Ewan Gleadow’s Top 100 Albums of 2023

What a year. Catastrophic albums, moving out and all things considered a rather enjoyable four-month period where not a word was written. As we stretch our legs and slacken our jeans to make room for another round of last year’s leftovers, the time for quality music dawns once more. Whether to fill the awkward silences with distant family members or to drown them out entirely – here is the best you can get from this year. Wonderfully varied the year has been, there is plenty more to look forward to in 2024. After 225 albums in 2023, it is time for a little nap. Discard the cover albums of old, ignore 2023 and its plethora of poor qualities and instead feast your eyes and ears on the hundred best albums of the year.  

100. BLACK GRAPE – ORANGE HEAD 

Kick on with old hands and for Shaun Ryder, it means a return to somewhat forgotten yet thoroughly good Happy Mondays spin-off, Black Grape. Their first record since 2017, though it feels like a much longer wait than this. Quality has only really formed itself for It’s Great When You’re Straight… Yeah!, and though the baggy pace is unchanged, Orange Head reaffirms Ryder and his style. A delay to 2024? Not a problem for music journalists with deadlines to meet. Here it is. Gaslight yourselves. It is a solid release, one to keep an eye on for its newly rescheduled date of January 19. Until then, listen to the singles and sit tight for Dirt and Self Harm.  

99. WILCO – COUSIN 

Similar to Manic Street Preachers in their desire to release consistent yet not at all heyday-levels of quality, Wilco are back with a solid release. Cousin does well to steer the band on in a particularly fruitful period of creation for the longstanding alternative rock band. Well worth a listen even for those who have not yet dabbled in their best works – Cousin can be championed for their unwavering use of awful song titles. Their finest pieces of Cousin, the self-titled single, the awfully named A Bowl and a Pudding and the on-the-nose reference of Soldier Child shed their uncomfortably dense titles and work on through with sensational effect.  

98. THE PEARL HARTS – LOVE, CHAOS 

Lend an ear to the legends – or those who continue the trend of 1980s wham fever music. Love, Chaos is a nice work, one which slipped its way onto this list through good, clean excitement. Those sleep-deprived days of editing the “e” out of “Harts” still rage on, such is the impact of the tightly gripped piece from this group. Keep track of the quality on Wild Me and Like Electric, two songs here which define the exceptional style and bold ambitions of a band willing to throw themselves into the deep end and grab hold of anything and everything they can to excite and enthral a listener.  

97. RICHARD HAWLEY – 28 LITTLE BANGERS 

A compilation record of deep cuts from memorable artists by a singer-songwriter who has a firm hold on what makes music such a rewarding, emotional listen. It would be remiss not to include the Richard Hawley piece, 28 Little Bangers, a neat and quality selection of tracks from his own collection. From the chokehold opener of Hornet’s Nest featuring guitar work from Jimi Hendrix to deep cuts in the backlog of Bobby Darin and Ahab & The Wailers, Hawley is given the chance to show off an impressive musical mind. He leaps at the chance, and 28 Little Bangers comes through in good fun – a timely and intimate collection of songs which gives the Sheffield legend room to recommend great, forgotten works.  

96. PRETENDERS – RELENTLESS 

With well-remembered groups delivering blow after blow this year, it is shocking how few of them have made their mark with purpose or truth. Relentless, the latest bit of work from Pretenders, may be a shock to those not expecting much more than the usual dregs of Chrissie Hynde and company. But this is a startling next phase for a band that feel livelier than ever after this one. Moody pacing and a real groove to their refined shape here, Pretenders feel the flow of creativity once more on the likes of Losing My Sense of Taste as they launch into steady patches of reflective rage.  

95. DEPECHE MODE – MEMENTO MORI

Speaking of those legends from years gone by, it should be no surprise to see Depeche Mode prove their worth once more. Memento Mori opened with a dominant single, one of the best tracks of the year most certainly and pushed on from there. Though it was not able to kick on as well as Ghosts Again did, the group has found themselves with a record which thankfully removes them from their heyday. Memento Mori can exist without the backdrop of Violator and though it is still a far stretch from the glory days, it is reassuring to hear Depeche Mode still value their quality, their intimate lyrical yarns and spins of electronic flourish in the face of death and their twilight years.  

94. HAKEN – FAUNA 

Progressive rock? In the timely year of rizz, unironically enjoying vinyl records and a rebirth of the 1990s? Well, it was bound to happen at some point and listeners are lucky Haken is in these trenches, battling back against the glut of legends of the genre tooling around. Jethro Tull and his flute-based antics be damned, here is Fauna and here lies quality. Plenty of songs which jab and poke at the listener, a constant reaction on the cards for those in touch with this music, and enough within to form a quality base. Risk springs from this one, closer Eyes of Ebony sits tremendously, and so too does the rest of Fauna. Bash it into your playlist, get it on rotation, it settles in nicely.  

93. GAZ COOMBES – TURN THE CAR AROUND 

All good things come at the start of the year. Still reeling and retching from the festivities of a few weeks before, Gaz Coombes was one of the few artists to pluck up the courage and release his work. One of the first in the new year and Turn the Car Around has since grown and shifted delicately, far beyond the shambles of its middle-of-the-road singles. At its core is an intensity and promise Coombes has always held as a frontman but never quite qualified beyond bits and pieces. Turn the Car Around is one of those indie-adjacent pieces for the sharper crowd of niche listeners, who will no doubt delight in Feel Loop (Dream Lizard) and Dance On. 

92. CHILLY GONZALES – FRENCH KISS 

Nothing sets the mood quite like the lush charms of Chilly Gonzales, and though his toothless commentaries and criticisms are frequent on French Kiss, the displays of tender and clear emotion far outweigh the spectacles of modern pop political commentary. Shameful it may be to hear him slide into the broad strokes he is buoyed by some exceptional instrumental sections and a sense of necessity with Romance sans paroles no 3 one in a handful of moments of grandeur. Hold firm and carry on to the Richard Clayderman-featuring Richard et moi. An apt title to a song as smooth as butter and followed up by album high and closer, Message Personel, a nice line to draw under this light pop number.  

91. FE SALOMON – LIVING ROOMS 

What does alternative pop even mean at this point? Who knows. Fe Salomon knows. Living Rooms is a bold extension of the self and certainly worth a listen, its confidence oozing throughout a highly-strung collection of electronic beats and motivating pop sentimentalities. Her lyrical observations are the exceptional piece of the puzzle here – notably registered on Polka Dots and Wired on Caffeine. Heading back through all these records and listening to snippets here or there, few truly linger on in the back of the mind – and Living Rooms always swings back around, right into the forefront of your mind. Or, at least, it should.  

90. PVRIS – EVERGREEN 

Neat and stylish alternative-pop essentialism. What more could you expect or want from PVRIS? Heading on toward a decade of this style, the growth between this and debut record White Noise is exceptional. So too is Evergreen, a steady rise and rhythm keeps it honest and quality shines through more often than not. Opener I Don’t Wann Do This Anymore leaves as bold a statement as you could ask of PVRIS, whose confidence is clear on this latest piece. Lend an ear to the wry charm of Senti-mental and the thrown down gauntlet of Take My Nirvana. Quality is expected of namestays, and it is assured with PVRIS.  

89. GLEN MATLOCK – CONSEQUENCES COMING 

Any musician who begins their interview time with finishing off their cigarette and heading inside to chat about playing bass guitar with Debbie Harry is good in the books of anyone who wishes to be cool, so take a bow Glen Matlock. Throw another encore in there for the exceptional work found on Consequences Coming, a piece which manages to host the founding punk memories Matlock had for his time in the Sex Pistols with a more guitar-oriented sound for the mastermind of brutalism. He has not lost his edge and writes as well as he used to, Constant Craving in particular is a wonderful working, a smooth guitar and neat percussion rhythm creates a bed for Matlock to tower over, as he should and always shall. 

88. KELELA – RAVEN 

An expected storm of quality for Kelela through Raven was touched upon in pockets but fell short of where it needed to be, and yet still sounded better than most releases this year. With double bill Bruises and Sorbet near to the end of the album, how could it not feature on this list? There is a sense of documentation to the club-going life, though its relevance to being pushed around and having wine tipped on your head in some Hull club named after an insect is far different to the glamourised approach heard on this latest piece from Kelela. Confidence is key, though, and Raven has plenty of that.  

87. NEON WALTZ – HONEY NOW

Returning to the fold with a soft experimental record marks a strong piece from Neon Waltz. The Scottish rockers are back in action and mark more than a few moments of interest on Honey Now. It appeals to the right moments, the heady heights of lead single Thoughts / Dreams / Regrets now clearer than when first released. Expectations can stay steady for this one, a neat entry point into a band with plenty of material under their belt. Some of it will be better than Honey Now high When All is Said and Done, surely? Maybe. Neon Waltz are well worth spending some time with, but start here. 

86. FATOUMATA DIAWARA – LONDON KO 

No fear of collaboration on London Ko, which opens with bold collaborations between Fatoumata Diawara and Damon Albarn. The latter has cropped up almost everywhere this year, be it with Bombay Bicycle Club, Gorillaz or on tour with Blur. Diawara likely gets the best out of his spot-check studio appearances this year and ascends further still with a soulful experience tailor made for those hoping to be moved by instrumentally heavy actions. There is plenty to go around here, Diawara has made music for the soul with her own at the forefront. Dambe and Dakan, towards the end of the album, are sublime.  

85. IVAN THE TOLERABLE – TOFT HOUSE SESSION 

It is not often you get to lob a studio session onto a best-of-the-year list, and why miss out on the chance to do so when Ivan the Tolerable provided a stunner of a release. Slick and stylish pieces which will never see the light of day and are destined to become a sought after relic considering the limited vinyl run and how hard it is to pick up a copy without streaming it on Bandcamp, Toft House Session is a shockingly tender experience considering how rough, loud and brash it can be on The Sphere or In Air. Surprises around every corner, a moody piece of collected efforts and instrumentals which appear to be plucked out of the air and placed down at a moment’s notice by these gifted collaborations. 

84. QUEENS OF THE STONE AGE – IN TIMES NEW ROMAN 

Depending on the circles you find yourself in when it comes to discussing music, the release of a new Queens of the Stone Age album may prove surprising. Did they headline Glastonbury this year? Yes, but did so when Elton John was wrapping up his career on the Pyramid Stage. Any band bold enough to square up to the Rocketman is worth a listen, and In Times New Roman is their best yet. Free yourself from the shackles of Songs for the Deaf nostalgia – the real glory is in Negative Space or Sicily, broad and entrancing tracks which bring out the best in frontman Josh Homme.  

83. BENEFITS – NAILS 

Distortion and disgust at the world around them has Benefits on the right track. Nails is a powerhouse of white-hot rage at a system which has kicked and killed those around us. More must listen in – this is essential. Where other post punk bands are softening themselves up, the big underbelly fresh to be cut open with the guilt of making a hell of a living off the back of opening for Britpop bands at Wembley, some are still stuck in the trenches of the real world. There is no olive branch for Benefits, the Middlesbrough piece is a tremendous experience, and their Nails release is an absolute essential from any year, not just this one. Flag and Meat Teeth set the tone, Shit Britain is the obvious conclusion to a rough few years for a place still peddling the 1980s as viable styles. 

82. UNDERSCORES – WALLSOCKET 

A late entry into the list but deserving of its place nonetheless, Underscores proved exciting, grating and fascinating all at once. Every great album should. Wallsocket is well ahead of where a band just a few years into their cycle should be and that is most rewarding of all for those listening in. With tunes of perfection now confirmed, Locals (Girls Like Us) specifically, Underscores has a record which will surely let them kick on and carry forth a real grand momentum. Strong singles, a real core of quality to their album which makes for essential listening experiences. It strikes as a record which could sway the Spotify shuffle users to consider the full form of albums once more. 

81. BAXTER DURY – I THOUGHT I WAS BETTER THAN YOU 

Hearing a few of these tracks seven cocktails and two vodkas deep when Baxter Dury opened for Pulp is probably the best way to hear them. I Thought I Was Better Than You still displays sobering commentary on the world around us in a marked change for the frontman who lends himself to So Much Money and clear high Pale White Nissan. He is changing and turning the genres as he can and where he wants for the sake of freedom and variety, that much is clear. He is of the spoken word crop but can carry a flame to his own fine words, and is that not the clearest route to success a performer cut from this cloth can offer? 

80. ROZI PLAIN – PRIZE 

Early year releases are always at risk of being bumped off by something which releases over summer. Rozi Plain waited just thirteen days of 2023 to release new album, Prize. It showed a confidence in satisfying material and rightly so, hence its place on this list. Painted the Room and Standing Up linger on as comfortable listens in the chamber pop field but Plain does not shy away from a few new bells and whistles to liven up the listening experience. Plenty to delve into, enough depth for a few listens and an exceptional trio of collaborations with fellow London-based artist, Alabaster dePlume, marks Prize as a rewarding listen.  

79. PIGS PIGS PIGS PIGS PIGS PIGS PIGS – LAND OF SLEEPER 

Nothing to sleep on here as Pigs (x7) land themselves a solid start to what feels like a new era. Eight tracks of real quality are presented on Land of Sleeper, an exercise in stoner rock mixed in with sludgy, gruelling bits of instrumental bliss. For those in need of something heavier this year, this is almost certainly the right choice. It shows off the band at their very best, The Weatherman provides a chilling Black Sabbath-like experience whereas Big Rig channels its fury toward the British aesthetic, a tone and message far more common in recent years than the previous decade. It is clear to see why this change has occurred, and Land of Sleeper is one of the better encapsulations of this horrid shift in the world.  

78. VIJI – SO VANILLA 

Debut efforts are a time to learn the craft a little more, see what fits the release through a studio system and iron out the clicks and whirrs in a live setting. Viji has little to change on So Vanilla, a towering achievement which has warmer moments to it, more than expected. Anything, Down and Sedative form a wonderful trio of opening songs and from there the comforts of alternative charm are set. So Vanilla has an abundance of good quality to it, exceptional works which will no doubt be on repeat until whatever comes next. Viji could not have asked for a stronger debut than this one.  

77. FOO FIGHTERS – BUT HERE WE ARE 

Mourning the loss of Taylor Hawkins felt inevitable for Foo Fighters, though their efforts on But Here We Are, quite simply, are staggering. Dave Grohl pulls out all the stops in making this easy to engage with band whose biggest hits are built on memorable riffs a powerhouse in emotive qualities. Their concession to grief and guilt, mourning a piece of themselves across this intimate record is a sensational experience. Gut-wrenching from beginning to end and with more than a few risks taken, it marks the best Foo Fighters project to date. Where they go from here is anyone’s guess, though they would be hard-pressed to form a song as touching and immaculate as The Teacher.  But as the artist to follow them on this list once asked: “Is their music not a curse?”

76. NEIL HAMBURGER – SEASONAL DEPRESSION SUITE 

Settle into the horrors of life on the road, but in musical format. Documentaries on touring, be it comedians or musicians, always highlight the grim realities of being on a tour bus for so long. Shuffled through hotels like a stained pack of cards, Neil Hamburger ties himself to surprising collaborations with Neil Finn of Crowded House and Natalie Peyser to bring Seasonal Depression Suite to life, a delightful and surprisingly dark, tongue-in-cheek musical for a fictional character. Gregg Turkington, the man behind the long-running Hamburger character, has managed what only Andy Kaufman did with Tony Atlas all those years ago – a successful alter ego which has subverted the clear link between the pair. In the age of social media, that is impossible. Seasonal Depression Suite defies that. 

75. CAR SEAT HEADREST – FACES FROM THE MASQUERADE 

Live records were a nice little avenue of quality this year and to kick things off with stage presence spectacles is a band with very little connectivity with an attending crowd. Car Seat Headrest work best when your head is pressed to the back of one, though Faces From the Masquerade moves through clunky frontman form and provides some exceptional live offerings of the inevitable hits. Faces from the Masquerade serves as a surprisingly solid entry point into the band’s discography, with wonderful renditions of Sober to Death and Something Soon making up a firm and hefty midsection here. Solid stuff and hopefully paves the way to new material, but this will do for now. 

74. TIM HECKER – NO HIGHS 

There are plenty of highs for drone ambience figurehead Tim Hecker, whose latest work, No Highs, comes booming through just after his classy and disorienting work on Infinity Pool. Moody tones are well-placed on this one and are the running constant which makes this Hecker piece, for all its lack of thrills and spoils, an effortless listen. Or at least, up to Winter Crop, it feels this way. It is not until the surge in focus, the momentum carried, building and building over those first twenty minutes, that No Highs spills into a responsive and flailing piece of wonderful work. Lend an ear to it – not quite background noise but certainly serving as a brooding piece giving time to reflect on the year. 

73. BEACH FOSSIL – BUNNY 

Any band returning from an extended, dormant state could be hit with a fatal blow upon their return. Will listeners still be as receptive as they once were to the sounds they can put out there? Beach Fossil took this risk with Bunny but are rewarded for their efforts on an album where the first four tracks come close to kissing perfection. A slight dip afterwards, but the bulk of this piece from the jangle pop gems is an optimistic flurry demanding listeners across the globe to keep on pushing as though they have no choice. Tough Love and Seconds confirm this feeling in the dying moments. Necessity of movement keeps the flow of this and the message found in Bunny alive.  

72. JEFFREY MARTIN – THANK GOD WE LEFT THE GARDEN 

Americana is not dead yet and it is with credit to the likes of Jeffrey Martin that it still lives on. Consistent creativity within this genre has guided Thank God We Left the Garden to a higher state than first expected. It levels itself off with intense vocals which, had it been given a stronger field in on the production side, could have been an all-time great piece for work for Martin. Still it is a strong listen. Those warm and inviting vocals are going nowhere anytime soon, so the likes of Lost Dog, There Is a Treasure and I Didn’t Know are well worth a listen.  

71. THE HANDSOME FAMILY – HOLLOW 

Deep, elongated and timely bits of low-tone vocals and acoustics give The Handsome Family an attractive project indeed. Hollow settles into its battle scared strings and elements of isolation float throughout. Dependable and even grizzled at times with a toughness pouring through this one – Hollow has a down-tempo feel to it but the project aims for a resoundingly tight spot in the heart. Album closer Good Night and electric guitar feature To The Oaks provide moments of these familiar tones in new form, the classic country persuasions a sincere treat. Brett and Mary Sparks are exceptional here and push themselves to the limits of where they feel the genre can take them. Hollow may see them grow out of it.  

70. JPEGMAFIA X DANNY BROWN – SCARING THE HOES 

An exceptional collaboration between JPEGMafia and Danny Brown brings out a solid work for the duo, though the latter went on to strike once more with a bit of brilliance further on this list. A collaboration between two fresh and fine minds of this experimental hip hop piece is a wonderful experience with Lean Beef Patty, Fentanyl Tester and Where Ya Get Ya Coke From? all displaying signs of lively and ambitious commentary. That is what is needed now, more than ever. Hit out at the world around us and hold it to account. Scaring the Hoes does this intermittently, and it makes for an enjoyable, intense listen in the right moments. 

69. JW FRANCIS – DREAM HOUSE 

Bedroom pop wonders are still on the rise and thankfully the likes of LIT. MAJOR and JW Francis are still hard at work. The latter’s latest album, Dream House, is a solid collection of light numbers with an acoustic flare which never burns out. One of the earliest releases of 2023 and still it lingers on in the mind as an essential piece of the year. Incredible work which sacrifices little to get where it wants to be. Holding a torch to the fun and wonder of his vocal range, Francis leans into what makes his music so dream-laden and accepting with numbers like All Night Long and Take Me Away. Even the lighter tone titling of I Wanna Be Your Basketball has an exciting range to it.  

68. TIM HEIDECKER – LIVE IN BOULDER 

Hearing Tim Heidecker live in concert is a rare treat – and for those who missed out on his split personality masterclass The Two Tims Summer Tour, the Live in Boulder release will give you a chance to lick your wounds and curse yourself for missing out. Heidecker has defied all odds and moved himself into a classification of “creative” rather than shoehorned into this identifier or that. His efforts on Live in Boulder are exceptional and he sets a new, modern standard for how live albums should proceed – with interjections, with a loose feel of spontaneity and a true love for what he does. His performances are stuffed full of classics like Hot Piss and far more moved and in-depth pieces like Sirens of Titan. Heidecker has dipped his nose into many fields, and in music has found a creative surge he simply must follow.  

67. TIGERCUB – THE PERFUME OF DECAY 

The smell of death does not linger on for Tigercub but those who have brushed their noses up to the perfume of decay while browsing Boots know exactly what the band is taking aim at. Their latest record, The Perfume of Decay, steps up and into the darker recesses of the dying days of social bedlam and brings out the best in the bands works so far. Accept change and bring with it this sense of new life, as Tigercub does on the likes of Play My Favourite Song and We’re a Long Time Gone – both hitting out at this desire to cling to what is known and comfortable. There is no fun in that. Step out of your comfort zone and into the warm embrace of The Perfume of Decay.  

66. LEATHERETTE – SMALL TALK 

Smart and slick is all it takes for Leatherette to lead a punk-oriented charge. They are trying to shift themselves to the next level and more power to them for doing so on Small Talk. There is nothing small about the talks they provide here, their manic approach to the recording of this one a real experience. Live and manic, the desire to bleed the pop genre dry of its worth with the same skilful bleeds and riffs but with an angst and terror to it which settles in so well. A huge step is made on Fade Away, hitting heavy and wildly with the same expressionist gaze of the Bonzo Dog Doo Dah Band from all those years ago.  

65. ABC – LEXICON OF LOVE 

Forever linked with a hell of a pop song, ABC are the sum of their parts and still form a brilliant listen. Their live ventures are a good bit of fun, as proven by the well-timed and hit-laden Lexicon of Love. Just shy of greatness in parts, though Martin Fry still gives it his all and sounds monumental on the hits and deep cuts interspersed throughout this one. The Look of Love, naturally, sounds excellent – but so too do The Flames of Desire and Tears Are Not Enough. A vocal presence like no other guides this one into the steady spots of an end-of-year-round-up list. Best of luck finding where to listen to it, even those who hosted an interview with Martin Fry are struggling to figure out where the album is.  

64. TEMPS – PARTY GATOR PURGATORY 

When former drummer and acting comedian James Acaster mounted a charge for the musical side of life, nobody should have been surprised. Yet they were. With his move to the brief big screen and a booming love for listening in on things as evidenced by Perfect Sound Whatever, Acaster’s excellent Temps project took flight. Adorned in the titular Party Gator uniform for Party Gator Purgatory, the Temps collective are majorly underrated – an intense piece of work which brings a level of confidence hard to conjure in so many people. Take a listen to partygatorresurrection for evidence of how well held together this one is.  

63. DAVID KITT – IDIOT CHECK 

An idiot is certainly listening in to Idiot Check. David Kitt strikes hard and hopes for religious ramifications on this soft rock piece which he sees as his move to greater plains. Folk fundamentals blurred with some electronic-type sounds is a neat blend for Kitt, whose efforts on Wexford Strawberries and Till the End are an utter delight to hear. Experimental, absolutely. Some of those blow up in Kitt’s face though it is the resolute desire he has to make those mistakes and power through regardless which strike as so homely and pure. Idiot Check has a lot going for it, even in its brief and quick failures there is much to love. 

62. IST IST – PROTAGONISTS 

Back in action and seeing the post-punk landscape change under their feet, Ist Ist realise their debut days in 2014 are a long time behind them. Nearly a decade on, Protagonists gives listeners a view into how they sound. They are avoiding the same social circles and giving in to flowery elements of baritone surprises and much of this is used well for the lush metaphors and striking commentaries which keep the band hands on with the world. They return to the fold with fresh perspectives, harsh ideas and sudden ends with Fool’s Paradise and a host of well-maintained songs.  

61. DREAM WIFE – SOCIAL LUBRICATION 

It would be remiss and insulting not to host Social Lubrication on a list of the best albums sheerly for Mascara. Arguably one of the best tracks of the year and a piece which is in constant circulation on playlists made for walking to and from the nearby Tesco Express. Anyway, Social Lubrication is an excellent piece from Dream Wife, whose punk attitudes and bolder stances will keep them well away from the headliner festival sets. But push on and listen in to Kick in the Teeth and Orbit, two of the finer tracks to pull from this piece of real, exciting work.  

60. MYRKVI – EARLY WARNING 

Chancing upon Early Warning in the dying lights of 2023 was a real treat. The Icelandic group was happened upon because of prep for a holiday there, and now Myrkvi is firmly planted in the playlist for driving around the snowy wastes. With an opening trio of exceptional, surprising works, Early Warning, Lunatic and Miserable People all hold the same nervy style needed for an album which feels like a rare gem in the making. Seek it out and get it listened to before it becomes uncool to do so. Bask in the warmth and weird of Myrkvi. Draumabyrjun, a word which took a solid minute to type out, is well worth a listen too.  

59. CHAIN OF FLOWERS – NEVER ENDING SPACE

Confident works are all it takes to secure a spot as an interesting listen. Whether it works or not can be figured out at a later stage. For Never Ending Space, the latest record from Chain of Flowers, it not only works but is an atomic piece of well-worked pieces. Nightcaps for the soul as you still traipse through the list, a halfway point in sight but never closer to the end. Praying Hands, Turtle Doves may be one of the more remarkable songs of the year, but keep steady and hold out for the fascinating creations of Torcalon and Old Human Material – chilling but essential numbers.  

58. SQUID – O MONOLITH 

For those who did not like Bright Green Field, give your head a wobble. Sit yourself down and strap in for O Monolith which doubles down on what makes Squid so unique. A tremendous offering from the group who shows no signs of slowing down now they have been licked by excellence. The Blades and Green Light are the no doubt deeper cuts which will inspire and charm the already cemented fans but for newcomers start with lead single Swing (In a Dream), a delightful number and, as chance would have it, the opening track for an album stuffed with quality over its eight tracks.  

57. LE COULEUR – COMME DANS UN PENTHOUSE 

Canadian French synthpop is usually reserved for those who pretend they are cool and own some print of an unnoticed artist. Aside from the Ralph Steadman print propped up behind the couch, these rules do not apply to those featuring Comme dans un penthouse on their end-of-year lists. Le Couleur are a shock to the system, a necessarily fresh surprise for the weeks in which band after band released clunky and metallic blunders. Taking on a record just shy of a half hour was a genuine treat, with standout track À la rencontre de Barbara utterly wonderful in every sense of the word. Get a glimpse of the good stuff – there is no reason not to.  

56. HOLLY HUMBERSTONE – PAINT MY BEDROOM BLACK 

Hearing Holly Humberstone open for Sam Fender back in the glory days of summer was a sign Paint My Bedroom Black was going to be an exceptional new beginning for the singer. Her previous efforts are exceptional, truth and experience all blurred into one – and Humberstone is more than capable of expanding on this. Paint My Bedroom Black is what you would expect of an artist with decades of assured confidence behind them. For Humberstone to hit so strong, so well, and so soon, is an exceptional sign of just how high she can go. For now though, get moving and grooving to Flatlining and single Antichrist.  

55. LIL YACHTY – LET’S START HERE 

Name one other artist who has used artificial intelligence as well and as smartly as Lil Yachty. Beyond the album cover, the nameless faces and disturbing sense of blurring, there is little use of it. His turn of form as a prog-rock essentialist was a shock to the system in the best way possible. Break down the barriers of genre conventions, champion the new wave. Let’s Start Here is, indeed, a great place to start. There are thousands of words to be pulled out of the subtext of the cover, the title and all of its great songs within – but for now, ease back and enjoy WE SAW THE SUN! and sAy sOMETHINg.  

54. NEIL YOUNG – SOMEWHERE UNDER THE RAINBOW 

Not the first time Neil Young will appear on this list and it feels like a near cheat to include a live recording re-released. Compilations be damned but embrace the live experience. Clunky it may be at times, Somewhere Under the Rainbow is a fitting piece where crackly audio suits the environment and sign of the times. Young is on fine form, firing through Tonight’s the Night and Tired Eyes with a real sense of urgency. Live records are as essential now as they were back in the day – though the work done on Somewhere Under the Rainbow is one of the few which can say it successfully blurred the two eras together. 

53. ROBBING MILLIONS – REVE PARTY 

Blind listens on Bandcamp lead further and further into the heart of bands worth listening to. Hence Robbing Millions and their latest release, Reve Party. Clustered dance-pop numbers with a real and earnest appeal to them clang on through and are a gift to listen to. Sultry mutterings from Lucien Fraipont give the classy style needed to the likes of Jabberwocky and Doctor – the saxophone work and instrumentals throughout this one is stunning to say the least. Shockingly moving at times, the tender soul which pops out of this work can catch at the right time and work up some wonderful courage. Necessary listening for the year – and a short one too. 

52. SOFY – CHAOS & COMMOTION 

Much like Pixey last year, Sofy does themselves a disservice not noting Chaos & Commotion as a fully fledged release. There is enough material on here to warrant calling it an EP, and with deadlines to meet and coffee supplies running low, it is hard not to recommend the staggering efforts of an up-and-comer like this. Confidence is key and Sofy has an abundance of that, marking this as one of the best listens of the year so far – primarily because of the fluttering nostalgia found on Ashley Cole Type Beat which bleeds so smoothly into contemporary claims to fame with Timothée Chalamet and Breathing Exercises. Like Humberstone and Myrkvi – there is a long road ahead for Sofy and rightly so. It only gets better from here. 

51. EL MICHAELS AFFAIR AND BLACK THOUGHT – GLORIOUS GAME 

Back again for another spot on the best-of-year list, Black Thought pairs with El Michaels Affair and brings out the surprising and consistent Glorious Game. It should be no surprise to hear the smarts of their collaborative efforts, 2023 was full of artists planting themselves in the studio and seeing what occurs. Glorious Game is as its title would note, glorious. That Girl and Alter Ego are key highlights – or at least that is what is being written down as there’s a pizza in the oven which has made the rest of this list quite a time constraint.  

50. LA PRIEST – FASE LUNA 

Adept funk and grooves for LA Priest brings out a stern look at Fase Luna. The midpoint of any good album collection list should be one which can strike fear but bring comfort. LA Priest do just that. Guitar music is not dead, those who say so do not dig deep enough. It is ridiculous to suggest so when you can pick up a copy of Fase Luna and listen in to the likes of It’s You. Their lucid tones are exceptional and are a real gift to those listening in. Take the time to do so, the consistencies of these sensations are extraordinary and can only be found on Fase Luna. 

49. PETER GABRIEL – I/O 

Whether or not the cyclical moon releases works as a way of splitting this record, there is no doubt Peter Gabriel believes in the I/O project. It is certainly not the grift it was first expected to be – releasing two separate albums which are almost identical bar a few glimmers of instrumental change in their Light and Dark equivalents, but this latest work from Gabriel is a fascinating look into how legendary artists can use their time and endless funds from legacy contracts to produce some of the finest and fascinating pieces. More power to Gabriel, whose moon-based antics are easy to mock but hard to discard. Panopticom is still one of the finest bits of the year, and the rest of the tracks within follow this well-intended suit.  

48. BLONDSHELL – BLONDSHELL 

Blondshell was a real surprise. Make no mistake, Blondshell is one of the best listens of the year – but it came out of nowhere. It feels as though its hooks are firmly in place despite slipping out ever-so quietly. Acclaim rightly followed for the Veronica Mars singer, a reliable and memorable track because of its sharp production and consistent swing. Dig a little deeper and find great works on Kiss City, Sepsis and Tarmac. Blondshell brings out the best in words more commonly associated with a dirge or disrespect. A half-hour of absolute and elated tracks. What a treat for the ears. 

47. THE HIVES – THE DEATH OF RANDY FITZSIMMONS 

Any artist with a hit in the bag should look to excel this high. The Death of Randy Fitzsimmons does not reinvent The Hives – they never needed that, but it does draw them back into a cultural fold. Opening for Arctic Monkeys surely helps though the merits of their latest record, another half-hour spot of post-punk and indie rock fun, is completely their own merit. Countdown to Shutdown has the heavy rock and foot-tapping brilliance expected of a band whirring away in the guitar rock scene, but take note of Rigor Mortis Radio, What Did I Ever Do to You? and Step Out of the Way too.  

46. SOPHIE ELLIS-BEXTOR – HANA  

Saltburn may have an icy grip on the classic Sophie Ellis-Bextor track Murder on the Dancefloor but the tune is way off the mark with where the dance-oriented singer now finds her work. HANA has some clear influences and a steady gaze of grand and loving promise, and much of the work within is varied, flowery and surprisingly tense at times. Ellis-Bextor does not wish to ease those tensions but compound them with grief and reflection as she looks through the life of her late stepfather. Tinged with sadness but remarkably well-written and worked over as only the best can manage, the likes of Until the Wheels Fall Off and We’ve Been Watching You articulate the rush of emotions which plant themselves in a time of distress.  

45. THE DAMNED – DARKADELIC 

Fifty years on from their punk beginnings and The Damned still push on, stronger than ever. It could be argued their gothic-inspired Darkadelic is their career best. An effort and a half for the band to piece together some of the best tracks of their discography so far – pieced together with a risky manoeuvre into a genre best suited for dark metal and career deaths. For The Damned to come out the other end with a late-stage career piece which does not, as their name would suggest, damn them, is a comfortable sign of quality. But they move beyond that, a sincere shot at the world around them with Western Promise and the opportune styles of From Your Lips secure Darkadelic as an all-time great for the band. 

44. SPARKS – THE GIRL IS CRYING IN HER LATTE 

Ever since the video of Cate Blanchett in a yellow suit dancing around to the title track dropped, Sparks has been a shoe-in for a spot higher on the albums of the year list. Here we are, then. The Girl is Crying in Her Latte performs well and ascends even further – the veteran duo still pushing the fold of what they can achieve with this latest release. Whether this is the band edging their way into the final chapter of their careers is yet to be seen, though hints at this on Gee, That Was Fun provide such a line of argument. It was fun. The Girl is Crying in Her Latte is, for all its deeply worked mixing and exceptional lyrical twinges, classic Sparks fun.  

43. ISLAND OF LOVE – ISLAND OF LOVE 

Smooth guitar work should be no surprise for the self-titled work of Island of Love. Tinges of nostalgia flicker through this release from the indie rockers but it comes from a place of spirited awareness. Sporadic moments of heavy rhythm and a blur of what is and is not typical of the genre, an overhaul of an old sound. The best thing any artist can do is launch into their own, and Island of Love has such confidence in themselves it is hard not to love what they do, where they find themselves or how they put it all together. Peaks and troughs, the acceptance of highs and lows through a rise on I’ve Got the Secret to the calmer implications of Losing Streak, it’s a real joy to listen to. 

42. BOY AND BEAR – BOY AND BEAR 

Back-to-back with the self-titled releases and a bang on score for both is just a real coincidence. What is not coincidence is the unrivalled quality this pair of records bring. Boy and Bear has a real sway to it – confidence is key after all. Jangle-oriented pop works and some tremendous confrontation of the self bring out the best on this one. Crossfire and Tin Man linger on as calamitous songs – hurling themselves at the fiery pits of reflection. On they work through a song which is both sudden and sprawling, the crucial four-piece bring out their very best work to date.  

41. SWANS – THE BEGGAR 

Longevity of this type is rare and it fits Swans in as artistic legends. Their latest record, The Beggar is a bold and ambitious piece which manages to make a forty-minute track feel like an everyday experience. Such is the skill of the craft on here, and so it is that The Beggar is inspiring, hefty and wild. Even then the lengthier units of time on orchestral boom The Parasite and the expectations of Paradise is Mine mean their album-length song is merely a flicker of something the band are capable of, not a project they are desperate to fit within. They are naturally guided to the length of this song and built around it are tender and impressive pieces.  

40. CHRIS BRAIN – STEADY AWAY 

Tender charms and acoustic wonders mark one of many exceptional entries into the booming rise of Yorkshire folk. Chris Brain is a talent like no other and his marked approach to the world around him, the landscapes and seasonal affairs, is genuine. Steady Away is one of the finer listens from this year and matches up nicely with the works of fellow folk features Katie Spencer and Henry Parker. Brain as a solo piece however is a master of his craft and Steady Away is another gem which will no doubt be sought after in the coming years. All it takes is a listen to the constant charms throughout, with Tawny and Weeping Willow holding firm as some of Brain’s best writing to date.  

39. KING KRULE – SPACE HEAVY

Heavy and lustful anger springs through this piece from King Krule. Space Heavy is, as the title suggests, heavy. Both its material and slugger-like instrumentals are a dream of an experience, the rise and bait of fights with the self and others as clear as day. Charming those moments may be, the workings throughout, whether that is the guitar work of From The Swamp or the balance found in the heavier lumps of separation on That Is My Life, That Is Yours, there is a tremendous sense of owning your demons and exposing them for what they are. Delicate stuff, and not for the light-hearted.  

38. DAUGHTER – STEREO MIND GAME 

An impressive piece of earnest and honest work can be found on Stereo Mind Game. In truth, it takes you by surprise just how open Daughter are on this one. Hopeless feelings even in the grip of opportunity, it all feels utterly despondent. Neptune features that haunting feeling which no doubt lingers on those without a plan. It is much tougher for those with, the sense of self-doubt peeled back and showcasing a real desire for change. Junkmail organises just that, a necessary click to reality which features further on Isolation. It is just that. Isolated. Daughter brings some real power to this one. 

37. VARIOUS ARTISTS – IMAGINATIONAL ANTHEM VOL. XII: I THOUGHT I TOLD YOU 

Make no mistake, the folk boom is emerging. It cannot be long now and for the artists associated with Imaginational Anthem Vol. XII: I Thought I Told You – A Yorkshire Tribute to Michael Chapman, the time to strike is now. Chris Brain, who closes this record and featured earlier on this list, joins up with mastermind Henry Parker to pay tribute to the great Michael Chapman. Steady love and affection to the man himself can be found throughout this collection of artists who doff their caps and sing from the heart for a man who has no doubt encouraged, influenced and kindled a new era of fine folk music. Hear it here. 

36. THE MURDER CAPITAL – GIGI’S RECOVERY 

A shoe-in for the best up-and-comers out there despite how long they have been around, The Murder Capital is one of many, many indie groups from Ireland. Keep an eye on Dublin, for it is where the best are built up for this genre. Gigi’s Recovery is a marvel of an experience, a truly opportune and impressive working of their punk-oriented sound and a necessary next step for a band in the throes of change. Hear it on Return My Head, Only Good Things and album closer Exist. These are the tones and tunes of a band hoping to kick on with their next release – but take in Gigi’s Recovery for the marvel of wild horrors it is capable of presenting. 

35. BOB DYLAN – FRAGMENTS: THE TIME OUT OF MIND TAPES 

It is impossible not to include Fragments: The Time Out of Mind Tapes on a Top 100. It is the Bootleg Tape which will convince naysayers of the quality to come from backlogs, vaults and early recordings. Here are the early takes, differing moments and unlocked potential of an artist who was on the cusp of a return to form after a decade in the dark. The perception of Dylan during this period is a violent whiplash of thoughts and comments though The Time Out of Mind Tapes does well to settle the score and provides new light onto these sessions. A titan of a release, a massive time sink well worth experiencing at least once – even the passing Dylan fan can get hooked on this.  

34. INHALER – CUTS AND BRUISES 

Should it be any surprise that Bono’s son is a solid musician? Not at all, and though Elijah Hewson is more than the sum parts of his old man, it is nice to jab at Inhaler given how well they pulled off Cuts and Bruises. Finite wisdom and culturally relevant indie rock which will no doubt see the band compared to the likes of Sam Fender, who they opened for more than once this last year, mentioned time and time again. It is good company to keep and tracks like Love Will Get You There have an endless summer appeal to them, a song which flicks something special on in the heart and never relents. Dublin in Ecstasy does too, the lesser talked about album track which sends shockwaves with ease on a record which holds endless replay value.  

33. NEIL YOUNG – BEFORE AND AFTER 

Almost too many artists returned to their old works to cover them and reassess their value this year. Some, like U2, thought stripping back their songs into acoustic duds was enough. Others like Dolly Parton believed enlisting a cavalcade of famous faces to rework tracks of old was the right move. It was not. Neither managed it properly, but Neil Young and Bob Dylan did. The former does so with Before and After, a chance for the legendary songwriter to reflect on works like I’m the Ocean and Mr. Soul. All of this sounds incredible and brings out the essential qualities which guided Young for so long.  

32. WESTERMAN – AN INBUILT FAULT 

Leaning further toward strings and folk implementations, Westerman provides surprise after surprise on An Inbuilt Fault. Where it should shine on through as a heavy album, that is merely judging it off cover alone. Electric roars through this one still, the poetry of their lyrics a constant and a real shift in momentum for a band still with time to spare on bringing about what works best for them. They find themselves in the thick of it with Pilot Was A Dancer and pull themselves out with sharp songs on rumbling identity crisis A Lens Turning. Cold and jaded the whole way through but with a nodding sense of acceptance – these are not the end times but merely the beginning for Westerman.  

31. WHENYOUNG – PARAGON SONGS 

Never hoping to push so far they fall, Whenyoung manages to reinvent the wheel with Paragon Songs. They said so themselves in an interview last year. Paragon Songs does just that – it is an expansive and vibrant piece of work which shocks and styles the duo who head further and further into this heart of darkness we call life. The Laundress notes their comfort, how good they are at getting the right pieces together. It certainly sounds so with Home Movie and Shed My Skin. Should they hope to move from here then they are almost definitely on the right tracks – their change in tone and the next steps are on the horizon, Whenyoung scrambles to figure out what differences they hope for.  

30. DANNY BROWN – QUARANTA 

One of the few people who can brag about being on a list written up by a journalist living in Hull twice, Danny Brown has done two grand albums in just one year. Quaranta is self-autobiographical and the tone it takes is tremendous. Assured and confident but always ready to expel some demon or display some affection for the life he has lived. Bass Jam and Y.B.P. are highlights – both instrumentally and objectively the finest Brown sounds throughout this one. There are gut-punches throughout, Bass Jam especially but Hanami and Shakedown provide their own tender splashes. A mental breach but a thoroughly trustworthy album. Brown engages his audience and the greatest respect we can show an artist putting it all on the line with honesty is to listen right back.  

29. PJ HARVEY – I INSIDE THE OLD YEAR DYING 

Artists of good standing must shift. You are not risking if you are touching the floor. Tread the waters of danger and find within some fear to present. PJ Harvey does just that on I Inside the Old Year Dying, an incredible expression of tender loves and acoustic wonders with all the existential vibrancy expected of an artist whose message, tone and sound has changed so much over the last few decades. A Child’s Love, August and Rid of Me has some fluttery Autumnal momentum to it and it works a charm. I Inside the Old Year Dying impresses in its deeper connections to hollowed-out histories, be it with people, places or possibilities left untouched.  

28. OLIVIA RODRIGO – GUTS 

Being four years older than Olivia Rodrigo and having zero songs on the soundtrack to The Hunger Games is a bit of a heartbreaking scenario. But it all lends itself to the shock and awe effect felt when listening to GUTS. A definitely gutsy album, filled with promise and essential, meaningful chart ballads in a time where the Top 40 is a rundown of whatever Iceland mums and pensioners are buying. How much Rodrigo has left in the tank, and how much quality she can provide over however long she fancies kicking about in music, is incredible to think of. For now though we can enjoy Lacy and Love is Embarrassing, the two best tracks from a hell of a sophomore release. 

27. NEIL YOUNG – CHROME DREAMS 

A re-release of a bootleg tape? On a Top 100 list? Not for the first time, either, but Chrome Dreams deserves its spot for how crisp and wonderful these alternative takes sound. Much like the cobbled-together remasters and manipulation of Now and Then, the exceptional listening quality of this Neil Young record are clear to hear. He has taken the bootleg tapes by the horns and wrestled it into his own backlog, the results of which are, now more than ever, a necessary pot to pull from with artists not paid as much as they used to be. Chrome Dreams is a tearjerker of a piece, with plenty of moving moments and covers within. Keep an ear free for Will to Love and Like a Hurricane. Essentials. 

26. CAROLINE POLACHEK – DESIRE, I WANT TO TURN INTO YOU 

An absolute powerhouse at work on Desire, I Want To Turn Into You. There is no escaping the constant pull of these sensational alt-pop numbers. Caroline Polacheck has risen from Pang and kindled a booming fire of inventive and well-worked tracks. The glitch-pop anxieties of opener Welcome to My Island are stellar, as is the perfect double bill of Crude Drawing of an Angel and penultimate album track Smoke. Polachek sings of a “safety net” but has little to fall back on if the more ambitious moments of Desire, I Want To Turn Into You faulter. Yet they do not, and here we are. 

25. EDDIE CHACON – SUNDOWN 

Smooth ways over the course of eight tracks makes Sundown one of the shorter, calmer listens on this list. Everything needs to be pulled apart at some point and Eddie Chacon does this very well. His latest album brings out smooth soul flourishes and little flickers of jazz. It all comes to a head on perfect song Far Away, and setting the tone so early into this work is a major aid to those listening in with no idea what to expect. Expect brilliance from Chacon, it should be no surprise his collaboration with Logan Hone, Comes and Goes, is a respectable and wild intervention full of moments which will leave you hungry for more. As all dependable artists do, Chacon has provided plenty of range for these soothing, soulful pieces. 

24. KING GIZZARD AND THE LIZARD WIZARD – PETRODRAGONIC APOCALYPSE 

Pumping out albums as though there is no tomorrow, the work ethic of King Gizzard and The Lizard Wizard is frightening. Sincerely chilling to think this Petrodragonic Apocalypse was only their first release of the year. It is the only release of theirs this year, however, worth a spot on this list. With such a constant release schedule, the days of fatigue for listeners were in effect though their pivot to a heavier, brash style of progressive rock has served them wonderfully. Gila Monster and Dragon in particular lead the charge as some of the more inventive and wilder pieces from the band so far. A breath of fresh air from a band always breathing.  

23. HOZIER – UNREAL UNEARTH 

Starting the year with the knowledge of one Hozier song and ending it with a custom-made birthday present holding Work Song on it, cushioned by Lana Del Rey and Blur, is a statement of personal impact. Unreal Unearth is a stunner of a record – one which feels soft on first listen but becomes a true beauty on further plays. The terms set out by Hozier on this record, the intimacy through grandiose and often remarkable turns of gothic and Greek mythology are truly stunning. I, Carrion and Eat Your Young are so far surviving the TikTok onslaught. Give it a few more months and fellow perfection Francesca will be available for your listening pleasure without it being caught up in edits of trips to Italy. 

22. THE BRIAN JONESTOWN MASSACRE – THE FUTURE IS YOUR PAST 

Such a shame Anton Newcombe and company began launching guitars at one another again live on stage. One more song? Unlikely. The Future Is Your Past is the bands best work in decades and they may never hit this peak again. They will certainly hit one another again, but that is neither here nor there to the innovative designs and sleek playing which comes through this collection of tracks. Newcombe is in fine form, as singer and lyricist, and shows as much on perplexingly perfect opener Do Rainbows Have Ends before churning out some of the best instrumental work the band has ever put to tape on the likes of As the Carousel Swings and aptly titled album closer, Stuck to Yous.  

21. TENNIS – POLLEN  

Whether the soft rock intentions of Tennis were meant to be this good is unknowable. Something strikes right with Pollen, whether that is the time of its release or how well it settles into the process of unravelling its indie pop notations. It is through their consistencies they find a real and powerful record – with opener Forbidden Doors kickstarting a trend of essential listens, from the short and vocally sweet One Night with the Valet to the slower shimmer of Hotel Valet. Tennis are not as obsessed with men who fetch cars as they are with the immaculate, the sense of pride in appearance and the coming to pieces of it on Pollen is exceptional. 

20. JOHN CALE – MERCY  

Still rattling around the recording studio, John Cale releases an effort which is on par with the likes of Leonard Cohen and David Bowie. We are in the final years of appreciating those who paved the way for everyone. Paul McCartney still beats the drum, but Cale and Mercy are a different breed. There is no brooding farewell within but a certainty this may be the final few chords for The Velvet Underground alumni. If this is it, so be it. Few could ask for a stronger last work. Innovative and reflective in all the right ways, this Cale release is stuffed full of touching and heartbreaking throwbacks to his time at the top. Moonstruck (Nico’s Song) is the most obvious attempt at this, but keep an ear out for I Know You’re Happy and Animal Collective collaboration Everlasting Days.  

19. BILLY NOMATES – CACTI  

Billy Nomates’ backlash at Glastonbury was likely the shock of the year. How an artist whose work, Cacti, is so well-rounded and powerful can be slated by those who still dribble along to nostalgia bait Channel 4 shows is no surprise – but what may surprise is just how incredible Cacti is. Bouncy numbers filled with lighter instrumental flourishes form a bed of sound which, once matched by Nomates’ innovative lyrical work, is hard to break from. Fawner is your only break here, the rest of it a series of calculated and well-laden tracks. Cacti builds and builds before finding its peak and remaining there for the rest of its running time, with bits like Same Gun and Apathy is Wild wonderful, essential inclusions. 

18. BODY TYPE – EXPIRED CANDY 

Indie music truly flourished this year, as it so often does for those listening in to the changing tides and digging that much deeper than the guitar rock standards which dominate the charts. Hold your breath and venture deep – find something as constant and well-formed as Body Type’s Expired Candy. Sick little riffs on Summer Forever do well to kindle the fires of Australian indie music, a sub-genre which has more than a few members on this list, and rightly so. Whatever is happening Down Under cannot be ignored, because for Body Type and their constant desire to improve on themselves, it is hard not to listen in. 

17. ULTRA Q – MY GUARDIAN ANGEL 

This is not just an indie pop number. These are the harsh and hard thumps of a band hitting out at their listeners and telling them this is how to do a debut album. One of the best listens of the year and most of it from how assured Ultra Q are on My Guardian Angel. Who would not be assured with perfect tracks like Web Web Web feeding into the heart of the album? Indie rock offerings were no stranger to this year but quality seemed consistently misplaced – and My Guardian Angel offers an abundance of exceptional indie rock turns. We were in desperate need of a shining new voice to champion and now we have one in the form of Ultra Q. 

16. BOYGENIUS – THE RECORD 

Just about anyone putting these lists together has pinned Boygenius’ debut record as one of their all-time favourites. It makes sense to. The trio of musicians within, Lucy Dacus, Phoebe Bridgers and Julien Baker are quality, and as expected, their work together is monumental. Those who listened to the self-titled EP would know this already – but for those flickering along with bursts of brilliance like Satanist and Not Strong Enough they can revel in the thematic certainty which the group brings to the table. Love letters to Leonard Cohen feed through and contemporary tones which the trio wish to champion are well placed, played well and come together with some of their finest lyrical depictions. 

15. HOLIDAY GHOSTS – ABSOLUTE REALITY 

Shouldering their way in so high up the list may be a surprise to everyone, even the person who put them there, but make no mistake abou the surreal quality Holiday Ghosts demonstrate on their latest piece, Absolute Reality. Their fixation on summery flows and upbeat pacing gives the band some clear perspective on what works for their sound and how they wish to kindle it. Confident tones on Lose the Game and Vulture are just the tip of the iceberg – the unique charms of Holiday Ghosts infect every track. Fight or Flight comes good in showcasing the independent nature of a band now on their fourth album and showing no signs of slowing.  

14. JESSIE WARE – THAT! FEELS GOOD! 

There was no better feeling this year for alternative dance-pop than the heady influences utilised on this latest Jessie Ware piece. Free Yourself took some time to grow, but releasing her lead single in the dying embers of 2022 gave plenty of breathing room to the funk-influenced That! Feels Good!. Such incredible layering and production the whole way through gives Ware a monumental place to work from, swift perfection on Begin Again and the titan-like title track are some of their best works to date. Everything else ranges from quality mixing to exceptional displays of well-timed messages and uplifting, spirited turns of phrase.  

13. CHRISTINE AND THE QUEENS – PARANOIA, ANGELS, TRUE LOVE 

Clocking in at a bold ninety-six minutes, Paranoia, Angels, True Love has it all. The latest works from Christine and The Queens are nothing shy of exceptional – what else would be expected? Ambitious overtures, Madonna giving her best work in years and perfect tracks like A Day in the Water and Lick the Light Out display a monumental effort from Christine and The Queens. Let the fear and titular paranoia wash over you – embrace it for what it is, sharp, energetic and stylish. It is the sweet spot between exploring the self and championing what you find. Integral, incredible listening and a must-hear for just about anyone.  

12. GRIAN CHATTEN – CHAOS FOR THE FLY 

Branching off onto his own solo record less than a year after incredible successes with Fontaines D.C. shows the calibre Grian Chatten holds. Chaos for the Fly is an absorbing listen – a piece of work which relays ideas and lyrical assertions which cannot quite match up with the band he helms. Instead, flourishes of wild and large spectacles can be found within. Perfect single Fairlies is a charged and wonderful number, and all the rest around it are consistent pockets of surreal work from a lyricist and frontman who has not headed anywhere close to the peak of his powers. It may seem obvious to say keep an eye on Chatten, but do so.  

11. BILLIE MARTEN – DROP CHERRIES 

Stuffed full of shimmering acoustics and a grand spectacle unfolds for Billie Marten on Drop Cherries. This latest piece is quite the achievement, a titan-like production of monumental victories. Isolation runs rampant on these tracks, thematically secure and consistent – like the artist behind it all. Brass and acoustics meet with surreal and heartbreaking intent on Drop Cherries, which toys with the ideas of blame and calming words of encouragement through Willow and I Bent To Him. Monumentally touching stuff and a rousing listen for those in need of some real quality acoustics. There was an abundance of that this year, and Drop Cherries is one of the best out there.  

10. THE LEMON TWIGS – EVERYTHING HARMONY 

Derelict tones and tunes from the 1970s are revived with style and class from The Lemon Twigs. Their style, both instrumental and image, linger on as a genuine and refreshing throwback to a heyday for music culture. Everything Harmony may lean into those influences a little too much from time to time but it is the best example to date, from any revenue of culture or art, of how the past can influence the future and still hold a relevant flame when needed. Tender spells on When Winter Comes Around are a real delight and championed by some names on this list. Rightly so. The Lemon Twigs are working some real magic.  

9. MEREKI – DEATH OF A CLOUD 

Nobody knows who or where the great albums of the year will come from – and for many, Mereki will be overlooked because time does not allow for deep dives. Lucky for some, primarily those on mailing lists for PR people across the globe, Death of a Cloud is easily accessed and by far one of hte best releases this year, or any year, has seen. Wake Up Dead sets the scene. Perfection within. Wasted Love and The Garden meet those impossible highs and the rest of Death of a Cloud is tremendously in-step with the warmth and breach of the usual suspects. Mereki is not an out-there artist but is one who settles into these already overflowing genres and stakes a real, firm claim.  

8. BOB DYLAN – SHADOW KINGDOM 

Legend Bob Dylan still has it in him to put out a couple of albums worthy of inclusion. Shadow Kingdom was a stunning piece which set the bar, early in the year, for covers. Dylan takes a look back at the earliest years of his career, his hits and the pieces which defined him, and gives them another go. It is a bold and ambitious project for a singer who is so thoroughly uninterested in traipsing the nostalgia circuit – his Rough and Rowdy Ways tour should be a clear indicator of this. Shadow Kingdom is a real high point for Dylan, a chance to showcase he still has the instrumental, lyrical and fundamentally creative desire to craft more all-time greats, though the early days are still as impactful as they were in the 1960s.  

7. SHAME – FOOD FOR WORMS 

No shame in listening to Shame, whose punk calibre is a breath of fresh air to the spoken word haul of the last few years. Scratchy, scary and wonderfully out there, Food For Worms feeds the soul as well as small dirt-based organisms. Veering toward a decade in the motions, Food for Worms is a rip-roaring success which will see the band shed their previous works and move to the next level – that much is assured with a piece as quality as this one. Their momentum is behind them, perfect songs like Orchid, Yankees and Fingers of Steel now line their backlog of works. The only way is up for Shame, surely?  

6. GEESE – 3D COUNTRY 

With an instrumental style unlike anything else released this year, Geese were already in the good books as they started shuffling their singles out. Garbled interjections from frontman Cameron Winters are the neat new flourish to these out-there instrumentals. 3D Country and its follow-up EP, 4D Country, are a delight for the ears. Punchy moments of grandiose lyrical assertions filter down into exceptional guitar work, the risks taken by a band continuing their rise are clear to hear and a sincere pleasure to engage with. Where steady, straightforward rock is lacking, the likes of Geese and Shame are making up a whole new branch of a broad scene so thoroughly lacking.  

5. CHLOE GALLARDO – DEFAMATOR 

Dig deep enough into your email inbox and out comes a record destined to be a sensationally forgotten classic. Chloe Gallardo worked Defamator to perfection at times – the spots of complexity throughout are a sharp and welcome surprise. Last Dance and New Jersey last on as absolute essentials while God is Dead drags listeners through the horrors of family dramatics. There is familiarity in the themes presented, either through experience or hearing of it elsewhere, but Gallardo makes clear these are honest and open interpretations – it benefits Defamator greatly.  

4. BLACK COUNTRY, NEW ROAD – LIVE AT BUSH HALL 

Reeling from the departure of their lead singer and coming to terms with the impact this no doubt has on their direction, Black Country, New Road intend to take their latest opportunity by the throat. An exceptional release in the form of Live at Bush Hall, finely tuned and a tad ironic given hearing the band live through the buzz and fuzz of NUSU was a little lacklustre. Return, then, to Live at Bush Hall. A band in full control of their future can be heard here, thumping away and powering on as they attend to new styles and sounds which match the fabric of what came before but also provides a challenge with the likes of Laughing Song and Turbines / Pigs shoved full of energy.  

3. BLUR – THE BALLAD OF DARREN 

A first appearance in this list for Graham Coxon – and certainly not the last. Old hands of the 1990s music culture returning for a song and dance in the spotlight once more has opened the door for plenty of experienced, familiar faces to work their magic. The Ballad of Darren gave Blur a chance at burying the hatchet, tying up some loose ends and licking the wounds left behind by previous go-around The Magic Whip. A firm blend and fine balance of heavy classics like St. Charles Square and boisterous noise explosion The Heights were paired with tender and introspective guitar plucking on Far Away Island and Avalon. Impressive stuff from the band who brought you Country House.  

2. SUFJAN STEVENS – JAVELIN 

Crushing and heartfelt momentum from Sufjan Stevens was always going to tug the heartstrings but the maturity and overwhelming sense of love in the face of grief secures Javelin as an all-time great. Much can be said for the resolve of the Carrie and Lowell writer, but he lets the work speak for itself throughout Javelin. The tenderness and hold of Evergreen still lingers on in the back of your mind months after a first listen – a real high for Stevens artistically in what must be a tremendously low period for the masterful musician. He adapts his grief as any creative would, into his work to exorcise it thoroughly. Javelin is a triumph tinged with tragedy.  

1. THE WAEVE – THE WAEVE 

Bold it may be to put a dark jazz album comprised of Blur and Pipettes members at the top of the list, it should not be a surprise. The Waeve set the standard back in February and nobody came close. Scintillating at every turn – with even better bonus tracks to boast of too. Can I Call You and You’re All I Want To Know shoot straight for the heart and burrow in with the exceptional effectiveness you would expect from instrumental masterminds Graham Coxon and Rose Elinor Dougall. Sleek guitar work and a notable step into brass and saxophone work for Coxon is matched well by the powerful lead vocals Dougall maintains throughout the likes of Kill Me Again. 

Double duties drive this dark horse album, a real outsider for the outsiders listening in – the impact is unlike anything born from this year. Every track an ambitious take of where the thuds and distortion of the real world can find a listener. Coxon and Dougall are in a career-best run here and far exceeding the works the put into Blur and The Pipettes or their solo careers too. This is their peak, and long may it continue for the duo who bring a transgressive record to the top spot of a hundred quality records from 2023.