The 30 best albums of 2023

Del Rey’s ninth studio album, ‘Did You Know That There’s a Tunnel Under Ocean Blvd’, a sweeping, deeply revealing and even slightly indulgent (the 16-track record clocks in at 78 minutes) work of musical art. Her lyrics are as intimate as ever – themes of death and family are repeated throughout – and there are appearances from Father John Misty and Jon Batiste. The standout song? For me (and much of TikTok, it appears), it is ‘Margaret’, Del Rey’s hauntingly beautiful ode to actor Margaret Qualley, the now-wife of frequent collaborator Jack Antonoff. Very nice stuff. 

After going viral with the sped-up version of her punchy R&B banger ‘Escapism’, Raye proved she is much more than a TikTok artist with her debut album. In standout tracks ‘Oscar Winning Tears’, ‘The Thrill is Gone’ and ‘Ice Cream Man,’ Raye explores issues like substance abuse, body image, break ups and sexual assualt with a rawness and honesty. Ebbing and flowing between heartfelt soul, jangly electronic beats and jazzy big band compositions – all topped off with powerhouse vocals – this independently produced album has proved that Raye isn’t just a star in the making, she’s already there. 

Read our cover interview with Raye here. 

When Cat Power sings, it’s extremely hard not to pay attention. This live recording sees her retreading the sonic steps of the greatest songwriter – but let’s be fair, maybe not the greatest singer – of the twentieth century. But Power, who is in possession of the butteriest, creamiest of vocals, does Dylan’s historic London gig serious justice, from her tender, acoustic renditions of ‘Visions of Johanna’, ‘Desolation Row’, all the way to an electric (in all senses of the word) finale of ‘Like A Rolling Stone’.

Troye Sivan’s third album has gotta be one of the best pop releases of the year. In keeping with the sort of super upbeat party music that has defined post-pandemic releases, Sivan’s pounding lead single ‘Rush’ is an undeniable bop, but is also noisy, busy and interesting. The album that follows is an easy-going revelation. It has a punchy run-time and is by no means mellow, but in an era when pop seems to be in such a rush (often in a bid to take off on TikTok), it’s refreshing to hear chilled-out tunes that still make you wanna dance. I’m so here for it.

No one does it like Fever Ray – the solo pseudonym of Karin Dreijer, formerly of hyper-influential Swedish sibling duo The Knife – and on ‘Radical Romantics’, their chilly synths, incantatory vocals and haunting grooves are as unmistakeable as ever. But, 14 years since Dreijer’s solo debut, the Fever Ray project is still breaking new ground: this third album is as playful, slinky and queasily sexy as anything they’ve ever recorded. And if you thought Fever Ray was just about moody soundscapes, get a load of ‘Carbon Dioxide’: a twisted electropop banger for the ages.

Burna Boy’s seventh studio album is well and truly a feast. It’s a feast of global sounds – with nods to nineties US hip hop, Nigerian highlife, UK drill, Caribbean dancehall and the classic Afrobeats rhythms we all know him for – as well as a feast of guest appearances, with the likes of Dave, 21 Savage and J. Cole all making zingy, expertly calculated features. Catchy basslines and hum-along melodies make this record a joy to listen to from start to finish, but it’s Burna Boy’s versatility – his deep, warm vocals guiding us through the pre-party highs to the self-reflective comedowns – which solidifies him as one of the most exciting talents in the game.

Disgracefully, I only became familiar with Caroline Polchek when ‘So Hot You’re Hurting My Feelings’ went viral in 2022. But once her fourth studio album ‘Desire, I Want to Turn into You’ dropped on Valentine’s Day this year, I was hooked — her ethereal, hypnotic melodies and seraphic tones have been on repeat ever since. From the flamenco-inspired ‘Sunset’ offering dappled golden hour light in song form, to ‘Blood and Butter’ combining mellow synths with a cinematic explosion of bagpipes, it’s a wonderfully manic tour of female desire in all of its intensely euphoric, pure, fragile and deranged forms.

Known for his Bud Lite swiggin’ bangers like ‘When it Rains it Pours’ and ‘Beer Never Broke my Heart’, Luke Combs’ new record is a step change, with a renewed focus on nostalgia, ageing and leaving a legacy. It’s an intimate look into his changing world as a new dad and explores the push and pull of youth and maturity that comes in your early 30s. ‘Fast Car’, a cover of Tracy Chapman’s 1988 folk rock hit is the breakout song of the album, with love songs like ‘Love You Anyway’ plucking the faithful’s heartstrings. Millennials, this one’s gonna hit you hard.

There really is nobody doing it like Tirzah and her longtime producer and bestie Mica Levi. The enigmatic duo’s third album, ‘trip9love…???’ was released with little fanfare back in September and it’s even more odd, dissonant, sparse and splintered than their previous two. Littered with sad, strange lyrical fragments, hectic drum machines and mournful snippets of piano, it’s almost impossible to describe – but it’s maybe the musical equivalent of being in a k-hole. I can’t stop listening. 

French artist Zaho de Sagazan’s debut album ‘La symphonie des éclairs’ (The Symphony of Lightning) is a collection of radiant tracks where synthpop and French chanson effortlessly collide with natural flair and a distinct personality. From the more classical, minimalist tunes like ‘Dis-moi que tu m’aimes’ to more danceable, theatrical hits such as ‘Tristesse’ and ‘Aspiration,’ this is a collection of tunes that you just can’t help but listen to in a loop.

Arguably one of most chaotic albums of the year, Danny Brown and JPEGMAFIA’s ‘Scaring the Hoes’ is like stepping into your old Nintendo and hearing all the theme tunes at once. Then you’re smacked around the head with Kelis’ ‘Milkshake’ remixed into an experimental hip-hop tune. It’s stupid and it’s brilliant. Danny Brown’s comedic delivery is perfectly matched with Peggy’s braggadocio and manic production while both of them relentlessly pull out ridiculous one-liners. Track titles include ‘Steppa Pig’ and ‘Jack Harlow Combo Meal’, so you can only guess how absurd it gets.

Sophomore slump be damned, Olivia Rodigo’s second studio album is a pop-rock classic that confirms that the 20-year-old is here to stay. Dripping with lyrical wit and relatable energy, ‘Guts’ is the natural evolution of Rodrigo’s sound. The bittersweet breakup anthems of her debut LP has given way to brash, messy bangers like ‘Bad Idea Right?’ and ‘Get Him Back!’, guaranteed to transport you back to those awkward years between adolescence and adulthood.

There’s so much to be said about music that is simply joyful, you know? And music doesn’t get much more joyous than MIKE’s ‘Burning Desire’. After nearly a decade of releasing an album (or mixtape) every year or so, here the 25-year-old American rapper is as assured as he’s ever been, riding atop jubilant piano, proclamatory horns and soulful vocals all while playfully flipping through various thoughts and reflections. For years, MIKE’s music felt lonely, melancholic, lethargic – but with ‘Burning Desire’ he’s loving life in a way that is so, so easy to get caught up in.

Olivia Dean’s debut album is truly a beautiful mess. It’s got melancholic neo-soul tunes that boast an almost-meandering quality; it’s got vibrant 60s Motown-flavoured bops that leave you awkwardly headbobbing along. From start to finish, the record is a cosy invitation into her reflections on love, growing pains and identity, all laced with Dean’s clear, tender vocals. The range is expertly balanced, too: ‘Dive’ and ‘The Hardest Part’ are catchy hard-hitters, while ‘Carmen’ closes the album with a lovely tribute to her Guyanese grandmother and an ode to the Windrush generation. A record to put on a loop, for sure. 

Read our cover interview with Olivia Dean here. 

Any Korean hip-hop and R&B fan should be no stranger to Code Kunst. His fifth studio album ‘Remember Archive’ is a little different from his previous works, with a stripped-back vibe, soft beats and trendy melodies, making it an easier listen for those less familiar with this genre. Hip-hop giants like Gaeko and Tiger JK as well as young talents like Big Naughty and Meenoi all jump on board to add their distinctive flair to each of the 17 tracks, making this album an instant playlist add for me.

Probably the best thing to emerge from Peru since Paddington, Sofia Kourtesis’s tunes have been a fixture in some big-name DJs’ record boxes for a while now. But as a seriously infrequent clubber these days, it was a blessing to find that her debut album shifted gears from dance floor filler to more of a home-listening sound. It’s a gorgeous, soul-filling thing, too: all shimmering grooves, chocolatey vocals and sunnily melodic vibes. It’s also dedicated to her mum, which gives it extra points for cuteness. 

Scotland’s Coffin Mulch finally put out their debut record this year, and it was worth the wait. ‘Spectral Intercession’ is eight songs of brutal, furious death metal, but with a vicious hardcore edge. It owes a heavy debt to the Swedish giants of the genre (your Entombeds, your Dismembers) but is imbued with a DIY spirit, loads of groove and endless blasts. It’s vile, fast, nasty and neck-snappingly heavy. In other words: perfect.

Sam Smith’s fourth studio album ‘Gloria’ is by far their most daring yet. There’s something gratifying about listening to a vocalist who once restricted themselves to soulful, easy-pleasing ballads embrace a newfound freedom. Goodbye timid pleas for flings to stay the night – now, Sam declares, ‘I’m not here to make friends. I need a lover.’ The album offers a mixtape of playful music, colourful love, and a touch of queer history. Sam Smith sings about sex and spiritual freedom: it’s as if they have finally discovered their true self and are sharing it with the world.

Out of the seven members of Korean super band BTS, V was the last to release his solo music – the artist has admitted to binning several works-in-progress – but boy, was the wait worth it. His debut six-track EP lends his husky, sweet baritone to jazz-leaning R&B tunes with a clear nostalgic influence. Personal favourites? ‘Slow Dancing’, a soulful track that glides as beautifully as its eponymous activity; and ‘For Us’, with its intriguing key change midway through. If you like modern jazz singer Laufey, or even the neo soul legend Maxwell, no doubt you’ll enjoy V’s work too.

Disappointing supergroups now seem even more subpar in the shadow of Julien Baker, Phoebe Bridgers and Lucy Dacus’s remarkable creative and vocal harmony. Like the excellent eponymous EP before it, ‘The Record’ will quietly devastate you one track and empty your lungs the next as you belt out every refrain of ‘always an angel, never a god’ in ‘Not Strong Enough.’ Hymn-like opener ‘Without You Without Them’ blasts right into the boisterous ‘$20,’ and if maintaining that mastery of hushed heartbreak and guttural anthems requires another half-decade between releases, we’ll gladly give the Boys all the time they need.

Slowdive’s second post-reunion release reminds us why they’re masters of the dream pop genre. The band’s poised lyricism and hushed vocals are as ethereal as ever, lightly punctuating the familiar mid-tempo rhythms and moody bassline. ‘Everything Is Alive’ is probably the closest in like to the silken soundscape of their seminal 1994 album ‘Souvlaki’. The signature reverb-heavy guitars, lulling synths and fuzzy distortion pedals are all there, but their genre-straddling sound of the nineties goes further here by crossing into the slightly more electronic realm. Shoegaze is back, and I’m here for it.

Just a year after the release of her album ‘Laurel Hell,’ perpetual sad girl Mitski gave us another gem of an album with more hits than I was expecting (‘My Love Mine All Mine’ is a current viral sound on TikTok). Like a lot of songs on this record, Mitski is able to pluck oft-unspoken feelings out and name them with a melody. My favorite, ‘Bug Like an Angel,’ is about addiction and mental health and is powerfully added to with a choir; while ‘Heaven’ is a gorgeously somber, yearning tune that uses pedal steel guitar and strings. It’s a perfect trifecta of darkness, romance and hope.

Electronic music duo Disclosure that have been the soundtrack for moments of dancefloor euphoria since the days of their first chart-topper ‘Latch’ more than ten years ago. excited when Alchemy dropped this year and my sky-high expectations were met. This album is pure electronic music injected with infectious dance beats, combined with catchy hooks and melodic lines. It opens with ‘Looking For Love’ (my favourite from the record), which features that distinct Disclosure bounce. It’s definitely going to be on high rotation all Australian summer.

Frankly, it was love at first listen between British electronic duo Jungle’s latest album ‘Volcano’ and I – specifically due to the addictive banger ‘I’ve Been in Love’, which captures that endless summertime feeling and the magic of a budding romance. This record seamlessly mixes nineties house with seventies disco, and will have you grooving along in your apartment all evening long. Are my neighbours sick of it? Probably. Will I keep on playing it? Absolutely. 

Yup, former emo kid here – blink-182 has always been a mainstay in my playlist. Their newest album ‘One More Time…’ is particularly special not just because it’s their ninth studio album, but also because it marks the return of vocalist Tom DeLonge. The title track is a little more sentimental than what one might expect from blink-182, referencing the trio’s journey from ‘strangers into brothers’, while tracks like ‘Dance With Me’ and ‘Fall In Love’ are upbeat and reminiscent of the band’s unmistakable pop-punk sound that fans know and love them for. 

Brock Berrigan’s fresh blend of hip-hop, jazz, soul and downtempo genres spark serious main character energy. The New York artist’s twenty-first full-length album, ‘A Taste of Everything’, clocks in at just 32 minutes, but it packs every moment with atmospheric drama. Listen to this album in your headphones and a simple walk to run an errand transforms into a cinematic scene with a thrilling score. Berrigan’s a master at knowing exactly where and how to drop a sample, and he sprinkles that artistry throughout, much to our listening pleasure.

Monáe’s previous album (‘Dirty Computer’, released in 2018) sounded a little self-conscious to me, almost like she was over-experimenting with futuristic tones in an attempt to find a unique sound. In her latest album, though, she draws on recognisable, crowd-pleasing beats from hip-hop, R&B, reggae, funk and Afrobeats – and by rolling all that into one upbeat, sexy album, she manages to nail a sound that’s all her own. The result? Playful, musical brilliance.

Mahalia had a big year. Her sold-out show at London’s Eventim Apollo this October – during which she was joined onstage by Stormzy, Kojey Radical and pop royalty Jojo – was preceded by the summertime release of her best work to date, ‘IRL’. This album cements her position as one of British R&B’s brightest stars: ‘Terms & Conditions’ is a ‘No Scrubs’-esque anthem for the girls, while ‘Isn’t It Strange?’ blends soul-searching lyrics about hypocrisy and loneliness with the catchiest chorus you’ve heard all year. 

I steer clear from anything Taylor Jenkins Reid touches (sorry, super fans), but I’m so glad I made an exception for Daisy Jones and the Six on Amazon. As the showrunner, TJR hired excellent musicians (Marcus Mumford, Phoebe Bridgers, Jason Boesel) to write songs for the mini-series version of her book, making the soundtrack, Aurora, one of my most-played albums of the year. It doesn’t quite nail the Fleetwood Mac sound the show tries to emulate, but I loved its folksy, soft-rock vibe. ‘Look At Us Now (Honeycomb)’ even made me forget Daisy Jones and the Six isn’t a real band.

‘Day & Night’ – the sparkly jewel in the crown that is this album – was delivered to me by the Spotify algorithm as I cycled home from work on a balmy evening in early summer. The synthey, sugary sound of Mi Man and Jean Tonique came into my life at an opportune moment for sparking joy, but I challenge anyone to listen to this album without smiling. It’s a playful, unpretentious, disco-hued celebration of what it means to live and crave and look back with love on the human experience in all its absurdity.