Top 50 Albums of 2023

A year in music is hard to encapsulate in a list like this. Hundreds of records flood the streets on a weekly basis; picking fifty out of the thousands can feel like a vain task at times. However, the semantics of crowning fifty albums a year are still strong, if only for future reference’s sake.

In 2023, an incredible slew of incredible albums hit the market, many of which STATIC had the honor of championing. See our favorites, ranked below!

50. Dogsbody – Model/Actriz

Plenty of New York City auteurs tried to revive various indie trends that peaked in 2007. While many of them failed, Model/Actriz’s gritty take on dance punk was not only a step above its contemporaries in quality, but it was a fresh take on a genre that has danced to the same beat since its inception. Twanged with heavy noise and industrial influences, Dogsbody is a pounding album. It marches to the beat of its own drum, which marches along like a wartime chant. Frontman Cole Haden also gives Dogsbody a personality many modern punks forget at home. His voice is commanding at every turn, sweeping over the unrelenting rhythms to hold them from malaise. Dogsbody stands outside of the dance punk continuum, taking the same influences as its contemporaries but carving an individual lane forward.
Benny Sun

49. And The Wind (Live and Loose!)- MJ Lenderman

In a compilation of performances in Chicago and Los Angeles from this past summer, MJ Lenderman and his backing band, The Wind, tear through their classics and reinvigorate the lost art of the live album. In the spirit of artists Neil Young and Jason Molina, Lenderman crafts his own soulful country tunes with lyrics that feel like little inside jokes between himself and the listener. Pulling from all over his discography, Lenderman and The Wind craft the perfect live set that somehow surpasses the original recordings.
Shannon McMahon

48. After The Magic – Parannoul

Contrasting the nervous haze of To See the Next Part of the Dream, After the Magic sees Parannoul dawn a newfound sense of confidence. Finally acknowledging that his reliance on digitality is not an anchor, rather a distinction, After the Magic aspires for more ambitious song structures, catchier choruses and bigger vocals, as well a wider vocal range from Parannoul himself. The album doesn’t pretend to be a classic shoegaze record, like To See may have. After the Magic would rather lean into humanity a synthetic aesthetic can articulate. Parannoul still protects his trademark via fuzzy “guitar” passages and blown out “drum” sections, but the flourishes define this album, whether the skittering keys on “Parade” or the conversation between the choir and Parannoul’s strained longings on “We Shine At Night.” After the Magic sees the digital age, not as a curse, but a blessing unto the music it produces and the artists it creates. Parannoul could not have existed in the age of cassette-only labels and MTV, but the affordances of the digital age have allowed artists like Parannoul to thrive in the allure of the shadows.
Benny Sun

47. Soft Rock – Thy Slaughter

As a part of PC Music’s swan song final year, Thy Slaughter (made up of label founder A.G. Cook and Finn Keane a.k.a. EASYFUN) reunites for an epic journey of two knights teaming up one last time. Soft Rock is the first proper release from the duo, but it is the ultimate 2023 hyperpop album.
Josef Dunlap

46. Crying, Laughing, Waving, Smiling – Slaughter Beach, Dog

After a three year hiatus, the Philly-based Slaughter Beach, Dog returned with a indie-folk record full of nostalgia and a slight country flair. Each song feels like a story unraveling, with poetic introspections and compelling characters weaved between clean guitar licks creating addicting songs; it’s a great introductory album for those unfamiliar with the band’s work.
Zana Halili

45. Let’s Hope Heteros Fail, Learn, and Retire – Alice Longyu Gao

With her exuberant personality and bold lyrical approach, Alice Longyu Gao stands out in the often-homogenous hyperpop landscape. On Let’s Hope Heteros Fail, Learn and Retire, she fully commits to the bit, creating something transcendently vacuous. “When people are surprised / They no longer say, “Oh my God” / They say, ‘Oh my G-A-O’”
Darlene Marsh

44. DÉTWAT – HiTech

Ghettotech is defined by its two pillars: slamming high BPMs that complement footwork dances and its deep debt to Detroit. Etymologized by its title, DETWAT presents the best love letter to Detroit HiTech has to offer. A beautiful ménage à trois of airy synths, pitched vocals, and a flurry of hi hats and claps encapsulate 40 years of Detroit dance music history in 28 minutes. DETWAT is a musically compelling album full of danceable tracks that find power in brevity, framing HiTech as quality music historians, just as they are music producers.
Benny Sun

43. Bewitched – Laufey

Some songs on this album feature orchestral instrumentation, but most of Laufey’s sophomore album has pretty sparse soundscapes, thrusting her vocals to the foreground as she croons about unconditional love. Although “Lovesick” tries out more elements of pop, most of the tracks feel very nostalgic, drawing heavily from mid-20th century jazz. The tracklist includes one jazz standard, “Misty,” nestled among her originals, and it meshes well with her modern songs. This album is dreamy and aching and beautiful.
Suzie Sanford

42. Dontay’s Inferno – Niontay

Dontay’s Inferno is a promising record from up-and-coming rapper Niontay. Niontay like rappers 454, MIKE, and Earl Sweatshirt, nonchalantly raps over sophisticated sampled beats. Songs like “Da City of a Hunnid Plays” and “Thank Allah” showcase his versatility, switching flows while still maintaining confidence in his cadence and lyrics that punch you in the face. While some tracks sound more messy than others, it is a messiness that works with the tone of his album. This is what hip hop has evolved into today.
Nayeli Rodriguez

41. Spirit World Tour – Sword II

Coming three years after their first EP, Between II Gardens, Sword II have crashed back onto the scene with their ethereal debut album. Standout tracks like First Rule of The Bug and Body utilize strong beats, washy distorted guitars, and airy, layered vocals that seem straight from a dreamscape to create something wholly original. Exploring a fuller, more dynamic sound the group transcend their earlier songs and further prove they are a band to be watched.
Shannon McMahon

40. NO THANK YOU – Little Simz

Little Simz killed it. NO THANK YOU is a truly beautiful hip hop album, with influences ranging from gospel to electronic music. Cleo Sol’s smooth vocals are featured on six of the album’s ten tracks, a perfect contrast to Simz’s rapping. Simz channeled her pain and her frustration into the lyrics on this record, flowing beautifully over lush swells and neat plucked-bass grooves.
Suzie Sanford

39. Beloved! Paradise! Jazz!? – McKinley Dixon

Beloved! Paradise! Jazz!? is shorter and more refined than Dixon’s earlier releases, trading meandering four and five minute songs for more concise three minute runtimes. It’s a gorgeous jazz rap record, with authentic, primarily acoustically performed instrumentals, and cutting lyricism. Titled after three of Toni Morrison’s novels, the album’s themes are also heavily intertwined with her work. Haunted by the ghosts of dead authors and dead friends, every second of this record mourns those gone and celebrates perseverance of those still living.
Suzie Sanford

38. Me Chama De Gato Que Eu Sou Sua – Ana Frango Elétrico

Ana Frango Elétricos Me Chama De Gato Que Eu Sou Sua prides itself in paced rhythms, sticky melodies, and delicious instrumentations. “Boy of Strangers” is a down-the-line big band funk cut embellished to the nines with wailing vocoders and sublime horn passages. The rapid fire conversation between Ana Frango and guest feature JOCA on the chorus of “Dela” imprints itself in the mind upon landing, while its staggered low end gives it a subtle but irresistible groove. “Electric Fish” opens the record on its loudest moment; the quick BPM paired with the jogging bass line creates an immense space for the melody to come crashing down like a disco ball smashed into a million pieces. “Me Chama De Gato Que Eu Sou Sua” writes an engaging dialogue between its elements, speaking a brilliant language of danceable rhythms and infectious melodies.
Benny Sun

37. Why Does the Earth Give Us People to Love? – Kara Jackson

Demonstrating exactly why she served as the US National Youth Poet Laureate, we see Kara flesh out themes of maturity, desire, and love in all its forms through her meditations on past relationships and existential interrogations. All of this weaves seamlessly through imaginative song structures which transform the otherwise familiar backdrop of acoustic-folk music into an enchanting world full of tales that everyone can relate to and learn from. Kara Jackson’s debut is a 52 minute masterclass on songwriting for over-thinkers.
Sebin Cho

36. VOIR DIRE – Earl Sweatshirt & The Alchemist

VOIR DIRE is one of Earl Sweatshirt’s most mature efforts to date, seeing him collaborate with legendary producer The Alchemist. Although the album was teased as far back as 2021, the way that The Alchemist’s simplistic yet spellbinding boom bap beats compliment Earl’s rhymes in such a way that makes this one of his most exciting, new releases to date.
Jamie Walker

35. Life Under the Gun – Militarie Gun

“Do It Faster” is a misleading opener for Militarie Gun’s debut record, which ends up being a very tempered and even listen across its short runtime. No, Life Under The Gun doesn’t pride itself in speed like other hardcore outfits may. Instead, Life Under The Gun thrives in its massive pop punk verses and sensible levels of pomp. Confectious guitar tones, a loose bass section, and a metronomic drum kit prevents the grandiosity of Militarie Gun from being sickening, instead understanding the limits of its ideas. Life Under The Gun is an excellent album to ease the uninitiated folk into the broad world of loud guitar music, as it’s both uncompromising and accessible, multifaceted yet easy to understand.
Benny Sun

34. All of This Will End – Indigo De Souza

It’s hard to find artists that put out music as powerful, unique, and just downright good as consistently as Indigo De Souza does; She simply never misses. All Of This Will End is an album filled with nostalgia, offering new perspectives on past memories. De Souza’s voice is commanding, reminding her audience to remember one crucial truth: The importance in forgiving oneself.
Zana Halili

33. Hellmode – Jeff Rosenstock

Punk is the genre of passion and its phoneys are easily weeded out, but HELLMODE feels ripped straight from Jeff Rosenstock’s soul. From the first drum hit on “WILL U STILL LOVE ME,” HELLMODE sprints a marathon of emotion. Even in its simplicity, it maintains its fervor, and when it opts for musical prowess, its authenticity is still left unquestioned. Its raucousness is tempered with introspective moments, even if they just morph into more raucousness. HELLMODE is a meticulous masterclass in pop punk excellence and Jeff Rosenstock is the passion player at the center of it.
Benny Sun

32. 10,000 gecs – 100 gecs

There was a moment, in the wake of the release of their 2019 album 1000 gecs, that seemingly everything was trying to sound like 100 gecs. Their follow-up, 10,000 gecs, sounds like everything else. Melding pop-punk, nu-metal, rap, ska, and dubstep, 10,000 gecs is a maturation of the group’s sound, their willingness to provoke, their commitment to noise. At 26 minutes in runtime, 10,000 gecs is an easy one-sitting listen. It feels like, sonically, everything that could happen happens in those 26 minutes. The opposite is true lyrically. 100 gecs uses every tool in their arsenal to make songs that are, by and large, about nothing. Nothing has ever sounded so fun. 100 gecs remain giants in the world they’ve carved, no matter how stupid that world may be.
Darlene Marsh

31. Burning Desire – MIKE

A tracklist of this stature risks an automatic fail. Few contemporaries are able to fill the void twenty four songs tends to leave, but across Burning Desire, MIKE weaves his lyrical and instrumental flows together as a masterful representation of his exactful artistry. Consistently danceable, MIKE has an ability to turn radical ideas into head bop fuel. Even though MIKE raps through “Billboards” until he’s out of breath, the reggae induced instrumental holds the track steady. It’s a modern iteration of Madvillainy, highlighting a generational talent in an uncountable number of ways.
Benny Sun

30. Powders – Eartheater

Eartheater’s signature sound takes a soft turn into commercial pop in Powders. The Pennsylvania native offers a more accessible twist to her astonishing vocal prowess but retains her instrumental quirks. Though many tracks are more stripped down, the complex orchestration that has become signature Eartheater is not lost – her palette of vocal idiosyncrasies is displayed throughout all four minutes and forty-five seconds but never feels overwhelming.
Bernarda Basualdo

29. April Mixtape 3 – Snow Strippers

April Mixtape 3 is filled with chaos and fun. Produced by SURF GANG these indie sleaze club songs are overwhelming and captivating all at the same time. They don’t really make a lot of sense but that is the point.
Nayeli Rodriguez

28. MID AIR – Paris Texas

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27. Ways of Knowing – Navy Blue

Ways of Knowing, Navy Blue’s Def Jam debut, brims with intimate and emotional lyricism, classically nostalgic production, and themes of family and growth. Navy Blue embraces wisdom from his ancestors with nuanced grace. Standout tracks include the poetic “Pillars” and beautifully flowing “Look In My Eyes” . This album is lush, hypnotic, and subdued without being uninteresting or unengaging.
Suzie Sanford

26. We Buy Diabetic Test Strips – Armand Hammer

Armand Hammer have worked the underground night shift for over a decade now, putting out cult classic after cult classic since their 2013 debut. Since breaking into a wider consciousness with their 2021 collaboration with the Alchemist, Haram, which saw the rap duo take on Alchemist’s dusty looped beats, the duo have now opted to pivot from single faceted excellence to jack of all trade masterminds. The diversity of producers compel a vast web of auditory ideologies. The JPEGMAFIA-backed “Landlines” and “Woke Up and Asked Siri How I’m Gonna Die” sound like hip hop from the Blade Runner generation, while “The Gods Must Be Crazy” has El-P crafting a timeless beat that could have appeared at every stage of underground hip hop’s timeline. billy woods and ELUCID crochet all of its loose ends together to create an album that is both cohesive and vast, ensuring We Buy Diabetic Test Strips’ as one-of-one record, its novelty also fueling its timelessness.
Benny Sun

25. Heaven knows- PinkPantheress

PinkPanthress leveled up her production game on Heaven knows. She branched out from the y2k dnb genre she’s made a name for herself with, experimenting with drill bass slides and organs on some tracks, but there are still plenty of songs that align with her earlier production style. Her light, bubbly production complements her lyrics beautifully. PinkPanthress’s lyrical aesthetic is dark and melodramatic, a kind of digital gothic style that slides by listeners if they aren’t paying attention to what she’s saying. This long-awaited debut album stays true to what has made PinkPanthress a sensation, but also gives her freedom to have fun and experiment with more genres and styles.
Suzie Sanford

24. Unreal Unearth – Hozier

Only Hozier could write an album that sounds like something a brooding-wanna-be-poet from Brooklyn and a band of Gnomes drinking in a tavern would both listen to. Unreal Unearth is mythical, breathy, and vibrant. Departing from the more intimate atmosphere of his previous work, Hozier’s latest release is more approachable, fit for a long car ride or walk in the park. Even still, he sticks with what he knows, mixing gospel, ambient, folk, bluesy, and pop influences to craft a lyrically dense, velvety sonic landscape.
Amanda Guapp

23. Space Heavy – King Krule

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22. Sundial – Noname

Every sensible therapist will recommend that, when faced with a problem, it is better to confront it rather than run away and allow the problem to exist and flourish. Even though it took five years, Sundial is Noname’s confrontation of the problem she and the rap industry has accumulated over that time. Whether it’s taking shots at the superstars we love, the war waged between the internal spirit and the external image, or the expectations set for her by the industry she must work in, Noname finally confronts the problems she feels obligated to fix. Although she creates one of the biggest problems herself, a problem that casts a shadow on the substance and legacy of the album, Sundial is Noname’s manifesto, standing strong in her beliefs, and more importantly, her hypocrisy.Even if it feels like Noname will always have more to say, Sundial is Noname’s exit stage left, guns blazing. Benny Sun

21. Turtle Rock – Sharp Pins

Somehow between running the teen-beat zine and label Hallogallo, hosting D.I.Y. shows, and playing in Lifeguard and Dwaal Troupe, Kai Slater managed to release a solo album of his own embracing a lo-fi power-pop sound. Turtle Rock is a spirited time capsule of youthful sound made for dancing reminiscent of the 1960s à la Elephant 6.
Shannon McMahon

20. Cartwheel – Hotline TNT

Cartwheel, Hotline TNT’s sophomore album, offers an alternative take on the band’s music. Will Anderson, the band’s frontman, worked with a different roster than what was featured on 2021’s Nineteen in Love, and it shows. Cartwheel blends aspects of power-pop with Hotline TNT’s iconic punk-inspired shoegaze. The album lures in listeners with a deluge of hypnotic guitar riffs, and by the time it’s over, you can’t help but fantasize about what euphoric tracks Hotline TNT might release next.
Josef Dunlap

19. Live at Bush Hall – Black Country, New Road

The comparison to Black Country, New Road’s magnum opus from 2022 is inevitable, but Live at Bush Hall holds weight in the battle against Ants From Up There. The musical core of BC,NR is still crafting musically compelling compositions and the songs, while more lighthearted, still have heft in its lyricism. It’s arguably more multifaceted than their previous work as well, a luxury from a band of so many talents. Live at Bush Hall might not be the classic Ants From Up There was crowned to be, but it’s a compelling continuation of the story of Black Country, New Road.
Benny Sun

18. Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) – Yves Tumor

Coming off of the high of 2020 hit album Heaven To A Tortured Mind, Yves Tumor’s rapid succession of stellar albums has them suffering from success. How does one follow a body of work with hits like “Kerosene”? The secret lies in image. In Praise A Lord, Tumor pivots into an album deeply immersed in religious themes. Instead of basking in the light, Praise A Lord leans into the fear and darkness in religiosity, letting gloomier ideas mingle with the experimental sound they have cultivated over the years. Yves Tumor peeks over the edge of the Avant Garde without falling off – Rhys Hastings’ percussion grounds the thematic exploration in rock constancy. Praise A Lord achieves the perfect amount of sonic change; Tumor ventures into a rocker sound and new lyrical themes while retaining the experimental electronic aspects that have gained them their fanbase.
Bernarda Basualdo

17. Something to Give Each Other – Troye Sivan

“Pop the culture, iconography” – Troye Sivan

The hottest dance floors this year were the ones that Troye Sivan’s Something to Give Each Other was soundtracking. The Australian pop-star’s musical comeback is a sublime celebration of what it means to be young and alive, engaging in the pleasures of life and human connection. Transcending through infatuation, love, sex, and heartbreak, Sivan shines on the infectious singles “Rush” and “Got Me Started”, their music videos vibrant with energy and sparkling choreography. “Can’t Go Baby, Baby” is equal parts excruciating and enchanting sampling Jessica Pratt’s “Back Baby”, and, of course there’s synth-pop masterpiece “One of Your Girls”. With its lust for life, Something to Give Each Other has solidified Sivan as a compass for the culture, and we just can’t get enough.
Olivia Olson

16. the record – Boygenius

boygenius enjoyed the luxury of being one of pop culture’s Unavoidable Truths this year, and by proxy, more ink was spilled on the band than necessary. In the noise, you may have forgotten the band actually released a record; the record, actually. It’s, first and foremost, immensely agreeable in the context of indie rock and alternative. That doesn’t necessarily speak on the quality of the album, but it does its intent, which can inform its quality. It’s clear the trio set out to make a record that could be played at Madison Square Garden and nominated for a Grammy, but to its credit, the record thrives in the headlining intent. “$20” is a screamable post-punk cut that establishes each member’s personality early as distinct yet amicable. “Not Strong Enough” pinnacles exactly what makes boygenius arguably greater than the sum of its parts; no corner of the Bridgers-Dacus-Baker discography will boast production as expensive, drums as aggressive, or coda as catchy. Through the record, boygenius successfully connect the dots between their indie darling status and arena rocker aspirations. The music still feels so fundamentally authentic, refuting the sellout accusations many diehards laid at their feet. Even if it may come across as less interesting than each of their solo endeavors, the means ultimately justify the end.
Benny Sun

15. 3D Country – Geese

Following the wanderings of a psychedelic cowboy, 3D Country distills the band’s diverse influences into a cohesive, distinctive tone. Cameron Winter’s vocal timbre goes unabashedly wild, and Dominic DiGesu plays some of the most addictive basslines of this year. Gus Green and Foster Hudson’s guitar parts wash the album with ecstatic cerulean skies, and Max Bassin on drums is a chaotically grounding force. Geese’s classic rock lineup mingles with novelties for the genre, like the sitar in “Cowboy Nudes.” 3D Country is a shining beacon of hope to the Rob Gordon-types who are still depressed that CBGB shut down; there is nothing necessarily wrong with that, but Geese is not trying to save anything as much as they are just trying to have a good time
Teddie Chappell

14. The Rise and Fall of a Midwest Princess – Chappell Roan

With seven singles, six music videos, and two headline tours worth of build-up, Chappell Roan’s debut album arrives at the end of a hot trail of anticipation. It sticks the landing. The Rise and Fall of a Midwest Princess is an indelible collection of gorgeous, glittery pop songs. Kicking off with “Femininomenon,” a plea for better treatment from men that centers the line “Get it hot like Papa John,” Roan embraces the oft-disparaged silliness of pop girlhood. She is unafraid to present herself as messy—singing about navigating fickle relationships with men and even fickler relationships with women, crying on the sidewalk, bonding over Mulholland Drive. Her songs are biting and funny and extraordinarily catchy. With Midwest Princess, she announces herself in her entirety. Chappell Roan is the answer to her own pleas, a popstar for the ages, a femininomenon.
Darlene Marsh

13. Lets Start Here – Lil Yachty

“I don’t know what it is, but I just feel like people always kind of treated me like a kid. Like some Kidz Bop rapper or some shit. I’m like, “I really do this shit!” I was always the kid to be like, “OK, cool. You think this trash? I’m gonna go fix it. I’m gonna get better. I’m gonna come back.”” – Lil Yachty

“Pink Floyd’s Dark Side of the Moon … I heard that album, and it altered my perspective on music, in its entirety. After hearing that album, it sunk into my brain that we have been so limited with our content… there was no Auto-Tune, no ProTools, no FruityLoops. This is all hardware, you know what I’m saying?” – Lil Yachty

“The place that hip-hop is in right now is a terrible place. It’s a lot of imitation. It’s a lot of quick, low-quality music being put out. It’s a lot less originality.” – Lil Yachty

“By the way, I was snubbed on a Grammy nomination today.” – Lil Yachty
Benny Sun

12. This Stupid World – Yo La Tengo

Yo La Tengo’s latest is as exciting and immediate as anything they’ve ever done. Although relatively short and sweet for a band with a penchant for 15 minute freakouts, this focused collection features some of their most memorable writing in years. The Georgia-sung “Aselestine” and lead single “Fallout” feel like they could’ve been straight off of one of the band’s beloved 90s releases, while songs like the title track “This Stupid World” are a vision into where their sound could go next. Self-produced and done mostly live, there is an intimate quality to these recordings that brings it closer to their heavier, rawer live sound than ever before. Time and time again, Yo La Tengo prove themselves to be one of the most enduring American bands, but more importantly, after almost 40 years, they haven’t lost their capacity to surprise.
Holden Lay

11. Tracey Denim – bar italia

bar italia’s Tracey Denim is a crispier execution of their past records with the same moody sound. bar italia maintain their mysterious sound, channeling an emo, angry, nostalgic, and sad feeling, over pretty guitar melodies. While some songs are more like fillers, others stand out and are wrapped up in a little bow, presented for the world to blast in their headphones while perhaps walking on a gloomy day. The emotion embedded in these tracks are hard to ignore.
Nayeli Rodriguez

10. Raven – Kelela

Utterly transcendent, Kelela’s Raven weaves the frenetic, intimate pace of club beats with delicate, spacey vocals to create an ambient R&B expanse. The album is a cohesive body, each song flowing seamlessly into the next, the transition from the title track into ‘Bruises’ being particularly satiating. Tracks like ‘On The Run,’ ‘Contact,’ and ‘Closure’ featuring RahRah Gabor burst with energy, ripe for the dancefloor. Whereas ‘Divorce’ and ‘Far Away’ are hypnotic and enveloping, akin to a swelling film score, making you feel like you’re floating upwards after an extended submergence underwater. The end of ‘Divorce’ features the sounds of bubbling water and sonar beeps, which hone in on this image: embracing the concept of re-emergence. With Raven, Kelela has returned from hiatus with a divine, inventive release.
Isa Gaitan

9. Maps – billy woods & Kenny Segal

Maps is billy woods’ 12th record to date, but you could only tell based on the wisdom found on the record. Pushing his third decade in the rap game, billy woods is still finding creative angles to articulate his experiences. “NYC Tapwater” explore woods’ complicated love-hate relationship with the city he calls home, a la Gil Scott-Heron, while “FaceTime” is the closest a woods track will ever get to a pop chorus. Kenny Segal provides some of the edgiest compositions woods have ever laid on; his swirling style consistently fights for attention, begging you to fall into its unnatural world of jagged drums and ghastly switches. On Maps, every artifact is valued, every lyric is intentional, and every bar is astonishing.
Benny Sun

8. This Is Why – Paramore

In the 5 years since they released their last album After Laughter, the members of Paramore have heavily bolstered up their resumes. Lead singer Hayley Williams and drummer Zac Farro have ventured into their own solo careers, and guitarist Taylor York has dipped his feet into the music production world. Though incredibly talented and successful on their own, it’s undeniable that they produce their best work when they come together as Paramore, and their latest album This Is Why is a testament to that.

Hints of their emo, angry past can be heard in songs like “Figure 8” and “You First” with Farro’s powerful drums combined with York’s vigorous guitar hits. Meanwhile, songs like “C’est Comme Ça” and “Running Out Of Time” come across as being more pop forward, with catchy hooks and punchy instrumentals.

It seems that, on every Paramore album, there is one notably slower, softer song that balances out the high energy the rest of the album has and displays the band’s incredible range. On this record, it’s a song called “Liar,” a beautifully somber love song with lyrics that harken back to Williams’ solo album.

The album closes off wonderfully with the powerful “Thick Skull,” with Williams showcasing her vocal chops. This song, and the album generally, comes across as the band reflecting on their long career – one that will, hopefully, only get longer.
Zana Halili

7. Girl With Fish – Feeble Little Horse

After the release of Girl With Fish, fame hit feeble little horse like a truck—and it’s obvious why. Drawing on the highs of both their first album, Hayday, and their EP, modern tourism, the playful vocals and heavy instrumentation drew in countless listeners, yearning for songs that sounded fun but didn’t lack in depth. Freak and Pocket are reminiscent of their best tracks on Hayday, but their lyrics convey a subtle sadness: on Freak’s chorus, singer Lydia Slocum almost whispers, “how can you be satisfied? / she’s five-foot-one you’re six-foot-five,” with extra emphasis on the last line. Steamroller is another song where her lyricism really hits: “steamroller you fuck like you’re eating, / your smile’s like lines in the concrete.” It isn’t just words that make feeble little horse’s sophomore release so good; it’s the music, too. On Heavy Water’s chorus, introduced by quiet, overlaid vocals, the fuzzy guitars and drums erupt ferociously, and on Pocket, after the song sounds like it’s ended, they explode into cacophonous sound. After months of silence, feeble little horse announced a show at Racket on May 4th, great news for a band you’ll want to keep in your pocket.
Amélie Khiar

6. Did you know that there’s a tunnel under Ocean Blvd – Lana Del Rey

“Don’t forget me” Lana Del Rey implores, in the title track of her latest album, Did You Know That There’s a Tunnel Under Ocean Blvd. The plea, inspired by Harry Nilsson’s 1975 song “Don’t Forget Me”, is one that permeates through the entire project as the beloved songstress explores motifs of memory, preservation, longing, and self-image. In true Lana fashion, the album is abundant with references and insight, always acute, and tasteful collaboration. Her musical sensibilities shine through with the intimacy of tracks such as “Let the Light In”, an exquisite partnership with Father John Misty, and the lush “Margaret” with its smoldering production and delicate vocal performances. The range between the aforementioned sweeping tracks, the stream of consciousness, inner-monologue style of “Fingertips”, and the melancholic, beat-backed “Fishtail” goes to show Lana Del Rey’s character, one of which doesn’t take herself too seriously even with the album’s heavy content. Did You Know That There’s a Tunnel Under Ocean Blvd is an absolute power from one of the most idiosyncratic minds in music that evolves more and more with every listen.
Olivia Olson

5. Desire, I Want To Turn Into You – Caroline Polachek

Caroline Polacheck’s fourth studio album is something that felt classic as soon as it was released. Her vocal versatility, arguably her strongest asset as a musician, really shines through on songs like “Crude Drawing of an Angel” and the album closer “Billions,” where she effortlessly glides through her range, pulling listeners along for the ride. The production throughout this record is mesmerizing, featuring lush guitars and skittering drums. “Fly to You,” a track that features Grimes and Dido, is a standout, dripping with infectious energy. The synergy between the vocalists on that song is really incredible. Lead single “Bunny is a Rider” has bizarre, nonsensical lyrics that complement the meticulous sound design full of whistles and chirps and record scratches. The album feels very reminiscent of 90s and early 2000s pop, and its euphoric haziness might help redefine the future of the genre.
Suzie Sanford

4. SCARING THE HOES – JPEGMAFIA & Danny Brown

SCARING THE HOES drew from two distinct inspirations: JPEGMAFIA and Danny Brown’s love of blaxploitation films and hatred of white kids complaining on Twitter about their music. Leaning into every manic inclination their music has ever had, the duo leave it all behind and present their avant-garde take on Watch the Throne. Rapping about whatever the hell they want whenever they want, JPEGMAFIA beds the album with maxed out video game samples and scrambled drums. It’s loud and forthcoming, and even if it’s individually their least complex works to date, it is absolutely their most fun.
Benny Sun

3. The Land Is Inhospitable and So Are We – Mitski

Mitski intended Laurel Hell to be her last album, a fulfillment of her contract and goodbye to releasing music. Her struggle to navigate an industry so invasive of her personal life was evident in the album. In the context of her beloved discography, the LP’s mixed reviews felt all the more jarring: one of the most prolific songwriters of our generation gone with an abrupt and scattered goodbye. But, Mitski couldn’t stay away. She reworked her contract with her label and has decided to continue to release records.

Mitski’s newest album, The Land is Inhospitable and So Are We, feels like a long drive home, drifting in and out of slumber, head pressed against the window. It’s cold outside, but it’s warm enough in here. And home is even warmer. She’s yet again reinvented her sound, this time, opting for intimacy. Listen closely to tracks like “I’m Your Man,” and you can hear her palm contacting each string, thick and loving. In other tracks, perfectly twangy steel guitars and sweet, detuned piano riffs pull listeners even closer. The intimacy of The Land is Inhospitable and So Are We melts over into her voice, with Mitski practically whispering on some tracks. Her lyricism is brutally honest as always, but she now consistently prevents herself from falling into her own pity. In “The Deal,” a bird perched on a street lamp speaks to her as she contemplates selling her soul, freeing herself from her pain: “You won’t hear me singin’, you’re a cage without me / Your pain is eased but you’ll never be free.” Without the bird, she’s an empty cage. Without her soul, she’s just a ribcage. Throughout the project, Mitski injects confidence into her pain. It sometimes even turns to optimism.

In “Buffalo Replaced,” Mitski personifies this: “I have a hope and though she’s blind with no name… Sometimes I think it would be easier without her / But I know nothing can hurt me when I see her sleepin’ face.” Mitski’s found a hope. Although she doesn’t understand what she’s hoping for, she feels its presence, pushing her to keep moving forward – and in some ways, back. Mitski’s return to the industry may be something she regrets, and that hope may be a burden. But for now, nothing can hurt her. For now, she’s okay.
Connor Elmore

2. Rat Saw God – Wednesday

Asheville-rockers Karly Hartzman & co. started off 2023 chock-full of screams, heartache, and wit, all with their classic, noisy, country twang. Evolving lifetimes with each new release, Wednesday is becoming a hard act to beat with their breakout hit, Rat Saw God. From the eight minute raging power-ballad, Bull Believer, to the soft sweetness of Formula One, Hartzman creates a patchwork quilt of songs, embracing every aspect of herself and the places she inhabits, the beauty and the ugly of it all.
Shannon McMahon

1. Javelin – Sufjan Stevens

Through his nearly 25-year career, Sufjan Stevens’ artistry has been defined by change. He cut his teeth on layered, orchestral albums exploring the legacy of American states. Since then he’s made a diverse array of projects: a ballet soundtrack based on the ten commandments, a cinematic suite about the Brooklyn-Queens Expressway, a collaborative album of folk songs about B-movies, 100+ Christmas songs. In his tenth solo album, Javelin, he brings together the threads of his varied discography to create something unique and powerful. Stevens wrote this album after the passing of his long term partner, who serves as its main subject.

Utilizing the lush instrumentation of his past albums, (most significantly 2010’s The Age of Adz) Stevens turns inward. His lyrics are strikingly simple here. Where he explored grief so richly through metaphor in Carrie and Lowell, here he approaches it head-on. These are songs that couldn’t have come at any point earlier in Stevens life. They are the songs of a man in his late 40s, a man who’s become familiar with loss.

Javelin is so rich because it manages to live both in grief and in the love that preceded it. To listen to Javelin from beginning to end feels like dwelling in the inside of a relationship, gazing out at every moment of it at once. Stevens captures the illusive, fractured, ever-present nature of grief in his repetitious melodies and tense-shifting lyrics. He mirrors this in the essays and collages that accompany the physical form of the album—myriad images are tied together with puff paint and blue tape, covering each other and forming something beautiful and numinous. In doing this, Stevens reconstructs memory and, in the process, himself. Where has reinvented himself sonically in the past, now he finds synthesis. Javelin feels like the first time Stevens’ many sides have coexisted and, somehow, they have room to breathe.

Despite the heaviness of its subject matter, Javelin is an album propelled by lightness. Without knowing its context, it could pass as joyful. It is joyful. Javelin pulls off its powerful hopefulness not in spite of its sorrow, but because of it. Closer “There’s a World,” a cover of the Neil Young song, is demolishing because it is so very light. That Stevens can emerge from something so intense with the joyful, simple message of gratitude is powerful. With Javelin, he has created something beautiful and lasting, affecting and on par with any and all of his past triumphs. To call it miraculous feels like a disservice—Stevens’ artistry is purposeful; it is the work of a man, no matter how much it may like the work of the divine.
Darlene Marsh