2023 Music Reviews

AJR, The Maybe Man (2023)   D+
They performed at a rather large music festival in my hometown this summer and I know people who went to it and loved it ... but you cannot convince me they're anything more than The Wiggles who use curse words and are having a midlife crisis at 26.

Amaarae, Fountain Baby (2023)   C
This has a bit of a bounce to it, but I can't be the only one who thinks she could be a voice actor for a Pokémon character. It's a bit disposable too - she makes Demi Lovato sound like a Rhodes Scholar. "Sex, Violence, Suicide" doesn't seem like it belongs on here, and as for the lines "Maybe you're a Sag / You nag, you nasty" on "Co-Star" ... I'll choose to not take that personally.

Animal Collective, Isn't It Now? (2023)   F
They're still (permanently?) stuck in an actual rut: they make these run-on "songs" that just loop in circles and repeat themselves (like on "Soul Capturer" and "King's Walk"). And how they expect anyone to tolerate the twenty-two minute long "Defeat" is bewildering.

Anohni and the Johnsons, My Back Was a Bridge for You to Cross (2023)   D
Opener "It Must Change" is too repetitive, Anohni's vocal performance on "It's My Fault" is grating and "Rest" sounds like bad 80's rock. Some might find the broken-hearted earnestness to be enough to overlook the flaws, but I think this could have been better developed.

Armand Hammer, We Buy Diabetic Test Strips (2023)   C
The production isn't quite up to the standard of previous releases - there is a thing as being "too chill," ya know? - and the word salad can be overbearing.

Beach Fossils, Bunny (2023)   C-
They still have that summer-y aesthetic, but like previous records from them it's just a cut-and-paste job (with lame lyrics) for eleven tracks (and hey, that guitar on "Run to the Moon" sounds a bit familiar). But the real question is what do they like more ... drugs or the sun? What about a wet spliff during an ice storm?

Ryan Beatty, Calico (2023)   D+
Long-time Brockhampton collaborator Beatty's third solo LP is a little too delicate and wallflower-ish to act as anything other than background noise. He has one of the best voices in modern music, and I would have liked for him to showcase his gift considerably more. If he's content to just be a country western singer, so be it....

Belle and Sebastian, Late Developers (2023)   B
It's impressive how these indie legends from Scotland have been together for approximately twenty-seven years, remain consistent and continue to release smooth and relentlessly optimistic songs. Murdoch's vocal delivery remains as distinctive as ever, and his bandmates keep it bouncy. While listening, crack open a Tennent's Lager and prop your feet up: there are (hopefully) good times to be had ahead.

Andrew Bird, Outside Problems (2023)   C
This is a fine if unremarkable collection of instrumentals and a companion album to last year's "Inside Problems" - considering his past output he just seems to be settling for average here, like he recorded a jam session and couldn't wait to release it. "Epilogue" belongs in a movie, though.

James Blake, Playing Robots Into Heaven (2023)   D+
The title track that closes this out is a nice bit of ambiance, and it mostly works because of its simplicity. What preceded it is less than commendable, since he's always screwing around with the vocals or making bad loops ("Fall Back," "Big Hammer"). Why has he never made anything better than his Boiler Room DJ set so long ago that I still listen to?

Blur, The Ballad of Darren (2023)   D-
Anyone expecting "old school" Blur will be sorely disappointed with this, which is mostly stale ballad-like tunes. I guess you don't need to woo-hoo anymore when a cartoon act you've created makes you a ton of pounds.

Bombay Bicycle Club, My Big Day (2023)   C-
The band seems to really embrace their "goofy side" - the cover is a beefy gentleman with sunny side up eggs on his face - but there's a grating child-like quality to the songwriting, and they're fond of repetition. I didn't really expect Chaka Khan to show up on the video game-influenced "Tekken 2" ... but there she is.

Boygenius, The Record (2023)   B
All three members of this supergroup are such dominant personalities (and superb singer-songwriters) I don't think it's possible for them to "collaborate" in a "traditional sense": you can still tell who wrote which song. That said, it's a solid effort that uses a variety of styles ("$20" rocks out, "Cool About It" is a folksy number) ... and for those curious, actress Kristen Stewart directed the accompanying "film" to go along with the album, which celebrates sisterhood and memories of youth.

The Brian Jonestown Massacre, The Future Is Your Past (2023)   C+
Newcombe and the gang are still blasting their dozen shimmering guitars and it's a decent listen, but still lacks the memorable hooks of their best records. He's so innately talented he could have cranked this out over a long weekend with a few cases of Schneider Weisse.

John Cale, Mercy (2023)   B-
While this is pretty self-indulgent and sometimes irksome to listen to, I have to give credit to Cale - who is 80 years old - for continuing to make music that's weird and personal to him - he's earned the right to do anything he wants. There's a wide variety of contributing artists on here - including Weyes Blood, Actress, Dev Hynes and Animal Collective - but it remains distinctively Cale's album. It even ends on a note of optimism: don't you be jumping out your window....

Alex Cameron, Forced Witness (2017)   B
He unfortunately pulls from parts of 80's music I personally cannot stand (sax solo!), but at least it's done with a certain amount of irony. Feel free to appreciate his dancing in the music video for "Runnin' Outta Luck" ... and the hilarious lyrics for "Studmuffin96" and "The Chihuahua."

Ken Carson, A Great Chaos (2023)   D-
The slurred delivery is funnier than he probably wants it to be, or maybe it's because I couldn't stop thinking about Snoop's diss of "modern rappers." Or maybe he really is a secret comedian: "If there's a Heaven, this bitch goin' to hell / This bitch a succubus, she suck me, yeah."

The Chemical Brothers, For That Beautiful Feeling (2023)   D+
They won a Grammy for the over-rated "No Geography" back in 2020, but my major complaint with that release applies here: the songs get stale without going to the 'next level' ("Feels Like I Am Dreaming" being a glaring example at the tail end of the record). However, the nostalgic "Goodbye" as well as original mix of "The Darkness That You Fear" are fantastic and would have fit snugly on "Surrender."

George Clanton, Ooh Rap I Ya (2023)   D+
"I Been Young" is an okay single, but the rest of it doesn't do enough to put a unique spin on the chillwave genre. Even closer "For You, I Will" just kind of fizzles out....

Cold War Kids, Cold War Kids (2023)   F
The bluster and raw emotion of their early recordings has dissolved over time ... and I listened to this a day after hearing the new Stones record. They've been literally hung up to dry.

Current Joys, Love + Pop (2023)   F
Out of the twelve tracks on here, more than half are barely formed and the style changes wildly. Also, what is Lil Yachty doing on this? He surely has better places to be.

Lana Del Rey, Did You Know That There's a Tunnel Under Ocean Blvd (2023)   A-
This just might be her most despairing record to date (which, if you've been following along, says a lot), as Ms. Lana worries about aging, suffering, not being able to escape haunting memories and fears of being forgotten (the object in the title refers to the Jergins Tunnel, which has been shut down since the 1960's). Few singers are able to make sadness so alluring and romantic, which is why she's an indispensable presence in the world of music. The inclusion of a "sermon" by megachurch pastor Judah Smith is a bit of a misstep, though: mocking bigoted and sanctimonious people who hide behind religion is way too easy.

Mac DeMarco, Five Easy Hot Dogs (2023)   F
Fourteen instrumental "songs" that sound like something you'd hear in an elevator in the 1980's were recorded by Mac on a road trip and passed off as an album. If this isn't yet another sign of creative stagnation, I don't know what else to say.

Indigo De Souza, All of This Will End (2023)   C
Her whole sarcastic tone and cracked vocal delivery give her cool girl vibes - she'd be great to have a beer with - and her "sound" seems like some take on 90's indie music, but she has to work on her lyrics, most of which are incredibly trite. Who doesn't love water? Besides cats and bees, that is....

Disclosure, Alchemy (2023)   D
"Go the Distance" has a good deal of catchy club energy, but these brothers - and I hate to admit this - are only as good as their contributors and, for whatever reason, they don't use any here. It also doesn't help that many of the beats are a little stale, too....

Doom Flower, Limestone Ritual (2023)   D+
Sadgirl vocals combined with coffee shop instrumentals ... with the occasional blast of noise: you've most likely heard it before (and better), but at least it doesn't take up too much time.

Drake, For All the Dogs (2023)   C
The King of Toronto takes the same approach to this latest LP that Travis Scott did with "Utopia": bring in a ton of collaborators (including several of the same ones Travis did) and hope no one notices he's still griping about how difficult both sexual and platonic relationships are to navigate. It's an uneasy mix of self-pitying, bragging and eye-rolling wordplay (on "Tried Our Best": "I swear to God, you think I'm Shakespeare / That's why you always wanna play, right?"). The single "Slime You Out" (with SZA) is alright, but I can't help but be reminded of the old Nickelodeon show "You Can't Do That on Television" ... which was also made for an emotionally underdeveloped audience.

Bob Dylan, Shadow Kingdom (2023)   😎
For a documentary about his early years, Mr. Dylan revisits some of his old favorites. As one might expect, it's an exceptional collection.

Electric Six, Turquoise (2023)   D
That "mock rock" swagger might have provided some chuckles approximately two decades ago ... but now it's like they don't know the joke is a little old. Or, let me be a little more specific: Jack Black knows what he's doing.

Feeble Little Horse, Girl With Fish (2023)   D+
Strangely acclaimed record from some yinzer kids - apparently adding fuzz effects to half thought-out "songs" makes some critics think they're Slowdive or something. Girl in Red does it better.

Fever Ray, Radical Romantics (2023)   F
Karen has plenty of fans and defenders, but the combination of constantly changing (shrieking to warbling to whispering) vocals and droning dance-pop has never done it for me, and this record isn't changing my mind. Did a fly get loose in the studio when "Shiver" was being recorded? Who thought making the closing song "Bottom of the Ocean" nothing but a series of oh-oh-ohs was a good idea?

Dominic Fike, Sunburn (2023)   C-
Who'd have thought the deeply troubled Elliot from Euphoria just wants to be ... Rivers Cuomo? The Weezer collaboration is fine and it's mostly a collection of easygoing if forgettable pop tracks ... and sometimes he comes across as being younger than he is. If "Mona Lisa" starts playing randomly on Spotify, you won't rush to skip past it.

Foo Fighters, But Here We Are (2023)   B-
This latest album by the Reigning Kings of Dad Rock can't help but sound like a tribute to their late drummer, Taylor Hawkins, which is quite sweet of them. And while the group isn't exactly breaking any new ground, there are some decent songs on here like "Under You," "Nothing At All" and "Show Me How" with Dave's daughter Violet assisting him with the vocals.

The Front Bottoms, You Are Who You Hang Out With (2023)   C-
Sometimes they're truly sincere and have the capacity to sneak in some smart lyrics ("The name of this band was gonna be Mass Shooter / But the tone felt too spot on"), but then they just sink back into being fey and annoying ("Paris," "Brick," "Batman").

Geese, Projector (2021)   B-
Precocious Brooklyn teens find inspiration in their own city's history, taking their parents' record collection (or is it grandparents?) seriously and clearly digging those Television and New York Dolls LPs. I actually missed this when it first came out but was impressed with the guitar work by both Gus Green and Foster Hudson when I saw a video of them performing at Desert Daze 2021: the interplay on "Fantasies/Survival" is transfixing. Unfortunately, like their sophomore release, the latter end lacks the strength of its start.

Geese, 3D Country (2023)   B+
Hey wait a minute, who stuffed this prog rock in my New York post-punk? Full of (unearned?) swagger and confidence, lead singer Cameron Winter channels either Mick or Jack White or Julian Casablancas (or sometimes all three ... in the same song), and they're unabashedly looking at the 70's for "inspiration." It tails off a bit in the second half after a strong start: they'll get more consistent with time, I know it.

Alison Goldfrapp, The Love Invention (2023)   C-
It's her first solo record without long-time collaborator Will Gregory ... and it winds up being ordinary - sometimes mundane - dance rock, a far cry from her best work. Surely a 57-year-old lady wouldn't resort to making a cheeky song called "Digging Deeper Now" - I had to double check the track listing to check if the title wasn't what I thought I heard. Then again, she's always did want it "up and on"....

Gorillaz, Cracker Island (2023)   C-
This "virtual band" never has bone much for me (their debut was fine, I suppose) and this isn't the record to change my mind. Damon's lyrics - lots of complaining about the state of the world - have never sounded more banal, and the contributing artists don't add much (Bad Bunny could not be more out of place).

Greta Van Fleet, Starcatcher (2023)   D-
If people enjoy Josh Kiszka's endless yelping, that's fine, but I'm not really into cover bands: it isn't better than the real thing. Mr. Plant can sleep easy at night.

Guided by Voices, Welshpool Frillies (2023)   D+
Album #38 from Mr. Pollard and company ... is he undergoing a life-long manic phase? Does he even remember any of the tracks off of "Bee Thousand" from 1994? I still can't help but chuckle when a song fades out before it feels "finished" - he has to move on to the next one, ya know?

GZA, Liquid Swords (1995)   A-
The production is fantastic (which goes without saying) ... but what's truly impressive about this second release by The Genius is the jaw-dropping lyricism on display: it might be one of the best written hip-hop albums of all time. Unlike many modern rappers, he has a lot to say about actual problems with the world, like bad cops and inner-city life ... and about self-improvement. Also: diversify your bonds.

Jack Harlow, Come Home the Kids Miss You (2022)   D+
It's easy to get a hearty laugh out of Gen Z's version of a lothario and some of his highly questionable artistic "decisions" and atrocious lyrics ("You know that the bread keep coming, Golden Corral, bitch," "You know we get that bourbon out the barrel, Diddy Kong"), but he really is a likable dude. And he respects his elders (Pharrell, Snoop, Drake, JT and Lil Wayne all make appearances). Okay, I'll confess: "First Class" is a guilty pleasure....

Jack Harlow, Jackman (2023)   D+
Rushed-out mini record from Mr. Harlow where he complains about haters, brags about himself and reflects on his childhood in Louisville. He should have re-thought "Gang Gang Gang" ... sometimes friendships need to be broken, especially for the reasons he awkwardly brings up. Oh, and his flow's getting better.

PJ Harvey, I Inside the Old Year Dying (2023)   D
Whose bright idea was it to let her imitate Nico on "Lwonesome Tonight?" Who thought the title of the record sounded good? And who cares about children's questions?

Health, Rat Wars (2023)   F
Same deal as with their previous records, and there's a real lack of effort to make any of it that much different than what the likes of Skinny Puppy did decades ago ... it's just cranking up the distortion to make it "seem bigger" than it is.

The Heavy, Amen (2023)   C-
High energy, but low effort party rock: by the time they get to "Without a Woman," the crowd's staggered out the door and trying to find their Uber drivers.

Tim Hecker, No Highs (2023)   D+
It's more of the same from him: creaky noises, thumping beats, a horn here and there - what's lacking is imagination or at least an effort to move things in a new direction. Is it just me or do some of the tracks sound a little like Tangerine Dream?

The Hives, The Death of Randy Fitzsimmons (2023)   C+
After an extended hiatus, these Swedes are back with more buzzy songs ... they lost a bit of a step and aren't quite as consistent as they once were (although "Two Kinds of Trouble" is a blast), but it's a nice little flashback to the early 2000's.

Hozier, Unreal Unearth (2023)   C-
This Irish bloke hit big in 2013 with "Take Me to Church" (which I do think is a great single) and there's no doubt he has some talent, but there's something preening and goody-goody to his songs ... and it would have helped to trim the album down to something more reasonable. Compared to him, Coldplay might as well be MS-13.

Kara Jackson, Why Does the Earth Give Us People to Love? (2023)   C
There are some smart lyrical passages on here - she was the U.S. National Youth Poet Laureate from 2019 to 2020 - but the music (and delivery) could have used a lot more complexity, since long-form pieces like "Free" and "Rat" stall out.

Jane Remover, Census Designated (2023)   D+
She's unfortunately hit a sophomore slump with this second LP, which tries to fluctuate between quiet and loud to change up the dynamic, still sounds like a bit of a static-y jumble. It's a little overlong too, and wears thin well before the hour is up. There's undeniably talent there, but it needs refinement.

Carly Rae Jepsen, The Loveliest Time (2023)   C
Companion album to last year's "The Loneliest Time" is more of the same: she could sing about euthanasia and it would sound romantic. Which, now that I think about it, is a peculiar superpower....

The Jesus Lizard, Goat (1991)   B
The dynamic of Yow yelping over Denison's harsh guitars had to have had an influence on bands like Chat Pile and Viagra Boys. The unintelligible lyrics bothered me when I first heard this in high school ... now I realize they're just another sound.

JPEGMafia and Danny Brown, Scaring the Hoes (2023)   A-
There's natural energy (and synergy) with these idiosyncratic talents: from opener "Lean Beef Patty" (named after a buff lady influencer on TikTok) to the clap-happy title track to the triumphant "God Loves You," they're throwing a chaotic party for your ears. Few have Peggy's ear for oddball samples (Dirty Beaches and Michael Jackson!); even fewer rappers are as culturally well-informed as either of them. The hoes? They're rattled.

Miles Kane, One Man Band (2023)   C+
The title track has plenty of peppy rock energy - and I like the closing ballad, "Scared of Love," especially since I don't think he's totally serious - but it lacks the poetry and playfulness when compared to his work with a certain Mr. Turner.

Kesha, Gag Order (2023)   C
She's been through a lot in her own past (some of which may have been her own doing), but the vast majority of this album just seems like a ton of griping and whining from a diva. "The Drama" is a nice change of pace, however (which is what you get when Kurt Vile helps you put it together), and the outro is at least a little fun: there are worse fates than coming back as a beloved house cat.

Kevin Abstract, Blanket (2023)   D+
After all those years with Brockhampton, it turns out all Kev really wants to do is play severely watered-down "indie rock." What's next, is Andrew Bird going to start making alternative hip hop?

King Krule, Space Heavy (2023)   D
His usual drowsy/half-stoned routine doesn't work this time around, and he doesn't have the melodies to save him. We already have one Mac DeMarco ... sorry.

Steve Lacy, Gemini Rights (2022)   B
Lacy's sophomore release is quick and easy-going ("Bad Habit" is a catchy single) and he said came up with most of the album while "tipsy." For the next LP, might I suggest he take down five shots of Jameson, two joints, an 8 ball, three espressos, a peach pie and a six pack of Pabst Blue Ribbon and then listening to what he comes up with? You know ... for research purposes?

Jenny Lewis, Joy'All (2023)   B-
Breezy - if a bit slight - ten-track album from Ms. Lewis, who was the opening act for Harry Styles. I like her sassiness on "Psychos" but "Puppy and a Truck" is the standout track, where she confesses that her forties have been rough and her solution is to get a Chevy and a hypoallergenic canine friend. But tell me: what's so wrong with a Tesla?

Lil Uzi Vert, Pink Tape (2023)   C+
Maximum silliness from Philly's own Uzi here, and I'm not sure if it's intentionally or accidentally funny. Try to make it through "Spin Again" without grinning. Or "Endless Fashion" (with Nicki, who plays along). Or "CS," which is an out-of-nowhere cover of System of a Down's "Chop Suey!". It ends, naturally, with a collaboration with the ladies from Babymetal.

Liturgy, 93696 (2023)   C+
It's a variation of spastic guitars, screaming, the sporadic drum break, strings and angelic voices and I personally don't think it adds up to much as a whole, but individual moments - namely, certain sections of "Haelegen II" and "Antigone II" - are pretty transfixing. Listen to it as loud as your neighbors will allow.

Local Natives, Time Will Wait for No One (2023)   B
There's something smooth and effortless about their presentation and they seem to know how to put the right touches on their songs, like the cooing on "Featherweight." "Just Before the Morning" is a dynamic single and immediately catchy: it's one of the best summer songs for this current year. Only quibble: the lyrics could have used some refinement.

Mandy, Indiana, I've Seen a Way (2023)   D
The lyrics are in French, the band originates from Manchester in the United Kingdom and their name seems like it should be a city in the American Midwest. That's about everything interesting in this debut electronica record, which has been done better by others (to name one: Crystal Castles).

Matmos, Return to Archive (2023)   C-
Normally, I kind of like their little sonic experimentation, but this doesn't land for me and just feels like a random collection of sounds (like a lawnmower and then a doorbell) without much of a theme established. "Going to Sleep" is not what you want to listen to before dozing off.

Metallica, 72 Seasons (2023)   C
Let's be honest here: they're in their sixties, they've been going hard since the early 80's, and they have plenty of money ... so they don't have to do this. But here we are, with their eleventh studio album. Are James' lyrics still silly? Are the riffs a little stale? Are the tracks bloated? Yes to all. It doesn't get close to their classic albums, but long-time fans might want to check it out for nostalgia. Throw them a few bucks: Kirk probably wants more horses and Lars needs more modern art.

M83, Fantasy (2023)   C-
It's like a significantly diluted version of what Gonzalez has done in the past: New Age-y electronic "compositions" (with the sporadic strumming guitar) that are supposed to "build" up but only fizzle away. I don't appreciate the disco-fied title track one bit.

Kylie Minogue, Tension (2023)   C-
The title song is shamelessly club-ready (and no doubt made its way around TikTok) and yet the rest of it is her kind of going through the motions. But that's probably the right move because there's no need to alienate die-hard fans ... after all, she has an upcoming residency at the Venetian in Vegas. Body: ten, touch: ten, creativity: two.

Miss Grit, Follow the Cyborg (2023)   C+
While not bad for a debut record with its "futuristic" sheen (which I suspect was influenced by St. Vincent), its concepts (and the writing) could have used a little more fine tuning. The title track (as well as its accompanying music video) is mesmerizing, however - she has a good taste when it comes to visual design.

Mitski, The Land Is Inhospitable and So Are We (2023)   D
Several tracks are still clipped and barely-developed and the crooning is grating ... and there are parts that seem to be influenced by country. No thank you to any of that ... but I do like the dogs on "I'm Your Man."

Model/Actriz, Dogsbody (2023)   C-
Whispered deranged proclamations over creaky instrumentals ... and we already have Jamie Stewart for that. And he goes way farther....

Moby, Ambient23 (2023)   D-
He's going back to his roots, I guess - his second album was "Ambient" - but this runs a grueling two-and-a-half hours long, and not that much different from what a middle school student could make in GarageBand after taking Vyvanse.

Janelle Monáe, The Age of Pleasure (2023)   B-
It's been five years since her previous album - she has other things to do, you see - and I'm glad she's not talking about technology, but instead sex-positivity (hence her being topless on the cover ... and in real life): it's a little slight and the lyrics are direct (and sometimes silly, like on "Haute"), but her voice is outstanding, and it has this fun Afro-Caribbean vibe. And hey, she's not bad at her "other career" either....

The National, First Two Pages of Frankenstein (2023)   B+
Berninger's wounded alpha routine might not be for everyone - few could deliver lines like "You in a Kentucky aquarium / Talking to a shark in a corner" with a straight face - but his bandmates, not to mention contributions from Ms. Swift and Ms. Bridgers, help keep the music honest. This is how I look at it: he's genuinely sad, and they're his intervention.

The National, Laugh Track (2023)   B
Unexpected second LP released this year from Berninger & the gents, and I wonder if they originally planned on making a double album but then talked themselves out of it. Their moody brooding might not be for everyone (and even I find the super long "Space Invader" and "Smoke Detector" to be a little exhausting) but "Weird Goodbyes" (with Bon Iver) and the title song (with Phoebe) are outstanding collaborations. He opens with the line "I don't miss the world, not the way it was" on "Alphabet City," and while I kind of agree, I do have mixed feelings about it....

The New Pornographers, Continue as a Guest (2023)   D
Pitifully bland "rock" from a group that's merely a shell of its former self ... and what's even worse is they waste the presence of Neko. How many cups of yerba mate do you have to drink to write "Pontius Pilate's Home Movies"?

Noname, Sundial (2023)   C-
There's a difference between not being fully pleased with society and resorting to hate - she's in her thirties now and should (but doesn't) know better. Also, a word to the wise: embrace the fans you have not the ones you think you want.

Oliver Tree, Alone in a Crowd (2023)   D-
If you thought his previous record was him at an all-time low ... you'd be right, but this is only a smidgen more tolerable. Compared to him, Post Malone might as well be Alan Jay Lerner.

100 Gecs, 10,000 Gecs (2023)   C+
Who else predicted these two jokers would make an entire album making fun of the likes of Blink-182, Limp Bizkit and The Mighty Mighty Bosstones? Or maybe it's homage ... you can never really be sure. Even though it's something of a novelty and entirely too short, this 27 minute release is packed with goofy energy.

Oneohtrix Point Never, Again (2023)   D+
Hooray, consistency: here's yet another record from Mr. Lopatin in which everything is just a random assemblage of sound clips with no cohesion - you get to one bit you really like and then yoink it's a new song (although closer "A Barely Lit Path" is excellent). His non-OPN material (including his soundtrack work) is definitely worth exploring....

Orbital, Optical Delusion (2023)   C
It's been a while since I listened to these English brothers - I clearly recall an old acquaintance playing "Halcyon + On + On" for me back when I was in college - and although tracks like "Ringa Ringa (The Old Pandemic Folk Song)" and "The New Abnormal" show a bit of the old form, I could have done without "Home," "Dirty Rat" and a few other collaborations that are almost intolerable to get through.

Genesis Owusu, Struggler (2023)   B+
The Land Down Under's got a new superstar: it's socially-conscious hip-hop with touches of soul. Owusu speaks openly about his personal battle with depression and brings up not only issues with society being what it is, but also a concern that the Universe's conspiring to get him. For the latter point: I think we can all agree with him the last few years have been especially rough ... and I'm with him on "See Ya There": You're going to hell, baby / I'll see you there....

Paramore, This Is Why (2023)   B-
Miss Hayley says everything a lot of us are thinking: no one 100% confident if it's safe to go outside, we need to turn off the news and mental health problems are real and need to be treated. Her lyrics are a bit too literal and the record's first half is stronger than the second ... but it's enjoyable as straightforward power-pop.

Pig Destroyer, Terrifyer (2004)   B
Somehow I missed this now-notorious grindcore release over twenty years ago, but thanks to Relapse Records who posted the entire thing to YouTube ... it is indeed an intense ball of fire and relentless. Play it loud after the landlord increases the rent and you need to mask the sound of walls being punched.

Caroline Polachek, Desire, I Want to Turn Into You (2023)   B
Decent artpop from Ms. Polachek (her second solo album using her own name) - Gaga's a clear influence, and she plays it safe most of the time, but the opening and closing tracks are very strong (the Trinity Boys' Choir help make "Billions" one of the most cathartic songs of the year).

Post Malone, Austin (2023)   D
My personal feelings about him aside (I think he's a genuinely decent dude), Posty whining about his drinking and personal problems for seventeen straight tracks (using multiple genres of music) isn't an advisable move. I dunno, maybe he shouldn't be pounding down 30 vodka and seltzers in the first place and seek help combating his addictions ... and I certainly wouldn't test fate with the misguided "Too Cool to Die." It could have very well been called "Beerbongs & Banalities."

Protomartyr, Formal Growth in the Desert (2023)   B+
Perhaps it's not their most "flashy" record to date, but the fire is still there: Mr. Casey's spastic anger and righteous indignation is tempered by his buddies trying to keep everything under some form of control. And the lyrics could only come from a tipsy poet after a long, spirited night: "The rain garden under sodium lights, the water flowing / Beyond the pines, servants of the forest dancing mazurkas."

Public Image Ltd, End of World (2023)   C
Mr. Pistol's infamous sneer is most evident on the admittedly funny "Being Stupid Again" ... but he's also very fond of being annoyingly repetitive ("The Do That," "Hawaii"). The real-life story about him and his late wife is a touching one, though: sometimes the most punk thing to do is to care for someone you love.

May Rio, French Bath (2023)   D+
She has a really delicate, almost ASMR-like delivery, but too many of the songs are only partially formed. "Self Service," on the other hand, is one of the best singles of the year and shows what she's capable of.

Olivia Rodrigo, Guts (2023)   B
She took me by surprise with her debut record - like Chris Martin said, "Deja Vu" made a lot of people our age get misty-eyed and nostalgic - and this sophomore release is just as sharp: the first three tracks are notably strong, and I appreciate her fondness for casual cursing and loud guitars (not to mention spicy pasta at Carbone). There's still room to grow and engage in self-discovery, however: on "Ballad of a Homeschooled Girl" she laments, "Everythin' I do is tragic / Every guy I like is gay." You might want to figure out why that is....

The Rolling Stones, Hackney Diamonds (2023)   💎
They're in their eighties, they just lost their drummer in 2021 and they've accomplished things very few (if any) future bands will ... so did they need to record this latest album? Probably not, but they did. May all grandfathers keep their amps cranked up and that swagger on display.

Jeff Rosenstock, Hellmode (2023)   B-
He has this special ability to be self-depreciating and depressed and fed-up and keep it spunky, which is a real gift. There's a little bit of padding in here, but he's clearly enamored with his own material. "Liked U Better" is one of the best tracks he's ever made.

Ryuichi Sakamoto, 12 (2023)   B
The great Japanese composer's final album is minimal and pensive: he recorded it he was suffering from cancer, and you can hear him breathing heavily in parts, which makes it all the more anxiety-inducing. I've been a fan for as long as I can remember - his work with Bernardo Bertolucci is especially memorable, and "Merry Christmas Mr. Lawrence" is a personal favorite. I'll leave this here: Ars longa, vita brevis. Also: ありがとう.

Sampha, Lahai (2023)   D+
For being someone who doesn't put out a lot of material (he's mostly known as a top-tier contributing artist), this is surprisingly half-hearted and kind of listless - he probably thinks his voice (which is distinctive) is enough to carry him through, but it isn't.

SBTRKT, The Rat Road (2023)   C
The way he builds up his songs can be interesting (like on "You Broke My Heart But Imma Fix It") and the collaborations with Chaz, Teezo Touchdown and Sampha are highlights, but there's too much filler and too many barely developed songs.

Bruce Springsteen, Nebraska (1982)   A-
For a guy who never did any of the blue collar things he's been singing about, he's a heck of a storyteller with a fertile imagination. I still think "Born to Run" is his best record, but nothing beats the American Melancholy being presented here.

Teezo Touchdown, How Do You Sleep at Night? (2023)   B
Debut studio album from Mr. Touchdown is just as eccentric as he is: it isn't a strictly rap album (I wonder how much he was influenced by Weezer and Weird Al, for example) and his sense of humor is a rare delight (just listen to "UUHH" and "Familiarity"). Sometimes that silliness gets the best of him, but it's better than bragging about money, fame, etc.

Travis Scott, Utopia (2023)   C+
Admirers aren't going to want to hear it (that is, those who weren't trampled at 2021's Astroworld Festival), but the things I've said about him in the past still apply here: his "skill" is putting together a virtual All-Star team of recognizable musicians (including half of Daft Punk, Bon Iver, Beyoncé, Bad Bunny, The Weeknd, James Blake, Future, SZA, Sampha, 21 Savage, Drake and Teezo Touchdown, who is memorably flamboyant on "Modern Jam") and riding on their talents (and there's still some Auto-Tune abuse in there too). He's a secondary player in his own show ... which makes me wonder what he alone has to offer.

The Shaggs, Philosophy of the World (1969)   B+
Infamous (and accidentally avant-garde) album by the Wiggin sisters: they can't sing or play their instruments correctly, the lyrics are banal and they apparently smelled like livestock. It's tempting to laugh, but there's something that's made it the cult item it is: it's like listening to happy children unbroken by life and living in their own world and having fun. Musicians struggling to come up with material should be inspired by it. Did Captain Beefheart know about this before recording "Trout Mask Replica?"

Shamir, Homo Anxietatem (2023)   C+
His delivery is distinctive and may turn some people off (it's listed as being a counter tenor) but I actually like it ... but aside from that the songs are missing some staying power and aren't that memorable. He seems like the kind of fellow who, for fun, enjoys listening to "Closing Time" by Semisonic on a loop.

Ed Sheeran, - (2023)   C
The same things I said about his previous recordings fit here as well (call it consistency): he's genuine, empathetic and probably appreciates a good sunset ... although I'm not convinced he has the ability to knock it out of the park. I also think he's not trying to be a jerk or a thief, which is why I'm glad he won the copyright case: he's not silly enough to rip off Marvin Gaye.

Sigur Rós, ÁTTA (2023)   D
If you gaze into your own navel long enough, does the navel gaze back?

Troye Sivan, Something to Give Each Other (2023)   C
Glossy electropop from Aussie Troye - there's nothing all that unique to the LP (which is his third) but he comes across as earnest when not indulging in his mischievous side ("One of Your Girls"). It's a riot that the original cover has been banned in some countries but the innuendo-laced songs are not ... which shows where parts of the world are at when it comes to acceptance. And hey, if this whole musical career fizzles out (or he gets tired of it), he can act - he handled himself just fine on the doomed HBO show The Idol.

Slowdive, Everything Is Alive (2023)   C-
It pains me to say it, but aside from "Kisses" - which is a delicate reminder of what they're capable of - this malnourished record pales in comparison to the other works in their slim discography. Without solid song structures in place, it's just reverb and other effects. Also, why so little vocal-wise from Rachel Goswell? Was she distracted by her glass-making side gig?

Slowthai, Ugly (2023)   B
Holy Bipolar Disorder: the first track, "Yum," lets you know he's not in a great place emotionally (channeling Aphex Twin is never a good sign) ... and then proceeds to 'settle down' a little and get reflective with "Sooner" and "Never Again" ... before getting aggressive (and self-loathing) again. He's not for everyone, but I respect the candor. It's not implausible that we might be puppets in a simulation....

Sam Smith, Gloria (2023)   C+
Not sure I really care for the "gospel" angle Smith's going for here - I still think Sam's best work is with Disclosure providing the beats ... but that said there are some solid tracks on here ("How to Cry," "I'm Not Here to Make Friends" and "Who We Love" with Ed) that you can expect to hear when you're getting your regularly scheduled dental cleaning.

Sparks, The Girl Is Crying in Her Latte (2023)   C+
Their camp theatrics are (still) not for everyone and many of the songs have a "novelty" feel to them ... but they've had cult success, and I think we need to give two brothers in their mid 70's a lot credit for not retiring and continuing to make music. If Ms. Lake was still around, she would have appreciated their tribute to her.

Spiritual Cramp, Spiritual Cramp (2023)   B-
Strokes-inspired garage rock doesn't have the same level of swagger or songwriting, but they help make up for it by keeping it right to the point (the album runs a trim 26 minutes). They also sound like they enjoy a good dive bar and some $5 pitchers of something that tastes like wet nickels.

Squid, O Monolith (2023)   C-
Can-inspired quasi math rock noodling that spins itself in a circle and fails to take off. The odd sound effects and screechy vocals don't help either.

Sufjan Stevens, Javelin (2023)   B+
It's uplifting that one of our best singer-songwriters has been busy over these patience-testing times, and "Goodbye Evergreen" and "Will Anybody Ever Love Me?" are two of his best songs to date, with the latter being particularly poignant. Unfortunately, as it's been reported in The New York Times, he's had a rough 2023 between battling Guillain–Barré syndrome, having to re-learn how to walk and losing his long-time companion (whom this record is dedicated to) in April. Tough battles are for tough soldiers ... and he gives it all he got.

Sufjan Stevens, Reflections (2023)   B
Tired, I suppose, of making dream pop, Sufy's decided to just sit down at a piano and play seven wordless pieces. They're lovely and you should give them a listen. If you spot him playing at Bemelmans, toss a $5 in the tip jar.

Joanna Sternberg, I've Got Me (2023)   D-
Am I supposed to pretend I've never heard of Kimya Dawson before ... because at least that Moldy Peach is funny and not infuriatingly whiny.

Swans, The Beggar (2023)   C
Most of his usual bandmates (including Thor Harris and Norman Westberg) are missing for this proto-spoken word release where Gira explores his usual "dark" themes, which include self-loathing and co-dependence. But running at a rather lengthy two hours - which includes a forty-four minute long track - the tediousness of it detracts from the sporadically haunting moments. Gira turned 69 this year and is apparently still angry: I'm glad he's got the fire, but is there nothing worth celebrating about the world?

The Tallest Man on Earth, Henry St. (2023)   B-
The title track is lovely in its despair ("I feel it all, I just feel it wrong") but other parts of it feel willfully melancholy: we don't need that right now. After all these years I still think it's great that a guy from Sweden does such a fine imitation of American folk music ... and has been favorably compared to a certain Nobel Prize winner. Music really is a universal language.

A Tribe Called Quest, The Low End Theory (1991)   A
What's prophetic and deeply troubling is that the topics brought up on this classic - which was recently permanently archived by the Library of Congress - are still problematic and some might argue worse now ... and it's been thirty two years. I used to listen to a tape copy of this when I was in high school and I couldn't appreciate at the time how crisp Q-Tip's jazz-inspired beats are - it's a remarkably clean production. And bringing out Busta on "Scenario" is a great way to close it out: rawr, rawr like a dungeon dragon....

Kali Uchis, Red Moon in Venus (2023)   C-
She has a smooth voice and delivery - in both English and Spanish - but the songwriting needs work and she seems stronger when she's collaborating with someone else....

U.S. Girls, Bless This Mess (2023)   C
If Remy can pull of the title ballad with such ease (about, among other things, life being a struggle and how challenging motherhood is), why does the rest of it have to be so grossly disco-fied and tedious?

Jessie Ware, That! Feels Good! (2023)   B+
Ware operates in a much-loathed genre that is extremely difficult to make work properly (see my less-than-enthusiastic comment on the new U.S. Girls record), but she somehow knows the right touches on the over-exuberance and horns: it embraces joy and she makes no apologies for craving pleasure. Here's to feeling good all the time ... and shaking it until the pearls fall off.

We Are Scientists, Lobes (2023)   D+
The cleverness of their lyrics and hooks from their earlier releases are almost completely gone ... now it's just mechanical dance rock.

Jack White, Boarding House Reach (2018)   B-
Jack really embraces the weird Jon Spenceresque side of his personality on this record, with a sometimes unnerving mix of boops and beeps and his guitar sounding like howling industrial equipment. For some reason I missed listening to this five years ago (I try to absorb everything he does), and I'll admit it isn't for every mood, but we need to encourage artists to express themselves.

Wilco, Cousin (2023)   B
Jeff and the gang asked Cate Le Bon to produce this, and there is a softer, more delicate approach to it. "Evicted" is catchy and heart-felt, and opener "Infinite Surprise" has a dreamlike quality (that clicking!), bringing to mind some of the material off of "Yankee Hotel Foxtrot." They know they don't have to kick the door in to let you know they're there....

Wild Nothing, Hold (2023)   D
It feels like an eternity since the release of 2010's "Gemini," and now it seems he's partially influenced by both My Bloody Valentine and Wham! ... except without the dynamic delivery of the latter or the sonic audacity of the former.

Wu-Tang Clan, Enter the Wu-Tang (36 Chambers) (1993)   A
On its thirtieth (!) anniversary, I decided to revisit this landmark in hip-hop, which also happens to be one of the most cannibalized: all current artists in this genre owe them their careers. It's an assault, with nine different personalities rushing at you - and RZA providing the backbone (or the "head" if you agree with the comparison to Voltron) - but they're all self-aware and their word play is masterful. The kung fu movie clips are a reminder they're not being completely serious and then there's Ol' Dirty just ... being himself. "C.R.E.A.M." isn't "glorifying" making money: it's a lament.

Wye Oak, Every Day Like the Last (2023)   C+
Soft and delicate, but memory of it will evaporate completely after you go through it once.

Xiu Xiu, Ignore Grief (2023)   B-
Jamie and Angela take you through a real nightmare alley, one consisting of such topics as trafficking, drug abuse, murder and insanity ... or as I like to call it, a weekend in Camden. It's not for everybody, but if you've listened to the work of Peter Sotos, it should give you an idea of what they're trying for here.

Yeule, Softscars (2023)   C-
Mx. Ćmiel's anime-and-cyborg inspired solo project is deeply personal - there's lots of despair over unrequited love (along with self-loathing) - although too many songs fizzle out before they're finished and work needs to be done on not making so many of them sound the same. The truly tortured "Inferno," which I think the most throughly developed moment on the entire LP, offers a glimpse at this young artist's potential.

Yo La Tengo, This Stupid World (2023)   B-
Like Belle and Sebastian, it's amazing this trio has stayed this creative for this long (it's been close to four decades!) and still produce thoughtful coffee shop indie rock ... that is until they crank it up and make the plates and dishes rattle. I agree with the downbeat-but-accepting message: this is all we have, awful as it frequently (and currently) is....

Young Fathers, Heavy Heavy (2023)   B+
They might bristle at the compliment, but these blokes are magical: they effortlessly guide the listener through waves of optimism and the mix of modern hip-hop and Afrobeat is also done with true skill. It has its individually remarkable moments ("Drum," "Tell Somebody"), but the pieces all fit together so effortlessly. One welcome complaint: at only a little over thirty minutes, I wanted more.



Other Notable Recordings (Mixtapes, Demos, EPs etc.)



Singles of the Year: Beach House: "American Daughter," Ryan Beatty: "Bruises Off the Peach," Boygenius: "$20," Chat Pile: "Cut," Eartheater: "Crushing," Fred Again.. and Obongjayar: "Adore U," Ian Sweet: "Emergency Contact," Idles (Featuring LCD Soundsystem): "Dancer," Local Natives (Featuring Suki Waterhouse): "NYE," May Rio: "Self Service," Miss Grit: "Follow the Cyborg," Paramore: "This Is Why," Caroline Polachek: "Billions," Ricewine: "Withdrawn," The Rolling Stones: "Angry," SBTRKT (Featuring Toro y Moi): "Days Go By," JJ Scheff: "Treasure," Travis Scott (Featuring Teezo Touchdown): "Modern Jam," Slowdive: "Kisses," Lecx Stacy (Featuring Clams Casino): "Of Air," Walter the Producer: "Slow Down," Yellow Days: "Soul Smile," Yeule: "Inferno"


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