The Best Albums of 2023
Welcome back to List Week at Seth & the Film Scene! Like with the previous list recalling some of my favourite television of the year, this is the first time I have attempted a “Best Albums of the Year” list. Sure, music is not the focus of this blog, but it’s something that I greatly enjoy and always have opinions about, so why not write about it?
The problem with trying to compile any sort of “best of” list for music is that there’s just too much good music out there. The “Best Albums of the Year” lists published by professional publications are among the most diverse in entertainment journalism due to the sheer volume of quality music released. I find writing my “best movies of the year” list difficult and this was even more daunting. However, I have been able to whittle my favourites down to a more accessible number.
Of course, many great albums didn’t make the cut and many others that I never heard. By no means is this list comprehensive by any meaningful measure. I’ll include some honourable mentions at the end of the list. For the purposes of this list, we are just talking about new albums released in 2023 — no re-records, no live albums featuring previously released songs, no deluxe or anniversary editions. Just new music.
You can read my Best Films of 2023 list here and my Best TV Series of 2023 list here.
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15. Olivia Rodrigo — GUTS
The second album from TV star-turned-musician Olivia Rodrigo, GUTS brings back the anger and angst that made SOUR such a hit and completely doubles down on it. Rodrigo’s punk sensibilities make the album not only a fun throwback to the high school rock of the 2000s but appropriately aggressive for the subject matter she takes on in her lyrics. Full of hard-hitting rock tracks and sombre ballads, the messiness of young adult existence is made so very palpable and extremely personal. But the album also shows the inclinations of a more fully developed musician in her coming work. It’s easily the best pop album of the year.
Must-hear track: “ballad of a homeschooled girl”
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14. Jess Williamson — Time Ain’t Accidental
I’m pretty sure that when most people say that they “don’t like country,” they don’t mean that. Yes, pop country has produced some of the worst music in recent memory. This year’s Billboard year-end chart was dominated by bad country. But the genre is also able to produce musicians as beautiful as Jess Williamson. Williamson’s latest album is fun and breezy, taking joins in the prairie skies that inspired its existence. Time Ain’t Accidental seems to stand in opposition to not only the over-produced pop country dominating the charts but also the heavy-headed, moody country of Zach Bryan. It combines electronic production with acoustic elements to create some very unique soundscapes. Williamson’s charisma as a performer is infectious and her charm bleeds over into the listener. Time Ain’t Accidental is airy, light, and full of cheery, comforting tracks.
Must-hear track: “Hunter”
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13. Billy Woods and Kenny Segal — Maps
NYC-based underground rapper Billy Woods enjoyed some relative mainstream success this year with the phenomenal Maps, made in collaboration with producer Kenny Segal. A “travelogue” of his adventures through the United States and Europe that eventually leads him home to New York, the album’s journey takes Woods through the highs of stardom through the darkest parts of humanity. Woods demonstrates his lyrical skills with some excellently penned lyrics while Segal’s production remains intriguing, combining old-school samples and jazz-infused arrangements with distinctly contemporary sensibilities, giving Woods plenty of space to dance gracefully over the beats. By the time the album-arching narrative returns to NYC in the concluding tracks, homecoming has never felt so sweet.
Must-hear track: “Waiting Around”
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12. 100 gecs — 10,000 gecs
The reigning weirdos of music make their triumphant return with 10,000 gecs, their second studio album. Describing the music of 100 gecs for the uninitiated is always a daunting task. Comprised of producer Dylan Brady and vocalist Laura Les, 100 gecs specializes in an aggressive, over-produced branch of pop and electronic music called “hyperpop.” The production here is just as bonkers as anything that the group has produced so far, combining a truly unholy mixture of sounds into a project that is as much cohesive as it is totally confusing. And then, just to make things weirder, there’s a random ska cut on this record in the form of “Frog on the Floor.” 10,000 gecs is totally ridiculous and utterly psychotic, which is what makes it so endearing.
Must-hear track: “The Most Wanted Person in the United States” or “Frog on the Floor”
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11. Gregory Alan Isakov — Appaloosa Bones
Gregory Alan Isakov is one of independent folk’s most reliable talents. On Appaloosa Bones, his seventh record and first in five years, Isakov gives another potent demonstration of his abilities as a singer and songwriter. The album’s eleven tracks are an assortment of all of Isakov’s strengths from its clever and evocative lyrics to gorgeous acoustic instrumentation. The timelessness of this sound has a certain appeal in an era of hyper-production and electronic noises. Its themes resonate on a primal sort of level with its discussions of death, love, heartache, and the supremacy of nature. Appaloosa Bones, with its evocation of an idyllic American West preserved in traditional songs and legends, is a beautiful work from a master musician that invites the listener into a mode of stillness and peace.
Must-hear track: “One Day”
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10. Jessie Ware — That! Feels Good!
Disco isn’t going anywhere if Jessie Ware has something to say about it. Continuing many of the sonic ideas introduced in What’s Your Pleasure?, Ware’s previous album, That! Feels Good! channels plenty of influence from the golden age of disco, but isn’t content to just be a mere throwback album. Ware doesn’t recreate the sounds of the past but rather pushes the maximalist tendencies of her predecessors into new territory. It’s an album that cares just as much about dance music’s past as it does its future. The tracks pound with throbbing bass lines, clever and layered arrangements, and some extremely fun-to-sing hooks. That! Feels Good! is an album about pleasure of all types with its enticing, addictive rhythms: a true feel-good record.
Must-hear track: “Begin Again”
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9. Amaarae — Fountain Baby
Must-hear track: “Big Steppa”
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8. Ryuichi Sakamoto — 12
On March 28, 2023, influential Japanese composer Ryuichi Sakamoto died after a years-long battle with cancer. Sakamoto was a titanic figure in his field — a pioneer in the world of electronic music, a winner of multiple major awards (including an Oscar and three Grammys), and a decades-long career of innovation. Just two months before his passing, he released his twelfth and final studio album, 12, a collection of sparse piano instrumentation, electronic soundscapes, and recordings of Sakamoto’s belaboured breathing. 12 is a staggering late-life artistic work. Every track here feels like it’s pulled from somewhere deep in Sakamoto’s being, each a labour of love. And yet, even near his death, Sakamoto’s music is still inventive and unique, redefining the sounds of electronic music once again. It’s a cold, haunting record, beautifully underpinned by Sakamoto’s struggles.
Must-hear track: “20211201”
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7. Lana Del Rey — Did You Know There’s a Tunnel Under Ocean Blvd
Lana Del Rey made a name for herself in the early 2010s for her mellow pop hits like “Summertime Sadness” and “Young and Beautiful,” cementing herself as one of the most defining voices of that era of music. In recent years, Del Rey’s music has shifted into darker, more enigmatic territory. Did You Know There’s a Tunnel Under Ocean Blvd, her ninth studio album, is perhaps her most expressionist and abstract project yet. The album steers away from the pop ballads that made her a favourite of sad girls everywhere, although those are certainly present here, instead focusing on more cryptic melodic structures. Its lyrics cover everything from the vapid joys of fame, sexual stigmatization and abuse, the need to be loved, to the desire to be remembered for something significant. The album also has some incredible features from he likes of John Batiste, Father John Misty, and Bleachers. It’s a mesmerizing, mature work that shows Del Rey’s continued evolution as an artist.
Must-hear track: “A&W”
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6. Mitski — The Land is Inhospitable and So Are We
Mitsuki Miyawaki, better known by her stage name “Mitski,” has carved out a niche for herself as one of the finest singer-songwriters of contemporary independent music. With emotionally brutal lyrics, simple melodies, and a very distinctive vocal style, it’s hard to not find her music utterly compelling. The Land is Inhospitable and So Are We, her seventh studio album, is one of her finest outings, paring the brutal lyrics she is known for with some stunning production, diverse arrangements, and even the occasional moment of hope. It brings in a plethora of distinct generic influences, ranging from chamber pop to country slide guitar, and transforms them into a beautiful, rich, and honest album. It manages to be a bold step forward for the artist while also staying true to the core tenets of Mitski’s discography.
Must-hear track: “My Love Mine All Mine”
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5. Black Country, New Road — Live at Bush Hall
Just days before the release of Ants From Up There, the band’s critically-lauded 2022 sophomore album, Black Country, New Road’s lead vocalist Isaac Wood announced his sudden departure from the band. The art-rock outfit immediately cancelled their upcoming tour and began to write new music to be played on the road, replacing their previous touring setlist. Live at Bush Hall, a live album, is a collection of these new songs. Despite such a major loss to the line-up, this collection of all-new tracks proves that the band is still roaring with creative energy. The album is considerably more lively and less depressive than their previous work, but it is still full of unique soundscapes and interesting musical choices. The highlights of the album include “Up Song,” a reflection on the band’s history and new direction, “The Boy,” which tells the story of a robin with a broken wing, and, my personal favourite, “Turbines/Pigs,” an intense 9 minutes of music followed by one of the most frantic eruptions from a crowd I’ve ever heard. Dressing their fantastical lyricism in the sounds of experimental-rock-meets-post-punk-meets-jazz, it’s hard to get the infectious energy of Live at Bush Hall out of your head. It’s an album that represents the start of a new chapter and a creative unit in transition that only promises a glorious future for the band.
If you get the chance, don’t neglect to check out Black Country, New Road’s explosive, rowdy cover of Billie Eilish’s “Happier Than Ever.”
Must-hear track: “Up Song”
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4. Yves Tumor — Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
That’s one hell of a title, isn’t it? Yves Tumor’s fifth album is a spellbinding addition to their discography. From the opening scream of album opener “God is a Circle,” Praise a Lord is ready to surprise its listeners at every turn with explosive rock tracks. Blending a multitude of influences into a dramatic and exciting array of musical sounds, this album won’t leave the listener’s imagination any time soon. It abounds with rough industrial sounds, dance-inspired melodies, and twinges of post-punk and metal. Highlights include the vibrant “Heaven Surround Us Like a Hood,” the aggressive “In Spite of War,” and the thundering rhythm of “Echolalia.” Tumor further proves here their strength as a songwriter, as they craft some incredibly blunt songs that take on themes of romance, race, and identity. Praise a Lord is a dynamic, thrilling record that’s sure to please the ears of any rock listener.
Must-hear track: “God is a Circle”
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3. Boygenius — The Record
The debut album from rock supergroup Boygenius has been a long time coming. Made up of indie darlings Phoebe Bridgers, Lucy Dacus, and Julien Baker — each one an incredibly accomplished musician in her own right — Boygenius gave listeners a taste of their sound back in 2018 with a self-titled EP but has now delivered a full-length LP. The results of this project are truly stunning. The Record is exploding with lively guitar-driven tracks, some devastating ballads, personal and evocative lyricism, and some of the best vocal performances of the year. And the tracks are each stunning: there’s the ferocious “$20,” the devastating “Cool About It,” the catchy “Satanist,” and so many others. The album’s best quality is how well it preserves the respective strengths of each of the band members’ solo careers, using them to complement each other to construct something extraordinary. The Record burns with energy, creativity, and some of the most gorgeous production you’ll hear this year.
Must-hear track: “Not Strong Enough”
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2. Young Fathers — Heavy Heavy
Heavy Heavy, the fourth studio album by Scottish trio Young Fathers, is nothing if not joyous and ruckus. Taking the band’s usual eclectic blend of sounds and genres and pumping them full of renewed vigour and excitement, Heavy Heavy is such a treat. Running at a brisk 32 minutes, this isn’t a record that gives you much time to breathe as the band moves the listener through ten tracks full of energy and life. Rich instrumentation, cleverly crafted hooks, and catchy melodies run rampant here, taking notes from hip-hop, industrial, and rock. The album ranges from the lively energy of “Rice,” to the airy strings of “Tell Somebody,” to the rough-sounding drums of “Holy Moly.” It’s breathtaking and staggering in scale. Young Fathers show no signs of slowing down as they entice the listener into a beautiful mosaic of sound. Maybe we should all eat more rice . . .
Must-hear track: “I Saw”
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1. Sufjan Stevens — Javelin
Since he first appeared as an up-and-coming star in the late 1990s and early 2000s, Sufjan Stevens’ discography has been one marred by grief filtered through beautiful, passionate music. Javelin, Stevens’ tenth studio album, is quite similar in that regard. Dedicated to his late partner, Evans Richardson, who passed away in April, the alum speaks about their relationship and the horrible devastation of losing an intimate partner. Although it’s not just tragedy you’ll find here. The album touches on all sorts of themes that Stevens has been working through his entire career: love, heartbreak, the divine, and the depths of the human experience. Javelin is a real return to form for Stevens. Sonically, it harkens back to the very best of Stevens’ work. There are notes of the electronic flares of The Age of Adz, the grand scope of Illinois, and the intimate songwriting of Carrie & Lowell, although all blended in a way that feels just as fresh as ever. Emotionally rich and ever-enchanting, Javelin is a staggering achievement.
“I will always love you . . .”
Must-hear track: “Shit Talk” (The title is a little aggressive, I know, but trust me on this one. You don’t want to miss this song.)
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Honourable Mentions
There is way too much great music out there. I listened to mountains of new music over the last year and there are plenty of great albums that were released that didn’t make the cut of the main list. I only have so much time to write! Here are nine amazing records that are worth checking out:
- Corrine Bailey Rae — Black Rainbows. Corrine Bailey Rae’s fourth studio album is synth-heavy and strong-headed. With cuts like “Erasure” (my personal favourite), “New York Transit Queen,” and He Will Follow You with His Eyes,” it’s hard to be bored listening to Black Rainbows.
- Zach Bryan — Zach Bryan. My second favourite country project of the year is Zach Bryan’s self-titled album. Bryan’s been making a stir in the independent scene for a few years now, but his latest album is his first bonafide mainstream success. The songwriting is personal, the production is raw and unclean, and the powerful emotions always hit home.
- Hozier — Unreal Unearth. Some of my singular favourite songs of the year can be found on Unreal Unearth. Songs like “Francesca” and “Unknown/Nth” are some of the best of the year. On the whole, the album is a little too over-produced and a little too scattered-brained to make it fully onto the list, but when it hits, it hits hard.
- Kara Jackson — Why Does the Earth Give Us People to Love? Kara Jackson’s spacey, mellow vocals are mixed with strange, sparse production on a beautiful, mesmerizing album.
- Paramore — This is Why. While Paramore technically never went anywhere, This is Why feels like a real return to form for the band. Evolving their style into new, more ambitious territory, the album is a highlight in the band’s already impressive catalogue.
- Parannoul — After the Magic. Shoegaze is still alive and well in South Korea. To listen to Parannoul’s After the Magic is to enter into a world of dreams with its bright guitars, hazy mixing, and soft vocals. The soundscapes are always surprising, with a great diverse mix of instrumentations across its ten tracks.
- TV Girl — Grapes Upon the Vine. TV Girl’s latest project is a total joy. Full of fun, indie pop tracks and hip-hop-influenced production, the album leaves a smile on the listener’s face. “Heaven Over Our Heads” is one of my favourite songs of the year.
- Yaeji — With a Hammer. Yaeji’s debut album, as the title suggests, is all about anger. Thankfully, she approaches this as a source of artistic freedom, combining electronic, jazz, and synth sounds, all pulled together with Yaeji’s gorgeous, multi-lingual vocals.
- Yo La Tengo — This Stupid World. The seventeenth album from the legendary rock trio Yo La Tengo shows that the group is still abounding with creativity and imagination. It’s a stunning collection of noise rock cuts that play true to the band’s unique sound, while also pushing them forward into new territory. “This stupid world is all we have . . .”
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