Luke Nuttall (Editor / Writer)
10
Graphic Nature – A Mind Waiting To Die
If the faint whisperings of Slipknot soon hanging up their masks for good are to be believed, then it’s a good thing we’ve got Graphic Nature to pick up right where they left off. A Mind Waiting To Die is exactly what you’d want from modern-age nu-metal, an assault that thunders and erupts in splints of collateral from an industrial visage that’s constantly vicious, and constantly thrilling. Most entrants in contemporary metalcore of nu-metal spaces wish they could have even a fraction of killer instinct that Graphic Nature have made their baseline. That’s how you know you’re onto a winner.
9
Hot Mulligan – Why Would I Watch
This is the kind of album that’s so terrific to see land, because it validates the years of progression that might have landed its creators on the precipice of excellence, without totally pushing them over the threshold. Why Would I Watch, then, represents a big shove to Hot Mulligan, straight into the strongest territory they’ve ever been in. A punchier, way more refined album than ever before, Why Would I Watch takes one of the crowing positions in 2023’s emo goldmine, with a cache of Hot Mulligan’s best-ever songs flourishing in writing acumen and total melodic dominance. A totally unmistakable highlight.
8
Koyo – Would You Miss It?
It says a lot when the Venn diagram of an album’s unilateral greatness and a reflection of its scene’s strongest suits is effectively a circle. Koyo might rank as one of the year’s most tremendous breakouts on that fact alone, sporting a debut caked in Long Island emo and post-hardcore’s emotive crunch, and wearing it with the utmost reverence. You can tell there’s a true kinship to the scene coursing through every moment, exponentially more thanks to a bevy of hooks with belt-along potential genetically predisposed throughout. Any flash pales in comparison to sheer creative earnestness, a feature that, in Koyo’s hands, is worth its weight in gold.
7
The Menzingers – Some Of It Was True
No, this wasn’t a year of Menzingers domination like their past efforts have yielded, but let’s not lose all faith just yet, okay? They still came out with a pretty killer album, burnished by an age that’s also wizened them into the heartland-rock stargazers that have always rested inside the alt-punk exterior. Thus, the comparative lack of immediacy is in no way a detriment, not when the songwriting glistens with uninhibited humanity that this band have got down pat by now. And the moments of brilliance all over remain too, around salt-of-the-earth presentation and a passion that’s as always the killer app. Though would you expect anything different?
6
VV – Neon Noir
It’s been almost an entire year since Ville Valo debuted on his own with Neon Noir, and it hasn’t lost its luster even slightly. If anything, it’s become the kind of sleeper grower that’s always wonderful to see, especially when Valo’s own flaunted characteristics continue to prove so intoxicating. Even if it is basically a sidestep from his work with HIM, this kind of luxurious goth-rock can fully thrive on its own merits, namely the immaculate velveteen soundscapes woven by a collection of songs where the appeal is pretty undeniable. Albums this effortlessly enjoyable rarely come so readily out of the traps, and even less so when said enjoyment only seems to blossom more and more. In getting that far on a level of raw enticement, it’s a special kind.
5
Hundred Reasons – Glorious Sunset
There’s almost a feeling of vindication to have Hundred Reasons placed this highly, where the ease of access to gimmickry and disposability has been pushed aside in favour of just really great rock songs. That was true over two decades ago on Ideas Above Our Station, and now the philosophy has come full circle on an album that’s almost just as good as that bona fide post-hardcore classic. Really, all it takes is a listen to that opening title track to get a feel of what’s to come, with the towering melodic focus that you’d almost think is way too simplistic to be this engaging. But that’s the beauty of Hundred Reasons—an ability to excel through a mastery of the fundamentals that’s never lacking or limp. This is pure-bred, skyscraping melodic rock mastery on a scale only capable from the very, very best, i.e. Hundred Reasons in a nutshell.
4
Fall Out Boy – So Much (For) Stardust
Maybe it’s the stupor of nostalgia talking, or maybe it’s simply true that, against all odds, Fall Out Boy have emerged truly victorious. Sure, you can pin it down to a glorious pop-rock return, decked out with all manner of bells and whistles in expectedly maximalist fashion, but that’s mostly just an extension of the real magic on display. For the first time in a long time, Fall Out Boy feel like they have something to offer, swinging for the fences in a way that’s not rooted in perfunctory pop, or a mainstream-baiting attitude. It’s a return to the shimmering, flamboyant creativity that coloured their best work, retooled for a modern colossus that can hit its own targets while indulging in a reach that’s not been matched for at least a decade. Oh, and the majority of these songs are among the most inescapable earworms they’ve put their name to in a long old time. On the strength of that fact alone, this is a complete triumph.
3
Hot Milk – A Call To The Void
After literal years of singles and EPs to send their stock through the roof, Hot Milk managed to coax out a debut album that lived up to their hype and then some. The current wave of ‘pop-rock with an edge’ has never been done this well, point blank, thanks to a borderline flawless knowledge of how to mesh the core elements into something that’s not only satisfyingly melodic and heavy, but manages to build that up to heights hitherto unmatched in this field. It’s a true culmination of Hot Milk’s growth in all its forms, from towering, ironclad riff-fests to exquisitely-crafted pop-rock gems, surging with vulnerability, frustration, anger, and every other emotion you’ll often find codified and diluted by this kind of act. Not Hot Milk though, who launch it all forth with blistering speed and precision, and hit every single time. All the threats to fully explode have paid off, in truly glorious fashion.
2
Spanish Love Songs – No Joy
In rock music, Spanish Love Songs are a beautiful rarity. Brave Faces, Everyone was a masterpiece of a widespread breakthrough in its own right, something that No Joy fully acknowledges, and seeks to reconstruct entirely. And look—plenty has been made about the shift in sound, leaving alt-punk for synth-based, atmospheric indie-rock, but it’s the fortitude at the core that matters most of all, something that Spanish Love Songs have in endless abundance. In its emotional stakes, No Joy remains an absolute colossus in its weathering through the attrition of modern life, even trying to cling onto hope that reveals itself in flickers, but still does regardless. As for songcraft, there’s subtlety interwoven with blistering, throw-your-head-back choruses that create an immaculate balance that, crucially, feels like their own thing now. In a market as notoriously difficult to find your own place in alt-punk, Spanish Love Songs have done it, all without sacrificing what makes them irrevocably special, and arguably adding even more into it. And with as much of a grower as this has continued to be months later, that’s something rather remarkable.
1
Creeper – Sanguivore
Sometimes, it’s not even a contest. You can say that’s a statement that goes hand in hand with Creeper given that it always seems to apply to them, but Sanguivore feels even more true of that adage. In terms of flamboyance, this is their best permutation of it yet, in grimy ‘80s glam-goth shadowed under their customary purple neon. That alone crosses the line into tremendous excess rather succinctly, but Sanguivore piles itself high with moments and hooks and stuff, with every one adding on to why Creeper continue to handily top practically everyone else working today. No album this year has packed itself to the rafters as tightly as Sanguivore has, with unashamed bombast and theatricality that still has an abundance of weight behind it. A load of style is one thing, but as Creeper have always shown, it’s nothing without palpable mass behind it, of which Sanguivore is absolutely loaded. Honestly, you can go ad infinitum about it; Sanguivore just has that much to lavish praise upon. And in a year when the consistent theme has been raw enjoyability trumping everything else, it only seems fitting that Creeper are cranking up the dial harder than anyone else.
Georgia Jackson (Deputy Editor / Writer)
10
Enter Shikari – A Kiss For The Whole World
Enter Shikari’s politically-charged sonic collages are always a treat, this year’s A Kiss For The Whole World no different. It came from a more optimistic place than Enter Shikari records often do, a focus on brass flourishes giving everything a regal feel. As buzzing with creativity but still anthemic as ever, A Kiss For The Whole World continued to show off Enter Shikari’s consistency, it being the band’s first UK Number One Album the cherry on top.
9
Arlo Parks – My Soft Machine
Arlo Parks’ brand of poetry-turned-songs has already won her the Mercury Prize, but this year’s My Soft Machine seemed much more focused on the musical side of her talents. Gone are the simple instrumental backdrops of old, synth embellishments and injections of guitars the perfect bulking agents to her silky voice and conversational but still vivid songwriting. While debut Collapsed In Sunbeams was a showcase of Parks as a lyricist, confined to listeners’ most reflective mood, My Soft Machine widened that scope without ever sacrificing the core of who Arlo Parks is.
8
Troye Sivan – Something To Give Each Other
Troye Sivan has never been a stranger to crafting musical worlds (his debut Blue Neighbourhood was a full dream-pop concept album), but he’s never sounded more authentically himself than on this year’s Something To Give Each Other. It documents the full process of Sivan going through and getting over a breakup, embracing the single life and all its hedonistic experimentation with open arms, marrying ‘90s dance, disco-inspired bouncy grooves and that Bag Raiders sample over garage beats into an incredibly cohesive pop sound. Honestly, Troye Sivan has never sounded cooler than he has on this record.
7
boygenius – The Record
For a debut full-length, boygenius’ The Record has certainly felt like a victory lap this year. The combined talents of Lucy Dacus, Julien Baker and Phoebe Bridgers are a masterclass in songwriting, be it in a stripped back, confessional way, raucous rock songs or ambitious stadium anthems. This album and the traction it’s gotten over the year is a win for indie singer-songwriters everywhere, showing that community is the way to build on already great things.
6
Reneé Rapp – Snow Angel
No debut album this year was tailor-made for stardom like Reneé Rapp’s Snow Angel. A powerhouse of a vocalist with a diaristic, spiky-but-gooey-on-the-inside perspective, she already feels like a fully formed artist with no need to grow into her talents. She knows exactly how to use those talents too. She loves a dynamic build to really show off that voice, plus the record’s heavy proportion of ballads (that would weigh down a lesser project) are elevated by Rapp’s Broadway background, selling these lower-key moments every time so they’re never even close to boring. Certainly one of the best pop debuts of the year.
5
Foo Fighters – But Here We Are
Unimaginable loss fuelled Foo Fighters’ But Here We Are, those emotions assimilated into their usual sound to make their best record in over a decade. It’s a record of healing, an optimism shining out of these songs that no one would have expected, appealing to anyone and everyone who’s ever lost someone. That context elevates already brilliant rock songs to something much more, be it the everyman radio anthems or boundary-pushing teh-minute-long opuses, and breathes new life into Foo Fighters’ arsenal.
4
The Aces – I’ve Loved You For So Long
Feel-good guitar-pop has long been The Aces’ modus operandi, but while previous record Under My Influence saw them branch out with their sound, this year’s I’ve Loved You For So Long turned inward in more ways than one. Their core instrumentals are at their dreamiest and most feel-good, really honed and tightened so every aspect of a song is catchy alongside the main hook. But it’s also the band’s most thematically heavy record to date, laying bare struggles with mental illness, discrimination and growing up gay in a deeply religious, not very supportive community. It’s a super rewarding listen for existing fans of the band, and a great entry point for those not onboard already.
3
Gracie Abrams – Good Riddance
Hushed, introspective ballads are en vogue for up-and-coming artists right now, but there’s something so captivating about the way Gracie Abrams does them. Against sparse, slow-building instrumentals, Abrams lays everything bare (often analysing her own shortfalls and actions with refreshing candour) but delicately, breaking your heart so carefully you don’t even realise it’s happened. The best sad-girl album of the year.
2
Olivia Rodrigo – Guts
While Sour was the inner voice of a heartbroken person, this year’s follow-up Guts shows Olivia Rodrigo having the time of her life. It’s an improvement in every possible way—the ballads weightier (with less of them too) and the rock-oriented songs hitting harder than good 4 u ever did. It’s lyrically where the best evolution lies though. Rodrigo is biting, witty and often downright hilarious as she deliberates over wanting to key her ex’s car or make him lunch instead. With this record, Olivia Rodrigo has truly solidified herself among pop’s best.
1
Paramore – This Is Why
After their last technicolour pop albums, an angular, Bloc Party and post-punk inspired effort was an exciting, yet daunting prospect for Paramore’s big return. But This Is Why delivered tenfold, a tight ten songs that covers new territory for the band, yet still feeling infinitely Paramore. It’s the best showcase of Hayley Williams as a narrator we’ve had for a while, theatrically flitting around all the topics in her brainspace from how she’s always late to the helplessness we all feel watching the news. All the qualities everyone loves about Paramore are on show on this record, appreciative of their influences and peers but in a fresh way that still couldn’t be mistaken for anyone else.
Holly Royle (Writer)
10
Voyager – Fearless In Love
Australian prog-metallers Voyager have had an absolute whirlwind of a year, with Eurovision, their new album and ongoing personal struggles with illness. With their iconic ‘80s synth-heavy style, Danny Estrin’s distinctive soaring vocals and technical prowess across their instruments, Fearless In Love is a charismatic offering of heavy, synth-filled, catchy and dancy progressive tracks. From the emotive opener Best Intentions and the heavier-edged Prince Of Fire to the rhythmic Dreamer and the earworm (in the best possible way) Promise, Fearless In Love showcases the band’s continuing development and exploration with their music. Voyager undoubtedly lean towards to the pop-end of prog tracks and that offers a level of accessibility and widespread appeal, yet they still infuse the tracks with their own personality and stupendous energy levels.
9
Face Yourself – Face Yourself
Deathcore sextet Face Yourself haven’t held back in 2023, releasing a selection of EPs each offering an anguish fuelled onslaught. The self-titled EP contains some of the most ferocious and unhinged deathcore tracks you might be fortunate to stumble across. Yasmin Liverneaux Belkhodja’s vocals are utterly inhuman; Shadow Self unleashes an assault of monstrous shrieks and growls, which are joined by barbarous rhythmic patterns and eerie discordant guitar leads. The bloodthirsty Red brings both fast intensity and slow-paced sections that manifest a lingering sense of foreboding. Face Yourself throw breakdown after breakdown as they create callous, ruthless chaos across the EP but also notable in the concluding short and not-so-sweet Grosse Bagarre—which is essentially a self-contained breakdown. Be prepared for an auditory experience of the most weird, wonderful and deliciously heavy variety.
8
For I Am King – Crown
Released back in the beginning of the 2023, For I Am King’s Crown is a dynamic display of polished heaviness. Technical guitars and developing musical arrangements, along with the interjection of catchy elements across the tracks, makes for a compelling sound. Alma Alizadeh’s demonic harsh vocals are performed with fierce power, brutality and anguish bleed through the album, notably making an impact on Avarice, Liars and Oblivion. Thundering rhythms across the guitars, bass and percussion are elevated by For I Am King’s atmospheric touches. Orchestral backing and synths introduce haunting elements; Sinners with its ethereal choirs conjures up an otherworldly air.
7
Ne Obliviscaris – Exul
Australian ensemble Ne Obliviscaris produces a haunting and theatrical sound that combines extreme metal, black-metal, prog and prominent violin parts. Exul opens with Equus, and at over 12 minutes in length, it’s a thrilling dive into their sound showcasing a quality of grandeur. The album particular stands out as there are notable shifts in terms of the band’s execution of this album. Ne Obliviscaris’ composition, arrangement, production, it’s all taken a step forward and makes for an incredible effect. Misericorde I – As The Flesh Falls delves into the progressive with a more prog-orientated riff and non-standard time signature, along with an eerie edge that looms above. Exul reveals a sophistication in Ne Obliviscaris’ approach to their music with clear levels of prowess from each member and their instrument.
6
Conquer Divide – Slow Burn
This eagerly-awaited album does not disappoint. Conquer Divide’s anthemic choruses and pop-meets-heavy sound make for a combination of tracks that are both perfect for singing along and headbanging to. Opening with Atonement, it’s an impactful beginning unleashing Kia’s captivating cleans and Janel’s aggressive screams to a backdrop of synths and a thundering breakdown. The epic Paralyzed fuses together dynamic rhythms, a catchy chorus hook and a hard-hitting heavy breakdown. Musically, ebbing and flowing in intensity and instrumental arrangements, Paralyzed is attentiongrabbing from the off. Drawing the album to a close with gAtEkEePer, vocal harmonies accompanied by distorted low tones and rhythmic percussion creating a more minimal verse, it leads up to a soaring anthemic chorus that is both uplifting and invigorating.
5
Vexed – Negative Energy
Incredibly raw, open and honest, Negative Energy from Vexed is an impressive full-length seeing the outfit solidify their space in the scene. Following their debut album Culling Culture, the 2023 release sees Vexed express significantly darker and more personal thoughts and experiences through their art. Anti-Fetish unveils a delightful brutality that conveys a multitude of feelings and ideas that carries a deeply personal aspect, while presented in an incredibly highly polished mix. Megan Targett’s fierce vocal performances are imposing throughout, her clean vocals show off her versatility and aptly emphasise the moods of the music. Nepotism marks the grand finale containing Vexed’s characteristic trap cymbals and beats before exploding into heavy riffs. In one last burst of rage, Nepotism concludes Negative Energy with an epic breakdown. Vexed have raised the bar from themselves, and arguably many others, both musically and thematically in this truly poignant offering.
4
Ignea – Dreams Of Lands Unseen
Melodic metal act Ignea, hailing from Ukraine, incorporate so many more musical elements, styles, genres and influences into their music than the melodic metal genre label might suggest. They seamlessly weave these ideas together which bring to life the intricate and enticing storytelling. 2023’s Dreams Of Lands Unseen sees metal subgenres included ranging from symphonic through to death which collide with scales and instruments from the Middle East, as well as Oriental scales. Following the soundscape building intro, Dunes kicks off the album with a hard hitting yet highly intricate and melodic sound. Helle Bogdanova’s fierce harsh and serene cleans inject an intense contrast of timbre into the mix. The likes of Camera Obscura and Nomad’s Luck unveil fantastically heavy riffs with the former containing a more industrial-esque edge while the latter is fast paced with a dark and intriguing undertone.
3
Spiritbox – The Fear Of Fear
This quartet never fail to deliver something dynamic and often unexpected with each release. The Fear Of Fear EP contains so much across the track list, but the product as a whole feels as though it has been so carefully considered. Spiritbox dive into showcasing the multifaceted aspects of their sound. From the more melodically led Too Close / Too Late and Ultraviolet, to the crushingly heavy Cellar Door and Angel Eyes (both of which sate the appetite they created back with Holy Roller). Meanwhile Jaded and The Void are offerings in which elements from both extremes entwine. They haven’t entirely reinvented the wheel with this EP, but that isn’t the point and not something that should necessarily be expected with any and every new release. The tracks on The Fear Of Fear clearly fit into the band’s vision; are more detailed and focused on developing further the technical instruments, harmonies and emotion.
2
Within Temptation – Bleed Out
Bleed Out marks a new chapter in the long-standing career held by Dutch symphonic metallers Within Temptation. The album is unapologetically raw, political, emotive, and incredibly powerful musically. The title track is a sobering statement against gender-based violence that is still ongoing while Wireless condemns the invasion of Ukraine. Bleed Out carries a weighty dystopian theme, but it is not without lighter elements and a sense of hope. Gripping throughout, Within Temptation push their own musical boundaries in terms of genre, style, arrangement. From the sombre We Go To War, to the seductive Ritual to the anthemic Shed My Skin featuring Annisokay’s Christoph Wieczorek, the record ventures across multiple realms while still feeling coherent. Within Temptation are pushing their creativity while embarking on carving out their own path.
1
Unprocessed – …And Everything In Between
Unprocessed seemed to surprise most of the prog-metal scene with the drama and heaviness they managed to pack into their latest album …And Everything In Between. Continuing to draw from their well established technical and progressive style, the band’s 2023 offering sees the quartet drag their music into the dark depths and combine it with the most vicious and discordant aspects. The key to their success with this full-length is its ability to keep you hooked. So many twists and unexpected turns await, as a listener, you are left on tenterhooks curious as to what could possibly come next. From the heaviness of Hell to the more prog-led Thrash, to the immersive Abysm and the drama of Purgatory, …And Everything In Between contains it all. And of course, Die On The Cross Of The Martyr featuring guest guitar solos from Polyphia’s Tim Henson and Scott LePage, makes for an utterly striking track.
Elliot Burr (Writer)
10
Mitski – The Land Is Inhospitable And So Are We
Ah, the soothing indie-folk of Mitski. At least it would be if it wasn’t so laced with sardonic misery and the artist throwing up from consuming too much cake. That’s one instance in the sad and cheeky I Don’t Like My Mind, as assured a performance as any from an artist that has risen beyond her pared-back grungy sound—although the guitars chunk their way through Buffalo Replaced—and embracing orchestral flutters to portray musings on celestial skies (Star) while going to town on an interlude replicating showtunes. Along with frequent collaborator Patrick Hyland, Mitski drops little drumming pitter-patters (which build deafeningly on The Deal) and transforms her innermost thoughts (fun and not-so-fun) into decadent tidbits of outpouring emotion that’s as on the money as any self-reflective musician can be. Plus, there’s some country.
9
Unknown Mortal Orchestra – V
The fifth full length from psych-rock chameleon Ruban Nielson and his collaborative cohort advertises itself vividly on the cover: a child in imminent danger of a jaguar bite. That’s a fever dream scenario that washes all over the misty runtime of his most ambitious project that blends jam-session instrumentals (showcasing his idiosyncratic, tasteful slinger style), the ennui of everyday life, perils lurking in paradise and working in fast food restaurants. Nielsen delivers traditional Hawaiian music from his roots in another deviation from the norm, albeit the delightful chord runs of The Garden and Layla mimic his catchy, melancholic best. It’s a bizarre listen-in-one-sitting poolside effort to be enjoyed in a rubber float, even though the swimming water might be infested with piranhas.
8
Jeff Rosenstock – HELLMODE
Ska non-apologist; punk rock statesman; cartoon composer. There’s many zany hats worn by Jeff Rosenstock, whose brand of skate music is as rail-grinding and finger-pointedly vitriolic as the best of ‘em. Usually anyway, as HELLMODE sees Jeff softly apply the brakes to muse on the garbage pile of the world and his own place within it. Along with Jack Shirely and bandmates Death Rosenstock (from the Bomb The Music Industry! days), he rips through speedy, snarly punk (HEAD), compassion (DOUBT) and constructs an epic seven minute climax as only he could. Despite it being the most reflective and subdued we’ve seen Rosenstock, it spotlights his astute observations more than ever, while the last 30 seconds of FUTURE OF DUMB sums up the ridiculously fun and euphoric pop-punk mastery he can conjure up like a wizard doubling as a pizza delivery boy. It’s a big old hoot.
7
L’Rain – I Killed Your Dog
With an album cheerfully titled I Killed Your Dog, I’d hoped for a mindfucked brand of pop. I got it. Taka Cheek’s approach to making an uncanny valley version of what we think of ‘a song’ is relentlessly odd, but it sounds effortless in its ability to be as hum-worthy as any hit. One minute she’s dabbling in ‘guitar music’ on Pet Rock. Other times there’s samples that seem to mock skits. There’s heady interludes of warmth and intrigue, while longer tracks like r(Emote) expand from short vocal ideas to all-encompassing experiences. Nothing sums the record up better than hearing the eponymous refrain of the title track, feeling horrified, then deeming it hilarious and at once acceptable enough to sing out loud on the bus before getting kicked off. (Not a true story.)
6
Fucked Up – One Day
Do rock laments get any better than Cicada? I doubt it. And it’s only one single from Toronto’s shape-shifters whose conceptual experimentation has made them one of the globe’s most prolific bands. If it’s not a double disc meta-narrative rock opera set in a lightbulb factory, it’s an EP based on a Zodiac animal or, in this latest case, a whole album where members wrote their parts in 24 hours. One Day takes guitarist Mike Haliechuk’s superhuman chordal riff ability as its jumping off point, with each of the ensuing, rollicking tracks completely stripped of any pretence or filler. Damian Abraham bellows like a WWE wrestler announcing a comeback from retirement and it’s glorious. From Found to Roar, ramble along and shake your fists to, somehow, the most underappreciated masters in punk.
5
Sanguisugabogg – Homicidal Ecstasy
Snares like bins. They’re undeniable, even though most hate that St Anger meme sound. Not Cody Davidson though, mastermind of goregrind side hustle Putrid Stu and beatdown lord of hardcore Ohioans Volcano. But his drumming and production work all culminates in one wicked pot with death metallers Sanguisugabogg; the riffs are crunchy, tasty, neck breaking, and explore memorable passages more headspinning than those of their equally creative contemporaries. Even while Devin Swank jokingly snarls his way through morbid tales of scalping, Testicular Rot, and other body modification grossness, you can tell there’s a hardcore-led approach to their bopping version of brutality that makes double-speed neck runs, churning slam and pig grunts catchy. As the ‘Bogg state themselves, “we’re the ADTR of BDM”, a nail on the head statement that renders the rest of this paragraph pointless.
4
Home Is Where – The Whaler
“Skinmeadowskinmeadowskinmeadowskinmeadow!” now plays like a freakish merry-go-round in my head roughly five times a day. The young emo band is making bold waves with their intelligent yelly music, dabbling in the free-spirited noodling of the genre’s Midwest brand, alt-country, distress when the moments arise, and elaborate storyscaping equivalent to cult classic In The Aeroplane Over The Sea. It even feels alike through its personal lyrics immediately blighted by obscurity (the Moby Dick stuff and “her wedding dress was sewn from semen” line, anyone?), also in its feeling of immediate legendary status. Then again, it sounds like little else. At first confounding, it’s a densely layered statement of a debut full length that rewards any listener ready to leap head first into Home Is Where’s world and try and make sense of it all.
3
Amaarae – Fountain Baby
The rave surrounding Fountain Baby was fierce. Needless to say, Amaarae shrugged it all off and produced one slammer of a sophomore to meet even the loftiest of expectations. The singer’s constrained wisps and half-delivered tones fit so confusingly well no matter how bombastic the surroundings, ranging from the record’s dominant afrobeats, Japanese inspirations (Wasted Eyes) Neptunes-era crunk-pop (Counterfeit), riot grrrl (Sex, Violence, Suicide) and, well, whatever else. It’s a home-run of inspired genre mashing, with club ready hits and more intimate moments reserved for slow waltzing by yourself, but all act as confident celebrations of sexual freedom to boldly breathe fresh air into the pop scene which, right now, is often cut-and-paste nu-disco. And if you say you don’t throw down into a little personal head strut during Sociopathic Dance Queen, I don’t believe you.
2
underscores – Wallsocket
What do you get if you multiply primetime Panic! At the Disco with Bangarang-era Skrillex, plus samples from Dance Dance Revolution? That sounds suspect. But for all the producers raised by the Monster-fuelled rawr scene phase we could have been subjected to, we luckily have April Harper Grey. On conceptual narrative-driven record Wallsocket, the humorous and harrowing episodes of a fictional town’s inhabitants play out in a movie of hyperpop, noise rock and acoustic indie, tied together by horseshoe theory. This could’ve all gotten silly, but the conviction of the characters’ stories and boundless playing styles make for something bafflingly unique, rubbing up well with the musician’s preternatural ability to piece together a daisy chain of seismic hooks one after the other. Special shout out to the repeated vocal melody in Seventyseven dog years; you’ll surely never leave me.
1
Tomb Mold – The Enduring Spirit
What a year it’s been for death metal, and especially for Tomb Mold. After a strange internet moment where someone questioned their moustaches and gym shorts in a promo photo, the trio absolutely got the last laugh with their spacey psychedelic death record The Enduring Spirit. True to that name, these Canadian metallers are endless workhorses dabbling in sounds extreme and serene with other projects, tying every inspired strand together in this surprise-dropped record to sumptuous proportions. It’s a galloping galactic jaunt traversing riffs, blasts, grooves, growls, and shimmering atmospheres the scene has been gnawing at since Cynic first trialled them. With its 11-minute closer feeling like a triumphant ascent leading to one final step away from the sun, you know the band has already trodden that path to reach the apex of heavy music. A rather large claim, but it is that great.
Hunter Hewgley (Writer)
10
Can’t Swim – Thanks, But No Thanks
Whenever Can’t Swim is gearing up to release new music, you can always count on it to be great, and 2023 LP Thanks, But No Thanks was no exception. The songwriting present here is uniquely diverse in a way that is not often heard in the pop-punk universe, featuring everything from more traditional pop-punk ragers (me vs me vs all of y’all, can you help me?), to moody emo-tinged rock (Nowhere, Ohio, yer paradox i’m paradigm), to stripped, emotional cuts (i heard they found you face down inside your living room, thx but no thx). The band shows a lot of faces on this record, and all of it is done extremely well. If there’s one thing you can count on when it comes to Can’t Swim, it’s consistency, and Thanks, But No Thanks is a fantastic example of that.
9
Heart Attack Man – Freak Of Nature
Heart Attack Man’s Freak Of Nature is actually an album that didn’t quite hook me on my initial listen. I was a huge fan of the singles leading up to the release, but alas, the album didn’t capture me on first listen like I was hoping. Yet, somehow, on further listens, this album slowly became one of my favorite releases of the year. It’s generic pop-punk—you get what you pay for here; however, the choruses are massive, the songwriting is air tight, and the lyrics are witty enough to keep a smile on your face the whole way through. Simply, this group of songs are all just catchy as hell. If you’re craving some good ol’ fun generic pop-punk, I highly recommend Clown School and Like A Kennedy from this blast of an album.
8
Incendiary – Change The Way You Think About Pain
It was a long, grueling, six-year wait for new music from Incendiary, with Thousand Mile Stare coming out in May of 2017. But when that day finally came in the spring of 2023, boy was it worth the wait. Change The Way You Think About Pain is an album chock full of ripping riffs, heart-pounding drums, and vicious vocals that leaves not a nanosecond of wasted space, and remains vehemently in your face throughout its entire run time. Host/Parasite is particularly notable, featuring some of the most addictive guitar work I’ve heard all year. Serving as a monumental return for Incendiary, this album proves just how great hardcore can sound in the modern era.
7
Harms Way – Common Suffering
Continuing in the trend of massive hardcore comebacks, Harms Way’s Common Suffering is one of the most abrasively aggressive pieces of music I have heard this year. This album was not only a shining example of Harms Way’s ability to make excellent hardcore music, but also a display of their ability to step out of the box and create something that is truly unique within the genre. If you’re looking for crushing breakdowns, there’s certainly plenty of those present; however, the band also manages to throw some perfectly executed curveballs, with songs like Undertow and Terrorizer straying into doom and industrial territory. In terms of pure songwriting, this is quite easily Harms Way’s best output yet, and I highly suggest you check it out.
6
Invent Animate – Heavener
With the grand majority of modern metalcore becoming increasingly stale as the years trudge on, Invent Animate’s Heavener was a welcome breath of fresh air upon its March 2023 release. This album was one of the biggest of the year for the genre, and for good reason. Heavener sees Invent Animate perfecting their sound down to the tee, being easily their greatest offering to date. The album sees the bland blending elements of spacious, ambient clean guitars and heavy atmosphere with over-the-top thall chugs and impressively complex guitar riffage that will leave you breathless. Heavener’s unique ability to paint vivid, colourful landscapes in the listener’s mind eye, only to beat them to death with a hammer in the next measure is what lands this magnificent metalcore masterpiece in my top ten of 2023.
5
Holding Absence – The Noble Art Of Self Destruction
There are just not many bands out there that can make you bawl like a baby quite like Holding Absence can, and their 2023 LP The Noble Art Of Self Destruction is certainly no exception. This album explores gargantuan sonic atmospheres, with its rich tones and beautiful arrangements leaving you feeling as if you’re floating in the clouds. The musicality is hauntingly gorgeous, but also heartbreaking when paired with Lucas Woodland’s intimate and touching lyricism, which is very easily relatable in most circumstances. The album features one of my favourite choruses of the year in False Dawn, and also one of my overall favourite songs of the year with the album’s heart string-ripper finale The Angel In The Marble. I highly recommend getting in a good cry with this wonderful record.
4
Dying Wish – Symptoms Of Survival
Similar to Heart Attack Man, Dying Wish’s Symptoms Of Survival was not an album I expected to land so high on my list. I’ve always liked Dying Wish, but they’ve never been a band that I really loved. However, when the band released the monstrous single Torn From Your Silhouette, I knew they were on to something big, and they did not disappoint. Symptoms Of Survival is revival metalcore done right, and I would even argue that it’s almost better than bands of old. This thing is full to the brim with delicious metal licks, earth-shattering breakdowns, and absolutely incredible vocal performances. This album also features my personal favorite album closing track of the year, with the cathartic nuclear bomb that is Lost In The Fall.
3
The Acacia Strain – Step Into The Light
In an ordinary year, an album from The Acacia Strain might very well be my album of the year, as they are one of my favourite bands; but alas, this was no ordinary year. Regardless, The Acacia Strain delivered on all fronts with both of their 2023 efforts Step Into The Light and Failure Will Follow, but the former is quite easily my favorite of the duo. I’ve always wanted a full album of The Acacia Strain’s hardcore-leaning sound, and that’s exactly what Step Into The Light is—and it’s fucking excellent. The album absolutely steamrolls through its barely-twenty minute run time, setting the world ablaze with fiery fight riffs and gargantuan breakdowns that will leave you on the floor. Songs like the hellishly-fast CHAIN and the slow burn of SINKHOLE prove exactly why this band is still a staple of metalcore over twenty years into their career. The mix is a tad quiet for my tastes, but regardless, this record still easily lands near the top of my list.
2
Mouth For War – Bleed Yourself
Alright, I’ll say it—Mouth For War is the best new band to come out of the metalcore scene in a very long time. This is easily proven with what is quite possibly an all-time great metalcore sophomore album in 2023’s Bleed Yourself, with its showing of flesh-searing guitar leads and pounding chugs, all complete with a barrage of booming drums and crowd-destroying grooves. The Devil in particular is just simply one of the best metalcore songs I’ve ever heard, and there are others on the record which aren’t all that far behind it. Bleed Yourself manages displays pure rage through a pulsating musical energy that it incredibly crushing, while also showcasing some of the most truly heartbreaking, poetic lyricism that I have ever heard on a metalcore record. It’s a damn near perfect album, and if Mouth For War isn’t a name that you’re familiar with, you’re seriously doing yourself a disservice.
1
Gideon – More Power. More Pain.
I mean, if you get song lyrics tattooed, are you not obligated to put that song’s album at the highest spot on your album of the year list? Gideon’s More Power. More Pain. is not only my favorite album of 2023, but is also maybe my second favorite album of all time, just behind Balance And Composure’s The Things We Think We’re Missing. I’ve been head over heels for Gideon since their magnificent 2012 melodic hardcore effort Milestone, and this band’s trajectory has been one of the most interesting to observe over the years. Somehow, somewhere, this band transitioned into a unique fusion of caveman metalcore and nu-metal, and More Power. More Pain. takes that sound to an absolutely masterful level. Every single song on this album is instantly memorable and wildly unique, hardly sounding like any other band in any of the genres that they call home. Rather, this album sees Gideon finding a sound that is truly their own, and one that is ridiculously addictive to listen to. The performances on this record are insanely over-the-top, the lyricism is ignorant and fun, and the songwriting and production are just all around perfect. This is all not to mention the insane amount of variety that this album pulls off, with footholds in nu metal, beatdown metalcore, melodic hardcore, and more. Not a single song on the album gives you any indication as to what the rest of the album truly sounds like, with each song truly having its own identity within the album. That being said, I highly recommend the album’s crushing, monstrous titular track, as well as the soaring, gorgeous melodic cut that is I Will Carry You.
