt like a perfect dose of dopamine for any time of the day. It also very much carries an old school energy with their choice of synthesizers and beats, giving tracks like “Kool Aid” and “Going Kokomo” a nostalgic touch even though the songs are only a few months old. Royel Otis are very much up-and-coming group, and with their upcoming US tour and festival run, I believe they’re soon to become a lot of people’s new favorite. – Javi
If I have any music-related regrets of 2023, not getting into Olivia Dean earlier is probably at #1. Despite Dean only releasing her debut album Messy back in June, the 24-year-old Brit has been making waves in the industry for several years, getting her start collaborating with Rudimental as a supporting vocalist at the young age of 17 and was also named Amazon Music’s Breakout Artist of the Year back in 2021.
Dean grew up taking musical-theater classes and sang in a gospel choir, choices that led to hear enrolling in BRIT School of performing arts, known for their previous students like Amy Winehouse, Adele, and Raye, to name a few.
Messy is a beautiful amalgamation of 12 soulful tracks, reminiscent of artists mentioned above that came before Dean. It’s about the journey of reclaiming what it means to fall in love again after a relationship, but also features poignant, intimate moments about enjoying your time out and connecting with strangers in the bathroom (“Ladies Room”) and “Carmen,” a love letter to Dean’s grandmother, Carmen, who championed “The beautiful cross-culture that was created by the Caribbean community in the UK.” Content wise, it’s all over the place, but so is being a 24-year-old.
Standout track “The Hardest Part” showcases Dean’s artistry wise beyond its years, a commercially successful track that has accumulated nearly 48 million Spotify streams since its release, even garnering a remix from heavy hitter Leon Bridges. – Kristin
I was lucky enough to talk to Areli Castro, better known as KiNG MALA, right before the release of her newest EP, and getting to hear about all the work behind it and her excitement about the whole thing. SPILT MILK is undeniably an incredible project, with a glossy sound that is often found once artists have tried and failed before, which just shows how naturally skilled KiNG MALA truly is and all she might be able to accomplish. The EP resembles the work of powerhouse female artists like UPSAHL and even Billie Eilish, something that completely aligns with Areli’s carefully created visuals and aesthetics, giving the listener a much broader look into the singer’s artistry and overall message.
With a background in the “business-y” side of music, it feels like KiNG MALA took all that knowledge and put it to use, making each individual release as close to perfect as they can be. Production wise, SPILT MILK is invigorating and contagious, there is not a dull moment in any of the tracks, and even the heavier topics and lyrics are delivered in a fun, engaging way. From beginning to end, the songs feel unskippable—even if you don’t know the words. The first release single from the EP, “dirty dishes,” was a perfect opening for this new chapter, as it is straight up a bop, the same way “gods on t.v.” is a perfect opening for the project itself.
Areli’s time in the industry is clearly reflected in the situations and things she sings about, making her songwriting feel grounded and relatable enough for people that are looking for more than just love songs they can relate too. Overall, SPILT MILK is a compilation of compelling tracks and staggering production, proving KiNG MALA has exactly what it takes. – Javi
I wrote a whole review about this album when it came out earlier this year, and although I already loved it back then, I don’t think I had grasped how good it actually was just yet. Beach Fossils’ Bunny feels like the blueprint; it’s exactly what you’d expect from an indie rock band, but in a way that doesn’t feel generic, and instead feels right. Starting out strong with “Sleeping On My Own,” a track that sounds like the opening of an 80s coming-of-age movie, the album remains similar enough to the band’s older work, but you can tell they took their time crafting these songs.
For fans of their biggest hits like “Down The Line” and “What a Pleasure,” Bunny is enough of a continuation to give more of Beach Fossils’ music a try. Although definitely more mellow at times, the old school spark is still noticeable and untouched, which I at least think makes these songs somehow timeless. Dustin Payseur’s quartet falls in the same reign of some bands that sometimes can’t outlive some of their older stuff, not because they’re not putting out new and good music, but because casual listeners tend to get stuck on those really good songs they found about five years ago. However, tracks like “Run To The Moon” and “Don’t Fade Away” are far more than strong enough to be received just as well.
I was lucky enough to catch Beach Fossils on tour only a few weeks ago, and unsurprisingly their music is even more captivating and magnetic live. Bunny and the rest of their discography feels like it was made for music lovers, for people that just want to sway to pleasant tunes and feel temporarily taken to a different, more calm life . And also for people that want to feel a little pretentious by listening to some more alternative and “obscure” tunes, like myself! – Javi
Jungle has been a consistent force in the music scene since their debut in 2013. However, it’s their fourth album, Volcano, that has become a game-changer, propelling them into the spotlight and capturing the attention of music enthusiasts worldwide. A key contributor to this newfound recognition is undoubtedly the expertly choreographed music videos that accompanied each of the album’s singles, notably the TikTok-viral sensation “Back on 74,” where fans endeavored to recreate the eccentric dance moves.
The allure of Volcano lies in its eclectic sonic palette, a vibrant fusion of disco, soul, and the ever-progressing influence of hip-hop. This amalgamation of genres creates a musical experience that is not only dynamic but also irresistibly danceable.
Thomas Smith’s description of the album in NME as a concoction of “genres, scenes, and sounds whizzed together” captures the essence of Volcano. The album unfolds like a flavorful cocktail, evoking the carefree atmosphere of a hazy happy hour during the peak of summer. The tracks on the album are carefully blended, each contributing its unique flavor to the overall sonic landscape.
Volcano not only marks a significant chapter in the band’s discography but also serves as a testament to their ability to evolve and captivate audiences. With its genre-blurring sound and visually stunning music videos, the album positions Jungle as a formidable force in the contemporary music landscape. Volcano is not just an album; it’s a celebration of sound, movement, and the boundless joy that music can bring. – Jesse
Earnest rock is so back. Eye On The Bat was baked in the brain of El Kempner, the person behind Palehound, as a breakup album. The tracks are full of embarrassment and self criticism, while hovering far above the sounds of desperation and defeat. Kempner’s voice exudes restraint, while the songs teem with energy like a nearly boiling kettle. It’s a tense album. Kempner’s nasally, deadpan delivery and matter-of-fact lyricism makes for a listening experience similar to overhearing an argument between a couple on the subway.
There is great variance between tracks, some leaning more soft rock (“Fadin’”), while others dip into the quasi-americana, western rock subset (“Independence Day”). It’s an impressive display of what Palehoud has left to explore after five albums, and shows the commitment Kempner has made to allowing humor into their process. – Meleah
After the release of Hannah Jadagu’s debut album, Aperture, it’s clear she’s a name to watch in the indie pop scene. The crispy synths and funky riffs found across the record cast a perfect light for Jadagu to play around with understated lyrics of bitterness and uncertainty. At just 20-years-old, Jadagu released her first studio album after moving from Texas to New York to study music business at NYU.
The record touches on anxiety, exploring boundaries in relationships, and faith in a way that leaves room for personal interpretation. There’s a touch of ‘90s lo-fi rock on tracks like “Lose” and “Dreaming,” lending to a familiar sense of nostalgia. This is just the start for Hannah Jadagu.
– Meleah
It’s a rarity to stumble across a band’s debut record and be blown away at their ability to sound like they’ve been creating music together for decades. That’s exactly how I felt when I first heard Australian 4-piece band Teen Jesus & The Jean Teasers’ debut album, I Love You, earlier this year.
The band had released a couple singles earlier in 2023, and I was feeling very intrigued at the possibility of their debut blowing me away. I Love You is incredibly polished, cohesive, tight, and edited down to 13 tracks, rarely going over three minutes and thirty seconds each. I’d imagine that it must be a difficult decision for artists to finalize a track list in general, let alone their first project, and I think TJJT (for short) nailed it with their effort.
I Love You pulls inspiration from the Riot grrrl movement, an era in the early 1990s most well known for emerging feminist punk artists that tackled topics in music previously taboo for women to discuss, like abuse, rage, and sexuality.
The band’s lead singer and songwriter Anna Ryan has discussed the inspiration behind their lyricism, specifically stating that their mission is to “create music that is relatable and meaningful…to women especially.”
If you love Olivia Rodigo’s punk bangers or the feelings of anger explored in Blondshell’s debut album, I suggest you take a listen to Teen Jesus and The Jean Teasers (Psst – peep our interview with bassist Jaida Stephenson here). – Kristin
Jessie Ware’s latest album, That! Feels Good!, is a disco-infused triumph that not only continues the resurgence of the genre but elevates it to new heights. While Dua Lipa is often credited with bringing disco back into the mainstream, it’s Jessie Ware who has masterfully injected a level of sophistication into the revival, as exemplified by her 2020 release, What’s Your Pleasure?. The album not only reached an impressive number 3 on the UK Charts but also set the stage for Ware’s follow-up.
For this latest project, Ware has reunited with the dynamic duo of Stuart Price and James Ford, known for their work on What’s Your Pleasure?. This time, she also collaborates with Clarence Coffee Jr., who has previously worked with Dua Lipa, adding another layer of expertise to the album. The result is a seamless blend of disco nostalgia and contemporary production that showcases Ware’s commitment to evolving within the genre.
The accolades for That! Feels Good! include a nomination for Album of the Year at the 2023 Mercury Prize, a recognition of the album’s impact and contribution to the musical landscape. Songs like “Free Yourself” and “Pearls” emerge as dance hits that transport listeners back to the era when disco first graced the airwaves.
One standout track is the title track, featuring not only Jessie Ware but also a star-studded lineup including Kylie Minogue, Gemma Arterton, and Róisín Murphy. This collaboration adds an extra layer of glamour and excitement to an already glittering album. The inclusion of these powerhouse names not only pays homage to disco’s legendary figures but also positions Ware as a contemporary torchbearer of the genre.
The album, with its Italo disco sounds, channels the spirit of Donna Summer, infusing a glittery and glamorous atmosphere throughout. Ware’s vocals, soulful and commanding, ride atop the pulsating beats, creating a musical experience that is both nostalgic and fresh. That! Feels Good! is not just a collection of songs; it’s a journey through the golden era of disco, reimagined and revitalized for a new generation.
That! Feels Good! solidifies Ware as a formidable force in the disco revival, showcasing her ability to seamlessly blend the classic with the contemporary. The album is a testament to her artistry, and its recognition at prestigious awards such as the Mercury Prize further cements its place as a standout contribution to the ongoing disco resurgence. – Jesse
When the first few singles from Dominic Fike’s Sunburn came out, I remember talking to most of my Dominic-lover friends about it and coming to a conclusion that we weren’t feeling them. Once “Spider-Man: Across the Spider-Verse came” around though, so did “Mona Lisa,” and things were looking up again for Dom’s sophomore album.
After landing a main role in HBO’s “Euphoria,” the 27-year-old’s name became a household one. So many more eyes turned to him, so much more expectation—so much more hate too, especially after that scene where his character Elliot sings a way-too-long for TV song to Rue. He found himself under an overwhelming amount of pressure artistically, and I think that made him adamant on delivering an album that wasn’t just good, but respected. Being 15 tracks long, Sunburn had more of a chance of being a hit, as something for anyone in it could be found, and it gives people a good glimpse of Dominic’s versatility and talent, as he jumps through genres and styles.
Since the release of the second season of Euphoria, the singer songwriter has gone back to rehab, he’s been in and out of a high profile relationship with his co-star Hunter Schafer, all while not only making music, but also traveling around the world touring and performing at festivals. And he seems to be handling it all pretty well. The music did not disappoint and he seems to be recollecting himself after so many changes, and regardless, I’m just happy he’s still able to make amazing music while becoming a true Hollywood star. – Javi
It feels as though there’s been a surge of emotion driven dance music in the last few years. With a sound somewhere between fred again.. and Charli XCX, Cub Sport has crafted the perfect crying-on-the-dancefloor album with their fifth full length release, Jesus At The Gay Bar.
The record is overflowing with love, grief, promise, and queer joy set to a body of pulsing synthpop. The inspiration of the album comes from the relationship between lead singer of the band, Tim Nelson, and his husband and keyboardist, Sam Netterfield. The bandmates have known each other for the majority of their lives, meeting at the age of 12, but they didn’t start dating until over a decade later, after coming out to each other.
The album is steeped in the rich love felt among bandmates, painting an intimate and delicate picture of what their lives must look like as co-creators and lovers. The tenderness of the album makes for a soul soothing and heart expanding experience. -Meleah
Raye’s debut studio album, My 21st Century Blues, is nothing short of a revelation, showcasing a level of vocal prowess and musical maturity that defies the expectations usually associated with first-time efforts. Despite being a debut, Raye exudes the confidence and artistry of a seasoned veteran, establishing herself as a force to be reckoned with.
This album marks a significant chapter for Raye, following her departure from Polydor Records. She has been candid about breaking free from a label that restrained her artistic expression, and My 21st Century Blues is a testament to the creative liberation she has found in this newfound chapter of her career.
The standout track, “Escapism,” not only topped the charts but also went viral on TikTok, thrusting Raye into the limelight. The song’s success serves as a testament to Raye’s ability to capture the zeitgeist, and it acts as a powerful introduction to an album that delves deep into the artist’s vulnerabilities. Raye fearlessly confronts her struggles with addiction in “Escapism,” body dysmorphia in “Body Dysmorphia,” and sexual assault in “Ice Cream Man.” The emotional depth in her lyrics is matched by the soulful and powerful delivery of her voice, reminiscent of the late Amy Winehouse.
The collaboration with Mike Sabath, whose production expertise is evident throughout the album, contributes to the uniqueness and epic quality of each track. The fusion of pop, R&B, and hip-hop elements creates a sonic landscape that stands apart from the current musical landscape, seamlessly blending genres.
One noteworthy track that deserves attention is “Buss it Down,” where Raye, backed by a choir, skillfully explores the theme of dancing lasciviously against the backdrop of a soulful gospel song. This juxtaposition is a prime example of Raye’s ability to subvert expectations and create a compelling, multi-layered listening experience.
In conclusion, My 21st Century Blues is a triumph for Raye, marking her emergence as a bold and authentic voice in the music industry. As Raye fearlessly explores the complexities of life, love, and personal struggles, she cements her place as an artist who is not afraid to break the mold and redefine the contemporary music landscape. – Jesse
Imagine performing for the first time in your life and winning an award at your home country’s Music Awards for Best Breakthrough Artist in the same year. That’s not a fairytale, that’s exactly what Scottish neo-soul musician Joesef did just a few years ago. Fast forward to 2023, and Joesef has become a heavy hitter in his genre: touring with artists like Paolo Nutini, Rina Sawayama, and most recently, opening up for Jungle’s North American tour.
Joesef’s debut album Permanent Damage put him on the map in terms of branching out into North American success, touring a handful of major cities earlier this year to support the project. Thanks to Joesef’s personable take on communicating with his fans on social media, he’s been able to develop his aesthetic as an artist not only musically, but visually, releasing several music videos to coincide with the tracks.
“It’s Been a Little Heavy Lately” has a groove so contagious, it makes me want to get out of my desk chair and take a short dance break to the bass line. “East End Coast” is a story of being homesick, nostalgic for your past but feeling like a stranger once you make your way back to it. There’s no coincidence that these two songs come one after the other on the album track list: they’re both fantastic examples of Joesef chameleon-ing (is that a word?) his way through different genres but making them entirely his own: seamlessly floating between soul and indie.
My favorite track on the album has to be “Borderline,” a song that I don’t actually know the meaning of but interpret it as someone struggling with a mental health disorder and pleading with their loved one to still love them when the dust settles. – Kristin
A lot of my favorite albums of this year are very much music based, which is just a more formal way of saying that I liked them because the “vibes” and their capacity of making want to listen to the same few songs over and over again. Briston Maroney’s sophomore album falls in a different category for me though; Ultrapure is a heartfelt album that came from some of the deepest parts of the 25-year-old’s mind and heart, and its lyrics take a truly deeper meaning when you understand exactly what he was going through at the time he was writing.
To me, Briston has always been one of those names that would always come up about the original indie rock boys that were doing well on streams but no one really knew who they were. That has evidently and naturally changed with time, as he has become a bigger powerhouse, even being able to host his own music festival. However, it feels like for the creation of this album he decided to take that unrequited weight off his shoulders and just make songs that really meant something to him.
“Body” was a perfect first single for this release, as it’s essentially an indie rock song like the ones that have made him thrive before, but that focuses on how ephemeral life truly is, giving it a more positive spin than you’d think. In a similar way, in songs like “Breathe” and the title track “Ultrapure” Briston revisits this idea, while experimenting with completely different production approaches. The whole album feels like a perfect circle or loop, just like life is at the end of the day. It’s a warm and caring representation of what it is to be human, and it does a great job at grounding Briston Maroney as just a guy, just like any of us, who is thankfully just really good at putting messy thoughts into pretty words and melodies. – Javi
Oh, to write about Holden Jaffe, aka Del Water Gap. He’s been one of my all time favorite artists for a few years now, having made my favorite album of possibly all time (his self-titled debut record released in 2021), but unlike that one, this LP actually took its sweet time getting to the top of my list. When the first singles from IMYA+IHLY came out, I was ecstatic—“All We Ever Do Is Talk” did make it on to the Top 5 of my Spotify Wrapped—however, once I listened to the full album for the first time, I wasn’t super convinced. This time around, the 29-year-old decided to lean more towards a pop sound, collaborating with artists and producers that mostly move inside that genre. This made the project as a whole feel a little softer and and very well polished, which took away some of the rawness and roughness that made his first album feel so personal.
And although I still think his 2021 LP remains and will forever remain superior, this sophomore album inevitably still grew on me, because the music is still so good. “Doll House” is a great example of this new route Del Water Gap’s songwriting and production is taking, essentially being an indie pop anthem with sweet melodies and delicate instrumentals. When it comes to lyrics, a lot of the record dwells on the struggles of becoming your own person, of mental health and the new luxuries that have made their way into Holden’s life. One of my favorite lyrics to this day, which I also highlighted on my full review of the album, is “Thinking about killing myself all the time ain’t too good for business, ain’t too good for this headache, ain’t good for my mind” from “Want It All”, it makes me giggle every time because of how upfront it is, but also makes me happy to know we’re still getting that kind of openness from him.
Del Water Gap’s growth has been exponential, which really shows throughout this album, but Holden has been able to remain as down to earth and as genuine as always, and I really hope he does so for a long time. – Javi
The first time I heard Bully was at a Pitchfork Festival in 2015. The band, supporting their debut album Feels Like at the time, instantly floored me—but most impressive was guitarist and vocalist Alicia Bognanno. The way that Bognanno could control and contain her powerful, gritty, snarling voice left me deeply impressed, and a loyal fan.
Now, the band is just Bognanno—after Bully’s three other full-time members left the group in the ensuing years, Bognanno stuck it out and kept the name Bully, releasing her fourth album under the name, Lucky for You, in 2023. Lucky for Bully fans she stuck with it, because the latest album is Bognanno’s best work so far.
Bognanno’s voice is still as stellar on Lucky for You as it was the first time I saw the band—angry and piercing on the album’s final, politically-charged track “All This Noise.”
Lucky for You is an album where every song feels as if it could be your new favorite song, especially “Lose You,” Bully’s collaboration with Soccer Mommy. Who could have dreamed up a more perfect pairing? The song is a rollicking ode to the great ’90s alternative bands that has a chorus that’s impossible to not bang your head, at least a little, to. – Erin
I’m first to admit that there have been plenty of times during my years as a music fan where I’ve tried relentlessly to get into MisterWives’ music, but just never really connected with it. After listening to their 2023 album Nosebleeds basically on repeat (three of the 14 tracks landed on my “Top Songs 2023” playlist), I realized why.
MisterWives, the five-piece band from New York City, is no stranger to success. Their four most popular songs on Spotify have a combined play of 395,963,523 streams—a number so large, I needed to manually add the commas so I could actually comprehend the size of that number (we all know that writers + math = bad).
So with that being said, I have definitely been able to contextualize their success as a band, performing together for nearly a decade, and switching up their sound over the years over four album cycles. The band has been experimenting with different genres: leaning indie pop overall, but fully committing to the punk pop sounds that I grew to love desperately when I was a teenager on Nosebleeds: an album about resilience, anger, and learning to love despite the two.
The band discussed the origin of the album via Instagram ahead of its release, mentioning that Nosebleeds was “written during what felt like a never ending season of loss, pain, grief, anger and rejection rather than running from the uncomfortable we allowed it to steer us in a new direction- one so liberating and free of any creative constraints.”
Nosebleeds kicks off with the ferocious “Out Of Your Mind,” a song that encapsulates what the rest of the album is going to sound like. “Dagger” has some of my favorite lines off the entire project (“I dream of a garden / not growing resentment / I used to want karma / but I need contentment”) and showcases the bands’ power lyricism. “Nosebleeds” and “All The Same” tackle all too familiar feelings of anxiety and questioning if there’s more to life: “Sideways” is arguably the band’s best song to date: one that I entirely believe would absolutely slay on Pop Radio. And “Trigger Pull” and “Too Late” could be scrapped Lady Gaga songs. – Kristin
Gracie Abrams has had quite the year. It feels as though that sentiment has been echoed year after year, since the release of “Mean It” in 2019, as she has steadily become the voice of soft pop. Good Riddance, Abrams’ long awaited debut album (the practicality of this acting as her debut album is questionable considering her 12 song, 38 minute long This Is What It Feels Like EP), harbors the tearful vocal strains she’s revered for, with a deepened well of vulnerability than previously explored.
The canvas of this album is full of shadowed figures of Abrams’ past, some of which take on Abrams’ own figure as she metamorphosizes into something newer and braver. Aaron Dessner, of The National, lent his production excellence to the making of this album, leaving a clear footprint of his expertise, similar to that heard on Taylor Swift’s quarantine masterpieces, Folklore and Evermore. The strength of this album lies within the understated honesty of Abram’s lyricism.
The songs sound as if she’s whispering secrets through telephone lines, unpolished and unfiltered. Abrams has been vocal about her admiration of Joni Mitchell and that influence rings clearly on songs like “Will You Cry?” and “Fault line,” which are sonically dissimilar to Mitchell’s work, but hold lyrical parallels to some of Mitchell’s early work. It’s a deeply self pitying album, and it’s the best self pitying album of the year. – Meleah
While I was only a casual listener of 22-year-old Maisie Peters in the past, I have to say that I’m now a full-fledged fan of hers after the release of sophomore album, The Good Witch. Described as Peters’ version of “a twisted breakup album,” she takes pen to paper from the perspective of women figures in Greek mythology.
It’s hard to ignore the songwriting characteristics that Maisie has picked up along her career (she’s a self-described “massive” fan of Taylor Swift). Peters glides through grandiose metaphors of having and losing love (“History of Man”), then effortlessly shifts to describing the most universal feelings of not being good enough in the simplest, yet poignant ways (listen to “Body Better” and you’ll know what I mean).
As a lifelong Taylor Swift fan, it makes perfect sense why I’ve been able to connect so deeply to The Good Witch. The album is almost like a Gen Z version of Swifts’ earlier works (Speak Now and Red come to mind)—Peters describes the whirlwind of touring the world on “The Band and I,” much like Swift did on “Long Live” (which is now a fan favorite), she alludes to being ’the man’ comparatively to the song of the same name off of Swifts’ Lover.
But where Swift struggles is where Peters feels the most authentic. Swift is still very much a young person, but at 33-years-old, her ability to connect to a younger generation is quite different than Peters’ approach, which makes sense. With that being said, I’m anticipating a similar longevity for Peters’ career, and I think The Good Witch is the project that will catapult her to the next level. – Kristin
When Barbie: The Album was first announced, I thought “Oh great, another marketing ploy for the Barbie movie.” I was going to buy it, of course, just as I bought the “I am Kenough” hoodie that Ryan Gosling as Ken wears at the end of the movie, but I underestimated how much of a powerhouse Barbie: The Album could actually be.
Of course, there’s the stellar Nicki Minaj and Ice Spice track “Barbie World,” which heavily samples the classic song about the plastic doll, Aqua’s 1997 single “Barbie Girl,” and Ryan Gosling’s standout “I’m Just Ken,” a centerpiece of the film, which feel expected for a Barbie album, but the rest of the album’s tracks feel out of left field in the best possible way.
Whoever curated this soundtrack had unparalleled creative vision. Unlike other film soundtracks that try to capture the same sound throughout, Barbie: The Album is a chaotic mishmash of tracks, sounds, genres, that somehow really goes together. From the hyperpop triumph of Charli XCX’s, to Billie Eilish’s hauntingly beautiful “What Was I Made For?” to Dua Lipa’s disco-infused dance hit “Dance the Night.” It might seem chaotic on the outset, but it’s a delightful mashup that celebrates some of the best of what pop music can offer, whether they’re singing about dolls or not.
The best part of this soundtrack is that it celebrates the artists on it. Rather than having them shift their sound to make something suitable for a soundtrack, it honors each contributor’s style—nothing feels out of place, Karol G’s “WATATI” and Haim’s “Home” could have easily been on the artists’ own albums, rather than a collaborative soundtrack. – Erin
Taylor Swift’s 1989 (Taylor’s Version) is an unmissable entry on any list, and its significance transcends its musical prowess. Originally making waves as Swift’s inaugural foray into the pop genre back in 2014, the album’s reimagined version emerged as one of the most anticipated releases of the year. The journey of 1989, from its stolen origins to its status as a cultural phenomenon, is intricately woven into the fabric of Swift’s evolution as an artist.
For many, 1989 was the gateway into Taylor Swift’s music, making the prospect of a re-recorded version both nostalgic and thrilling. The collaboration with Jack Antonoff, marking Swift’s first official venture into pop, not only topped charts but also paved the way for a new era in her career.
The real allure of Taylor’s Version lies in the vault tracks, a treasure trove of unreleased gems that fans had been eagerly speculating about for years. Taylor Swift’s bold choice to kick off with a track titled “Slut!” sets the tone for an album that doesn’t shy away from exploring uncharted territories. Each vault track is a labyrinth of hidden meanings and nuances, inviting Swifties to decode and dissect the narratives woven into the lyrics.
Breaking records has become synonymous with the name ‘Taylor Swift,’ and the release of 1989 (Taylor’s Version) was no exception. The album earned the title of the biggest streaming day for an album in 2023 on Spotify and secured the all-time record on Amazon Music, a testament to the enduring connection between Swift and her global fanbase.
The vault tracks steal the spotlight as instant gems in the ever-expanding treasure trove of Swift’s musical legacy. Beyond the catchy melodies and infectious beats, each track offers a glimpse into the intricate storytelling prowess that has become a hallmark of Swift’s songwriting.
In essence, 1989 (Taylor’s Version) is not just a re-recording; it’s a celebration of Taylor Swift’s resilience, creativity, and unwavering connection with her audience. As fans revel in the nostalgia of the original album and explore the depths of the vault tracks, the release cements Taylor Swift’s status as a musical icon who continues to captivate and surprise with each chapter of her illustrious career. – Jesse
First off, if an artist can release a song titled “Coolest fucking bitch in town” and make it funny and relatable, I’m automatically sold. That’s how my journey began with Canadian singer-songwriter Haley Blais started earlier this year when I first heard her music. Wisecrack, Blais’ sophomore album, didn’t drop until September, and it’s an album that I still continuously find new things to love about.
Each song on Wisecrack manages to explore the dichotomy between believing you’re the best person in the world and also the worst. “Survivor’s Guilt” succumbs to the feeling of masochism and falling for someone because of the power they have over you: (You can fool me once and I’ll actually believe you / If you fool me twice, I’m like putty in your hands / Just like a lamb, I’ll trust you in the still heat / Sucking the finger of the butcher who’ll kill me”).
“Matchmaker” tells the tale of self-sabotaging a relationship that’s too good to be true, “The Cabin” is an exemplary example of the way memories of our adolescence bubble up as an adult can put you right back where you experienced them in full, awkward, uncomfortable form.
One of the highest points of an already incredible album can be found in track eight: “Baby Teeth.” The loss of innocence that comes with growing older is at the forefront of this track: Blais imagining the simpler times of childhood where minor inconveniences were your biggest problems and arguing with your siblings was the worst it got.
I’m anticipating that Blais is going to have a big 2024, and I can’t wait to be along for the ride.
– Kristin
It takes a special project to be released in the very first month of the year and still end up on my “Best Of” list at the end of the year: talk about staying power.
I’d say that’s exactly how I feel about Samia’s sophomore album Honey, which came out nearly a year ago, but still manages to bring out all the emotions in me. Like our writer Erin mentions in this post, “Honey has songs full of pain, but are sweetened by the singer’s effortlessly breezy voice.”
On Honey, Samia doesn’t shy away from opening up about intense experiences she’s had in life, embracing the “crazy ex-girlfriend” persona on stunning lead single and opening track “Kill Her Freak Out.” Here, she takes the trope to the next level (“I hope you marry the girl from your hometown / And I’ll fucking kill her / I’ll fucking freak out”).
But despite the powerful revelations Samia explores on Honey, whether she’s coming to terms with her complex relationship with alcohol, or divulging about a traumatic experience, there’s plenty of moments that live up to the album title. “Charm You” takes the listener on a date at The Grove, “Honey” is a simple, yet sweet (pun intended) song about falling in love and the feelings that come with it: “Mad At Me” is the most “dance-y” song off the project, despite Samia repeatedly asking “Are you still mad at me?” while simultaneously over analyzing the discomfort of being in a social situation (“Hurts to be somewhere / cause you gotta stay there / after you say what’s on your mind”).
Perhaps the most haunting moment of the project comes in the form of “Breathing Song,” where Samia not only shows off her incredible vocal range, but her impressive storytelling capabilities. According to a story on Genius.com, Samia had been trying to write this song for a long time, and was able to complete it after a brainstorming session with a fellow musician. The track describes what seems to be a situation of sexual assault, where Samia concludes the track with a guttural “No” six times, each one more powerful than the last. – Kristin
Ryan Beatty has undergone quite the evolution since he began his career uploading covers on YouTube in the height of Bieber Fever. Beatty has been open about his disconnect with the early trajectory of his stardom and his resentment toward being seen as a teenybopper heartthrob. A decade later, Beatty has crafted the sobering and poetic album that solidifies his role as an artist to be taken seriously.
Calico is a Didion-esque ode to California, love, and solitude. The production on this album is immersive; chimes, textures of strings, and woodwinds melt together to form a perfect soundscape for Beatty’s warblings. The real magic of this album lies in the lyrics. There isn’t a single line from a single song that couldn’t be taken out of context and be praised independently for its beauty and humanity. Coming in at nearly 34 minutes, the only flaw of this record is the short runtime. – Meleah
For years, musician Sabrina Teitelbaum performed under the name BAUM, releasing indie pop singles, like 2018’s “This Body,” which was used in a Target campaign. But after a while, the musician became dissatisfied and disinterested in the direction BAUM’s music was heading, and craved a change.
The disinterest led perfectly into Teitelbaum’s transformation into Blondshell, from crafting indie pop songs and then moving more into a ’90s grunge, alt-rock-inspired sound. Blondshell isn’t the only modern musician to bring grunge into the forefront (we are in the midst of a ’90s nostalgia revival), but the musician is one of the best at doing it. Not only is Blondshell a great grunge album, Teitelbaum is able to make music that’s reminiscent of the past, while also making it stunningly modern. It’s as if your favorite bands from the ’90s kept going with their sound, never faltering—actually, it’s better than that.
Teitelbaum brings a fresh perspective to the genre, writing about the ways that entertainment has failed its viewers in the song “Veronica Mars.” In the lyrics “Logan’s a dick, I’m learning that’s hot,” Blondshell is addressing the disturbing lessons that kids were taught from the media.
Blondshell also reflects on Teitelbaum’s recent sobriety in the song “Sober Together,” in which the singer laments a lack of accountability from a sober partner in the heartbreaking lyrics “Call me I wanna be there for you, but not in a way that lets you take me down with you.” – Erin
Something shifted in the universe when Angie McMahon sang “I’m gonna let Saturn returning distort me/Just wanna be wide awake when I’m forty” on the lead single of her sophomore album, Light, Dark, Light Again. The album rests in a valley of jubilance and recovery, celebrating the cyclical nature of life. There’s an authenticity to McMahon’s belief in her healing process that’s, at the least, endearing and, at the most, a deep source of inspiration.
The album feels like a dedication to the idea of cosmic order, but at balancing heights above kitschy and naive. The cohesive use of repetition within lyrical patterns throughout this album is a stunning display of McMahon’s songwriting expertise. Her lyrics, coupled with swelling crescendos in production lend to a full body catharsis when experiencing this album. – Meleah
Yeah, I know, Caroline Polachek has been releasing music for almost 20 years now, but this year, 2023, is the year that the singer finally became a bonafide pop star. Polachek knows it, too. Desire, I Want to Turn Into You, arguably the artist’s most assured work, sees her confidently expressing herself, and experimenting with pop instrumentation, as well as more unique turns, like bagpipes, and a feature from a children’s choir.
While Polachek might be embracing pop stardom, it’s clear on Desire, I Want to Turn Into You that she’s doing it in her own way. From the flamenco-inspired guitars on “Sunset,” to “Fly To You,” the singer’s collaboration with Grimes and Dido, two pop singers who have found success while never reneging on their own innovation, Polachek has made it clear that she’s an artist who will break through and not comprise on her vision. – Erin
It had to have been stressful for Olivia Rodrigo when crafting a follow up to her 2021 debut album, SOUR. The singer skyrocketed to fame with her first album, and this follow up was highly anticipated. In GUTS, the singer’s second studio album, she definitely claims her spot as one of the most exciting rock stars currently making music.
Rodrigo doesn’t showcase her immense fame that’s developed since SOUR was released on her sophomore album, instead opting to write about feeling awkward in social interactions in the song “ballad of a homeschooled girl,” where Rodrigo sings “Each time I step outside, it’s social suicide.”
The album opens with arguably its best track, “all american bitch,” which is a vessel for Rodrigo’s fun, endearing songwriting, and a raucous, infectious chorus where Rodrigo sings about how she’s a “perfect, all-American bitch.” Who can’t relate?
GUTS has the vulnerability, impressive vocals, and likability that Rodrigo first showcased in SOUR, but it’s elevated in this sophomore effort. If you liked Olivia Rodrigo before, you’re going to love her now. – Erin
Holly Humberstone has yet to release a bad song. She’s been winning over pop fans single by single since 2020, building a sturdy fanbase and massive anticipation for her debut album, Paint My Bedroom Black. Pop perfection is an overused phrase, but this album here is just that. Humberstone’s diaristic lyrics are some of the best coming out of the genre. She’s able to capture exactly what it’s like to be on the cusp of adulthood; her words are fragile, self-effacing, insecure, and juvenile while the facade of production is glimmery and meticulously crafted.
Despite being her first full length release, there’s a clear direction and depth to the project. Humberstone’s main collaborator from the beginning, Rob Milton, produced the entire album, lending to cohesion in the Humberstone universe. There’s a layered sense of emotion on the record, as some songs lean into synthy pop and others into acoustic ballads, each with a throughline of loneliness. There’s something for everybody on this record. – Meleah
Troye Sivan’s latest album is a pop masterpiece that seamlessly weaves together a perfect concoction of elements, ranging from a meticulously planned rollout to stellar production and poignant lyrics. Following his 2018 full album, Bloom, and EP In a Dream in 2020, the anticipation for Sivan’s next project reached a crescendo, and Something To Give Each Other proves to be well worth the wait.
The collaboration between Troye Sivan and Leland once again proves to be a match made in pop heaven. The journey begins with “Rush,” a track that captivates both the LGBTQ+ community and pop enthusiasts alike, creating an anthem that resonates with its audience. The last single, “One of Your Girls,” caused a sensation online with Troye effortlessly dancing in drag and delivering a memorable lap dance to heartthrob Ross Lynch.
This bold move showcased not only Sivan’s artistic fearlessness but also his commitment to pushing boundaries within the pop genre. While it includes tracks that will undoubtedly set dance floors ablaze, it also delves into the realm of romantic bops suitable for both private bedroom dance sessions and public displays of joy. A notable collaboration with Spanish singer and guitarist Guitarricadelafuente adds an unexpected and delightful flavor to the album, showcasing Sivan’s willingness to explore diverse musical territories.
Something To Give Each Other is not merely an album; it’s a testament to Troye Sivan’s evolution as an artist. The perfect fusion of catchy beats, meaningful lyrics, and boundary-pushing visuals makes this album a standout in the pop music landscape. Sivan’s ability to deliver both iconic singles and a cohesive body of work speaks to his versatility and enduring impact as a pop sensation. – Jesse
As soon as Reneé announced her debut album, I assumed it would do well, but I definitely did not expect it to do this well. She had a decent size following from her Broadway days and grew even more since starring as Leighton in The Sex Lives of College Girls, but not all actresses—even the ones with an organic musical background—are able to fully break into the pop music world. So in a way, Reneé’s immediate rise to fame has still been quite impressive, and definitely amazing to witness.
It feels like all twelve songs (or fifteen, if you count the recently released deluxe version) came out naturally from her. The first single, “Snow Angel,” is a strong and wholehearted ballad that just throws everything at you at once, making you forget it’s a slow song full of falsettos, while songs like “Pretty Girls” and “Talk Too Much” are the type of fun tracks that you can play in any occasion. The entire project was co-written and produced by Alexander 23, who I must admit is one of my favorite artists of all time and makes me 50% biased, but the project still sounds so much like Reneé herself. It’s shameless in the best way possible, while at the same time being able to feel delicate and grounded. You can also just tell it’s so personal to her and she loves it so, so much.
Reneé is simply a force of nature, even more so performing live, and the fact that we got these amazing bops for her to delight audiences every night on tour is truly a gift. Her vocal skills are undeniable and can even be heard through the worst of off brand headphones, that paired with her songwriting skills and immaculate stage presence are the perfect recipe for a true superstar, and I’m sure she can only go upwards from here. – Javi
Paramore could have made it so easy for themselves. With a few pop punk hits in the mid aughts, the band could have ridden that high for the rest of their careers, retreading the same music over and over. They could have been like a vast majority of the lineup of any of the When We Were Young festivals that have happened so far. With some exceptions, most of the pop punk staples of the ’00s and ’10s have played it safe, retreading the same material over and over again to a nostalgic fanbase. It would have been so easy for Paramore to do that.
Instead, the band has evolved their sound on every single release that they’ve ever put out, all leading up to This is Why, Paramore’s sixth studio album, and its most inventive. While the band’s pop punk roots are still there, especially in songs like “You First,” they spend most of This is Why bouncing from disco, to art rock, to new wave-inspired tunes.
The band didn’t just branch out stylistically and musically, but also thematically. While Paramore’s members have never been shy to express their political opinions, their music has never been more political than in This is Why—it makes sense that during the “This is Why tour”, Williams told fans that they were “dead” to her if they supported Florida Governor and Republican presidential candidate Ron DeSantis. In the album’s second track, “The News,” where vocalist Hayley Williams sings about the plight of the world, and the feeling of helplessness watching terrible events occur over the news.
The album also shows emotional growth and self-acknowledgment, especially in the track “You First,” when Williams sings “Everyone is a bad guy, and there’s no way, no way to know who’s the worst.” Is This is Why my favorite Paramore album? No, it’s hard to top 2016’s After Laughter, but it’s another solid installment in the band’s discography—a varied, interesting exploration of growth and self-reflection. I’ve been a fan since the band’s debut, and it’s been fascinating to see each turn the band’s career has taken. I can’t wait to see where they go next. – Erin
If I had known several years ago that catching independent singer-songwriter Chappell Roan open up for a Declan McKenna show in Chicago would lead me to writing about the same artist’s debut album in 2023, I would have scratched my head. Chappell Roan, the 25-year-old rising superstar known for her incredibly catchy pop songs, glittery stage presence, and unapologetic, sexually-expressive lyrics, wasn’t always making music that sounded like the soundtrack to Barbie Land.
Back in the day, her music was much heavier, more ballad-focused, and what many would have discovered and resonated with in the world of Tumblr and the Twilight movie franchise.
It wasn’t until 2018 where Roan was able to completely live as her true self: the year where she was able to move to Los Angeles and fully discover her identity and what it meant to exist as a queer woman. Fast forward to 2020, Roan began working with producer powerhouse Dan Nigro, most well-known for his work with Olivia Rodrigo. Their collaboration on “Pink Pony Club” skyrocketed Roan’s career to the next level, having the track named “The Song of Summer 2021” by Vulture.
After a couple tumultuous years in Roan’s personal life, as well as being dropped by her label, Roan made her way back to the studio, getting ready to drop her debut album. After a slew of singles were released in 2022, as well as Roan performing several headlining shows across the country, her music was back on the map, and making waves—quickly.
Something that I find interesting about the discourse surrounding The Rise and Fall of a Midwest Princess is that nobody I’ve spoken to about the album has the same standout tracks. Despite eight of the 14 tracks being released before the album, Roan managed to avoid succumbing to the trope of releasing the best tracks too early. “Super Graphic Ultra Modern Girl,” in my opinion, is the best song on the album: one that should absolutely be playing on the radio across America and being featured on 2023’s version of Glee (I’m not quite sure what that is, though). “After Midnight” features a funky bass line suited for a late night, “it’s time to go home” last hurrah on the dance floor while the bar is making last call: “Guilty Pleasure” is an excellent closing track featuring Roan yodeling so convincingly, it’s like she’s channeling Dolores O’Riordan herself.
– Kristin
Amber Bain, the creative force behind The Japanese House, has crafted a musical masterpiece with her latest album, In the End, it Always Does. Describing the perfection of this album is a challenge, as it transcends the ordinary and takes the listener on a transformative journey, filled with emotional twists and intellectual turns. The result is an immersive experience that not only evokes feelings but also stimulates thought, a testament to Bain’s artistry and the depth of her creative expression.
Bain’s collaboration with Matty Healy and his label Dirty Hit has undeniably contributed to her rise in popularity, but In the End, it Always Does” stands as an independent triumph. From its inception, The Japanese House garnered attention for its lowkey beginnings, marked by androgynous vocals and an artist shrouded in mystery. This latest album, however, represents a newfound vulnerability as it delves into Bain’s personal experiences, particularly her journey of moving for a relationship that eventually reached its conclusion.
The indie-pop sensibilities of the album provide a rich canvas for the exploration of themes such as “beginnings and endings” and the duality of “obsession and mundanity.” Bain’s lyrical prowess shines through as she navigates the complexities of human emotions with raw authenticity. Collaborations with artists like MUNA, Bon Iver, and Matty Healy enhance the album’s sonic tapestry, contributing to its multi-dimensional richness.
One notable track, “Friends,” co-written with Charli XCX, exemplifies the album’s ability to juxtapose melancholy subject matter with vibrant production. The electronic elements infuse a sense of playfulness, creating a captivating contrast that makes the song both engaging and emotionally resonant. The album strikes a delicate balance between bright production and introspective lyrics, creating a mesmerizing contrast that mirrors the intricate nuances of life’s experiences.
As a listener, it’s easy to find oneself returning to In the End, it Always Does repeatedly throughout the year. The album’s magnetic charm lies in its ability to resonate with universal emotions while remaining deeply personal. Amber Bain has not only solidified her position as a noteworthy artist but has also gifted the world an album that transcends musical boundaries and stands as a testament to the power of authentic storytelling through music. – Jesse
In case you’re living under a rock, boygenius basically dominated the indie world in 2023. After a surprise (yet very speculated) comeback announced late last year, after the trio was seen on the streets of Los Angeles for a photoshoot, (dressed in the same garb as Nirvana was wearing back in 1994 for their Rolling Stone cover shoot), the internet exploded. Soon after, the band’s debut album was announced, set to release in March of 2023 on Interscope Records—a big jump that brought the potential of commercial recognition for the boys.
What soon came after was a frenzy of touring: the band debuted at Coachella, they played a surprise set opening up for Taylor Swift on the Eras Tour, they headlined the first Re:SET concert series, and even went on to be nominated for a whopping eight Grammys, including one for Album of The Year.
If you’ve been in the Phoebe Bridgers/Lucy Dacus/Julien Baker universe for a while, it likely doesn’t come as a surprise that their collaboration catapulted them to the next level of success. While there’s plenty of discourse on the internet in regards to whether or not these artists achieve more as solo acts, I don’t really think that’s the point. The Record is an absolutely gorgeous, heartfelt homage to friendship: the platonic ones, the romantic ones, and the way that the lines can so often blur between the two. It’s about the way we shift and mold our lives around each other, and the beauty of songwriting born with three talented artists coming together to create something bigger than themselves.
The Record showcases each members’ ability to write about something so specific to themselves and each other at a grander scale. The opening song “Without You, Without Them” represents how our personalities are intrinsically developed because of where we come from: “True Blue” showcases the truest form of loving someone, “Letter To An Old Poet” is the song that makes us think about that one person who has caused us an unfair amount of trauma. What more could you ask for from one project? – Kristin
Here’s to even more incredible music to discover in 2024.
– The Staged Haze team
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