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Year in Tiers 2023 - Black Jackets

While there were a ton of great records released this year, there were only 9 that qualified for the top tier. The best of the best, gold medalist, Michael Jordans of 2023 albums - worthy of Gordon Ramsey himself dressing them in a Hell's Kitchen black jacket. What, am I the only one that watches Hell's Kitchen? It's not bad. Gordon Ramsey calls people doughnuts for some reason. There's like 20 seasons, you've really never seen it? The finalist get a black jacket...that's what this means...Listen, I'm tired. Let's go. Here's the jacket things that means we like em best or whatever...


Indigo de Souza All of This Will End

#9. All of This Will End by Indigo De Souza

Full disclosure, I wasn't sure what to make of this record the first time I listened to it. And I think that's due to it's oddly specific distinction as the best album of the year, with the worst opening track. Seriously, "Time Back" sucks. But as soon as "You Can Be Mean" hits, things click right into place. And you may not find a better 1-2-3 succession of tracks than "Wasting Your Time", "Parking Lot" and "All of This Will End" anywhere else this year. I've probably listened to my favorite tracks from this record more than anything else over the past 6 months. The lyrical construction is jaw dropping. She's just an incredible songwriter. And the further this album gets away from the out of place electronic appendages and spotlights Indigo's stunning vocals, the better it gets. Which of course culminates on the record's breathtaking closing ballad "Younger & Dumber". Just remember to skip that opening track.


Billy Woods and Kenny Segal Maps

#8. Maps by Billy Woods & Kenny Segal

If you've been following us over the past few years, you know that Billy Woods has been one of (if not THE) most prominent, consistent and prolific artists we've spotlighted. The dude is incredible. And with all of the music he's released over the past 5 years (which includes 6 solo LPs and 2 Armand Hammer full lengths), I think 2019's "Hiding Places" stands out as my personal favorite. So Billy finally re-teaming with producer Kenny Segal was a godsend. "Maps" may not be as grimy as their previous collaboration but the expansive depth this record covers is impressive nonetheless. And Billy's lyrical content hasn't been this potent since "Hiding Places". Segal somehow brings out the best from Woods, resulting in the heaviest bars you've ever fucking heard. "Year Zero" is the best song on this album. Best song of the year. Best track of Billy Woods' fucking career. Just astounding. The stretch from "Babylon by Bus" to "The Layover" is flawless.


Foo Fighters But Here We Are

#7. But Here We Are by Foo Fighters

I don't think anyone was expecting to hear new material from the Foo Fighters so soon in the wake of the tragic and unexpected passing of their drummer Taylor Hawkins last year. And with how unremarkable Foo's last 3 records were, I was a little worried they were rushing something out that maybe they shouldn't be. But with Dave Grohl back on the drum throne, he absolutely proved me wrong. My biggest criticism of Foo Fighters, even in their heyday, was that they lacked a cohesive front-to-back classic album. They've got a ton of great singles and hilarious music videos but no "Dookie" or "Blue" in their catalog. However, I think this may be their most complete effort to date. Granted, "Rescued" doesn't quite stand up with their top shelf singles but the album as a whole is the most complete LP they've released since "The Colour and the Shape" - and might even be better. The heartfelt songwriting, precise instrumentation and captivating compositions make for one hell of a musical journey. The title track "But Here We Are" is borderline prog, "The Glass" is a stunning rock ballad and "Nothing At All" boasts a very Nirvana-like chorus; all of which showcases the full gamete of Dave Grohl's repertoire. But it just might be the somber send-off "Rest" that resonates most thoroughly. A spectacular sign that even in the face of the most dire circumstances, we haven't heard the last of Foo Fighters. And there's plenty to be hopeful for in their future.

Slouch Kicksie

#6. Slouch by Kicksie

Canadian singer/songwriter Giuliana Mormile may look and sound a bit young, but her expert blend of cotton candy pop hooks, emo earnestness, crushing breakdowns and smooth vocal triplets showcases the wisdom of an experienced bedroom pop veteran. "Slouch" kicks off with a relentlessly catchy 5 track introduction that only stops momentarily to flex how easily she can devastate you as well as infect you with earworms, with her soul crushing ballads "yyyy" and "Wish I Was". It's like Ariana Grande joined Joyce Manor or something. This shit slaps. The combination of candid, moving lyrical bliss dropped into infinitely infectious pop melodies and packaged up in a power pop emo outfit is absolutely sensational. If this is your first time hearing it, I'm sorry you missed out on the 2023 summer anthem. The only problem with this record is trying to pick a favorite track. Honestly, they're all good enough that I've been rotating. "Go-Getter" is a jangle synth pop bop, "Wish I Was" is a stellar heartbreaking slow jam, and "Sinking In" seems to capture the entire captivating Kicksie experience in one all-encompassing track. One of the biggest breakthrough artists of the year.


Spanish Love Songs No Joy

#5. No Joy by Spanish Love Songs

I wasn't the biggest fan of Spanish Love Songs' last record, but there were definitely moments where the impassioned, melancholic lyrics stood out in a way that the music just didn't. But with their 2023 follow up, "Lifers" kicks off the proceedings like a moody 1980's synth rock track from a John Hughes movie. But in the best way possible. Spanish Love Songs has taken an incredibly bold stylistic leap with this record, which isn't as much of a maturation as it is an evolutionary monolith dropped out of the sky for us to marvel at. The pivot to depressive, new wave (call it "gloom wave"?) highlights the best aspects of this group without feeling overly heavy handed. Somehow through this unique lens, the pit of despair cries for help sound more empowering and anthemic than helpless. It's a magnificent blend of uplifting musical arrangements and despondent thematic material. I can't think of too many punk bands who improved their sound by transitioning to new wave aesthetics but Spanish Love Songs have pulled it off so convincingly that it almost seems obvious. Even though this is something I never saw coming. And the track list is absolutely unrelenting with standout song after standout song. Truly mind-blowing to see a band level up this substantially.


Games of Power Home Front

#4. Games of Power by Home Front

Our favorite debut record of the year comes courtesy of Edmonton, Canada's Home Front. Their synth-infused style of '80s inspired post-punk sounds like a composite of all the best 80s punk bands you know joining together in some kind of Voltron-like megazord. The punchy, upbeat tempo on "Nation" sounds like the love child of Joy Division and Husker-Du while "Overtime" sounds like INXS tried covering an unreleased Replacements track. It's just such a flawless combination of sounds - almost like they've rewritten history to a degree; allowing new wave synth styles to live harmoniously with street punk in a way that was never fully embraced in their original eras. And the artistic ingenuity displayed in the songwriting makes this much more than just the audio equivalence to a Stranger Things like amalgamation. This isn't a decade's "greatest hits" fused together but more so the evolutionary missing link. So, uh, big foot I guess. This album is big foot. What the fuck am I even saying anymore? Don't listen to me, listen to this record, it's fabulous.


10,000 gecs 100 gecs

#3. 10,000 gecs by 100 gecs

I know it may sound strange, but I feel like some of my absolute favorite music surprises me in a way that elicits laughter the first time I hear it. And from the lyrics on "Dumbest Girl Alive" to the nu-metal homage "Billy Knows Jamie" and the unexpected ska-punk delight that is "I Got My Tooth Removed"; 100 gecs had me laughing more than I had at any album in a long time. It's stupid fun and yet unbelievably well crafted. Their no fucks given, anything goes attitude shoved into ridiculously infectious hyper pop hooks make them electronic pioneers of the highest order and one of the most preeminent new acts to emerge in some time. Savaging through the scrap heaps of musical influences across the decades while maintaining their own unique voice in tracks like "Hollywood Baby" and "mememe" is a testament to the genius these two posses. This is much more than a meme-core, very online, niche act. 100 gecs is the future, baby. So grab your Cheetohs. Doritos. Fritos. No mosquitoes. We're eating burritos. With Danny. Devito.

The Land is Inhospitable and So Are We Mitski

#2. The Land is Inhospitable and So Are We by Mitski

...And so we go from one of the most fun records of 2023 to one of the most emotionally moving albums you'll hear this year, or any other for that matter. But as deep and profound as the subject matter is, Mitski explores it in such a way that it never feels dense or overbearing. It's all incredibly accessible, with the longest song still clocking in under 4 minutes. And yet it's all so devastatingly beautiful, in way that just engulfs your sensibilities from the very first song and takes you on a contemplative journey you can't wait to experience once again after it's all over. The stylistic choices which seamlessly mesh together the best elements of 2000's era chamber pop, 2010's singer-songwriter indie ballads, and the ever present, contemporary country revival make this sound like a 20 year culmination of aesthetics in some kind of Avengers: Endgame generational indie crossover event. But it's composed much more meaningfully and organically than anything Marvel's ever done. This is one of the most compelling, comprehensive albums of the year. The perfect marriage of style and substance.


JPEGMAFIA Danny Brown Scaring the Hoes

#1. Scaring the Hoes by JPEGMAFIA & Danny Brown

You ever have two single friends who have been in the same social circles for years but then one day, just out of the blue, they get together and it becomes the most obvious connection; where they compliment each other so absolutely perfectly that you're not sure why they never hooked up sooner? That's JPEGMAFIA and Danny Brown. These two were absolutely meant for each other. JPEGMAFIA's impeccable breakbeat electronica hip hop production has always been sensational but he has leveled up to god tier with this effort. And with Danny Brown's boisterous bravado added into the mix, things just hit so much more effectively than when it's Peggy on his own. But the same goes for Danny Brown, whose had plenty of great songs here and there throughout his tenure, but nothing as monumental as this. "Scaring the Hoes" never. Lets. Up. This is an instant classic with a relentlessly exhilarating energy pulsating through the entire album and enough substance layered into JPEGMAFIA's meticulously curated backdrop that it's impossible to only listen through this record once. It's incredible. My stereo doesn't go loud enough. This is a magnificent leap forward for the entire genre of hip hop and a glorious glimpse of the shape of rap to come. As I said before, this year has been absolutely stacked with spectacular albums. And even so, we've never had an Album of the Year pick that was this unanimous. Honestly, I almost put it in a separate tier by itself.


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