You know the drill at this point. It’s the end of the year, we are a bunch of arguing bastards who can’t usually make up our minds, but we are here to share our own personal picks for Album of the Year 2023.
Matt Paul: Mega Bog – End of Everything
This year for me has all been about moody, atmospheric and dramatic music (which is the case most years). As a result End of Everything has been getting extensive playtime. This synth laden pop record is dark and brooding, but with an optimistic undertone. I’m hooked and I can’t stop playing it.
The key to the album is Elizabeth Birgy’s voice which has a massive range that perfectly dovetails the music. From breathy spoken word like moments, to gut-busting outbursts. This is best exemplified by the fantastic track ‘The Clown’. Her growing demand of “How do you see me now?”, starts as a casual question and escalates into a wailing plead. Its a compelling listen, which too many folks have missed out on.
Sam Atkins: Caroline Polachek – Desire, I Want To Turn Into You
In a year with only a handful of truly excellent albums, there was one that dominated my streaming account, record player and general headspace in 2023. Caroline Polachek defined music this year for me, feeding in a deep adoration and appreciation for so many styles of music into crafting an exceptional pop album. There isn’t a moment here that’s wasted, where Caroline isn’t a dominant force of music and where I didn’t find myself completely entranced by the sound.
Songs like I Believe, Welcome to My Island and Smoke are pop bangers that pull from decades of great pop songs, but feel completely fresh, but everything has this intricacy and detailed texture that shows how musically interesting Caroline is as an artist. She sounds transcendent on the incredible Blood and Butter, while Butterfly Net is stark and powerful. It seems to be an ‘obvious’ pick to go with, but Desire, I Want To Turn Into You is an undeniable triumph.
Tom Burrows: Navy Blue – Ways of Knowing
There have been plenty of albums that I liked this year, but none that I loved. So when it came to crowning my album of the year, I thought: which record gave me the most pure enjoyment in 2023? Which one allowed me to ignore all critical faculties and just appreciate it? The answer was Ways of Knowing, the latest from Sage Elsesser, aka Navy Blue.
This isn’t an album that strives for attention, or tries to innovate. It’s an album born of introspection, of a soul reflecting on the different things that make him who he is. An album about family, personal relationships and selfhood.
I love his verse on ‘Life’s Terms’, which sounds almost like listening to someone’s self-reassurances as they seek to cope with grief. The late night lamenting on ‘Freehold’ is another highlight, as Elsesser accompanies a solemn instrumental with weary thoughts of mental troubles.
The album’s soulful instrumentals and lyricism clearly penned from deep thought were a go-to for me this year, and even at the year’s end it sounds as wholesome as it did on first listen.
Rick Larson: Wednesday – Rat Saw God
With first a tip of the cap to Pardoner, Olivia Rodrigo, feeble little horse, and Geese, my choice is Wednesday’s Rat Saw God.
Wednesday harnessed a scuzzy sound of bootgaze and Crazy Horse-esqe protogrunge to its alt-country wagon and took it for a wild ride through the Dirty South. Riding on the dense sound are Karly Hartzman’s clear-eyed lyrics, sometimes sweet, sometimes harrowing, always honest, and delivered like Dolly Parton fronting Hole. I believe everything she sings. “Chosen To Deserve,” “Bath County” and “Quarry” was an unmatched 1-2-3 punch at the center of the record.
Wednesday has a singular ethos but with an astonishing breadth of expression. Has any band ever quite sounded like this before? Wednesday is making its own fresh ruts in a well-trod, muddy road and I’m happy to ride through the muck with them.
James Spearing: Caroline Polachek – Desire, I Want To Turn Into You
What else can I say that hasn’t already been said about this album, in this article, and in the many album of the year lists it has topped? It sort of shouldn’t work (see the Dido appearance, again) but it does. And for all the many, many listens this year, I feel like there’s still more to explore. From the Judith Chalmers guitars of ‘Sunset’ to the over the top childrens’ choir on ‘Billions’ (more things that shouldn’t work but just do) different things stand out each time.
Again, what more can I say? It’s just brilliant. Forget boygenius, 2023 was all about girlpopgenius for me.
Picky Bastards 