My Top Ten Albums For 2023!

I love reading people’s Top 10 lists each year.

But! The expectation is always that people discuss albums released that year rather than the records that most inspired them.

So here I am, focussing on the 10 albums that made the greatest impression on me this year.

I listened to some of these well over 50 times. It takes time to do that.

In particular order.

One: Hellacopters Eyes Of Oblivion (2022)

This was a tough decision, but when I considered how long I’ve been listening to this band (25 years) and that I typically ignore reunion records categorically, let’s say this one was a surprise.

Eyes Of Oblivion is catchy, well-crafted Scandinavian Rock ’n’ Roll that acknowledges the greats but sounds uniquely their own. Big hooks, bigger choruses, a bangin’ 70s stadium vibe, memorable AF songs, and the right length to promote repeat listening.

>> What is it? Scandi Rock ’n’ Roll. >>Why it matters: It sounds and feels so damn good. Celluloid tones FTW. >> The one-to-extreme-feels rating: 8.5/10 >> The one-track-to-rule-them-all: Try Me Tonight: Listen >> Decide for yourself: Listen

Two: Wet Leg Self-Titled (2022)

This was a random Spotify recommendation, and I was immediately hooked. It’s fun, it’s serious, it’s clever and absurd. It has a deep and relatable emotional current that feels as confrontational as it is cathartic. Their videos amplify what is already a magical aura, and the entire album is infectious—one of those occasions where the buzz is completely warranted. I’d go as far as to argue that the buzz only exists because of how significant this record is.

The only downside is not whether they can top it, but my affinity for this record is so complete that I wonder what sort of unconquered terrain is left in my brain that a new album could occupy so completely. Here’s hoping.

>>What is it? Alt Rock, Indie. >> Why it matters: There are occasions in which it seems the universe gets collectively giddy about a band. This is one such occasion. Come on in, the water’s fine. >> The one-to-extreme-feels rating: 8.5/10 >> The one-track-to-rule-them-all: Wet Dream: Listen >> Decide for yourself: Listen

Three: King Dude Death (2022)

The fourth* and final King Dude album also turned out to be the greatest. The creation of American songwriter TJ Cowgill, the goal was to explore four themes across as many albums and call it quits, which is seemingly what he has done (the quit part, he technically put his name to more than four records under this moniker, so maybe it’s canon vs. non-canon).

You can hear parallels between Cowgill’s style and luminaries of the Neo Folk sound, but his offerings are categorically the pinnacle of anything you’ll find, even loosely classified as such.

It’s satirical, sardonic, emotional, bleak and exhilarating. Cowgill has something of a penchant for what may be otherwise described as duets, some affinity for the classic American his and hers that dominated the charts of the 1970s — some form of cross pollutant as it’s not readily the well you’d expect him to draw from.

>> What is it? Neo Folk. >> Why it matters: If this in any way belongs in the Neo Folk category, as I have suggested, it’s the punchiest, most front-footed manifestation. It appeals to my sense of humor, and Cowgill is the quintessential smiling assassin. >> The one-to-extreme-feels rating: 8.5/10 >> The one-track-to-rule-them-all: Black and Blue: Listen >> Decide for yourself: Listen

Four: Body Type Expired Candy (2023)

One of my highly anticipated releases for this year leads with THE song for 2023, Holding On (see below). It’s fun, and in conjunction with an excellent use of vocal harmonies that give the somewhat eclectic array of songs a cohesion that affords them a breadth of adventure that may be too disparate for other bands, I enjoy the heartfelt lyrics, which are framed in a perspective, terminology and communication style that isn’t typical.

>> What is it? High Energy Alt-Rock, Garage Rock. >> Why it matters: There’s something particularly inspiring about discovering acts from your own country who are crafting exceptional material. I’m not sure if it’s some form of national pride by proxy, an increased chance of seeing them perform or their relatability as an Australian act, but it tends to make the connection stronger. >> The one-to-extreme-feels rating: 8.5/10 >> The one-track-to-rule-them-all: Holding On: Listen >> Decide for yourself: Listen

Five: Weyes Blood And In The Darkness, Hearts Aglow (2022)

When it comes to artist endearment, it’s hard to top the impression made by Natalie Mering, AKA Weyes Blood. Fun, enigmatic, and with a vocal tone I can only describe as Karen Carpenter nouveau, Mering crafts a lush and eclectic suite of songs that explore themes of love, hope, and demise, shifts of which seem to happen without inflicting cognitive shudder for the listeners.

The live show that came through Australia halfway through 2023 personified an indie reimagining of what the Carpenters presented during their day — even the levity had a place on the stage. It is by no means an intentional play, best I can tell, and I don’t see much evidence that the Carpenters are who comes to mind when fans consider how Weyes Blood imagined their way through their jubilant 2022 release. It’s like they channeled the same California in their buttoned-down, stylised live aesthetic — one in which Mering’s wit and irreverence is amplified in this medium.

>> What is it? Soft Rock, Psychedelic Folk, Chamber Pop, Experimental. >> Why it matters: It’s soulful, spirited, fun, emotional and relatable. Vocal comparisons aside, there’s nothing at all that sounds or feels like this. >> The one-to-extreme-feels rating: 9.5/10 >> The one-track-to-rule-them-all: Children Of The Empire: Listen >>Decide for yourself: Listen

Six: Wipers Over The Edge (1983)

Wipers was an Oregonian punk band formed in 1977, and their third record, Over The Edge, is a hands-down masterpiece. Punk is a hideously blurry and often misleading label, but we’re talking specifically about attitude and rejection of convention, so the trio’s output is as punk as anyone else who self-selected or were labeled as such.

Over The Edge has an angular and jangly quality that feels a little more roll than rock and not at all alien to what Gang Of Four were up to at a similar juncture, except for the fact that Wipers were a tad more earnest and attuned to their emotional frequency. You might find some of their arrangements imprinted into what Fugazi or ATDI would eventually do. These choruses soar, weaving their way deep into your psyche. This is a remarkable album, that’s for sure.

The opening cut and title track was featured on the soundtrack for Sons of Anarchy, and though I can’t remember the setting, the redwood forest scenes of this part of the world provide a fitting visualisation of their sound.

>> What is it? Punk rock — at least in the philosophical sense. >> Why it matters: It was just one of those names. The kinds of bands that Jello Biafra talks about as significant to the 1970s punk scene, when the Dead Kennedys were themselves finding their footing. >> The one-to-extreme-feels rating: 9/10 >> The one-track-to-rule-them-all: So Young: Listen >> Decide for yourself: Listen

Seven: The Smiths The Queen Is Dead (1986)

The Smiths were an easy band to hate… until I bothered to listen to them. I recognised The Queen Is Dead as an album of importance but never had any reason or recommendation to put it on. I ought to feel that I’ve been depriving myself for all these years by not giving this my time prior to 2023, but I’m so thrilled by its existence and so fulfilled by repeated spins that I can’t even consider a time I wasn’t immersed in it.

And this is the thing, 20 seconds in, and it’s magic — instant frisson. It feels like I’ve always known this album; it’s always been a part of my experience. How is that? And what does it say about me that NO ONE ever suggested I listen to it? Nothing good, I expect.

I don’t think this is music that you connect with on an emotional level — it’s the songcraft, musicianship, satire, and absurdity that makes it what it is.

>> What is it? Indie, Alt rock — in the pioneering sense. >> Why it matters: The Smiths are simply one of those bands. The songwriting interplay between Morrissey and Johnny Marr was without peer, and the band in its entirety was sublime. They soared for a short time, made an enduring impression, and remain feted to this day, their records somehow immune from the ravages of time. >> The one-to-extreme-feels rating: 7/10 >> The one-track-to-rule-them-all: Bigmouth Strikes Again: Listen >> Decide for yourself: Listen

Eight: Otoboke Beaver Super Champon (2022)

Frenetic, eccentric, and eclectic Japanese punk rock. For the last 15 years, Otoboke Beaver have been forging a manic form of high-energy rock ‘n roll, captivating audiences with their spirited, electrifying performances.

I stumbled across their 2019 album first but found myself increasingly connected to this one after their recent Australian tour, which proved to me that after so many years of listening to records and seeing live bands, there’s still an abundance of space for new and innovative artists to thrill and inspire.

Otoboke Beaver’s live shows do their complex, sometimes melodic, but always super-charged arrangements justice, further brought to life by the four unique, yet cohesive characters that form this gang. The perfect encapsulation of what makes Japanese artists worth your attention.

>> What is it? Super terrific happy punk rock from Japan. >> Why it matters: They bring the noise and they bring it hard. And it feels so uplifting to experience it. >> The one-to-extreme-feels rating: 7.5/10 >> The one-track-to-rule-them-all: YAKITORI: Listen >> Decide for yourself: Listen

Nine: Blackwater Holylight Veils Of Winter (2019)

Spotify tells me that I have a penchant for sounds that are favoured among Oregonians, and though it’s been a while, Portland was a city that had an impact on me.

Blackwater Holylight’s arrangements aren’t particularly unique — perhaps unless you’re an 80s doom diehard who appreciates the most specific nuances. However, what sets them apart is the ethereal vocal characterisations of Alison Faris and their ecological positioning. A little more pragmatic than the quasi-religious theatrics of Trouble or Pentagram and dialed into feminine currents that do present within Doom but aren’t quite as explicit as on this occasion.

>> What is it? Ethereal Doom, Doom Metal, 80s Doom. >> Why it matters: This interpretation of an otherwise exhausted genre is inspired, and shows how singular (albeit significant) characteristics can transform the entirety of the mood. >> The one-to-extreme-feels rating: 8.25/10 >> The one-track-to-rule-them-all: Motorcycle: Listen >> Decide for yourself: Listen

Ten: Monster Magnet Test Patterns Vol 1 (2022)

Another very late 2022 release that would have missed most of the year-end lists. It’s also worth considering that these recordings trace back to 1989 and 1991. 1989 was when they demo-ed the legendary Tab from the 12” of the same name; 1991 was when they cut the 32-minute studio version. In conjunction with the ’89 demo, presented here is a remix by original member John McBain. Interestingly, the 2022 remix version sounds very little like the source from which it was taken. It would have benefited from the familiar Monster Magnet vernacular of reimagining, which is a far more adequate positioning. In other words, if you were told these were two different tracks, there’d be no difficulty in accepting that.

Though thrilling to diehard fans like myself, I doubt this is the record to turn the uninitiated onto the New Jersey stoners, but for fans of their bleakest and most reactionary tones, this is nirvana.

>> What is it? Stoner, Psychedelic Rock. >> Why it matters: The band’s debut, Spine Of God, is a transcendental masterpiece. It’s bleak, surreal, heavy, and catchy. A Satanic Drug Thing You Wouldn’t Understand. Yes, they evolved into a stadium rock band a scant two years after their opening salvo, but on this occasion, they were a bunch of greasy New Jersey-ans, driving around in a van, stoned outta their heads, high on Hawkwind and doing their everything to acquaint early 90s audiences with the feral underground of the 1970s. >> The one-to-extreme-feels rating: 6/10 >> The one-track-to-rule-them-all: Tab: Listen >> Decide for yourself: Listen

What albums pushed your buttons in 2023?

Please post links in the comments.