There was a TON of awesome music released this year. So much so that our "good, but not great" tier was almost our largest collection of records. But that middle tier always swallows up the majority. Just barely this year though. And to signify sustained excellence without quite reaching dynastic status, we've chosen the 1990's Atlanta Braves to represent the incredible records that came up just a little short of championship pedigree. But make no mistake, like those perpetual divisional championship Braves teams, these albums kick ass.
#52. The Record by Boygenius
We haven't really had a supergroup like Boygenius emerge in quite some time. So I guess it was only natural to feel a little let down after all the hype surrounding the potential of an indie songstress Justice League assembling Phoebe Bridgers, Lucy Dacus and Julien Baker to conquer the indie musical landscape. But the biggest pitfalls for a supergroup to navigate are finding a way to utilize all of it's members' strengths and meeting the inherit expectations each member brings with them from their previous work. And with 3 distinct voices attached to this project, it's hard to feel like you're getting equal time with each of them. Honestly, most of the record just felt like Phoebe tracks with special guests attached. It didn't seem like Lucy or Julien really got behind the steering wheel until the last 3 songs. But that's not to say that there isn't plenty to enjoy here. Boygenius is at their best when they're a rock band, on highlights like "$20" or "Satanist". And those tracks are phenomenal.
#51. Ways of Knowing by Navy Blue
After 2021's sensational "Navy's Reprise", I was really interested to see where Navy Blue's musical journey might take us next. And there's a lot of what made "Navy's Reprise" great here - with introspective tracks like "Life's Terms" transitioning into "Phases" and a ton of throwback 90's East Coast Hip Hop production - something just feels off this time around. It all just comes off a tad minor. I think it might be the imbalance of the single heavy opening tracks ("Chosen" is great) paired with the slower, deeper, free flowing songs in the back end. The transition is fairly sudden and the reach for an emotional payoff feels unearned. It's still pretty solid but the statement it's trying to make doesn't quite land as meaningfully as it's intended. Good but not great.
#50. Disaster by Ostraca
After a decade or so of perfectly synced-up, ProTools double bass kicks and crystal clear, immaculately timed guitar chugs - it's more than a little refreshing to hear a post-punk hardcore act that sounds so human. Not afraid of it's flaws, but wearing them on their sleeves like a badge of honor. And even if the screaming vocals might turn you off initially, it's so instrumentally enticing that you have to appreciate the moving arrangements this group has concocted here. The singer is more of a punctuation on the statements being made by the rest of the music in all of it's angsty excellence. But this isn't some kind of artsy noisecore project, "Whilom" is a genuine assbeater. It just sounds like it was birthed in a dingy, mildew infested, midwestern basement instead of some million dollar production studio. Which is a welcomed change of pace, for me anyways.
#49. Another Triumph of Ghetto Engineering
by Open Mike Eagle
Bouncing back with another LP less than a year after 2022's underwhelming "Component System With the Auto Reverse", you knew Mike was either gonna run it back with guns blazing or desperately try to overcompensate for his previous misstep with a rushed follow up that only exacerbates his recent decline. Fortunately Mike sounds substantially more energized, engaged and inspired on this record. The production is phenomenal and any doubt that may have arisen about OME falling entirely off have been summarily squashed. He's still gotta be a little more choosy with his features though. Video Dave poisons everything he touches and Young Zee really dropped an R.Kelly pee joke in 2023? C'mon Mike, you deserve a better class of collaborators.
#48. Softscars by yeule
yeule's "Softscars" stirs up an intoxicating melding pot of glitch pop and shoegaze that transcends the electronic artist label, into more of a singer/songwriter/producer. It's incredibly unique and fun to watch the record unfold. "Inferno" might be the highlight but "Cyber Meat" is pretty exceptional as well. Honestly, it's all pretty interesting to take in. It's not always riveting but the stylistic choices were engaging enough for me to revisit this immediately after I listened through the first time. A worthwhile alternative for anyone a little underwhelmed with Jane Remover's new record.
#47. Endling by Kvelertak
Norwegian black 'n roll pioneers Kvelertak are back and carrying with them the triumphant ass guitar work and fiercely pounding blast beats that made their first two LPs so remarkable. And even though the departure of their original vocalist was a hard pill to swallow, they seem to have found a workaround for the new guy's shortcomings by just burying him in the mix. And it actually works (for the most part). The title track is really the only instance where his performance sours things. But the rest of the record is a solid "return to their roots" effort with a few fun divergences like the folk inspired "Dogeniktens Kvad" that leave hope for the future as well. But if this is the end, as the title "Endling" seems to imply it could be, this is a much more suitable farewell to go out on than their last two records.
#46. Stepdream by quannnic
As enamored as I was with the crunchy production on last year's "kenopsia", I can't deny that I was a little disappointed by how clean their follow up sounds. Don't get me wrong, there's still a ton of punchy, rich textures to be found here. And we even get their trademark, distorted guitar chug to open "Comatose" that hits you in the chest like a digitally compressed shotgun blast. But without all of the grimy overlays, this sounds like a much more traditional 90's grunge record. And the slower section from "Cover" to "Bryn Mawr" diminishes the momentum built up in the record's onset. But it's still a fun listen. Just not nearly as uniquely captivating as their debut was. Those guitar leads are an impressive addition to the formula though. I'm all here for more of that.
#45. Wasted Now by Good Looking Friends
Good Looking Friends has a really interesting blend of post-rock emo ingrained with the charm of Americana bar rock. "Wasted Now" almost feels like an At The Drive-In style epic delivered through a more blue-collar lens. There's funky, sparkle punk tap guitar but also sprawling, narrative lyrics that make this much more of a full album experience than 2020's "The Light of the Well" - which boasted some impressive singles but not nearly this level of track to track cohesiveness. This is an excellent evolution for this young group that leaves much to look forward to from them in the future.
#44. Blondshell by Blondshell
So. There's this weird theory floating around the internet that Blondshell is an industry plant. That after her failed run at becoming a pop star as "BAUM", Sabrina Teitelbaum rebranded herself as Blondshell in an attempt to capitalize on the current popularity of female fronted indie-rock with the help of her hedge fund mogul/NJOY chairman of a father. But whatever, I don't really think you should hold anyone's parents against them. And although she may be a nepo-baby, vape heiress - these songs are still pretty solid. "Olympus" and "Tarmac" in particular really stand out. So whatever route it took to produce this record, it came out well. And that's all I'm really here to look at. The music. So I don't know why I started this review off by perpetuating this "industry plant" narrative but I had to read about it so now you do too.
#43. One More Time... by Blink-182
After hearing the first single "Edging" coinciding with Blink's announcement that they were reuniting last year, I had the lowest of expectations for what this full length would entail. But stunningly enough, I think this might actually be a top 4 Blink record (after Enema, Dude Ranch and Take Off Your Pants...). Yes, there are a couple of complete duds - two of them just happen to be the singles - but overall I think they did a fairly decent job of recreating the classic Blink sound on tracks like "More Than You Know", "Bad News" and even progress their sound a bit in "Terrified" and "Blinkwave". But it is kind of like seeing your favorite action hero twenty years past their prime, being propped up with production tricks and auto-tune the same way Sylvester Stallone might rely on CGI and jabbing himself with Botox and HGH to avoid showing his age. So if you can overlook the contrived methodology it took to get here, you should enjoy this. But if you can't, I totally understand that too.
#42. Henry St. by The Tallest Man on Earth
It's been way too long since I enjoyed a Tallest Man on Earth record this much but the added instrumentation of recording with a full band for the first time really helps to develop his sound considerably. There's an energy pulsating through every song that's been lacking over the last several releases which give songs like "Slowly Rivers Turn" a welcomed dose of enthusiasm. But don't worry, things get plenty dreary on the title track. I just found myself much more interested in the growth of his upbeat songwriting capabilities. There are plenty of bummer Tallest Man on Earth tracks to choose from already. I'm more interested in this new evolution he's developed.
#41. We Cater to Cowards by Oozing Wound
Chicago's thrashy, sludge rock 2 piece feels like "Bleach" era Nirvana frozen in time. It must be a comparison they hear often, judging from their 2020 album "Blech". But it's unavoidable. The fun and punchy chaos would make for a solid Meat Wave opening act and even though the formula can get a tad repetitive, it's certainly effective. "The Good Times" is one of my favorite tracks of the year and while they've definitely honed in on this very specific sound - I'm anxious to see what they can grow into moving forward.
#40. Burning Desire by MIKE
MIKE has slowly been drifting from a promising abstract, underground MC on the rise to just another sleepytalk rapper - but the production here elevates his work so effectively that I think this may well be his best album to date. The eclectic collection of 1980s synth styles interwoven with classic soul samples and contemporary electronic flourishes makes for one of the most unique backdrops you'll find anywhere in hip hop. And the combination of the infectious beat under MIKE's sensational flow makes "plz don't cut my wings" the best song in MIKE's entire catalog and one of the best tracks of the year. Truly sensational.
#39. Black Tar by Scalp
At just 13 minutes in length, Scalp doesn't waste a second of their brief runtime with their in your face culmination of metalcore breakdowns and power violence intensity. Did I mention the breakdowns? They're fucking insane. Just a relentlessly raw and powerful record that's easy to leave on repeat for days without tiring of it. I just wish there was more. But damn, as it is, this thing fucking rips. Absolutely stellar. Pump this black tar straight into my veins for eternity.
#38. Destroyer by M.A.G.S.
As my first foray into Elliott Douglas' work as M.A.G.S., I found myself kind of surprised at how easily I just acquiesced into this wild blend of genres. It's a stunningly smooth culmination of soulful post-rock and power pop that really got interesting the closer it veered towards post-hardcore (like on "Sins", that shit rules). When I stepped back from it, I was honestly surprised I didn't hate this. But it's got such a great, upbeat energy and youthful exuberance exuding from the freedom displayed in the songwriting that's just undeniably endearing, even taking into consideration how simplistic the construction can be at times. But the grooves just hit so right for me that as much as I wanted to, I couldn't get hung up on shallow lyrics like "one last chance to fuck and get high". It was fun, I enjoyed the ride, and I'm eager to hear where M.A.G.S. progresses on his next effort.
#37. STARFUCKER by Slayyyter
Slayyyter's sophomore LP, "STARFUCKER", is effortlessly catchy synthwave electropop that only occasionally shows it's ugly plasticity on tracks like "Purrr" and...well "Plastic". But if you can ignore those momentary superficial blotches, Slayyyter delivers a mostly satisfactory collection of dancy club bangers like "Memories of You" and "Out of Time". Also, I think "Erotic Electronic" might have been a better album title as it encompasses this record's attitude much more effectively than "STARFUCKER". But Slayyyter seems a little preoccupied in prioritizing provocation over providing any profound purpose to her work. Fuck that sentence had a lot of P's.
#36. Formal Growth in the Desert by Protomartyr
Protomartyr has sculpted their post-punk craft to near perfection at this point but that doesn't mean you won't find the band pushing to get the most out of themselves right out of the gate with the opening track "Make Way". The plodding hook and exquisitely executed percussion are what this band does best, paired with emotional lyrical explorations like "Can you hate yourself and still deserve love?". It all adds up to yet another outstanding outing from the genre veterans. My favorite track though is probably "The Author". That shit's awesome.
#35. The Fall Collection by Hemlock Ernst and Height Keech
Hemlock Ernst has become one of my favorite up and coming hip hop producers and he absolutely earns his top billing placement on this collaboration with Height Keech. Who's fine by the way, but definitely nothing spectacular either. It wasn't until I hit "Oregon Shore" that I realized that even though I liked his flow, most of his lyrical content was pretty forgettable. Although the more melodic delivery on "With The Devil" shows a ton of potential for what Keech could grow into and develop as more of a unique vocal presence. But Hemlock delivers an insane collection of fuzzy '60s rock guitar blazing through soul grooves and boom bap drums. "Flat Meridian", "Suspicious World", "40z On The Front Porch", "Hard Truth", "Eulogy" - they all hit incredibly well. Height Keech just doesn't always live up to the song's potentials. But I'm more interested mostly in the music of hip hop, not the lyrics, so Hemlock absolutely carries this for me.
#34. Lessons That We Swear to Keep by Free Throw
After a few missteps, it seems Free Throw has finally found a way to mature their sound past their midwestern emo roots with their best album since "Bear Your Mind". "Lessons That We Swear to Keep" is not only a return to form but a progression of the group's sound with impressive tracks like "So Yeah, So" and "Into the Wind Stream" leading the way into exciting new terrain. It all culminates on the album's phenomenal closer "What Comes Around is All Around" which even enlists a violin & piano for the outro. I had all but given up hope on Free Throw after 2021's "Piecing it Together" but this record finds the group reinvigorated and impassioned in a way I wasn't sure they'd be able to recapture. But I'm so glad to be wrong.
#33. Don't Look Back by Hurry
I'm not sure what it is about this record that finally clicked with me, because like their previous album (2021's "Fake Ideas") I could still say that their tracks do run a little long and start to get somewhat indistinguishable from one another. But everything just felt so much more full this time around. I'm not sure if it was the Brian Wilson style falsettos or the occasional flare of trumpet but I really found myself entranced with this mix of delightfully airy, Lemonheads flavored power pop touting equal measures of dour lyrics and punchy hooks. From the stellar opener in "Didn't Have to Try" to the inexplicably fun "Around My Heart" and the magnetic ballad "For Us to Find Love" - this album never really lets up. It's one of the most consistently engaging listens of the year, even if that continuance in sound could be misconstrued as a negative.
#32. Integrated Tech Solutions by Aesop Rock
As you might expect from the title and exquisite album art, "Integrated Tech Solutions" is a sensationally produced record that sounds like what we might have anticipated the future sounding like in the early 90's. But I will say the facade starts to feel a little gimmicky about halfway through the record, specifically on "Salt and Pepper Squid" and the entirely skipworthy "By the River". But the bigger crime here might be Aesop Rock's inability to land a resounding hook or chorus. But overall, it's still a pretty fun listen. Aesop's flow on "Living Curfew" is absolutely astonishing, the loving Mr.T tribute "100 Feet Tall" is fairly charming, and the storytelling done on "Aggressive Steven" is top notch.
#31. One Nightmare Unto Another by Profane Order
I'd never come across the term "War Metal" before but apparently that's how people are describing the pounding brutality of this Canadian 4 piece and it's honestly kinda perfect. But the record covers a vast terrain of metal subgenres and while there's plenty of great riffs and insane solos, there's also the occasional but much welcomed groove that kicks in and really balances out this wonderfully chaotic cocktail quite beautifully. And the record cooks along at such a brisk pace that you can't help but start it over again once you hit the end. Stellar work here boys.
#30. Death is Nothing To us by Fiddlehead
I love the sound of this band but something about the repetitive nature of the songs and static formula deployed throughout the record makes it feel like even though this is the best Fiddlehead effort yet - they still haven't quite reached their full potential. The pieces are all here - it just hasn't been fully assembled. Yet. But the progress made is an undeniably breezy punk record that's easy to get hooked on. But something about the simplicity and redundancy of the song structures ("Queen of Limmerick" being the worst offender) just leaves me wanting a little more. It's not quite complex enough to lean fully into it's hardcore tendencies and the hooks aren't quite catchy enough to rest on the repetition implemented. But I still enjoyed it enough to listen through multiple times so I don't know why I'm spending so much time repeating myself about my issue with their repetition. Ironic, isn't it? Sorry. This is really good. One of the best punk albums of the year. I'll shut up now.
#29. Delude by TELOS
There are so many different subgenres of metal at this point, I guess I shouldn't be that surprised when I hear someone combine 2 of them that I've yet to hear paired together previously. But grimy sludge metal mixed with technically profound mathcore really makes for an interesting compound. "I Accept/I Receive" is absolutely stunning but "As Atlas Stumbled" might be even better. And with the complexity at hand here, the record really grows on you the more you listen to it and unpack the layered details. It's a fantastic debut from this group out of Denmark that shows immense promise for what's to come from them in the future.
#28. Glorious Game by El Michels Affair & Black Thought
After last year's sensational "Cheat Codes" Black Thought has returned with yet another stellar collaborative effort, this time utilizing the ultra smooth production courtesy of El Michels Affair. It's an incredible blend of throwback soul, contemporary bass and cinematic compositions that provide a lush soundscape for Black Thought to fill and he does so spectacularly. Other than "Glorious Game", I do wish the songs weren't quite as short though. But songs like the aforementioned title track and "Alone" really showcase the talent that both of these artists bring to the table. The collaboration helps each contributor to really accentuate the abilities of the other and I'm ecstatic to see who both of these artists go on to work with next.
#27. Heater by Phony
With their third follow up album in the past four years, Phony seems to have finally recaptured that seamless track to track consistency they displayed so expertly on their 2019 debut, "Songs You'll Never Sing". With a pulsating energy that never really lets up and a brief 21 minute runtime, this record is begging for repeat listens. And if you enjoy the album standout "Card in a Spoke" you're likely to keep this thing running at least 2-3x through. Hopefully the stamp of approval by being brought under the Counter Intuitive Records label will get them the larger exposure they deserve, because this band kicks ass.
#26. When No Birds Sang by Full of Hell & Nothing
I was such a huge fan of Nothing's 2018 record "Dance on the Blacktop" (imo it's their best record to date) and when they followed it up with "The Great Dismal" I was a little trepidatious that they might be reverting to their slower, less interesting shoegaze roots. But in the year of the collaborative album, Nothing has formed an unlikely duo with deathgrind, sludge metal veterans Full of Hell for this unexpectedly potent team-up that finds both groups navigating uncharted territory. Well, fun might not be the word to describe this record. But it is incredibly entertaining. I hope Nothing finds a way to integrate this kind of hard edge into their music going forward because it's such a great balance of juxtaposed styles that play off of one another quite brilliantly.
#25. Dial M for Meds by Taking Meds
While it may be their 4th full length, "Dial M for Meds" feels like an arrival for Taking Meds and their most fully realized effort to date. It's relentlessly anthemic unfurrowing of airy and upbeat, 90's tinged emo that would tickle any Promise Ring fan in it's simple but effective delivery. "Aftertaste" is probably the standout but honestly, the entire run from the album's opener "Memory Lane" all the way through "Wading Out" is practically flawless. Really the only skip on the record is "Kindness" but without that track, it would be incredibly easy to listen through this record ad nauseam. I probably clocked it 4 times the day it was released without even thinking about it. An incredible achievement for a band leveling up for their most fully formed record to date.
#24. Again by Oneohtrix Point Never
In this autobiographical sonic collage of inspirations, Oneohtrix Point Never seamlessly melds orchestral arrangements, acoustic glitch rock and his trademark experimental electronica into a beautiful conglomeration that makes up the stylistic DNA of OPN. But on top of the impressive execution of balancing seemingly disparate sounds, there's also a stunning ability to maintain the experimental nature of this project while adhering to more traditional song structures. There's an underlying infrastructure resembling a cinematic narrative here but somehow OPN never abandons his tact for pushing into untraditional song structures. The stretch from "Nightmare Paint" on through to the end is extraordinary ("On The Axis" being the highlight). Also the album art may be my very favorite of the year. And I can't wait for this dude to do another movie score. Let's go Safdies!
#23. Voir Dire by Earl Sweatshirt and The Alchemist
I know I'm almost certainly in the minority here but I think this might be my favorite Earl record thus far. But it's not really because of Earl, though he's less sleepy and mumbly than usual here. The Alchemist is doing the majority of the work on fire tracks like "Vin Skully", "All The Small Things", "My Brother, the Wind", etc. With so many great cuts here it's kind of odd that my least favorite track, "Sentry", is being rolled out as the single. It just feels a little clunky compared to how precise and polished the rest of the album is. Also, I really hope this gets a more traditional release because I've already forgotten my music.gala login - the weird NFT collection platform this record was exclusively released on. But at least all I had to do was give them an email address to hear it. This wasn't like "Donda 2", so everyone can calm down bitching about Earl's NFT record.
#22. The Whaler by Home Is Where
Following up our pick for 2021's Album of the Year, Home Is Where returns with an allegorical epic centered around 9/11 and living in the wake of a seismic tragedy. And while this record exhibits the same dramatic and sudden shifts from tepid, acoustic indie ballads to anxiety-ridden, chaotic post-hardcore outbursts; the longer format seems to put a damper on the energy and excitement that the recipe elicited in their previous release. Especially the longer tracks at the album's onset, which really bog down the proceedings. Meanwhile, everything after "9/12" hits much more effectively. And with the way the album circles back to the opening on the last track; it really makes me wonder how much better the record would have played if it had just started with "9/12", played through the last four songs as is and tacked tracks 1-4 after "floral organs"? But the album still has a lot of great moments, even if the first half feels a little more drawn out than it needed to be.
#21. Food for Worms by shame
Abandoning their droning post-punk tendencies for more anthemic, chorus driven tracks - shame seems to be hitting their stride with "Food for Worms". The melodic vocal arrangements on standout tracks like "Fingers of Steel" and "Adderall" make for some of the best material they've ever produced as a band. But the heavier flourishes on "Orchid" are just as interesting and display a stylistic range I didn't anticipate from this group. And one that I hope they continue to further develop going forward. As long as they stay away from the weird psych-rock divergence "Six Pack", I think this band has an incredibly promising future ahead of them. A wildly entertaining collection of styles, somehow strung together in a cohesive ensemble that make up this group's unique aural fingerprint.
#20. GUTS by Olivia Rodrigo
Without terrestrial radio or MTV playing into my residual rotation of music consumption, I haven't really felt inundated with any artist's promotional push the way I used to with Britney Spears and the various boy bands of the early aughts being shoved down your throat at every turn. Well maybe T*ylor Sw*ft, but that seems to be a byproduct of her own personalized marketing arm and online army of overzealous Sw*fties. But Olivia has reached that point with me here, as this record has already grown off of me pretty substantially since it's release. There are still a few really powerful and well constructed tracks, like "Logical", "Love is Embarrassing" or the first single "Vampire". But there's an aura of vapid popstar seeping into her work on "Bad Idea Right?" and "Get Him Back" that wasn't there in her debut and already makes me feel like the industry has it's hooks in her. Hopefully she grows out of it because she's an astounding songwriter and her vocal performance seems to be improving here quite a bit as well; carrying the songs in a way I wasn't sure she was capable of before this.
#19. Year of the Newt by Bobbing
With one of the most impressive electronic debuts in some time, Robert Ross' bombastic exploration of hyperactive instrumentation arranged under smoothly composed funktronica pop tracks is a layered journey through audio bliss. It's like one of the Chromeo dudes split off and made an easy listening hyperpop soundtrack for a new Sonic the Hedgehog game. And like Sonic the Hedgehog (at least the first 3 games anyways) I found myself wanting to revisit this repeatedly in order to fully appreciate and unpack all the expertly, hella crisp details so meticulously orchestrated. After all the brooding, self-serious synthwave we've endured recently, it's nice to see somebody come in and make electronica fun and dancy again. And Bobbing has achieved just that with this superb, gapless album experience.
#18. HELLMODE by Jeff Rosenstock
Jeff Rosenstock has established himself as such a genuine and thoughtful voice in the DIY community that I'm always gonna stop to hear what he has to say. Even if you don't agree with it, there's principal behind every decision he makes and that applies to his music as well. But for the first time in quite a while, we're treated to a much more subdued Rosenstock record, more intent on providing shelter among the chaos than pillaging forward through the debris. Granted, "HEAD" is among the most frantic tracks in his catalog but the back half of the album really slows things down considerably. "Graveyard Song" probably achieves this kind of angsty (dis)comfort quality most successfully. But "Liked You Better" is a top tier Jeff single and one of the catchiest he's ever put out. The dude really doesn't miss and this record, while maybe not his best, just deepens his already impressive setlist of incredible tunes to pull from. And he really knows how to write a great album opener, doesn't he? Man, am I just punishing him because of how perfect "NO DREAM" and "WORRY" are? This record is really fucking good.
#17. Memento Mori by Marduk
Marduk has returned with the most impressive metal album of the year and yet another testament to their 30 year reign of black metal bliss. The impeccable percussion on "Year of the Maggot" is absolutely breathtaking and the chaotic energy surging through "Blood of the Funeral" is incredibly impressive for a band this deep into their discography. At this point you would think Marduk has nothing left to prove and yet here they are with another stunning display of brutality, even pushing their sound into new terrain on the slow and powerful album closer "As We Are"; which exhibits a potential for even more great things to come from this exceptional act that shows they have no intention of resting on their laurels anytime soon.
#16. Quaranta by Danny Brown
Even though Danny started a progression into a more subdued, calmer vocal delivery on 2019's "uknowwhatimsayin?", the lyrical content wasn't anywhere near the level of introspection he hits here. There's a pattern of every other song starting with "Tantor" and ending with "Jenn's Terrific Vacation" where Danny emulates the high pitch signature sound he's known for in between this new found style of somber, reflective tracks. And in a way that's incredibly rare for rappers, "Quaranta" sees Danny Brown maturing right before our eyes (ears?) past his youthful trademarks of x-rated sexual bravado wrapped in a cartoonish vocal aesthetic, to deliver a candid testimonial about his career leading up to his 40th birthday and evaluating where he sees himself in the industry thus far. And again, something that's unbelievable rare in hip hop, Danny seems to be getting better with age. The back half of the album is immaculate, highlighted by "Celibate", which features one of the best hooks of the year. "I used to sell a bit, but I don't fuck around no more, now I'm celibate". Hard. For those who were under the impression Danny Brown was just a gimmicky rapper that would inevitably flame out, I have bad news - dude is just now hitting his prime with his best solo record to date dropping 2 years after his 40th birthday. Danny Brown is here to stay.
#15. Doom Singer by Chris Farren
Chris Farren has been one of the most charismatic personas in DIY for years but I'm not sure he's ever had a signature album fully capture his essence as brilliantly as "Doom Singer" does. It's one of those records that gives such vivid insight to who he is as an artist that it helps to paint all of his previous works with a more enlightened perspective and retroactively enhances them as a result. The outstanding blend of nihilistic, dreadful lyrics dropped into upbeat, charming indie-pop rock tracks is executed sensationally well as we find Chris putting on a smile and laughing with us (to keep from crying) in the face of our impending extinction. "All We Ever", "Doom Singer" and "Cosmic Leash" are all career bests on an album that firmly cements his place as one of emo's most distinct and prominent songwriters. Now let's hope there's still a possibility for a new Antarctigo Vespucci record sometime soon, because hearing Jeff and Chris collaborating at this point would be exquisite.
#14. Pure Music by Strange Ranger
After 2019's "Remembering the Rockets" and the news that Strange Ranger was calling it quits shortly after this album was released, my expectations were pretty low for this record. But I ended up listening through it maybe 3-4 times in a row when I finally checked it out, partly out of sheer enjoyment but also somewhat in disbelief. Was it really as good as I initially thought it was? Yup. And I was so happy to be proven wrong because this record is exceptionally well constructed jangle-pop fused with synth-gaze smooth guitar solos, sultry saxophone bursts and insanely intoxicating ethereal textures. The whole thing feels like navigating some serene dreamscape, on a medicinal high you'll spend the rest of your life chasing to try and replicate. Man that sounded hella drug addict-y. I swear I'm clean.
#13. Post-American by MSPAINT
As a washed up guitarist myself, it's been kind of a bummed to see the way guitar centered music has waned in popularity. But seeing the way a punk band like MSPAINT can push the boundaries of an otherwise stale genre that hasn't evolved much at all in the past 20 years by eliminating guitars altogether is nothing if not impressive. They're one of the most innovative and promising young acts to emerge in some time, sounding like Horse the Band without the nintendo-core gimmick or a much more inventive iteration of what Turnstile tried to do with "Glow On". The eclectic composite of hardcore, electronica and rap-like vocal delivery make for one of the most unique albums of the year and lay the foundation of a phenomenal launching pad for this group's infinite potential to send them into orbit.
#12. Gag Order by Kesha
For anyone who hasn't been keeping up with the #FreeKesha saga surrounding her 9 year long legal battle with producer and label owner Dr. Luke, just know that it's been a LONG road to "Gag Order". And no, you're not misremembering things, Kesha did already release a bounce back effort in "Rainbow" that brought her momentary mainstream praise - mostly thanks to her stunning vocal performance on the album's breakout single "Praying". But it doesn't even begin to scratch the surface of the emotional wreckage Kesha expertly unpacks on this record. I never thought the party girl from "TikTok" would release a spiritual successor to Kendrick Lamar's "Mr.Morale and the Big Steppers" but goddamn, this is stunning. When it comes to hyper-realistic, uncomfortably therapeutic introspection Kesha might have even outdone Kung Fu Kenny, to be honest. Producer Rick Rubin brings in a mesmerizing, progressive electronic backdrop that enhances Kesha's message without ever taking the spotlight off of her. It's an incredible post-pop achievement from one of the most unlikely collaborations of the year.
#11. Beloved! Paradise! Jazz? by McKinley Dixon
Continuing down the path he started on with 2021's "For My Mama And Anyone Who Look Like Her", McKinley Dixon returns with a fresh batch of his distinct brand of jazz and soul inspired hip hop in his most widely accessible effort to date. But that doesn't mean he's sacrificing any of his artistic integrity - there's still plenty of abstract instrumental breaks and spoken word segues. But it's all delivered in such a brisk, breezy, fun, and heartfelt package that it never comes off pretentious or sappy. It's all so genuinely impassioned that lines like "I didn't fall in love, I was raised in it" hit you like a fucking sledgehammer. The best way to really describe this time capsule that effectively blends different eras of black expressionism like jazz, soul and hip hop into one cohesive listening experience might just be found in the album's title - it's a beloved jazz paradise.
#10. light is gone 2 by Field Medic
I was a little trepidatious about getting another Field Medic record so soon after his superb 2022 effort (which just so happened to be our pick for Album of the Year) but for the most part, this only solidified my adoration of the audacious singer/songwriter. This isn't just a victory lap of "Grow Your Hair Long..." leftovers or "Light Is Gone" B-sides. Field Medic is ambitiously pushing his seemingly contrasting tendencies for rustic sadboi, indie-bajo ballads and upbeat electronic enhancements further than ever here. You can find this blend most prominently exhibited on the album's opener which starts off sounding like a heartbreaking Tallest Man on Earth track which then gets blindsided but an unexpected 808 drop leading into the chorus. Then we're treated to one of the best pop tracks of the year in "TSION" which ditches physical instrumentation altogether for a fully electronic, certified banger. The range displayed here is astounding. I'm so enamored with the ingenuity he's tapped into here by recapturing the feeling of creative exploration from his debut (which this serves as a spiritual sequel to, hence the name "light is gone 2") that while I went into this album hoping he'd take a little more time between releases, I came out of it already anxious to see where he takes us on the next LP. Dope Girl Chronicles. Coming 2023.
View the Rest of the 2023 Year in Tiers Here:
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