Top Albums of the year

By: Julian Harvey

The Billboard year-end charts continued to reflect the backward-looking nature of the public’s music appetite. Taylor Swift and Drake, two artists who have been on top since the 2000s remain in firm control of the charts. Beyond that, the world all of a sudden seems very interested again in more traditional genres like country and even Corridos music. Many of the songs that were big this year weren't even from 2023! Songs like “As It Was,” “Save your Tears” and even “Heat Waves” all somehow remained in the Top 40 all year. With that said, I’ve heard some critics claim that 2023 might be one of the worst years for new music ever and with that - I disagree.. It’s no surprise that my favorite albums and songs this year didn’t show up anywhere on the Billboard year-end list (with one glaring exception) but it’s not like these are super underground projects. The next ten albums were my favorites of the year in no particular order: (quick honorable mentions go to The Record by Boy Genius, 6 by Kenny Mason, Mega Tron 2 by Baby Tron, Heaven Knows by Pink Pantheress and Michael by Killer Mike.)

Noname’s Sundial made headlines for the wrong reasons this year. Her activism and perception as a voice for women in rap has garnered the south side Chicago artist tons of fans who resonate with her message. She’s always been outspoken and has faced criticism in the past, but her choice to work with Jay Electronica, an artist who is as controversial as he is talented, broke a lot of fans' hearts. Although I see why many felt hurt and betrayed by Noname, particularly in the way she responded to the backlash, Sundial is her most undeniable and complete project to date. Longtime fans will recognize lyrical themes of spirituality and eclectic beats littered with church choirs and piano samples. I’m not here to add to the Noname discourse because I cannot say anything that hasn't been said before, but I can tell you to check out the album and decide for yourself.

A younger me might have told you that Portland’s Aminé was his favorite artist. Although my tastes have evolved a little, I remain enamored by his energy and individuality. Montreal’s new-era house virtuoso Kaytranada is similarly trail-blazing. To say Kaytraminé, their 2023 collab album, was anything short of one-of-one would be a lie. Both artists show their flexibility and shine across the whole record. My favorite song on the album is “4EVA,” a song that possesses the rare ability to hit the same at the bars and in your headphones.

Earlier this year, I published a short blog about the Lil Yachty renaissance we are living through. When I revisited my writing there, I was struck by how I barely mentioned that Yachty released a groundbreaking psychedelic rock album this year. Let’s Start Here is the perfect name for a project that seems to mark the end of one chapter and the start of the next. Usually, the forays of rappers into rock music are pretty horrible. Travesties like Lil Wayne’s American Star were bad when they came out and have aged like milk. What Yachty has always had going for him is his energy, perspective, and voice, so for him to dip his toe into new genres and flex his creativity is a really natural fit. The album probably doesn’t hold up to the scrutiny of someone who already dislikes Lil Yachty, so I can’t recommend it to everyone, but such a beautifully strange record had to make my list.

I have always wished so badly to be able to enjoy pop music the way many people do. I have tried and yet every version of Taylor Swift, Miley Cyrus and Olivia Rodrigo are not for me. With Caroline Polachek, I think I have found an exception. I had heard of her before this year because I knew she was part of the band Chairlift, but it was this album, Desire, I Want To Turn Into You, that properly introduced me to her music. The album is very true to pop conventions, but the thing that really hooks you in is how wordy and articulate Caroline is on the album. Anyone who listens to my KSLU show knows that I really appreciate unique turns of phrase and, as I like to put it, the aesthetics of words in songwriting. This is why I can play acts like Death Cab and The Shins next to Kanye West and Smino. Caroline Polachek is among the great linguists in contemporary music across all genres, and if you are like me and want an entry point into pop or are intrigued by an off-the-wall presence like Caroline, I couldn't recommend this album more.    


I’m a hypocrite, sue me. I won’t spend any more time playing the role of Drake evangelist because I already reviewed this album earlier this year. Of course, there are lots of duds on For All The Dogs –I mean some absolute stinkers. Like with every Drake album, though, the deep cuts are immaculate and in a couple of years when public opinion reverses on this record (like it has with all of his other albums), don’t be surprised. 

Veeze is one of the brightest stars coming out of the crowded Detroit scene. Alongside artists like Baby Tron, Peezy, Rio da young OG, Stan Will, and Baby Face Ray, Veeze has cemented Detroit as the hottest city in the world for new rap music in 2023. Ganger, for that reason, has to serve as a stand-in for the entire subgenre it represents. I saw a Pitchfork review called Veeze “Menacing without being off-putting,” and I think that’s totally true; the whole album is just this guy being cool as hell on every song. I've been a Veeze fan for some time, but even I was shocked by how complete this album and its deluxe edition were, especially compared to 2019’s Wavy Navy which was cool, but nothing special. Veeze shines on this project but is assisted by a couple of choice features that add some texture to the record.

I spent the first bit of this blog talking about how samey and backward-looking the charts are these days but Teezo Touchdown has had the opposite problem in years past. This dude is a singular figure in contemporary music; with nails in his hair, goth makeup and football pads, the Texas artist is almost trying too hard to be strange. Whether or not that’s the case, “too weird” is a perception he’s held for the past couple years. I can even admit that I felt that way about him for a while–I may or may not have even skipped his opening performance at Tyler’s Call Me If You Get Lost Tour. How Do You Sleep At Night is so amazing because it somehow balances that unique persona with music that is universal, personal, and even uplifting. 

I spent too many years denying the genius that is Young Thug. Business is Business felt like making up for lost time. All of the Thugger’s trademarks are on this project and this album supplied about half a dozen summer jams including “Oh You Went,” which spent a couple of months as the frontrunner for my most listened-to song this year. I think many fans felt lucky to get any music at all around this time as Thug has spent the bulk of the past two years behind bars fighting a racketeering charge. For that reason, I think there isn’t quite as much to this project compared to his previous albums. Although I haven’t returned to this record as much, it ended up being a soundtrack to my whole summer and had to make the list.
                
All the other entries on this list are in no particular order but these last two are my definite first and second favorites. Both of these artists were total revelations for me and I got to enjoy these albums and their back catalogs in 2023. Saint Louis native Jordan Ward blew me away with his debut album Forward. It’s super out-there R&B that pulls from his life growing up in the Lou and mixes in about 100 different influences. Although he’d been bubbling underground for quite some time, a Tyler the Creator cosign sent Ward to the next level a couple of months after the album was released. I was lucky enough to get to see him when he opened for 6lack at the Pageant in October and the live show did not disappoint. The project itself is light and airy and the songs felt like instant nostalgia. I can’t wait to hear more from Jordan because this album was a game-changer for me.
                
Lahai by Sampha is immaculate. The whole album is a wild dreamscape with syncopated drums and Sampha’s gentle vocals. This album is a tonal shift for the typically melancholy Sampha and there is something inspirational about an artist opening themselves up to the beautiful parts of life. Lahai is music from a man healed. The UK artist wrote and produced on every song on the project and it feels like every single note is in perfect place; it’s really no surprise that it took him six years without a single release to come out with this album. It’s rare that I have such an emotional response to music but this album made me want to dance, cry and sing.

In a year where the monotony of popular music felt glaring and seemed like the public wanted something from the past, the common thread in the music that really struck me this year was that it was new and different. Here’s to more of that at KSLU FOREVER!