From the return of shoegaze trailblazers to some incredible debut albums, it's safe to say 2023 has been a phenomenal year of music across all genres. Here are our editors' favourite releases of 2023.
Blackbox Life Recorder 21f- Aphex Twin (single)
The mystifying, trailblazing Aphex Twin, AKA Richard D. James, returns with a single Blackbox Life Recorder 21f after five years of no music on mainstream platforms, the release just short of a month before he headlines in Victoria Park, London at Field Day festival.
Blackbox Life Recorder 21f reveals a combination of James’s authenticity and trials of creating a new sound: using that familiar breakbeat and distinctive synth that can be heard in his more upbeat works while incorporating more of dance mode within this song. Unlike most of his other works, he engages with an unfaltering drum kit accompanied by a woozy synth and muffled beats. An enigmatic and almost transcendental track titled Blackbox Life Recorder 21f that was released initially on Soundcloud before its swift deletion, the craft of this single is so special that it has somehow manages to maintain a nostalgic, 90s dance/techno essence that he built his career on.Â
The most impressive quality of Aphex Twin’s work is how far he pushes the boundaries of genre categorisations: the disparity between drukqs and Selected Ambient Works Volume II is astounding.Â
Natalie Howarth
What Lucy Found There- Man/Woman/Chainsaw- (Single)
Man/Woman/Chainsaw have been creating quite the buzz on the circuit as of late, and rightfully so. In just over three minutes, What Lucy Found There ascends into a piece that marks the band’s finest release to date. Billy Ward’s quivering vocals first lead us in alongside tender glistens of piano and a tangled yet inviting math-rock esque bassline. Twenty seconds in and already things are looking promising. Before long, Vera Leppanen’s melodies take us down a different path from their previous musical exploits, all the while strings dance in perfect harmony with distorted guitars in a way that can only be described as boastful. It’s a joyous creation that gets better with every build, and as the rampage continues the concord and understanding between instruments becomes clearer than ever. If this glimmering track is anything to go by, there is a shiny road ahead for this six-piece.
Alice Beard
Space Heavy - King Krule
King Krule’s fifth studio album Space Heavy is undeniably one of the best albums released this year. What I love about this album is Archy Marshall’s active deconstruction of genre categorisations through his incorporation of post-punk, hip-hop and electronic with vignettes of rock all perfectly held together by lyricism of malaise and melancholia, like his previous works. Seagirl, Pink Shell, and From The Swamp are my top three tracks from the album as each track contains similar sonic qualities with a different narrative that seamlessly transitions into the next. Seagirl featuring Raveena, a first time feature of King Krule’s songs. Both King Krule and Raveena’s voices compliment each other so well: a genuinely mesmerising track where both voices effortlessly interweave to produce a purely transcendental moment.
Natalie Howarth
An Inbuilt Fault - Westerman
This hidden gem is a masterclass in instrumentation. The abundance of textures and layers build a complex, mesmerising palette which contrasts anything else I’ve listened to in the past year. An Inbuilt Fault, the second offering from Athens- based Will Westerman, is airy, rich and deeply introspective. Here, he blends electro-pop and soft rock (amongst other genres) into an album that is restrained and intricately arranged in a way that is almost sterile, like surgery in musical form. Westerman’s music paints scenes of despair amongst the purest of human emotions. The instruments alone are enough to set this album in its own realms, polyrhythmic drum patterns dancing with spacey guitar and wavering synths, but it is the vocals which shine through. Via tracks including I, Catallus and Take, Westerman’s vocal developments since his 2020 debut become clearer than ever. Loose swoons on lighter riffs or adopting the occasional quiver in his register, there is measured care in every moment of his tracks. Pieces such as CSI: Petralona and A Lens Turning quickly became my favourites on the LP, although the competition for these positions is remarkably close. Listening to this album is an exercise in enrichment for all those willing to give it a try.Â
Alice Beard
O Monolith - Squid
Squid’s sophomore album O Monolith is a huge hit! The krautrock quintet seems to have been attracted by the avant-garde and post-punk, returning with a progressive, maximalist noise that reflects Bright Green Field while also dabbling with softer tones and brassy embellishments. Squid have taken an actively experimental direction with a continuation of their anti-capitalist sentiment: The Blades, one of my favourite tracks on the album, is a reactionary track criticising the police brutality that happened at the 2021 Kill The Bill protests, specifically in Bristol. Ollie Judge’s vocals possess an ungovernable and unfaltering quality that never shifts, even during live performance he never tires.Â
My personal favourite, Devil’s Den is an explosive track that begins as eerily quiet, thus initially incongruous on this album, and the energy is lifted. The drums clash midway through, assisted by dissonant vocals with a changing synth texture: this track embodies the post-punk scene familiarity and the band’s experimentation with the soft/loud dichotomies. Squid are undeniably in a league of their own, open-ended and unrestricted, however this track has a similar feel to black midi’s Schlagenheim, specifically bmbmbm: a weird and wonderful track filled with the dichotomy emotion and chaos as the speed builds up, backed by a distorted guitar and an explosion of noise.
Natalie Howarth
Degenerate Inanimate- DEADLETTER (Single)
In March 2023, Deadletter served up their first offering since their 2022 Heat! EP with The Snitching Hour. Four months later came their second serving, Degenerate Inanimate- a funk-fuelled romp of satisfying proportion. Filled to the brim with grooving basslines underscored by Poppy Richler’s silky smooth sax motifs, the track oozes with all of the band’s usual charms. Lawrence can be found sarky as ever, scathing lyricism cutting the themes of betrayal and dishonesty which drive the song to the bone. The wit carried beneath is cold and clever, it all feels like a bit of an inside joke that we’ve been lucky enough to play a part in. It’s just as delightfully naughty as any other track on their discography, so why not join in on the excitement and give it a listen.
Alice Beard
everything is alive - Slowdive
Slowdive makes their highly anticipated and long awaited return with everything is alive, an album that effortlessly encapsulates their essence as trailblazer’s in the UK’s shoegaze scene. The record is a sonic journey marked by catharsis, introspection and mellow tones with stunning soundscapes, staying true to their previous works and unmistakable signature sounds to strike the familiarity and a solidified sense of their place in the shoegaze hall of fame.
The album opens with shanty, a fuzzy track with melodic simplicity that invites a contemplative depth: the instrumental placed as the album’s first track sets the melancholic tone that resonates throughout the entire album, entering a realm of emotion. The album’s most popular track kisses is reminiscent of their magnum opus, Souvlaki. Neil Halstead’s dreamy vocals seamlessly intertwined by guitar noise washes and hazy layering of beats echoes the ephemeral beauty of the 90s shoegaze era that propelled them to success. Everything is alive is more than a reunion but rather a revitalisation of the genre itself by the pioneers themselves: it is an absolute treat to hear works that capture the spirit of old shoegaze.
Natalie Howarth
3D Country - Geese
Geese, the charismatic New York group, unveiled their sophomore masterpiece 3D Country, an album marked by an intriguing musical evolution. Departing and deviating against their gritty post-punk origins that defined their debut, the band embraces textures of country and old blues, exploring the spirit of new Americana. The change in musical direction defines Geese as palpable and versatile with an added depth and appreciation for their musical repertoire. Their sound is authentic and exciting while also resonating with the soul of country and blues music.Â
A standout track for me is Domoto, an ever-shifting, sonic landscape with poignant lyricism expressing a struggle with the self and offering a glimpse into the complexities of modern human connections: Geese have referred to this track as their ‘sad song’ on the album. This beautiful song along with the other tracks on the album all contain psychedelic vignettes and push boundaries of genre categorisation. I look forward to what they have to offer in the New Year.
Natalie Howarth
I Thought I Was Better Than You- Baxter Dury
Baxter Dury takes perhaps his most in-depth foray into the past in this latest offering. Forever a punchline, Dury’s tongue in cheek lyrics reach full potency as he reckons with his childhood, his roots and his relationship with his own identity, tackling the legacy of his father head on. The album serves as a sort of extension of his 2021 memoir Chaise Longue, the character of Tricksy appearing in both Aylesbury Boy and Pale White Nissan, for example. It is here where we receive unflinching insights into Dury’s childhood and teenage years, songs such as Leon wasting no time in getting straight to the point as he fights a battle between his own circumstances and the deep and hardened desire to just ‘be normal’. The album is remarkably well balanced, the lounging sing-along Celebrate Me standing in contrast to tracks such as Shadow, which carry lyrics that touch on Dury’s fears with such ease that you don’t quite know whether to laugh or cry. Glows is the perfect closing track. It is tender and mellow, a melancholy air lingering beneath its meandering lyrics, but there is a definite glimmer of optimism shining beneath the cracks. This intimate album shows Dury putting the bandages on his past. I Thought I Was Better Than You truly portrays him at his finest of forms.Â
Alice Beard
Food For Worms- Shame
From the release of their first single Fingers of Steel, Shame made it abundantly clear that this third album was going to be something different. Food For Worms shifts in numerous directions throughout. Alibis and The Fall of Paul pack in plenty of intensity in homage their knotty post-punk beginnings, whereas the looser Orchid and Yankees allow some space to step back, reflect and re-evaluate. Within this LP, we see vocalist Charlie Steen exorcise his deepest emotions and tangled relationships with both the self and others. A torrent of heart-on-sleeve lyricism marks a stark evolution from five years prior. There a number of highlights within this work, but I will forever hold a soft spot for the subtle yet volatile Burning By Design. Steen’s tired, quivering vocals converse with a rumbling bassline and desolate, screeching guitar riffs to set us up for the heavy ascension at the tail end of the track. Distant wails and a gentle strumming chord progression accompany the words ‘I know you don’t wanna talk any more’ before we are led into the abyss. Within this album, Shame have managed to touch on a surreal musical landscape to equally match their stunning cover art (courtesy of Marcel Dzama). It feels as if they left something of themselves in this project, and we are here to share it.
Alice Beard
Fester EP- Legss
Fester is an EP that is packed with gentle pondering notions and rigidly anxious builds. There is a unique tension buried within every track, and it becomes our job as listener to dissect and digest the disposition of each. Opener Motto leads us in with ease, its eerily bittersweet melodies preparing us for the smack in the face we receive in tracks like The Landlord and Fester. There is a marked frustration contained in these pieces, a bubbling dark and pensive vulnerability in danger of spilling over at any second. The fury continues to simmer in each piece, culminating in the hypnotic creation that is Daddy There’s Sand in the Sandwiches. Brooding lyricism is conjured to new heights in closer Atlantic Road, its melancholic reflections burning searingly raw. Legss are careful with their energy. Unlike their contemporaries, they hand out their caustic truths in a milder, more measured manner, sensitive to the power they hold in their music. Put simply, this EP packs an intensity to match the heaviness of the emotions it provokes.
Alice Beard
A Small Crowd Gathered to Watch Me EP- Humour
Starting off December with a bang, Glasgow quintet Humour shared their shiny new EP A Small Crowd Gathered to Watch Me. The title track wastes no time in getting started. The drums, which feel angrier than ever before, anchor this piece and allow the storm to ensue elsewhere. Christodoulidis’ repeated assurances of ‘I said I’ll be there on Wednesday, fuck off’ boil up to insanity. Paired with jagged, angular guitars we are provided with a piece that amasses complete delirium. One thing vocalist Andreas Christodoulidis always reigns champion in is seamlessly turning story into song. This ability is unveiled in the very best capacity in tracks Take a Look at My Tongue and Big Money. This third track is a straight cut assault on capitalism. The furious narrative about a greedy rubber tycoon is just as sinister as it is bleak, the onslaught spiralling faster with each rebuke. The pacing drums of The Halfwit maintain such urgency. This temperamental closer captures a desolate, wailing agony to summarise this EP in just three minutes. Here we have post-punk in raw form.Â
Alice Beard
Slice EP- O.
O. are two artists with undeniable synergy. In under twenty minutes, Tash Keary and Joe Henwood offer up something special. They demonstrate the ability to deliver a complete and ever-flowing sonic spectrum with the use of only drums, a baritone sax and a few pedals. Slice is something seriously fresh. This eclectic mix of genres all bundled into one captures a frenzied energy that allows us to safely dive into the most unexpected territory. The opener is a piece of pure menace. It oozes with such intense passion and experimentation, yet it all comes into alignment as quickly as it started. The duo continue to tread muddy waters with the following Moon and Grouchy, but they truly saved their best for last with ATM. Over six minutes, the listener must place themselves on high alert for the flawless, unfiltered chaos that ensues. This four-track collection is pure filth. Â
Alice Beard
Epic the Movie EP- Cowboyy
The debut EP, Epic the Movie, from young four-piece Cowboyy is short, sweet and snappy. From the second Gmaps first begins, you receive a playfully eccentric introduction to the band’s soundscape. In brief summary, it’s just two minutes of fun really. Throughout the EP, bizarre jittery riffs take each track in opposing directions. With each new piece, a new leaf of freshness is turned. Tennis is an appropriately jangly follow up to the opener, whilst Plastic takes a relatively existential turn. Nevertheless, that same unique energy which runs through the core of the EP still remains as vivid as ever. The punchy, tongue in cheek Algorithmic brings Stan Powell’s lyrical charms to the forefront: ‘So many mullets in the room, I can barely even breathe/ And no I’m not a fucking Black Midi rip off’- another highlight from the EP. One track that has remained a favourite since my first listen though, is Nothing. This four-minute slowburner manages to condense their attitude into a much calmer format. We hear the gentle breaths of moody intensity which perfectly conclude this project. It’s all you could really ask for from a debut EP.
Alice Beard
Tuesday (Single)- mary in the junkyard
Tuesday is a track which burns with a mellow intensity. From the off, there is intention in the artistry. Staccato guitar remains playful alongside the sparse bass and propulsive drums, each component aiding in the establishment of the direction of this five minute- piece with clear cut confidence. Steeped in crooning riffs, the slow progression takes us on a delicate foray into the unknown. Cymbals clash amidst a noisy wilderness of airy vocals and swooning notes of discordance, courtesy of guitarist and vocalist Clari Freeman- Taylor, yet in spite of the apparent chaos there is an assertiveness within the atmosphere of it all. Projecting echoes of Wolf Alice and Teeth Machine in their sound, mary in the junkyard are sure to be a trio to keep your sights set on in 2024. Â
Alice Beard
My Eyes, Brother! EP - Opus Kink
My Eyes, Brother! is a gritty jazz-infused punk EP filled with brassy, explosive sounds, Opus Kink are a band to keep on your 2024 music radar. Carrying 7 tracks that presents a range of emotions and musical styles that fuse together to create a dichotomy of life and danse macabre, starting off strong with Chains that engulfs you with a drum and bass, fighting at the forefront of the track. Similar to the track's name, Dust is filthy with its chants and explosive sonic journey: it really encapsulates the essence of Opus Kink's music style. Tin of Piss provides us with a momentary pause, around forty seconds before bleeding into Malarkey, an oblique track that is immediately uplifted by brassy instrumentation of Piping Angels: having seen these guys a few times in 2023, this track is a certified crowd pleaser. Ending on a high with 1:18, the synth offers a moment of recovery before we are catapulted back into a frenzy: the brass section on this track boasts a high energy that translates into performance. I cannot wait to see what the Brighton six-piece have in store for us this new year after their huge success this year.
Natalie Howarth
Edited by: Natalie Howarth and Alice Beard
All Image Courtesy of featured artists' official album covers.
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