Following 2022’s year of comebacks from superstars like Kendrick Lamar, Beyonce, and Taylor Swift the current year, in comparison, feels like it’s the comedown of a bad trip. That may sound liberating, but it’s not nearly as cathartic as it should be. I’ll admit I didn’t listen to as many albums from 2023 as I did from 2022, but that was plainly due to the fatigue caused by the slew of disappointing and passable projects that were levied to the top of recommended album lists. Artists that were once reliable for their consistency from one release to the next found themselves amongst a pool of common mediocrity. However, I wouldn’t put the blame on artists alone. It’s hard to trust modern consumers today who are quickly getting used to TikTok as the new most effective tactic available. There’s a trudge that didn’t exist here before, and now all of a sudden finding new music isn’t as gratifying used to be.
You’ll notice I dramatically cut my usual number of entries from 50 to just five. That’s a trend that I fear may continue into the next year of music. Anyway, here’s the best of the worst in sequential order, starting with the best. Honorable mentions are at the bottom in no particular order. Thanks for reading, I’ll see you in the next one.
Asia Menor – Enola Gay
“Enola Gay” is the debut record of the Chilean band Asia Menor. Before the release of the record, they had a small array of demos and singles released on various streaming services, however, nothing could prepare audiences for how strong of a debut this record would come to be. It’s earned its place in the AOTY and RYM hemisphere as one of the finest records to be released in the bloated year that was 2023. While that isn’t really saying much, it is nice to see a worthwhile project receive such universal praise.
The amount of music synergy on this project is intoxicating. It’s a visceral mixture of alternative and post-punk sounds reminiscent of emerging bands like Lysistrata and legendary acts like Gang of Four. Brilliant guitar work is truly what carries this record from good to stand out. Each track comes complete with an ear-wormy riff that sticks like glue, essentially making each song on the album unskippable.
Where groups like At The Drive-In used two singers to create dynamic vocals, lead singer Jorge Scheuermann does it all on his own. The sometimes soft, sometimes screeching vocals of Scheuermann flow together seamlessly and create longevity between every song.
A band rarely reaches such a critical point at the inception of their career, but Asia Menor seemingly captured lightning in a bottle. The broad strokes are what matter here, the fundamentals pay back twofold and are greater than the sum of its parts. I desperately want to see where the band’s musical chemistry takes them. Here’s hoping for a tour in the United States sometime within the next few years.
Oneohtrix Point Never – Again
“Again” feels like a return to whatever previous form Oneohtrix Point Never, real name Daniel Lopatin, may have left during his last two projects. Whereas “Magic Oneohtrix Point Never” was a dip into neo-psychedelia and pushed the boundary of electronic ambiance, “Again” seems self-referential, literally and metaphorically. Meta is the new meta but doing that concept musically is easier said than done.
It feels a little wrong to compare Oneohtrix Point Never to Aphex Twin, both artists occupy such a specific zeitgeist that their only reasonable similarity is in basic genre conventions and sonic equilibrium. However, if one were ever to do that, “Again” and perhaps “Replica” would be the records to choose from, at least on a level above superficial. That said, the ambiance communicated here is uncharacteristically lean and full. The repetitive notches and embankments are mesmerizing and pure. They follow a rhythm that hypnotizes and controls.
It’s not enough to say that Lopatin is a maestro. He’s someone who deeply understands how to harness the sonic capabilities available to him. Music isn’t just a tool, it’s a complex method of storytelling that, in this case, requires no words. Just the cache of sounds he has before him.
shame – Food for Worms
“Food For Worms” scratches a similar itch that Asia Menor did with “Enola Gay,” except on a level from the other side of the post-punk spectrum. It’s a complete overhaul of the work from Drunk Tank Pink, with an incredible amount of polish laid overtop. It’s a glimmering project with sterling vocals and powerful guitar riffs that overpower each track.
One of the most unexpected gimmicks that this record plays often is the use of dynamic bridges, like in the opener “Fingers of Steel” which perfectly sets the tone for the glorious music to come. Additionally, the flow from track to track is smooth and weaves a perfect sonic palette for the entirety of the project, making it instantly enjoyable for repeat listens.
Sometimes a record like this is exactly what the doctor ordered. A solid body of work that epitomizes what makes a sound so amusing. shame has done that again and again and shows no signs of stopping.
Laufey – Bewitched
“Bewitched” may not have saved the entire genre of Jazz like some critics will have you believe, but it certainly thrust it into the popular music hemisphere and made it marketable to an audience of young hipsters. Barring the backhanded compliment, Laufey is certainly one of the most unique artists to reach sudden relevance from the dreaded app that is TikTok. Perhaps the biggest tragedy is the song that reached peak popularity is not even the best on the record.
That being said, each track is a delightful experience in its own way, the soothing coos of Laufey’s voice are as inviting as they seem and drape perfectly over each instrumental. Sappy lyrics of love and heartbreak are always welcome when the person singing it delivers so effectively.
Believing the hype is a dangerous game, but it seems “Bewitched” is one of the few sure things this year. Let’s just hope that the fame doesn’t get to her head.
Model/Actriz – Dogsbody
“Dogsbody” is the epitome of what the modern album from the British boyband is turning into. Not unlike black midi or Black Country, New Road this new eschelon of adolescent punk is a new energy audiences have not been exposed to in years. It’s a sound tainted with angsty lyrics and tonal shifts that can cause whiplash to the uninitiated. Model/Actriz has done all of this on their debut album and somehow they were formed in Massachusetts.
Model/Actriz carves their own path in this admittedly bloated scene and does it unflinchingly. They’re visceral and angry, pushing the limits until they teeter into a sound entirely comforted by scratchy guitars, grimy drums and racy lyricism.
Frontman Cole Haden said in an interview with Interview Magazine that lyrically he was inspired by the musical Cats because it “filled [him] with sexual vigor and terror.” That’s just a little taste of the magical insanity that can be found in just one song from this record. Won’t be going into any more detail because it’s something that should go unspoiled. Listen now.
Turn off the Bright Lights 