The 50 Best Albums of 2023 You Should Listen To
The 50 Best Albums of 2023 You Should Listen To
An in-depth breakdown of the year's best music.
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In 2023, I listened to a TON of music.
Over 450 albums, to be exact, on top of typical playlist consumption.
At roughly 45 minutes per album (which is about the average runtime of recent LPs), that listening time commitment translates roughly to 20,250 minutes or 337.5 hours spent listening to music.
It sounds like a lot to take on, but actually, it was invigorating. The more records I sunk my teeth into, the more I wanted to explore. I still had a day job and a social life, too.
This post walks you through my 50 favorite new releases from 2023 (not including reissues and expanded deluxe editions of classics or lost gems), as well as a half-dozen honorable mentions that nearly cracked the list.
From noise-rock and art-pop to jazz and underground hip-hop, I did my best to cover at least a little bit of every major genre. However, there are a few caveats:
Even if music listening was my full-time job, I could never get to everything. My personal preferences dictated several omissions some might deem glaring (sorry Taylor’s Version stans). But, overall, I’m happy with the ground I covered.
Despite the ranked nature of these kinds of lists (only one record can “win”/be “the best”), I want to underscore how excellent every entry on this list is. They’re all winners in my mind.
If there’s a flashing-neon-sign takeaway, it’s this: Anyone who tells you there’s “no good new music” out there is wrong. Full stop. It’s actually been a (quietly?) excellent year for new music.
Before diving in, a self-promotional reminder to subscribe and share with your music-inclined friends and family if you haven’t already. Please and thank you. 🙂
Okay, here we go, starting with the honorable mentions:
“Hackney Diamonds” by the Rolling Stones
Pay no mind to the haters out there—this is the most enjoyable record the legendary group has released in 40+ years.
“The Record” by Boy Genius
The supergroup consisting of Phoebe Bridgers, Julien Baker, and Lucy Dacus amplifies individual strengths and emphasizes a deep musical connection.
“Kaytraminé” by Kaytraminé
The first full-length pairing of Kaytranada and Aminé is a fun, fizzy album that pairs perfectly with the “it’s five o’clock somewhere” mindset.
“Memento Mori” by Depeche Mode
The latest record from the synth-pop staples falls just short of greatness after taking their biggest mainstream swing in eons.
“Átta” by Sigur Rós
Though it doesn’t carry the same emotional heft as the group’s best work, it still conjures up images of stark, serene beauty.
“Sun Arcs” by Blue Lake
An instrumental project that invites you to wander and luxuriate in the corners of your mind that, when you’re stressed, you rarely get to tiptoe into.
And now, the list of the year’s best albums:
50. “Sus Dog” by Clark
“Fragile” and “haunting” may not be words you’d associate with one of the best electronic records of the year, but that’s the case for Clark's release Sus Dog. Executive producer Thom Yorke’s fingerprints are all over this one, too (his sole on-mic cameo is one of the album’s highlights), adding a poignant emotional center to an album full of eerie drone and synth work. The listening experience puts you inside the protagonist’s mind, no easy feat with individual elements this abstract.
49. “The Infinite Spine” by Lauren Auder
Part coming-of-age story, part trans-coming-out document, and part therapy session that picks at old wounds; this is totally submerging music. The showstopper at the center of it all is Lauren Auder’s deep baritone, equally adept at bending to dense orchestration or driving pop rhythms. The record culminates in a moment of cinematic catharsis, ending with a statement of hope: “And after all/We’re all needed here.”
48. “Imagine This is a High Dimensional Space of All Possibilities” by James Holden
James Holden’s latest is as much an ode to the 90s progressive and acid-house rave culture as it is a psychedelic mining of our collective consciousness. With a few jazz accents thrown in for good measure, it’s one of the most satisfying records that grapples with the global pandemic fallout and what it means for interpersonal connection. This is rhythmic experimentation at its finest, full of intriguing textural surprises at every turn.
47. “The Ceiling Reposes” by Lia Kohl
The best ambient music recontextualizes everyday sonic details and refashions them into something transportiveMusician and sound artist Lia Kohl does exactly that with The Ceiling Reposes, a tapestry of archival audio clips, found sound, and her own instrumentation that builds an experimental collage that’s never anything short of arresting. It’s a record that gets better with repeated listens.
46. “Joy’All” by Jenny Lewis
Jenny Lewis’s Joy’All is a disarmingly charming alt-rock country hybrid that offers up precise, often laugh-out-loud lyricism (e.g., “My 40s are kicking my ass/And handing them to me in a margarita glass”) in the most matter-of-fact tone. Playful in a darkly comic way, the recording is bathed in warm tones that evoke mid-70s pop and soul—think Dolly Parton and Christine McVie. Its measured quirkiness makes me excited for Lewis’s next project.
45. “10,000 gecs” by 100 gecs
If we’re talking about the most fun listening experiences of the year, 10,000 gecs is at or near the top of that list. With song after song, the hyperpop duo confirms that no joke is too over-the-top and no stylistic mashup is too jarring for their unique style. There are pop-punk and nu-metal influences mixed in with trap and bass house, making some moments a lot for your ears and brain to sort through. And yet, it’s never anything less than breathlessly entertaining.
44. “Girl With Fish” by Feeble Little Horse
Shoegaze, both the genre and the pop-rock vibe check, is having a moment so far this decade, and Girl With Fish is one of my frontrunners when it comes to quality releases in this category. Pittsburgh natives Feeble Little Horse serve up some deft, somewhat oddball production that keeps you guessing, a fitting expansion on what’s historically been a dorm room DIY creative operation. Growing without losing touch with your roots is no small feat, but this record pulls it off beautifully.
43. “The Comeback Kid” by Marnie Stern
The Comeback Kid is packed with muscular riffs and fuzzy flourishes that lend an air of controlled chaos to every track. That said, the album also dazzles with its ability to construct catchy rock melodies that positively soar. With an emphasis on finger-tapping and blistering speed, Stern’s techniques recall 80s-era giants like Eddie Van Halen and the New York sound from early-2000s arena headliners like the Strokes. The other personnel deserve a shout out too, particularly Arcade Fire’s Jeremy Gara on the drums.
42. “Action Adventure” by DJ Shadow
Speaking of comeback kids, there’s DJ Sahdow’s Action Adventure. Nearly three decades post-Endtroducing, the producer refuses to deliver diminished rehashes of his previous peaks, which makes this record sound much fresher than much of his work this century. It’s synth-heavy and, at times, not sonically identifiable as anything related to hip-hop. However, it creates dense, textured soundscapes that prove Shadow’s still got chops other DJs/producers can only dream of.
41. “I Was Mature For My Age, But I Was Still a Child” by Grouptherapy
I Was Mature For My Age, But I Was Still a Child mines the likes of pop, punk rock, house music, R&B, hip-hop, and even weepy singer/songwriter ballads to create a text that extends far outside any typical genre-based boundaries. The group balances moments of chilling moodiness with others of snarky levity, a balancing act that’s increasingly difficult to pull off in an era where rap can be too self-serious for its own good. Watch out for grouptherapy—they’re on the come up.
40. “Glorious Game” by El Michels Affair and Black Thought
No rapper in the game right now has had a quieter run of sustained excellence than Black Thought. His technical brilliance ranks up there with the genre’s best and is on full display on this record, his first collab with El Michels Affair. The warm, often wistful production empowers Thought to explore who he is, where he comes from, and memories linked to his formative years, making this his most vulnerable and arguably best performance of his career.
39. “i/o” by Peter Gabriel
In a year that gave us a new (kind of?) Beatles song and (definitely) Stones LP, i/o may be the strongest return to form from a legacy rock brand name. Arriving in three mixes—“Bright-Side,” “Dark-Side,” and “In-Side”—the listening experience can be quite nuanced for fans like myself who were curious enough to delve into all three. Regardless of which mix(es) you make time for, this is easily Gabriel’s strongest outing in decades, often drawing on his 80s pop sensibilities more than his avant-garde pop-rock extremism.
38. “The Loveliest Time” by Carly Rae Jepsen
Carly Rae Jepsen’s latest LP is, in a nutshell, the thematic counterpoint to its predecessor, 2022’s The Loneliest Time. Loaded with sparkling pop production that interpolates everything from reggae to 70s disco to 80s electro-funk, this may be Jepsen’s most polished, confident record to date, more than earning its place among the must-hear pop records of the year.
37. “Won’t He Do It” by Conway the Machine
If God Don’t Make Mistakes was Conway the Machine’s breakthrough, Won’t He Do It announces he’s here to stay. Dripping with effortless, unforced swagger, the Buffalo native moves away from the darker, more horrorcore atmospherics, focused on letting you know how much of a boss he is over top of Rick Ross-level luxurious production. Any conversations about Conway “selling out” here are just noise—this is an excellent rap record.
36. “Michael” by Killer Mike
11 years after R.A.P. Music, we finally got the Killer Mike origin story. This LP is all about looking back and giving fans a window into his musical and psychological DNA. It’s a complex narrative that’s both deeply felt and all over the place, but that messiness is a feature, not a bug. It allows Mike to be honest about his upbringing and, to a degree, the need for him to grieve for his childhood. It’s a compelling sonic portrait of one of the greatest talents ever to emerge from Atlanta.
35. “The Death of Randy Fitzsimmons” by the Hives
Fans of a certain mid-2000s era of MTV videos and festival lineups will recall the abrasive guitar-rock sound that hits you like a sledgehammer going through drywall. It’s a sound the Hives returned with their first record since 2012 and, from the first fuzzed-out note of opener (and lead single) “Bogus Operandi,” it’s clear they’re picking up right where they left off. The LP’s dozen tracks that come at you with so much pizzazz, it’s hard not to get caught up in that energy.
34. “Faith is a Rock” by The Alchemist, MIKE & Wiki
Not the last time an Alchemist project will be featured on this list, Faith is one of the best underground rap records of the year. The aforementioned production wizard comes through with some of his most soulful production (which is saying quite a lot), while MIKE and Wiki match his excellence with bars that are as dexterous as they are vulnerable. The rappers delve into personal struggles that are framed by a musical backdrop full of soaring strings and vocal samples.
33. “Perfect Saviors” by the Armed
The Armed have typically erred on the enigmatic side—that is, until Perfect Saviors. This is an arena-sized rock record that trades in that calculated persona for some more mainstream rock sensibilities, providing listeners with a running meta-commentary on capitalism, basketball, and fame’s inherent goofiness. The knowing tug-of-war between the band’s more accessible sound and its grinning sneers at the idea of “making it” is one of the most enjoyable elements here, as is the polished production that proves rock isn’t as dead as many think it is.
32. “Unreal Unearth” by Hozier
In a lot of ways, Irish singer/songwriter Hozier has stood in the shadow of his 2013 hit, “Take Me to Church,” despite the fact that his discography has been as good or, in the case of Unreal Unearth, much more polished and ambitious than that breakthrough. With arrangements that help elevate his dark, velvety vocal tones, this is a work of enviable artistic fearlessness. What Hozier manages to do here with a few key sonic ingredients is nothing short of dazzling.
31. “This is Why” by Paramore
Beyond being Paramore’s most ferocious-sounding record in some time, this is also Hayley Williams’ most accomplished outing both as a singer and lyricist. She dots these songs with admissions of self-sabotaging behavior, potshots at ex-lovers, and, most intriguingly, concerns about how we ascertain and share information online. It’s pop-punk as an emotional detox, flushing all the anger and evil out of one’s system, with the band acting as expert exorcists.
30. “Let’s Start Here” by Lil Yachty
Few records carried as much disruptive weight in 2023 as Let’s Start Here. It sounds less like a modern rap record and more like a psychedelic ode to prog rock’s biggest names, drawing from the likes of Pink Floyd, King Crimson, and Tame Impala. But this isn’t a half-baked crossover attempt. It’s an excellent framing device for one of rap’s unique voices, helping Yachty transcend audience expectations and produce an exceedingly rare pop culture commodity: a fresh idea.
29. “After the Magic” by Parannoul
The third release from enigmatic Seoul artist Parannoul expands and deepens the well-worn shoegaze model to striking effect, integrating gorgeous orchestral sonics and harrowing electronic glitches in equal measure. The end result is an album that’s grandiose until it’s not, building emotional spaces that are both sprawling and confined, sometimes in the space of a single track. A must-listen for the rock heads out there, preferably with the best speakers or headphones you can find.
28. “Masego” by Masego
Micah Davis blends a wide range of black music styles and touchstones to create an atmosphere that’s familiar without being predictable, weird without being off-putting, and earnest without veering into schmaltzy territory. There’s a little something for everyone here, from neo-soul to singsong trap to amapiano. For those unfamiliar with his past work, like I was, this will undoubtedly be a popular and signature record for Masego.
27. “Knocknarea” by Maruja
Knocknarea is the debut EP from Manchester four-piece Maruja that stands as one of the best offerings from British Underground in recent memory. This four-track collection does an excellent job of capturing the group’s post-rock and jazz-rock essence. Think Mahavishnu Orchestra meets the likes of Talk Talk and King Crimson, where instrumental improvisation meets heavy, expansive rock theatrics. It’s an exhilarating listen.
26. “Mid Air” by Romy
When I was a bar and club DJ, I clamored for the kind of house music reimagined on Romy’s Mid Air. It’s full of rapturous, life-affirming moments that stand in stark opposition to the sad, solitary vibes that constitute much of today’s pop and dance music. Working with an all-star cast of songwriters and producers, Romy proves how timeless those turn-of-the-century house music sensibilities have become. It’s an excellent, knowing ode to the history of club culture.
25. “Guts” by Olivia Rodrigo
Olivia Rodrigo’s grandiose, hilarious Guts does what every great sequel should: double down on what made the debut material so exceptional. The good-girl-gone-bad energy is dialed up to 11, torching the world’s expectations of how an early-20-something woman should act in our current pop culture climate. Rodrigo also pays homage to strong female performers from years gone by, including Debbie Harry, Avril Lavigne, Hayley Williams, and Courtney Love. Somehow, some way, it exceeded its lofty pre-release expectations.
24. “Dog Dreams****(개꿈)”** by Lucy Liyou
개꿈 (”[Gaekkum,] or ‘dog dreams’”) is a term used in Korean culture to dispel and dismiss dreams as nonsensical or ridiculous. Liyou explores these experiences in an expansive sonic masterclass that runs the gamut from euphoric delirium to the blackest of nightmares. This record practically cries out for connection and healing, making for an emotional experience that’s at times genuinely frightening but, taken as a whole, incredibly moving.
23. “Heavy Heavy” by Young Fathers
In my experience, an inability to instantly categorize an album is a sign it’s worth listening to, often more than once. This is the case with Heavy Heavy, the fourth full-length release from Mercury-prize-winning Scottish group Young Fathers. Taking cues from neo-soul, art-pop, alternative rap, and indigenous music (among many others), they’ve created a poignant sonic mosaic that, as an overarching narrative, celebrates human triumphs over atrocity.
22. “Central City” by Big Freedia
Big Freedia of “Break My Soul” and “Nice for What” fame finally gets the spotlight they deserve with Central City, one of the best party records of the year. It brings bounce, a hip-hop subgenre most popular in Sun Belt states to the fore, hitting you with one club-ready, twerk-friendly endorphin rush after another. Unlike other bounce releases of recent memory, the production’s also polished and precise, resulting in a tight, well-made album where everyone sounds like they’re having the best time.
21. “For That Beautiful Feeling” by the Chemical Brothers
The latest record from Manchester legends rolls the clocks back to their earlier years, recalling euphoric smash hits like “Hey Boy Hey Girl” and the acid house flourishes from Exit Planet Dust, all without falling into the “manufactured nostalgia” trap. The word “timeless” gets thrown around a lot, but that was my first reaction hearing “Live Again,” the album’s true opener. The hazy vocals and warm phaser effects serve as the perfect build-up to a beat drop that positively rumbles with delight.
20. “Scaring the Hoes Pt. I” by JPEGMAFIA and Danny Brown
Some albums offer up one or two intriguing ideas for the listener to digest. Scaring the Hoes, the outstanding collab between Flatbush’s JPEGMAFIA and Detroit’s Danny Brown delivers at least three or four dozen. Its sample-heavy rhythms highlight everything from kitchen utensils to hand claps to a well-placed Kelis vocal on the standout ”Fentanyl Tester”), all to dizzying effect. The duo rebuff expectations and opt for a gorgeous brand of chaos that’s never not exciting.
19. “Shook” by Algiers
For a band that’s no stranger to tackling uncomfortable themes, Algiers’ Shook transcends what most people will consider the hallmarks of a “protest album.” Sure, there’s plenty of righteous anger on display, with the group taking shots at everything from vapid white allies to rampant political corruption and greed, but it’s more than a call to arms—it’s a call for unity across the board. It knows the world is, in many respects, crumbling around us, but it also acknowledges, if obliquely, that it’s still a world worth saving. The perfectly executed hairpin turns from hard and post-rock to experimental hip-hop and back again is a testament to how much Algiers has grown as a group.
18. “Fuse” by Everything But the Girl
You’d be hard-pressed to find a better vehicle for Everything But the Girl’s strengths than Fuse. After a 24-year break, the group does away with a lot of their well-known veneer of cynicism, instead giving into an urge to connect and be present with other people. Part of this may be a coping mechanism, as Tracey Thorn cries out in the opener “Nothing Left to Lose:” “Kiss me while the world decays/Kiss me while the music plays.” Framed by Ben Watts’ moody, chilling instrumentals, these songs aim to, in Thorn’s words, heal the broken-hearted and get the party started.
17. “I’ve Got Me” by Joanna Sternberg
Sometimes the most emotionally affecting music comes from gentle, matter-of-fact exploration. Think Carole King or Joni Mitchel. With I’ve Got Me, you can add Joanna Sternberg to that group. There are no manipulative heartstring-tugging going on here, only the most earnest kind of songwriting. Case in point is “People are Toys to You,” with a masterful sleight of hand opening the track: “I’m so glad I met you/You helped me see/Just how very much I hate me.” In short, precise strokes, Sternberg paints complex portraits of her everyday struggles and the hope that keeps her going.
16. “Jaguar II” by Victoria Monét
Even if you’re not familiar with Monét, you’ve surely heard at least a couple of the hits she’s masterminded for the likes of Blackpink and Ariana Grande. On Jaguar II, the follow-up to her impressive 2020 debut EP, she showcases her abilities as both a songwriter and curator of immaculate R&B vibes. She exudes the laid-back confidence of an emerging star, surrounding her voice with live instrumentation that’s lush and funky, an element that lends a hand-made feel to the record. This gem signals Monét’s arrival as a major performer in her own right and the world has been more than ready for her moment in the spotlight.
15. Something to Give Each Other
Sweaty, sex-positive dance records are having a moment right now. Troye Sivan’s Something To Give Each Other is so much fun that it’s hard not to get swept up in its infectious energy. As a performer, Sivan straddles (lol) the line between sly and seductive, serving up lyrics like, “Give me a call if you ever get desperate/I'll be like one of your girls.” This LP is a brief, breezy, occasionally hilarious reminder that it’s okay to be in your feels and indulge your hedonistic side at the same time. Easily one of the best dance-pop records of the year.
14. “Voir Dire” by Earl Sweatshirt & The Alchemist
The Alchemist has had a prolific 2023, releasing seven albums and EPs in total. He’s used his signature soulful sample work to amplify voices like MIKE, Larry June, Domo Genesis, and, with Voir Dire, Earl Sweatshirt. This record is an expertly crafted, frequently beautiful piece of work that brings out the best in both of its central figures. The bright, 70s-centric vibes counterbalance Earl’s penchant for darker lyricism and off-kilter line readings, with Alchemist frequently dropping you right into the middle of a sample for maximum effect. From the soaring, strings on “100 High Street” and the retro guitar loops on “Vin Skully,” these are hands-down some of the best beats of the year, if not his entire career.
13. “We Buy Diabetic Test Strips” by Armand Hammer
Armand Hammer’s We Buy Diabetic Test Strips is one of 2023’s most rewarding listens if you’re willing to meet it on its terms. The blunted, sometimes chaotic instrumentals and biting lyrics are visceral but also philosophical, the latter grappling with the trauma and societal challenges left behind by the global pandemic. Production is handled by the likes of Child Actor, JPEGMAFIA, Kenny Segal, Messiah Musik, and SteeltippedDove, featuring snatches of television recordings, industrial clangs, and whispers of static, giving even the more upbeat cuts an unsettling energy. Like another billy woods record I’ll tackle shortly, this is more proof that he and his label are two of hip-hop’s most reliable sources of virtuosic creativity. It oozes the kind of confidence other rappers only dream of.
12. “Black Rainbows” by Corinne Bailey Rae
Black Rainbows is one of those LPs that’s all about continuous subversion of your expectations. Blending 90s-centric noise-rock and punk with cool, controlled jazz and R&B, it’s a gutsy and assured project that Corinne Bailey Rae must’ve known was going to ruffle some feathers in her fan base. Her interest in experimentation leads to loud, raw expressions of emotion, often returning to a central notion of tenacious survival above all else, refusing to succumb to the negative forces that try and drag you down. It’s also a call to arms against social injustices ranging from racial discrimination and untenable beauty standards for women. In lesser hands, those tonal shifts would give most listeners whiplash. Here, those leaps are 100% earned.
11. “That! Feels Good!” by Jessie Ware
The first-ever (!) album reviewed for this newsletter is also one of 2023’s finest. Jessie Ware’s fifth studio album, That! Feels Good!, augments the nu-disco formula instead of recycling tired tropes, striking a perfect balance between paying homage to venerated source material and leaving a distinctive stamping on each note. You’ll hear murmurs of Sister Sledge, Donna Summer, and Kylie Minogue throughout, amped up by Kokoroko’s tight, funky accompaniment. But, in the end, it’s all about Ware’s energy for me, which has her coming across as a sexy drill sergeant at times, with lines like, “Freedom is a sound, and pleasure is a right. Do it again.” Just divine, darling.
10. “Beloved! Paradise! Jazz!?” by McKinley Dixon
McKinley Dixon’s superb new record is packed to the gills with style and incisive social commentary. It begins with a spoken-word nod to Toni Morrison, read by writer/critic Hanif Abdurraqib, that sets a powerful, haunting tone for what’s to come. His writing uses personal, innocent-seeming anecdotes as a gateway into weighty topics like gun violence, death, and the afterlife. Remarkably, it all unfolds with the lightest of touches structurally, every word clearly coming from an artist who wants to start conversations and heal wounds instead of preaching from a pedestal. It’s precise, poetic, and, above all else, real.
9. “Blondshell” by Blondshell
Coming-of-age stories don’t often at you with as much unflinching ferocity as Blondshell. The debut album from LA-based artist Sabrina Teitelbaum is sharp, sometimes sometimes laugh-out-loud funny, and consistently bold in its decision-making. Navigating the highs and lows of a tumultuous life, even if that process drudges up memories you’d like to forget, is a framework that can easily turn into a slog if the artist isn’t careful. But Teitelbaum’s dark humor and lack of specifics only make the stories more explosive. You get the sense that everything you hear is for her own peace of mind as much as anything else.
8. “Work of Art” by Asake
If you’re at all familiar with the world of Afrobeat, you’ll know Asake’s name. Alongside the likes of Burna Boy and WizKid, he’s positioning himself to be a global ambassador for a country (Nigeria) and a genre that’s surging on global radio airplay and streaming charts, all due in large part to Work of Art. Amid the infectious amapiano beats, Asake makes it clear he understands the opportunity he’s been given and won’t squander it. He wants to use his music to lift people up, leaning into soaring harmonies and sun-soaked rhythmic choices to craft a record that’s genuinely full of hope and optimism, qualities that sadly feel like the rarest of commodities in recent years.
7. “Fountain Baby” by Amaarae
Amaarae’s Fountain Baby has much in common with Beyoncé’s smash hit Renaissance. Both cups runneth over with lush instrumentation, a mischievous, sexy charisma, and, oddly enough, enough personal stakes to keep things from feeling gratingly shallow. The difference between the two is, unlike Bey, Amaarae is still a relative unknown, though, judging from the reception this record got from the global critical establishment this year, I doubt that’ll be the case for much longer. Underneath every breathless transition from R&B to hip-hop to Afropop and back again, the sensation of a star being born is palpable.
6. “Maps” by billy woods & Kenny Segal
Any list of best rappers feature emcees that balance performance and tactical precision. Rakim, Biggie Smalls, Kendrick Lamar, and, if there’s any justice in the universe, billy woods. His recent run through his label speaks for itself, dropping Haram (as one half of Armand Hammer), Church, and now Maps in a two-year span. The wordplay is dizzying, and the production suitably psychedelic, but perhaps most impressive is how Woods uses space and time to his advantage, letting pauses, inflections, and sighs to devastating effect. On one song in particular, he gets across five or six minutes’ worth of exposition in 33 words. I know because I had to go back and count. I was that mesmerized.
5. “Me Chama De Gato Que Eu Sou Sua” by Ana Frango Elétrico
Everything you need to know this Ana Frango Elétrico album, Me Chama De Gato Que Eu Sou Sua, hits you within the first few seconds of opener “Electric Fish.” Echoing guitar chords glide effortlessly over an irresistibly funky rhythm before making way for Ana’s sultry, joyous vocals, a cross between Kylie Minogue and another Brazilian great, Astrud Gilberto. It wasn’t until the brass kicked in after the first chorus that I realized I was standing up, doing a little shimmy in my kitchen, totally caught up in the incredible vibes. At once a throwback to música popular Brasileira (MPB) 60s heyday and a modernization of that very formula, the 2020 Latin Grammy nominee has taken her game to a new level.
4. “Synthesized Sudan” by Jantra
Discovering Jantra’s cosmically entrancing record, Synthesized Sudan: Astro-Nubian Electronic Jaglara Dance Sounds from the Fashaga Underground, is one of the few reasons I can think of to keep the internet at this point. Found through a Bandcamp best-of chart, these are rhythms that get so far beneath the skin that you can feel it taking over your entire body. In that context, I don’t think I’ve ever heard a record quite like it, one that seamlessly blends various synth-pop, orchestral, and Middle Eastern influences without ever losing sight of its identity. Jantra is already a star in the underground dance music scene in Sudan, partly thanks to US label Ostinato, who have helped get this terrific collection of tracks to a wider audience. It’s an electronic masterclass you won’t soon forget.
3. “Oh Me Oh My” by Lonnie Holley
A product of punishing Jim Crow-era discrimination and poverty in Alabama, Lonnie Holley initially made a name for himself as a socially conscious sculptor and visual artist. Now, in his mid-70s, he brings us one of the year’s best albums, a stark portrait of what it means to struggle and survive racism in America. It defies genre categorization by transcending common tropes and, because it’s such a deeply personal statement, penetrating into the deepest regions of the soul. He tells authentic stories that most US citizens would like to ignore or dismiss. But, in a world where the news cycle severely lacks empathy for the disadvantaged and displaced, these are stories that have never been more important—or moving—to hear.
2. “My Back Was a Bridge For You to Cross” By ANOHNI & the Johnsons
ANOHNI’s My Back Was a Bridge for You to Cross has its turn with a familiar theme this year: overcoming widespread anxiety and despair by, through various means, reinstating hope in humanity’s future. While often going for sparse, somber instrumentation, this album never shies away from an opportunity to ratchet up the emotional stakes, often to a degree I wasn’t prepared for on first listen. The opening tone-setter “It Must Change” is absolutely stunning, wringing an avalanche of dramatic tension out of the repetition of that three-word refrain. It builds to a point about halfway through, where she declares: “Your God is failing you, things must change/Giving you hell/The truth is that our love/Will ricochet through eternity.” It’s an admission that manages to sidestep fearmongering and attempts to soothe you. It’s a deceptively difficult line to walk, but ANOHNI does it with breathtaking ease.
1. “Love in Exile” by Arooj Aftab, Vijay Iyer, & Shahzad Ismaily
Some jazz records bowl you over with their dynamism and bombast. Others use subtle, complex patterns of give-and-take between the players to build emotional eloquence out of the simplest of sonic ingredients. Love in Exile, a collaboration between Grammy winner Arooj Aftab, pianist/composer Vijay Iyer, and multi-instrumentalist Shahzad Ismaily, takes three elements—voice, keys, and strings—and weaves them into an incredibly textured tapestry of international tradition and cosmic jazz influences. Knowing this album was recorded live and released with minimal editing makes the listening experience that much more jaw-dropping. As an example, the piano loops on “To Remain/To Return” begin delicately but then mutate into a tightly coiled knot as Arooj’s vocals set in, quickly filling in the empty spaces left behind with nods to her Pakistani heritage referenced in her previous work. Jazz improvisation often sounds less than tidy (a feature, not a bug), but Love in Exile is anything but chaotic. The trio creates a breathtaking symbiosis that’s so rare in free-form music-making.
Best of 2023 in Playlist Form!
For a sampling of my favorite tracks from each of the albums discussed here, add my playlist to your account on Spotify (embedded below) and Apple Music.
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