Luke Nuttall (Editor / Writer)
5
King Nun – LAMB
Chances are that King Nun are really going to pick up some steam in 2024. The wind already seems to be blowing in their direction, no less because of an album this year that’s the perfect prelude to a band on the verge of true explosion. On LAMB, the best of indie-rock construction meets a rabble-rousing intent and a penchant for snarling honesty in such a satisfyingly concise and effective way. ‘No-frills’ can be a perfect platform to base praise on when it’s done as well as King Nun can do it. Maybe it’s worth jumping onboard early then, before things really start rocketing forward.
4
The Pink Spiders – Freakazoid
A bit of an unexpected one, but considering how frequently Freakazoid’s cache of serious earworms managed to burrow themselves immovably across the course of this year, certainly a worthwhile one. The Pink Spiders mightn’t be the most overtly cool band, but they can rip out a power-pop banger like no one’s business, perhaps better than ever on an album that’s really only stymied by its genre being in usual fallow state. Still, that’s no reason to ignore the quality on display, which Freakazoid loads itself with and fires off with complete and utter glee. Easily one of the year’s most fun frivolities of 2023.
3
Just Friends – Gusher
For ages, Just Friends have felt like the kind of band who should be doing some serious numbers. They’ve got a sunny, exuberant, almost caricatured appeal that pop-rock infused with reggae and block-party vibes can so easily bend around and slip into. It’s what made Gusher yet another tremendously entertaining listen, as Just Friends’ simplicity continues to be far and away a boon rather than a hindrance. There’s no highfalutin intention or conceptual layers to peel back; it’s pure love-of-the-game stuff that’s lightweight enough to ease into without dissipating too readily. Admittedly it did release a little late to hit the summer sweet-spot that it hopefully could’ve thrived in, though that’s no reason to let it go this ignored.
2
Joey Valence & Brae – PUNK TACTICS
Perhaps not underrated in the most traditional of senses—they still have two million monthly Spotify listeners, after all—but you’d think PUNK TACTICS would’ve picked up some swell at least as loud as Joey Valence & Brae themselves tend to be. It certainly deserved it, in the Gen Z Beastie Boys approach leaning heavily into its own obnoxiousness, while also twisting it right back around to be a total hoot-and-a-half. You really do need to be keyed into the hyper-focused fun of it all for it to work, and clearly there’s an audience ready for that (see those aforementioned streaming figures). But while Joey Valence & Brae remain flying thanks mostly to online presence and a host of singles, the body of work they’ve produced outside of that has a whole lot going for it all the same.
1
Origami Angel – The Brightest Days
Now especially, Origami Angel could metamorphose into something truly exceptional in emo and pop-punk. If GAMI GANG was the overloaded mess that won existing fans further and alienated those outside the loop just as much, The Brightest Days is exactly the kind of follow-up to turn the tables. It’s lean; it’s potent; it’s an ideal showcase of the variety that goes into this music; and it continues to bang by an inordinate amount when bringing them all together. Seriously, Thank You, New Jersey alone stands as an indicator of just how refined this whole enterprise is (and was a hair’s breadth from a best songs list, FYI). On the whole though, this is the kind of release that’s weaponised to give Origami Angel an exceptional boost, on every basis imaginable.
Georgia Jackson (Deputy Editor / Writer)
5
Vagabon – Sorry I Haven’t Called
On her third record Sorry I Haven’t Called, Vagabon was equal parts her most danceable and vulnerable to date with glorious results. It’s dripping in candour, soft and assured, accessible but liberal with where her musical boundaries begin and end. For pop fans, this will be one of your best under-the-radar discoveries of 2023.
4
Moyka – Movies, Cars & Heartbreak
A lush dance-pop record which crafts its own enveloping world, Moyka’s Movies, Cars and Heartbreak layers synths and delectable melodies like an old hand. This genre is an overcrowded one, but Moyka does it extremely well, ensuring her songs tell stories and that listeners cry and dance at every cue she sets.
3
Pearly Drops – A Little Disaster
Pearly Drops’ A Little Disaster showcased a sound that feels like it should be way bigger than it is—hushed pop songs for those who prefer hoods-up sitting in corners to the dancefloor. The vocals are wispy and delicate which are super enveloping and borderline creepy, but they’re often turned down in the mix, resulting in a wall of sound that’s woozy and easy to lose yourself in but never boring or directionless, the pop choruses on tracks like Feed The Fire quietly confident in their irresistibility.
2
Temple Of Angels – Endless Pursuit
One of the prettiest releases this year was Temple Of Angels’ Endless Pursuit, which thrived whether it was delivering lofty choruses or taking its time unwinding the spool of a song. They wear their The Cure influence on their sleeve, but aren’t afraid to add a pinch of gloom to embody the ‘lost in darkness’ feeling they sing about on this record. Certainly a record to catch up on if you missed it.
1
Låpsley – Cautionary Tales Of Youth
Låpsley’s Cautionary Tales Of Youth felt like a pivotal release in the singer’s career, elevating her sound from dramatic electronic ballads to something else entirely. These songs are unique, crafting a by-night world that can exist both in seedy city underbellies and soaring over skyscrapers. This is an artist who’s carving out a new direction for herself and but also her own little home in pop music, and definitely deserves more flowers for doing so.
