When it comes to my music habits in 2023, it’s been business as usual. I’ve let Spotify run through many of my established favorites with its Daily Drive feature, and I’ve often found myself discovering or rediscovering old music. But I have made a sporadic effort to stay abreast with new albums.
Can’t say I heard a whole lot of slam-dunk new releases—most albums I heard offer a smattering of tracks I like and a lot of filler or noise I could do without. Haven’t come across any new albums I’d give a perfect score to. There are pleasant surprises though: new electronic albums by Orbital, Aphex Twin, BT, Everything But The Girl, and Little Dragon are solid. Rock and metal constitute most of my favorites, with Foo Fighters, Winger, and Metallica offering some of the best listening experiences of the year. There are a few surprisingly good pop albums in the mix, with Kesha emerging as one of the most surprisingly artistic voices of the lot.
As usual year after year, heard plenty of new songs I enjoy, and plenty I don’t care for. Here are the 2023 albums I heard in ranked order.
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54: Otep - The God Slayer
The biggest issue with The God Slayer, however, is that this is the most garish music I’ve heard all year. I can take the screaming and the loud guitars, but when you get to “Exit Wounds,” Otep’s worst qualities become apparent and can’t really be unseen—the over-reliance on whispers and vocal fry. For some weird reason, “The Way I Am” and “Pet” are sung in a voice I can only describe as the hyper Pee-Wee Herman voice—it’s either unintentionally funny or unintentionally stupid. “California Girls” is probably the lowest point though, with the song turned into an agonizingly slow-paced sludge of noise.
It’s weird, because I almost like this album. I almost see a point behind the songs, but I also don’t. There are songs I can tolerate, but also several I can’t. Between the ugly sound, questionable style choices, and questionable song choices, I have to peg this as the worst of the lot. At least the other albums I hated were harmless—this is a butchery of much better music, and Otep herself is capable of better.
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53: U2 - Songs of Surrender
Forty songs redone in a slow, acoustic style. Joy.
Don't get me wrong—I like a lot of slow, acoustic covers (or covers done in other styles), but to have U2 cover their own famous songs this way is rather frivolous. What makes it bad is that I don't really hear much energy or passion put into these. Guitars drums and things definitely added a much-needed layer to keep the music engaging—as it is, hearing these songs stripped-down is a little boring, to say the least. To hear this done for forty straight songs is way too much for continuous listening.
I will admit that I like one or two of these ("Vertigo" being my song of choice—I suspect hearing fast songs slowed down is inherently more interesting than anything else, but it helps that this one has a decent rhythm). Didn't care for the rest though.
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52: Asian Glow & sonhos tomam conta - Dreamglow
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51: JPEGMAFIA x Danny Brown - Scaring the Hoes
This is the album of the year according to RateYourMusic. Unfortunately, I can’t see eye-to-eye with this one. Sure, the beats are heavy and the rhymes are sick, but it’s hard to really appreciate it beneath the heavy blanket of fuzzy bass and chunky noise. There is a ton of noise between the electric squeals, echoic vocals, guitar feedback, and overdriven screams. I don’t find any of this cool—it’s oppressive and garish. Hell, I almost hate this more than Otep’s album, but at least it’s original music that probably has points to make. I just can’t connect with it through the layers of noise.
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50: P!nk - Trustfall
That is not to say that it’s valueless or unemotional. Pink seems to have built this album from personal grief and pain, and “When I Get There” was penned as a loving tribute to her father. Chances are that listeners and fans will find something tear-jerking in one song or another thanks to the personal touch and the focus on the roller coaster ride of life’s struggles. The problem I have with it is the tone and lack of variety—this becomes one ballad after another, each one awash in saccharine sentimentality that wears out its welcome fast, and it becomes grueling for a 44 minute album. Granted, “Trustfall” is fairly catchy, but I struggle to find many great hooks in the rest of the music.
It might just be a personal preference, but I found this largely unappealing, and maybe even cringey. I can admire Pink as an artist, this is simply not my favorite work of hers. At least it’s something new though, unlike U2’s album.
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49: Tarja - Dark Christmas
But is this a good fit for Christmas music? Much less a whole album’s worth of traditional carols and songs that we hear every year? Tarja transforms every familiar tune into dark nightmares, which would be funny for songs like “All I Want For Christmas Is You,” but she plays these songs so straight that they elicit no sense of irony (and certainly no joy). In fact, the instrumental approach to this album, all rendered with sweeping orchestrations and crescendos that sound befitting for movie trailers, makes every song sound ridiculously dramatic where drama is not really warranted. Tarja basically twisted the classics to fit her brand, sucking the life of out of them despite aiming for the dark Tim Burton type of vibes. Even though many of these Christmas tunes get overplayed every year, they all sound dour with this approach, whereas Tarja’s last Christmas album from 2006 (Henkäys ikuisuudesta) struck a more appropriate tone.
Is it weird that I think Otep could have done a more exciting job at this than Tarja?
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48: Hole Dweller - With Dreams of Hereafter
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47: Thirty Seconds To Mars - It's The End Of The World, But It's A Beautiful Day
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46: Lukas Graham - 4 (The Pink Album)
This album comes across as the stereotype of modern pop, as if somebody stuck Bruno Mars, Imagine Dragons, Justin Bieber, and Harry Styles all into a tall glass and blended them into a sugary milkshake. Graham’s album is built entirely from good feelings gushing out of the soul-inspired vocals and instruments. While I can follow the hooks and melodies with a reasonable level of intrigue, the tone consistently repels me. The music is so derivative and sterile that it doesn’t leave a lasting impression (and might even come off as dated and cringey).
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45: Sam Smith - Gloria
Some of the buzz around Sam Smith has been rather unbecoming, given the controversies in the news over performances and outbursts. The music itself is fine though. "Unholy" definitely caught my attention because it's such a dang weird song. Something about the vocals, hip-hop beat, and suggestive lyrics is catchy, but with a unique melody that makes it sound uncharacteristically seedy and exotic. It might actually be the biggest outlier on the album, because every other song on Gloria is slower, more light-hearted, and more conventional. Lyrics are relatable, and Sam's voice has enough soul to push their emotions to the forefront. Given the smooth quality of Sam's voice, it's all an admirable effort.
That being said, "Unholy" remains the only song that I find myself replaying (likely because it is so different). The album overall is just fine, but not exceptional to me.
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44: Ava Max - Diamonds and Dancefloors
A fair collection of dance tunes. Just about every track keeps the tempo high, thanks to the pulsing disco beats and catchy rhythms. Ava's voice is solid, and the instrumentation shows a solid, polished production quality. And yet, that's kind of the problem—the album is so polished and smooth, it's kind of flat. None of these tracks really spoke to me or begged for a revisit—it all just passed over me as a wave of dancehall noise. It's fine in the moment, but it doesn't leave a lasting impact.
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43: Gorillaz - Cracker Island
It might finally be time to admit that I liked The Gorillaz best during their Demon Days days. Maybe some of the Plastic Beach too. Afterwards, I've struggled to really find something to like with their latest songs, and despite a bit of hype, I found Cracker Island rather mundane.
To be fair, there are good songs to be found. "Cracker Island" has a great disco vibe, and it's catchy enough (maybe even cool enough) to warrant respins. "New Gold" is pretty smooth too, thanks to the same qualities. Not really fan of other tracks (even with Stevie Nicks as guest vocalist on "Oil"—that's a dream collaboration come true, but I'm not a fan of the song itself). The beats and retrowave stylings are laid on thick in other songs, but melodies rarely hooked me. It wears out its welcome by the last few tracks, which I find to be my least-favorite on the album anyway. Love the cartoon characters and all, but something about many songs leave something to be desired.
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42: Sirenia - 1977
Although I often miss the edge that made Sirenia’s first few albums rock hard (where did all those death growls go?), their latest album pushes an epic tone and gothic style that sounds agreeably wonderful. Vocals and instrumentals are fine—rarely exceptional—but the melodies and hooks in songs like “Deadlight” and “Wintry Heart” are enough to keep my interest. I do wish there was something more to set this apart (especially since Sirenia, Delain, and Epica sound so close in style sometimes), but 1977 has a few good standouts.
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41: Kylie Minogue - Tension
Pretty standard dance music. It starts off promising with the unusual, exotic, hypnotizing flavor of “Padam Padam,” which is easily the most addictive dance song I’ve heard this year. The rest of the album is harmless, and I do appreciate how the instruments lean more into the synths and keyboards that gives the album a retro appeal without sounding too derivative. Sadly, I didn’t find the other songs nearly as captivating, especially since “Hold On Now” and “Things We Do For Love” pushes a more sugary tone. It’s not a slam dunk the way Fever was over twenty years ago, but Tension is still a fair listen.
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40: Moby - Ambient 23
That is not to say that the music is bad though—this is a style that I'm still learning to appreciate, as I see value in this as gentle, calming white noise that could serve any purpose. Moby definitely aims for emotion when he introduces the piano and air pads—it often times falls flat for me. But there are a few tracks (like amb23 - 4) where the sound is agreeably unique and fascinating, even in a shapeless format. It's good stuff to relax to—wouldn't be my first choice, but it's a fair selection when seeking a meditative experience.
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39: Louie Zong - Let's A Go!
What if Super Mario Bros was funky and smooth? Louie Zong reinvents a handful of classic game tunes with a classy disco style, and the beat is definitely hip and dance-able. It has all the right elements to make it a fair, consistently energetic experience. I ultimately caved on this release for the smooth take on "Dire Dire Docks," and that alone is pretty slick. The album as a whole seems a little rough in some spots, but it's good for background listening.
An enjoyable rock album. I never thought much about Iggy Pop's voice, but I can't deny that there are older songs of his I like, and there are songs I like on his latest release. "Strung Out Johnny," "New Atlantis," and "The Regency" are as catchy as they come, often with the strong satirical bite I've come to expect from punk music. However, there is a bit of a new wave veneer to this as well, giving even the fastest and rawest songs an electronic polish. Can't say I like the whole album, but it's a decent experience with a few standout tracks.
Is it me, or are diamonds a common theme this year?
I typically do value this kind of sound, which combines the uplifting power of the guitar with meditative background synths and pads (voices even) and an even-keeled beat. Same reasons why I might pop in Santana sometimes, but there's a more otherworldly vibe to Outlanders that reminds me more of those Lichtmond videos I imported from Germany (or heck, I suppose Enigma produces a similar soundscape too). It is definitely a sublime effort that I find moving, and I'd be willing to spin this album often for the slick combination of power and ambience. The only problem with the album is its sheer length—with 85 minutes of this, with every song exceeding five or six minutes, and with every song having the same style and tempo, it can wear out its welcome. There is such a thing as too much of a good thing, but if you're in just the right mood, this album could be quite the profound experience.
This is a band I wish I could give more time to, because on the surface their tracks just sound so cool, jam-packed with throbbing basslines, smooth synths, squealing guitars, and high-tempo beats. It has all the style of retrowave, but it goes hard and fast. 200XAD exemplifies all these same qualities, pushing a vibe that's cool, futuristic, but characteristic as well. With 72 minutes of music here, there is no shortage of inspiration for the aspiring sci-fi writer, but it can also be a really good study music or just a really cool backdrop. I even like how the track titles have cute references, like "Multipass" or "Nakatomi Night Assault." IYKYK.
One bad mark on this album, however, is sadly on their most popular song—“Pour Some Sugar On Me,” which mutates a rip-roaring rock anthem into a saccharine love ballad. It’s so watered-down and sappy that it becomes cringey. Skip that track, the rest is solid.
It’s been a tough time for Dave Grohl, given the passing of his mother and of drummer Taylor Hawkins. Grief and soul definitely pours into the latest Foo Fighters album due to these tragedies, even though there’s a consistent upbeat quality to the standard arena rock formula. I ultimately appreciate the prevailing optimism the album represents, especially in a song like “But Here We Are.” Like Grohl himself picking up the drumsticks to continue the band’s legacy, there is an acknowledgement of pain and loss, but an inspiring resolve to live and appreciate the moment.
All that being said, I am guilty of not giving the Foo Fighters their due, since this is the only album of theirs I’ve heard in full, latching onto a few of their hits sporadically. Musically, But Here We Are has several tracks I like and enjoy superficially, a few I don’t care for, but it is collectively a solid album with enjoyable melodies and riffs. It does behoove me to dive deeper into the band for a more informed judgment, but I was charmed and inspired by their latest.
Obviously, this music was made to match the movie, so it has a lot of unique cues that might sound off or fall flat out of context. Otherwise though, I am completely smitten by the haunting atmosphere invoked by the stings, piano, chorals, and pads. It swings through some grand emotional and dramatic highs, but there is a consistent ambience and a sense of class to the whole score that makes it suitable for study, reading, or background ambience.
Awesome stoner rock, plain and simple. Even though it consists of only four really long tracks, they captivate interest in the way the guitars keep the structure unique and varied the whole way through. The tempo remains high for the most part. It will sound awesome during the highest swells, and there's still mood and energy in the slower moments. As a fan of guitar music, this whole album just kept me enthralled the whole way through. It's apt for writing, or doing other dedicated tasks, but even on its own it's quite spectacular.
Nabbed this during a FiXT sale, and knowing the various brands the label invests in, I kinda figured this would be more of the same—some high-energy blend of metal and electronica. It has the potential to be bland, but Nitroverts achieves a certain style that reminds me of why I fell in love with bands like Linkin Park or Adema many years ago—there’s a tone to these songs that invokes a dark, futuristic vibe, but with gut-wrenching emotions. Endogenous is a consistent and good listen with melodies that managed to hook my ears sufficiently (“Starting Point,” “What’s Going On,” “Control,” “Not a Monster” being good standouts). This might be a good new band worth keeping an eye on.
There is a rather mundane quality to the release (because, let’s face it, the bar was set high a long time ago with their classic 80s albums), but among their more modern output, 72 Seasons remains consistent to the style and energy of Hardwired…to Self-Destruct, with a few standout melodies. I was rocking out to “72 Seasons,” “Shadows Follow,” and “Inamorata” the most (the latter being an epic closer with a hard-hitting melody that I’d rank as a new favorite). Songs in between don’t stand out quite as deeply, but they’re rarely boring either—the tempo is consistently strong and the power of the guitars and vocals carry the whole album. No, it’s not the band’s best, and it’s not the best metal album in general, but it’s solid as iron and will get the job done.
I haven't listened to this as often as some of the other albums, but the quality alone convinces me. It is possible that I could discover another album that outclasses this one, but after hearing more than 40 new records in many different genres, it's hard to picture what could top this. Given the exotic nature of the sound, the dreamy vocals, and compelling structure, I feel confident in pegging this as my personal album of the year.
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38: Phutureprimitive - Mind's Eye
Phutureprimitive has become one of my go-to electronica bands lately, as it seems like all of their albums deliver consistently engaging line-ups of tracks with flowing beats and unique rhythms. Many of these tracks indulge in trance-like synths and poppy vocals, which I find a little too conventional. There are moments though that sound a little more exotic (such as the horns in "Mind's Eye" or "Form & Chaos"). Songs like "Visceral" and "Haunted" are fairly relaxing in the same ways Bonobo's latest work has been. Through it all, the band maintains nice flowing beats that makes the album smooth. Very little of it stands out like their previous work, unfortunately.
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37: Meat Beat Manifesto and DHS - Man From Mantis
There are only four tracks to this, and if you've heard MBM before, chances are you can predict what it'll sound like. Tempo, rhythm, and mood are definitely present amidst the smattering of unpredictable electronic noises. It's a fair listen in the moment, offering a fine enough flow state conductive for chores or writing or something. However, I found little that stood out, and certainly nothing that moved me on a deeper level. At its worst, it sounds like more of the same.
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36: Sextile - Push
If you’re looking for some fast, sleazy underground noise, Sextile delivers a full 34 minutes of high-speed post-punk dance songs. Given the style and tempo, it absolutely sounds like the kind of thing one could hear at an underground club somewhere. Beats stand out prominently, and there are pads that occasionally offer atmosphere, but the voices have a rough, scathing quality that pushes a stronger punk or goth angle. It’s fine and all, but beyond songs like “Crash” and “Contortion,” I found little that stood out above the raging sea of beats. Most of this album sounds the same to me, offering little variance in melody. Appreciate the mood though.
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35: Godsmack - Lighting Up The Sky
After a long five-year gap, Godsmack’s latest (and it seems their final) album explodes onto the scene with a consistent raw energy that ought to please rock and metal fans. It sounds as though the band had struggled creatively to pull this one together, and it shows sometimes as it can be a bit of a chore to find melodies and riffs that stand out. Thankfully, the tempo remains high throughout and some of the hooks are great. The guitars in some songs, like “You and I,” gush compelling chords that are surprisingly awesome. I find the album overall agreeable, but only interesting in bursts.
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34: Iggy Pop - Every Loser
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33: Depeche Mode - Memento Mori
I don't always love the new wave sound, but I have to admit that it does appeal to me in some instances. In the right mood, Memento Mori sounds fairly awesome. The beats are quite pronounced, the synths sound groovy, melodies are often catchy and compelling, and the lyrics invoke quite the somber mood. Some songs fall flat for me personally, but there are ones I'd gladly cherry-pick and enjoy on their own merits. Can't say I love the album as a whole, but I appreciate it more than certain other ones of the genre.
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32: Little Dragon - The Slugs Of Love
Wasn’t impressed on the first listen, but after a few spins the hooks and melodies started to sink in deeper. It’s about as interesting as Ritual Union was, with songs like “Slugs of Love” and “Amöban” pushing some of the weirder (but interesting) vocal and instrumental effects. I am also fond of the more dynamic structure behind “Lily’s Call.” I have to admit that the songs are mostly pleasant, the beats are good, and Yukimi Nagano’s voice is smooth as ever. The album has a consistent energy and style that will make some songs come across as bland, but there are good standouts to find as well.
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31: Everything But The Girl - Fuse
After more than 20 years in hiatus, this band delivers a modern electronic album that sounds fair on the surface, but it seems to miss a certain something. It's not for lack of trying—Tracey Thorn's voice is as elegant as ever. Can't say I was ever a fan of the band's slower songs, and this album has a few tracks I'd rather skip. The most agreeable tracks bear an even tempo though, layering firm beats, synths, bass, pads, and even piano into a cohesive package. It's all pretty good music, and I'm certain that several of these songs will sink in and become eventual favorites.
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30: Nina Chuba - Glas
I mean, I'm living in Germany, so I might as well listen to some modern German music. Although there are some interesting radio hits here, Nina Chuba's "Wildberry Lillet" stuck out to me with its sick rhymes, firm beat, and catchy melody. No, I don't understand the lyrics (something about having breakfast I think?). The rest of the Glas album carries the same qualities and it's mostly a good listen. There are spots where the melodies are less enticing, but I am enamored by the playful way Nina flexes her voice and finds unique structures and melody in so many songs.
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29: The Rolling Stones - Hackney Diamonds
Is it me, or are diamonds a common theme this year?
Also, is it me or are the Rolling Stones just immortal or something? I knew Keith Richards is a literal meme now because of his immortality, but I didn't realize the band itself was still alive and kickin' (although you could just kick me for being out of touch—their last release was in 2016, apparently). Although it was a bit of a wait and a process to get this album out, it's better than it has any right to be, with songs like "Angry" and "Get Close" projecting a pitch-perfect tone and style that we've come to love and enjoy from the Stones. I found the whole album solid—nothing that will go down as classics necessarily, but it's a surprisingly good listen.
I’ve always dug The Hives for their obnoxious tempo and style, and their latest album is as loud and goofy as ever. Hooks are strong, especially when songs like “Rigor Mortis Radio” invoke goofier choruses that still manages to carry an addictive rhythm. The energy remains high throughout the album, delivering a sound and style that matches the efforts from their previous years, but standout melodies become harder to find as it goes on. It’s not my favorite from the band, but it remains entertaining for the whole duration.
Delain is a pirate now, arrrrgh!
Beyond merely a new theme, Delain managed to stay afloat thanks to a new rotation of band members and new vocalist Diana Leah (and man, her voice has a nice dreamy quality throughout the album). The new lineup also brings back Sander Zoer on the drums and Ronald Landa on the guitar, while boasting a new bassist. Although the overall tone of Dark Waters matches the fantastic nature of their previous works, the album does stand out a little better than usual thanks to the more hard-hitting melodies behind “The Quest and the Curse” (oof, those death growls punctuates the choruses so strongly) and “Hideaway Paradise.” At its best, it represents what I loved about symphonic metal originally—the stark contrast between beautiful voices and harsher elements. However, some of the songs dip into more power ballad territory, which comes across as a little less interesting. It’s still one of their better albums, and probably one of the most enjoyable symphonic metal albums of the year.
Want some more Little Dragon? How about this short collaboration EP with April + Vista, which gives us four tracks that might sound a grade better than everything on Slugs of Love? It seems like there’s something extra added to the effort—more soul, stronger timbre, more pronounced downtempo beats—that pushes these songs above the usual synthpop soup and gives them a more pronounced presence. It’s a short but pleasant EP that might be better than Little Dragon’s recent albums, and it makes for a good chillout experience.
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28: The Hives - The Death Of Randy Fitzsimmons
I’ve always dug The Hives for their obnoxious tempo and style, and their latest album is as loud and goofy as ever. Hooks are strong, especially when songs like “Rigor Mortis Radio” invoke goofier choruses that still manages to carry an addictive rhythm. The energy remains high throughout the album, delivering a sound and style that matches the efforts from their previous years, but standout melodies become harder to find as it goes on. It’s not my favorite from the band, but it remains entertaining for the whole duration.
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27: Delain - Dark Waters
Beyond merely a new theme, Delain managed to stay afloat thanks to a new rotation of band members and new vocalist Diana Leah (and man, her voice has a nice dreamy quality throughout the album). The new lineup also brings back Sander Zoer on the drums and Ronald Landa on the guitar, while boasting a new bassist. Although the overall tone of Dark Waters matches the fantastic nature of their previous works, the album does stand out a little better than usual thanks to the more hard-hitting melodies behind “The Quest and the Curse” (oof, those death growls punctuates the choruses so strongly) and “Hideaway Paradise.” At its best, it represents what I loved about symphonic metal originally—the stark contrast between beautiful voices and harsher elements. However, some of the songs dip into more power ballad territory, which comes across as a little less interesting. It’s still one of their better albums, and probably one of the most enjoyable symphonic metal albums of the year.
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26: The Orb - Prism
There are some eccentricities to this album that might give me pause, but it is a rather agreeable electronica experience all the same. "HOME" takes its sweet time to pick the beat up, but when it does, it's quite the engrossing trance tune. The second track is groovy, if not a little eccentric, before the third track veers us into reggae territory. Tempo slows down for a few decent chillout tracks, while "Tiger" indulges in a more overt pop style. The rest is pretty standard electronica music, but it all sounds halfway decent. If you can get over a couple of odd bumps, The Orb's latest album has some nice ambience and beat to offer.
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25: Little Dragon and April + Vita - Slipping Into Color
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24: The Anix - Nightvision
I've grown to enjoy and appreciate the style of The Anix—they have the atmosphere and tone of industrial, but without overdriving the electronics, leaving a crunchy hard rock veneer that sounds modern but raw. Melodies aren't always a huge standout with them, but the tracklist for Nightvision boasts plenty of tunes my ears find agreeable. Some of the tracks (like "Frozen Waves," "Bleach," "Missile") are a little soft for my tastes (although I can't say they're edgeless, because they definitely have a mood to them). Other tracks amp up the tempo and deliver sock solid tunes—it's just not always a consistent listen, and it's hard to pick great standouts amidst the sludgey quality of the sound.
For what it's worth, they included a cover of Björk's "Army of Me," which is fair. It sounds just like the other tracks on the album, so it doesn't feel particularly fresh this way. Might actually be the low point of the album, although I appreciate the effort (and it's still better than the time Beanbag tried to cover the same song).
The third volume might be the charm. Even though I’ve been receptive to the last two albums in this series, the third part of Leviathan cuts closest to the sound I originally fell in love with out of Therion’s earlier work—the sublime fusion of elegant choral vocals and edgy metal. This quality carries through the entirety of Leviathan III, and it’s enough for me to find it enjoyable. Melodies are agreeably catchy for songs like “Ninkigal,” “Ruler of Tamag,” “Ayahuasca,” and “Twilight of the Gods.” There are moments, however, where the structure and the quality of the sound can catch you off-guard, often layering unconventional sounds and structures that sounds wildly different and unpredictable. As it is, I enjoy this volume more than the last two, but it’s still not as strong as the best albums from over ten years ago.
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23: Riverside - ID.Entity
This is my first exposure to this band, and they ultimately won me over with their melodies and hooks. I enjoy this music the most through their guitars, which are often pleasing, and the more exotic-sounding melodies in songs like “Landmine Blast” and “I’m Done With You.” It often sounds awesome, but the experience is brought down a little with some of the more head-scratching directions (like the synth-heavy opener “Friend or Foe?”) and the blunt nature of the lyrics. I can see a point that the song writing is not the best (and a song like “Big Tech Brother” demonstrates how on-the-nose it can be, trying desperately to remark on relevant issues concerning technology and society without much nuance). Qualities of the compositions alone pushes this as an enjoyable listen regardless, and it can stir the emotions at certain moments. Maybe not the best progressive rock album ever, but I liked what I heard.
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22: Therion - Leviathan III
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21: Daedric - Mortal
This is definitely some noise that metal fans can appreciate—choppy beats, bursts of nice guitar licks and riffs, intermittent death growls, and between it all, Kristyn Hope’s vocals adds some elegance and power to an otherwise slick and industrial production. The contrast naturally entices me, and the melodies involved with songs like “Titan,” “Wretched,” and “Mortal” are rather enticing. This appears to be the band’s first full-length album, but they look to be exciting new talent worth hearing.
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20: Enslaved - Heimdal
This is a challenging listen for me, but probably one of the more rewarding experiences in music I’ve had this year. There is a definite wall of noise built from the roaring guitars and growling vocals that can come across as garish, but beyond the veil of ugliness, I do see qualities that come across as compelling. I hear it best in songs like “Forest Dweller,” where the quieter moments weave an atmospheric tapestry out of the flowing acoustic guitars and smooth vocal bridges. It is similar to my experience with Opeth—both bands have elegance in inspiring bursts, but punctuated with an onslaught of noise. For a black metal album, it’s potent, but there’s definitely quality and soul and groove to it.
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19: Filter - The Algorithm
Oof, Richard Patrick’s voice sounds a bit rough these days. There’s a tired quality to it, and it can seem like edge is attempted throughout The Algorithm but never fully achieved. There are several songs I enjoyed on this album anyway—“Be Careful What You Wish For” comes out as one of my most frequent spins thanks to its pulsing beat, rigid song structure, and hypnotic chorus (although, I just now realized it has no guitars, how weird). I love the tempo and tone of it, and the low-key vocals do it some favors. I also find myself rocking out to “Face Down” and “Up Against The Wall” pretty often. “Summer Child” wants to invoke the more upbeat tone that made classic songs like “Take a Picture” emotional, but I find it rather less convincing. “Threshing Floor” hits hard though, achieving a darker and more original tone. The album closes out with the ballad “Command Z,” which is lyrically juvenile, but with Patrick’s strained voice it’ll either sound hilariously outrageous or outrageously emotional. Can’t say I found the whole album consistent in its quality or content, but there are sections in it I enjoyed more than many other albums.
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18: Lana Del Rey - Did you know there's a tunnel under Ocean Blvd
It’s easy to see why this album would emerge as one of the best of the year. Lana Del Rey’s dreamy voice is always a lovely standout, and she weaves many memorable melodies throughout the album. Songs like “Candy Necklace,” “A&W,” and “Did you know that there’s a tunnel…” entice me the most. Problem is, the tempo and tone are slow, and it remains slow consistently for the whole 77 minutes. No doubt that it’s quality music, but it’s a bit long in the tooth, and I find myself losing interest in the album’s last half.
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17: Marta and Tricky - When It's Going Wrong
Short songs in a short EP, but still heavy on style and mood, as I'd expect from a Tricky collaboration. I definitely like the downtempo vibes lent by the firm beats, deep bass, and gentle vocals. "Nowhere" has some great basslines (which likely stands out more because the other sounds are stripped-down). There is a crunchier guitar behind "Moving Through Water." Every track is distinguished with Marta Złakowska's voice though, which has a dreamy flow that adds a feathery touch to even the darkest of these songs. It's a good trip-hop experience overall, and probably one of the better Tricky albums I know of.
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16: Orbital - Optical Delusion
I might not have been terribly receptive towards 30 Something, but I am excited to hear fresh new Orbital tunes. I found it pleasant to spin "Ringa Ringa" and hear a familiar style--the song's style and composition cuts pretty close to "Lush 3-2" or "Halcyon and On and On," but I am enamored by the smooth, ghostly vocals and the distinctive melody (wait a minute...this sounds familiar...oh, it's just "Ring Around The Rosie," duh). It's not all a rehash either--the rest of the album keeps the beats strong as it indulges in fresh new melodies with unique-sounding instrumentations and voices. There is something nice and uplifting about "Are You Alive?" A few songs push the noise to fevered heights (especially in "Dirty Rat," which sounds mostly awesome despite the goofy British rapping segment). The experience overall is solid, offering songs that are hard-edged and cool, and also some that are dainty and quaint. There was always a bit of a quirky style to this band, and even in the modern techno scene where synths and retro sounds have taken over, they still sound distinctive.
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15: John Carpenter - Anthology II
Another round of familiar synth tunes rerecorded by horror maestro John Carpenter, with his son and Daniel Davies. If you’ve heard the first Anthology album or any of the Lost Themes album, you should know what to expect—pure 80s style synth scores with bursts of rock riffs. The first half seems much more chipper and upbeat with bigger focus on the action themes of Carpenter’s career, but the horror vibes in the last half are what I find addictively tense and atmospheric. There’s a good wealth of tunes here that often sounds pretty awesome—I still vastly prefer the first volume though (you just can’t compete with the revamped themes for Christine, In The Mouth of Madness, or Escape From New York).
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14: Kesha - Gag Order
This might come off as a weird, arty mess when taken at face value. It definitely hits different than her older albums, which banked heavier on catchy dance melodies. With the context of Kesha's career and personal experiences (most especially her legal battle against Dr. Luke), it hits deeper too. Gag Order is definitely something from the heart—a collection of somber, emotional songs born from pain, struggle, and anger, and it's an effort I can appreciate. Kesha's voice is a surprising standout at times. Combined with the unconventional instrumentation (which makes a more judicious use of electronic elements), the soundscape is unique, offering its own brand of hooks that sink in slower and deeper than what you'd expect out of "Tik Tok" or "Crazy People." Ultimately, the qualities in this album resemble the qualities I've come to admire in other less-conventional artists, and I respect how far Kesha has come.
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13: BT - The Secret Language Of Trees
Brian Transau delivers a real musical experience with this one. Invoking the more artistic qualities that made This Binary Universe a standout, but still embracing the style and tempo of IDM, The Secret Language of Trees becomes an ambient electronica symphony that invokes a fantastic mood with an upbeat tone. Can’t say that it hooks me that deeply, but melody is seemingly not as important here as structure, style, and beats. It makes for a pleasant ambience, which can befit background meditation or more active forms of listening. In that respect, it’s a valuable album to own and listen to repeatedly, which is more than can be said about BT’s other works. Regardless, I still think he set the bar much higher with This Binary Universe.
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12: Outlanders (self titled)
A collaborative chill-out album between Torsten Stenzel and Tarja Turunen. With guest artists like Trevor Rabin. Joe Satriani. Mike Oldfield. Holy crap, are you kidding me? The talent alone drew me in, and when I sampled the music, I was certain this was love at first listen.
I typically do value this kind of sound, which combines the uplifting power of the guitar with meditative background synths and pads (voices even) and an even-keeled beat. Same reasons why I might pop in Santana sometimes, but there's a more otherworldly vibe to Outlanders that reminds me more of those Lichtmond videos I imported from Germany (or heck, I suppose Enigma produces a similar soundscape too). It is definitely a sublime effort that I find moving, and I'd be willing to spin this album often for the slick combination of power and ambience. The only problem with the album is its sheer length—with 85 minutes of this, with every song exceeding five or six minutes, and with every song having the same style and tempo, it can wear out its welcome. There is such a thing as too much of a good thing, but if you're in just the right mood, this album could be quite the profound experience.
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11: Mega Drive - 200XAD
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10: Def Leppard - Drastic Symphonies
I’m all for hearing rock tunes given the orchestral treatment, and much like Metallica’s S&M, Def Leppard goes the route of marrying the symphony with each song’s guitars and vocals to create a thrilling new experience. For most songs, I am quite excited to hear familiar tunes accentuated with the orchestral elements—at its best, the music is given a new layer of sound that amplifies the emotional resonance. You can hear it best in songs like “Turn To Dust,” “Paper Sun,” “Hysteria,” and “Love Bites.” Though stripped-down more, I was quite enamored by the melodramatic approach to “Animal.”
One bad mark on this album, however, is sadly on their most popular song—“Pour Some Sugar On Me,” which mutates a rip-roaring rock anthem into a saccharine love ballad. It’s so watered-down and sappy that it becomes cringey. Skip that track, the rest is solid.
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9: Aphex Twin - Blackbox Life Recorder 21f / in a room7 F760
A short EP that won’t offer a whole lot new to the table, but I found all four tracks on this pleasant and enjoyable. I’m not a huge fan of this group since their tracks often push the BPMs to pretty garish levels. Although there are noisy parts to Blackbox Life Recorder 21f, the atmosphere, use of pads, and the layered melodies ultimately wins me over. These few tracks just sound cool.
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8: Winger - Seven
This is my first exposure to Kip Winger, but it leaves a great first impression. Songs construction is standard, sure, but hot dang, they reach some spectacular highs on the virtues of the guitars and vocals alone. Just about every track brims with energy, and they're all memorably catchy. None of them overstay their welcome. None of them made me reach for the skip button. That alone is enough for me to push this as one of my favorites of the year. Heck, songs like "It's Okay" and "One Light To Burn" even have lyrics that I find deeply inspirational, granting the album some extra oomph I can appreciate.
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7: Jesse Ware - That! Feels Good!
Was never a big disco fan, so I never expected to be charmed by any kind of disco revival album. This is my first exposure to Jessie Ware’s brand of 70s-inspired dance music, and even though I’m rather displaced from the influences, I can’t deny that her interpretation of it sounds agreeable. The funk and soul put into “That! Feels Good!” and “Pearls” is lively and catchy enough to generate danceable excitement, but Jessie’s voice has a smooth quality that galvanizes every song. The modern pulse of dance music reminds me of 90s club music (especially in “Free Yourself”), which I don’t consider to be bad. With fresh melodies across the board, the album never wears its welcome out as it keeps the energy high and the tone soulful.
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6: Foo Fighters - But Here We Are
All that being said, I am guilty of not giving the Foo Fighters their due, since this is the only album of theirs I’ve heard in full, latching onto a few of their hits sporadically. Musically, But Here We Are has several tracks I like and enjoy superficially, a few I don’t care for, but it is collectively a solid album with enjoyable melodies and riffs. It does behoove me to dive deeper into the band for a more informed judgment, but I was charmed and inspired by their latest.
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5: Ludwig Göransson - Oppenheimer Film Score
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4: Clouds Taste Santanic - Tales Of Demonic Possession
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3: Nitroverts - Endogenus
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2: Metallica - 72 Seasons
Sometimes, you just crave something straightforward. Metallica’s latest album is as straightforward of a metal album as you can ask for, offering a whopping 77 minutes of metal. What more could you ask for from a band literally named after metal?
There is a rather mundane quality to the release (because, let’s face it, the bar was set high a long time ago with their classic 80s albums), but among their more modern output, 72 Seasons remains consistent to the style and energy of Hardwired…to Self-Destruct, with a few standout melodies. I was rocking out to “72 Seasons,” “Shadows Follow,” and “Inamorata” the most (the latter being an epic closer with a hard-hitting melody that I’d rank as a new favorite). Songs in between don’t stand out quite as deeply, but they’re rarely boring either—the tempo is consistently strong and the power of the guitars and vocals carry the whole album. No, it’s not the band’s best, and it’s not the best metal album in general, but it’s solid as iron and will get the job done.
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1: Myrkur - Spine
The metal albums that speak to me the most have been the ones that somehow marry power and beauty into an aural experience that becomes utterly sublime. Myrkur ultimately won me over recently thanks to Amalie Brunn’s ethereal voice, the fusion of Nordic folk (and I’m finding that I am a sucker for nice strings and acoustic guitars), and the variance of tones and timbre. All these elements play into Spine with a richness I admire, given the sheer layers of sound that lends each song an uncanny quality. Other listeners likely won’t be so easily charmed since the music does swing heavily from folk to metal, with neither side fully compromising into any easy fusion. The melodies ultimately win me over, far more than most other metal albums I’ve heard this year.
I haven't listened to this as often as some of the other albums, but the quality alone convinces me. It is possible that I could discover another album that outclasses this one, but after hearing more than 40 new records in many different genres, it's hard to picture what could top this. Given the exotic nature of the sound, the dreamy vocals, and compelling structure, I feel confident in pegging this as my personal album of the year.
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Al's Favorite 2023 Songs