The Best Albums of 2023

Pitchfork, Rolling Stone & Stereogum have spoken, but here is the moment you’ve all been waiting for.

Dec 10, 2023

I don’t have Spotify, so I can’t share my Spotify Wrapped with you. I still buy CDs, and that’s how I mostly consume my music. I know that makes me sound douchey, but it’s true! (Pick me, love me, choose me!). I love filthy liner notes, covered in my greasy fingerprints. If I’m ever on trial for murder, I’d be doomed if my victim has a CD collection.

My youth was spent obsessing over the liner notes of my favourite albums — decoding song lyrics, analysing the art direction, searching for a “Thank you, Kayla” hidden in the acknowledgments. Over the last couple of years, I’ve started building up my collection again — searching for old favourites, discovering artists because they were playing at Red Eye Records (Juliana Hatfield, Margot Price). Sure, I might not be up to date with all the latest music, but I love the thrill of the chase, the sweet discovery of a track that reminds me of being nine years old, and having an album that would absorb me into its universe, all while helping me make sense of my own.

Below are some 2023 albums that have become my besties — keeping me company through the highs, lows and in-betweens of my year.

Caroline Polachek — Desire, I Want To Turn Into You

Welcome To My Island opens Desire, I Want to Turn Into You, and allows us into Caroline’s world — a whimsical dreamland of latex and leather, earth and minerals, poetry and hedonism. Desire, I Want To Turn Into You appeals to all of your senses — if it were a fragrance it would have notes of cardamom, pink pepper and vanilla. The album blends experimental production (who knew bagpipe solos could hit so hard?), with earworms that could rival some of the biggest pop songs out right now. Caroline even manages to make a simple sentiment like “I never felt so close to you” (Billions) feel innovative and new, by singing with such sincerity and conviction — her voice an instrument in its own right. Caroline is a testament to women in music, and how they are a force to be reckoned with. More so, the success of Desire only further proves that women in their 30s don’t have an expiry date in pop music — their contributions are needed and incredibly valued. Despite Caroline being cool as fuck, she’s also vulnerable, sentimental, and writes about surrendering to the belief that she will be reunited with someone who has passed (I Believe), and finding some kind of spiritual healing in a romantic relationship (Sunset, Butterfly Net). Blood and Butter is a highlight, and will have wishing you could stay shipwrecked forever. It is Caroline’s island, and we are just visiting for 45 minutes. Bring your bikini and bagpipes.

Paramore — This Is Why

This Is Why is largely an examination of surviving modern times, and how it feels to live in a constant feedback culture of news, and the pressure to have an immediate opinion on every world issue. The album opens with “If you have an opinion, maybe you should shove it” (This Is Why) and reminds you of the vibrant and burning energy captured on their earlier albums, partnered with a matured, inherently feminist, delightfully cheeky, and thoughtful perspective. Paramore have the ability to tap into their emotions, and write melodies that feel familiar and brand new, all at once. Big Man, Little Dignity examines toxic masculinity and the sheer rage one feels when witnessing a living embodiment of it (“Your subscription to redemption has been renewed, you keep your head high, Smooth Operator in a shit-stained suit”) and You First proves age hasn’t simmered their desire for revenge — the repetition of “Never said I wasn’t petty” a highlight on the album, and a reminder that the band still have that fiery passion we loved from Misery Business. The delicate tracks Liar and Crave provide a delightful contrast to the heavier elements of the rest of the record. Liar touches on the vulnerability one feels when they surrender to loving someone. Crave is a dreamy track about romanticising even the worst of times, and finding appreciation for your past self who brought you to the very moment you’re now in (“Look up and see a reflection of someone who never gave way to the pain”) — a journey that only those above 25 could really understand.

Lana Del Rey — Did you know that there’s a tunnel under Ocean Blvd

You can listen to Lana’s earlier records to escape, but you listen to her more recent albums to face yourself. In a delightfully chaotic, wordy, stream-of-consciousness, we get to know the real Lana, or Elizabeth Grant — the person she seemed to want to hide from us in her earlier records, that she appears to be leaning into on this album, most notably on The Grants. Lana doesn’t appear to be judging herself during the creative process — merely witnessing herself from a distance, as she ponders her legacy, making sense of her family history, childhood wounds and relationship patterns. (“My pastor told me when you leave, all you take is your memory”). Lana’s vocal performance embodies a certain kind of apathy and effortlessness, with free-flowing lyrics, that give the impression that we are listening in on a song being written in real time. Lana knows who she is and doesn’t need to prove anything to anyone — “We write hit songs without tryin’ like, all the time” (Peppers).

“I haven’t done a cartwheel since I was nine, haven’t seen my mother in real long, long time” Lana sings on A&W, a song about casual romantic relationships, and navigating life without a maternal figure. Lana acknowledges how she has previously pursued the love of men in the search of filling a void, which she now has given up on (“It’s not about having someone to love me anymore”). Lana remains optimistic about life and love, referencing Leonard Cohen in Let The Light In, which features Father John Misty, and also celebrates her collaborator Jack Antonoff’s marriage in Margaret, repeating the sentiment “When you know, you know”. Lana ponders motherhood on Fingertips, “Will the baby be alright? Will I have one of mine? Can I handle it even if I do?” — a vulnerable and real concern of many women in their late 30s. “It's a beautiful life, remember that too for me” Lana sings on The Grants, over delicate piano and a choir of singers amplifying her poetry — this album is therapy for those living less conventional lives, wondering if stability and normalcy is an option for them.

Olivia Rodrigo — GUTS

“They all say that it gets better, it gets better, but what if I don’t?” Olivia chants over a full band on teenage dream — a common concern of the youth, only for us to realise many years later that they were right. Guts takes the best of Sour, and makes it better. It captures the messy, emotional, delightful, chaotic, fun, and uncomfortable parts of being 19. There’s still much for an older audience to enjoy on this album — the grungy, guitar-driven production, the emotive lyrics that allow for an outlet for unexpressed rage, instrumentation that feels like it could belong in a 90s coming-of-age movie. The album opens with all-american bitch, a track clearly influenced by Spiderbait’s Calypso — “I pay attention to things that most people ignore” being sung over a glittery acoustic guitar in the first verse, merely primes us for an album full of delightful observations, fixations and feelings.

making the bed is an emotional ballad about taking accountability for poor choices and feeling a lack of control — “I got the things I wanted, it’s just not what I imagined” is perhaps a nod to Olivia’s ever-growing fame and lack of contentment with her new life. pretty isn’t pretty speaks to the pressure to fit the beauty standard, and navigating feelings around not being good enough. Olivia’s therapist father gets a shoutout in get him back! (“But I am my father’s daughter, so maybe I could fix him”) — Olivia seems to have awareness of her toxic relationship patterns, but knows she’s too young and cute to care. The double-meaning of the track, and its upbeat chorus, is a fun and cheeky album highlight. Bros might need to scream inside to deal with how good this album is. More of my thoughts on this album can be found here.

Notable Mentions:

SZA — S.O.S

Slow Pulp— Yard

The National — Laugh Track

Margot Price — Strays

Julia Hatfield — Sings Elo

Comment below your favourite 2023 albums so I can check them out! 🫶