The 23 Best Albums of 2023
The 23 Best Albums of 2023
How is this list any different than all the others? Well, it’s the only one that’s right.
From Squid to Lana Del Rey to billy woods to Ratboys and Young Fathers to Hozier, we distilled thousands of albums into 23.
By: Exile Staff
There are roughly 100,000 songs uploaded to Spotify every single day.
Do people still read music reviews?
Why?
Humanity likes to share. They need to.
Ed Sheeran’s jab at music reviews in 2023 begs the question, why do people need music reviews? Well, they don’t.
Reviews and lists of reflection like this exist to share - not to offer advice. To provide insights into what made an album exist, to point out things you may have missed, to give you context, and to inspire you to find more like it.
That’s where we come in. We listened. A lot. Frankly, our ears are tired.
We’ve ranked the 23 best albums of 2023.
Love it or hate it, we at least hope it will make you see this year’s music in new ways and encourage you to take a chance, giving a new artist 45 minutes of your precious time.
Each of these 23 records is worth every second of your time. We promise.
Enjoy.
WHY:
Nothing for Me, Please is a beautifully understated and infectious country/folk album. A man and his acoustic guitar reflecting on his own story, imperfections and all. It’s a large helping of being honest with yourself. Devour it in under 30 minutes, and leave the experience with a new appreciation for your life.
WHY:
Seeing the path carved out by fellow post-punk Brits Fontaines D.C. and black midi - Squid went a completely different direction. O Monolith is chaotic, it’s a frenzy of different ideas, elements and vocal concepts. It’s not a perfect puzzle - instead, it’s shape-shifting radioactive matter, never sitting still and always unpredictable. Buckle up and enjoy the ride.
WHY:
There is so much to like within the walls of Did You Know That There’s a Tunnel Under Ocean Blvd. It’s full of gorgeous ballads that showcase Del Rey’s range and firm grasp on impeccable songwriting. From “Sweet” to “A&W” to “Paris, Texas,” Lana is in complete control of her sound.
Is the album a bit of a marathon? Yes. However, the highs of the record soar so high that they are worth sifting through to enjoy. Always tinted with a nostaligic varnish and a familiarity as if you’ve heard this song in a past life, Lana Del Rey delivers a powerful performance despite its length. Nine albums in, it’s one of her best.
WHY:
The Berlin-based Kourtesis and her debut album Madres is a masterclass in beat progressions, sonic perfection, and sweaty dancefloor bangers. Full of emotion, from "Vajkoczy" - named after the neurosurgeon who extended her mother's life, to the following "How Music Makes You Feel Better," Madres is multi-layered and complex.
Despite the constantly rotating and shifting rhymes, the album stays accessible. Throw it on during a road trip, while you’re cleaning the kitchen, or working out; it can elevate your experience at any time.
WHY:
The fifth release from Asheville, North Carolina natives Wednesday, covers a lot of ground. The behemoth of “Bull Believer” is undoubtedly the highlight of the record, but each and every song contains detailed storytelling both lyrically and through instrumentation. How many artists can you name that toe the line between shoegaze, alternative, and country?
Rat Saw God is brash. It’s noisy. It bangs around and crashes all over the room. Coupled with astute observations led by Karly Hartzman’s twangy and uncomfortable vocals, there’s a never-ending pile of ideas that all somehow fit together.
WHY:
Lucky For You is as complete a rock album as it gets, with no single note out of place. From the opening energy of “All I Do” to the powerful anthemic vocals that captivate on “A Wonderful Life,” - Lucky For You has a little something for everyone.
Taking influence from all the nooks and crannies of alternative rock from the 1990s, Bully weaves in thoughtful lyrics, relentlessly catchy vocal hooks, and an airtight song structure that takes each song from ordinary to incredibly unique. It’s a blast to listen to start to finish, roll the windows down and turn it up.
WHY:
What would Hozier’s career arc have looked like without “Take Me To Church”? On the one hand, he has reached extraordinary heights of fame and success, buoyed almost single-handedly by that hit. On the other hand, his remaining discography has been largely underappreciated. Constantly compared to the one hit from 2013, Hozier critics have stayed mostly blind to the depth of his music.
On Unreal Unearth, Hozier takes his boldest step forward, balancing masterful ballads with compact R&B tunes. Combining a lyrical journey from Dante’s Inferno to the obscure writing of Flann O’Brien, Unreal Unearth is a complete album that has more to give with every listen.
WHY:
Greg Mendez has navigated a labyrinth of intricate and at times perplexing musical ventures throughout his career, yet it's with his latest self-titled release that he manages to untangle the threads and unveil a cohesive masterpiece. Despite always harboring a clear vision of his musical aspirations, it is here that he successfully converges his artistic journey.
This album stands as a testament to meticulous craftsmanship, adorned with vivid imagery and compelling lyrical hooks. While it could easily have been lost in the swamp of singer-songwriter indie-folk music, Mendez defies convention by skillfully trimming the excess. The beauty lies in the album's duality – at times, Mendez exposes his tragically needy side, while on other tracks, he embodies selflessness in its purest form.
Clocking in at a succinct 23 minutes, the record achieves an illusionary time warp, its slow-burn mood stretching the perception of duration and richness. Within this compact timeframe, Mendez covers an expansive emotional landscape, stretching beyond the limitations of brevity to deliver a record that feels both enduring and indulgent.
WHY:
“I feel like I’m leaving myself behind / and I’m so tired of crying / I want to get back up again”
The words from All Of This Will End's opening track sets the stage for things to come. Despite reflecting on some terrible moments, decisions, luck, and people in her life - her desire to keep getting back up remains intact. The album can be painfully honest and painfully vulnerable, but it never feels hopeless - resonating with the listener the importance of perseverance.
There are moments of hard-hitting riffs, as seen in "Wasting Your Time," and there are times of incredible delicacy, found in the closer "Younger & Dumber," a power ballad that sneaks up out of nowhere. Put all of it together, and All Of This Will End is a confident step forward into the spotlight for De Souza and her third full-length album.
WHY:
Let's call a spade a spade—Gabriels and the crew royally screwed up the music drop this year. They pulled a stunt, splitting it into two parts, with one deluxe version that's longer than a never-ending Zoom meeting. Despite the chaotic release and a runtime that's puffier than a celebrity's ego, Angels & Queens is an album you can't resist.
A shiny Soul/Gospel record cranked up to eleven. Jacob Lusk's voice is smoother than a slick con artist, and the production is glossier than a catwalk model in stilettos. Angels & Queens doesn't just serve up music; it's a 90-minute feast of contemporary R&B that keeps dishing out plate after plate of sonic indulgence. You might question the strategy, but it's a exciting and joyful ride that’s worth every minute.
WHY:
Part journal, part densely filled notebook, woods weaves an intricate web of metaphors and cultural insights, forming a tight knot that requires patient unraveling. Before you can fully decipher its complexity into a manageable thread, Maps veers off into an entirely new direction. This marks the second collaboration with producer Kenny Segal, and woods continues to hit that sweet spot he's been honing throughout his impressive career.
Maps emerges as a force, boasting a strength, humor, bluntness, precision, and lethal quality that surpasses hip-hop's other 2023 offerings. The album not only sustains but elevates woods' artistic prowess, capturing a vibrant energy that pulses through every track, making it a standout in the musical landscape of the year.
WHY:
Recipient of the prestigious 'Album Title That Best Describes How The Album Sounds' accolade, That! Feels Good! undeniably lives up to its name, emanating an infectious feel-good vibe. Jessie Ware injects an abundance of energy and sizzling heat into her audaciously crafted disco-funk masterpiece, presenting a collection of tracks that seamlessly flow with groove.
As the album unfolds, the party only intensifies, evolving into a more expansive and exuberant celebration. Ware assumes the role of the orchestra's conductor, guiding the musical symphony with unwavering grace. The album, from start to finish, is unblemished, devoid of any missteps or lulls, showcasing Ware's artistic finesse.
WHY:
Branch takes her innate creative DNA and pushes the boundaries of her jazz-meets-punk-meets-protest-anthems-meets-country-folk to new heights. The late trumpeter left us too soon in 2022, leaving us with one more album posthumously.
It contains such a fusion of different sounds, drawing from infinite influences, to give the listener both songs to dance to and others to contemplate. It rolls and rocks, bouncing around as if in a washing machine. It’s a bright spark in a year of music, tantalizing us with a flare of what direction Branch was heading before her life was cut far too short at the age of 39.
WHY:
Ratboys built a steady discography of reliable buzzy indie rock throughout four previous albums, but The Window is the best version of themselves. Sure, there's some buzz scattered across the record, but The Window is built around some of the most tender tracks they've created, starting and ending with the title track. Mix in multiple gems and a perfect rock track on "Morning Zoo," and you have a complete album from top to bottom. It's the sound of a band maturing to its pinnacle state, glistening with fresh perspective and confidence.
WHY:
Young Fathers have undoubtedly spoiled us with an extensive and diverse catalog over the years, showcasing their unwavering commitment to delivering innovative musical experiences. Heavy Heavy, their latest offering, seamlessly continues this trend.
The album stands as a testament to their artistic prowess, presenting a well-rounded collection teeming with the signature creativity that has become synonymous with the Young Fathers' sound. Heavy Heavy generously offers the listener a blend of emotionally profound moments, woven intricately with instances that invite rhythmic grooving. Even with four albums under their belt, Young Fathers continue to defy expectations, sounding entirely distinct and unparalleled in comparison to anything or anyone else in the music scene.
WHY:
For starters - it’s beautiful. It’s packed with lush guitar playing and the weighty vocals of Byrne, who ruminates on grief, life, loss, and spiritual renewal. It can take several passes to fully digest everything happening despite its surface-level simplicity.
Masterfully crafted, Byrne shows incredible patience and precision to execute her moments, creating impactful climaxes and gut-punches. Like a slow, welcoming hug, The Greater Wings slowly pulls you in and comforts you.
WHY:
Polachek built a pop album, ripped it to shreds, and threw it up like confetti on Desire, I Want To Turn Into You. The record, her sophomore album, is a breath of fresh air in the jam-packed and increasingly monotonous pop music arena - stretching boundaries and flipping the traditional script on its head.
Her vocals travel ambitiously and effortlessly from the high octaves to the low whispers across stories of love and romance. The instrumentation never gets too busy, always there to play a supporting role in the unique performance from Polachek. There’s a pure freshness and creation of sonic space, giving the listener room to swim freely while enjoying the creative rhythms.
WHY:
Somehow, Javelin is an effortless listen. Surrounded by grief and loss - and yet, it floats through us. It stings, bites, and can be devastating but maintains an indisputable air of hope. With the loss of a long-time partner coupled with a difficult personal diagnosis, Stevens harnesses the power of painful life experiences and does what he has done for years, unfathomably condensing them down into lush and gorgeous tracks.
It dips and draws from all over his previous catalog, sitting closer to Carrie & Lowell in tone and structure but always pulling in additional elements and tempos to add depth. Stevens has an impressive highway of a discography at this point, and Javelin gives us even more appreciation of how much he’s been able to create with such a high bar of execution. His songwriting is like the lotus flower, which, despite its intricate petals, emerges from simple mud, representing grandeur arising from simplicity.
WHY:
From gun violence to the loss of loved ones, Dixon grapples with the life advice he’s grown up with and what life lessons are most valuable. Beloved! Paradise! Jazz!? is a pocket-sized powerhouse with a wonderfully organic and robust jazz backdrop.
Dixon’s rhymes are full speed ahead, full of concepts to unpack - but he isn’t going to spoonfeed it to you, with each intricate rhyme devouring the previous instantly. It feels like a personal journey through Dixon's transformative years, from immature, scrappy young buck to where he stands today. Both poignant and boastful, Beloved! Paradise! Jazz!? is a poetic delight, and Dixon possesses the magnetic buzz of a star in the making.
WHY:
It’s not a given that putting three talented solo artists together in a band will pump out quality. There is no shortage of failed ‘supergroups.’ However, the trio of Phoebe Bridgers, Julien Baker, and Lucy Dacus made it sound easy. On the record, each plays their own hand to perfection while also ensuring it doesn’t sound like three distinct albums.
From the crisp choruses to the vulnerable moments to the vocal hooks, the record is as complete an indie-rock album as there’s been in years. It’s symbiosis - each artist supporting and enhancing the others, resulting in a collective album greater than the individual capabilities.
WHY:
It’s a miracle Trevor Powers could make any music at all. Recovering from a horrific medical issue that left his vocal cords in peril, with the potential that he’d never speak again - he found a way to hone in on what’s most essential and closest to him and infuse it into Youth Lagoon’s new record Heaven Is A Junkyard.
Wade into the waters slowly, as the opening two tracks welcome you in gently. Songs like “Prizefighter” and “The Sling” are magically powerful, “Mercury” soars and swoops, and the closer “Helicopter Toy” takes the baton and sprints to the finish line with distorted guitar. Built around beautiful piano riffs, subtle production, and the voice that is unequivocally Powers, Heaven Is A Junkyard is the full package, with a spiritual residue and moving poetry.
WHY:
Mitski possesses a rare knack for crafting deceptively simple-sounding music that, paradoxically, evokes a uniquely profound emotional response. Her sound sits on both sides of the coin - both diverse and sparse, offering a blend of bluntness and depth, beauty and coldness.
On The Land Is Inhospitable And So Are We, Mitski applies another unvarnished layer of honesty, seamlessly weaving melancholic country with orchestral pop, held together by the adhesive of acoustic guitar. The album maintains an eclectic vibe while achieving a remarkable cohesiveness.
Although its ballads, such as "Heaven" and "My Love Mine All Mine," underscore its strengths, the presence of edgy co-stars on tracks like "I Don’t Like My Mind" adds an extra layer of dynamism. The Land Is Inhospitable And So Are We is a record that invites repeated listens, each time unveiling new layers of meaning within the lyrics, nuances behind the instrumentation, and additional special talents that Mitski skillfully showcases across her impressive seven-album discography.
WHY:
Kara Jackson's inaugural masterpiece, Why Does the Earth Give Us People to Love, stands as the unrivaled gem of 2023. It transcends conventional bounds, unfurling with an expansiveness that continually pushes the boundaries of conventional listening.
This is a musical odyssey. Lasting 52 minutes, it’s less of an album and more of a meticulously crafted work of art that tugs the listener into an immersive experience. Jackson's lyrical prowess is nothing short of perfection, with each line bearing the weight of poetic brilliance. From the poignant opening poem, "some people get high - to be recognized / some people roll dice - to be recognized / some people look nice - to be recognized," to the conclusion on “liquor” where Jackson admits, "can’t buy love, so I bought liquor / sick of cures that make me sicker," the album oozes a rare and unfiltered honesty.
The musical journey unfolds with minimal hooks and a deliberate absence of conventional choruses, prioritizing expansive soundscapes and patient, reflective spaces. In the vastness of "free," listeners find themselves wandering through a wilderness of sound, traversing a trail of emotions alongside Jackson. The album grants both time and space for introspection, allowing the audience to move at their own pace and embrace every note organically.
At the heart of the album lies the titular track, a thematic anchor that skillfully explores profound existential questions. While consistently probing the complexities of life, it takes a positive turn in its second half, weaving a positive twist of hope.
In 2023, no other work elicits such deep reflection on our existence, the dynamics of our relationships, and the profound meaning inherent in it all. Why Does the Earth Give Us People to Love is not just a listening experience; it is a transformative journey that invites the listener to explore the depths of their own soul.
