The 15 Best Albums of 2023
From Troye Sivan to Olivia Rodrigo, here is a rundown of the greatest albums of the year.
15. Reneé Rapp, ‘Snow Angel’
Genre: Pop
While Snow Angel may be the debut studio album by Reneé Rapp, she was already known by some as Regina George in the Broadway musical Mean Girls, a role she is set to reprise in the upcoming musical film adaptation. Rapp’s theatrical nature bleeds into her music — big vocal moments are aplenty, so are spoken lines sprinkled throughout her album to give it some dramatic flair, even if it inspires wincing at times.
With her candid confessions, Rapp has mostly aligned herself with the new age of Gen Z women in music led by Billie Eilish, Olivia Rodrigo, and Tate McRae, but perhaps what sets Rapp apart is her outstanding vocals in tracks like “I Hate Boston” and the title track. In these moments, shades of powerhouse divas call to mind where emotions are evoked primarily through vocal delivery, an approach that newer artists often shun in favor of intimate relatability. With Rapp’s expanding reach in theater, film, and music, Snow Angel will certainly remain on heavy rotation in the bedrooms of many scorned teenage girls.
// Highlights: “Talk Too Much”, “I Hate Boston”, “Snow Angel”
14. Jessie Ware, ‘That! Feels Good!’
Genre: Disco
The evolution of Jessie Ware over the past decade has been remarkable to witness. Once recognized for the Ed Sheeran co-write “Say You Love Me,” the English songstress has since moved away from moody soundscapes and embraced a nu-disco reinvention. This transition first began with her acclaimed 2020 album What’s Your Pleasure?, and That! Feels Good! is a natural progression of this new hedonistic side of Ware. Her blend of soulful vocals and feet-stomping disco is a winning formula, drawing keen inspiration from powerhouse dance icons like Donna Summer and Chaka Khan. As someone who was once pressured to be the next Adele, Ware ambitiously ventures into a direction that Adele, even with her vocal prowess, may not have dared to experiment with.
That! Feels Good! is a bold declaration of all things fun, its title a nod to Shania Twain’s universal anthem “Man! I Feel Like a Woman!”. Songs like “Pearls” and “Beautiful People” are most like Twain’s, expressing Ware’s escapist desires and newfound confidence that embody the spirit of disco.
// Highlights: “That! Feels Good!”, “Pearls”, “Begin Again”
13. Ryan Beatty, ‘Calico’
Genre: Indie folk, Singer-songwriter
Posting covers on YouTube, releasing music on Radio Disney, touring with Cody Simpson — these are just some things singer-songwriter Ryan Beatty did a decade ago, but his teen stardom arc never quite panned out. “Being young I was just really underestimated and I remember never really being taken seriously,” he reflects. Disillusioned, Beatty took a hiatus for a few years, before eventually making a comeback with Boy in Jeans. The album showcased a more mature side of Beatty, free from the pop mould and now comfortable in his own skin.
This year, Beatty returned with Calico, a stripped record where his grounded vocals sink deep in minimalist instrumentation. He teams up with Ethan Gruska, the main producer behind Phoebe Bridgers’s acclaimed 2020 album Punisher. For the pensive mind, the album is space for prolonged rumination, while TikTok users may scavenge it for ready-made sounds for vignettes of cinematic heartbreak. Regardless, the album’s strength lies in its simplicity, and anyone who discovers Beatty’s music is likely to stay for his authenticity.
// Highlights: “Bruises off the Peach”, “White Teeth”, “Little Faith”
12. Red Velvet, ‘Chill Kill’
Genre: K-pop, Contemporary R&B
In the dynamic world of K-pop, where trends shift rapidly and novelty often takes precedence over artistry, Red Velvet stands as a compelling anomaly. Having defied the notorious “seven-year curse” that has taken victims like 4minute to SISTAR, the quintet returns this year with their third studio album, Chill Kill.
Red Velvet’s musical identity is rooted in their contrasting “red” and “velvet” sides: the former characterized by vibrant pop tracks, the latter by a more sultry and soulful style. “Knock Knock (Who’s There?)” is a first-listen standout with its hypnotic interpolation of Tchaikovsky’s “Dance of the Sugar Plum Fairy,” bringing an edge of haunting sensuality. Nestled within the high-energy tracks are moments of soothing assurance that exemplify the group’s arguably better “velvet” side. “Underwater” emerges as another highlight with its silky harmonies and polished R&B production, like a slow waltz casting a hypnotizing spell with each listen. Or one might describe, a chill kill.
// Highlights: “Knock Knock (Who’s There?)”, “Underwater”, “Iced Coffee”
11. yeule, ‘softscars’
Genre: Dream pop, Indietronica
For years, yeule, the musical project of Singaporean singer-songwriter Nat Ćmiel, was a hidden gem within the indie community, but with each release, they continues to expand their global reach. “The yeule project exists to store fragments of [my] reality, dreams, and emotional states,” Ćmiel explains. Co-produced by producer Kin Leonn, yeule’s third studio album softscars expands beyond the ambient pop sound they are known for, taking on a more hard-hitting alternative rock direction.
The album opens with “x w x,” an immediate head-turner with its piercing screams and distorted guitars. Other high points of the album are when yeule finds a balance between the grit of grunge and the grace of shoegaze, such as on songs like “dazies” and “cyber meat,” the latter particularly infectious with its 2000s pop rock-inspired melodies reminiscent of Avril Lavigne. Ćmiel is committed to digital references, though “404 error” and “malware in my software” may be too on the nose. Otherwise, lyrics like “If only I could be real enough to love,” help make a case for digitality as a means of escape from the physical world. We all have felt the desire to hide ourselves, and yeule’s digital world might just be the answer.
// Highlights: “sulky baby”, “dazies”, “cyber meat”
10. RAYE, ‘My 21st Century Blues’
Genre: Pop soul, Pop rap, Contemporary R&B
One of the more compelling underdog stories in music this year belongs to RAYE. Weathering years of internal label disputes, the English singer-songwriter finally released her long-anticipated debut album My 21st Century Blues. Opening the album with a personal touch, RAYE invites listeners to “get nice and comfortable and lock your phones because the story is about to begin.”
Providing context to RAYE’s struggles with her label adds a strong rooting factor, turning her independent project into a triumphant story worth celebrating. From industry execs to spineless exes, the record is a sonic middle finger to everyone who has wronged her. Though at its core, the album is very much about RAYE’s self-sabotaging ways too. The album’s biggest hit “Escapism.” is a moody anthem of post-breakup depression, while “Mary Jane.” deals with her history of substance abuse. Between her unmistakable British accent, jazz vocal stylings, and stinging one-liners, RAYE has forged an identity that is distinctively hers.
// Highlights: “Oscar Winning Tears.”, “Escapism.”, “Worth It.”
9. Troye Sivan, ‘Something to Give Each Other’
Genre: Synth-pop
Troye Sivan’s Something to Give Each Other is a fearless exploration of sexuality and an unapologetic celebration of the queer experience. Sivan honors queer icons on the album, from the whispery seduction of Janet Jackson to the dancefloor heartbreak of Robyn. With a rave-friendly sound and provocative visuals, lead single “Rush” sets a raunchier tone for his new era, quickly gaining attention in niche online spaces.
Even as his most confident self, Sivan’s vulnerability slips through pulsating beats and remains an integral part of his artistic expression. Rather than framing his reinvention as something radical, a more apt perspective might be to view it as an artist who has finally found an outlet to release the emotions and impulses that have followed him since his debut studio album Blue Neighbourhood. A poignant lyric from “Silly” captures the ethos of the album: “The party’s the only place that really knows me.” This line underscores how the dancefloor is a sanctuary for Sivan, where self-discovery and queer liberation can manifest. In essence, episodes of unknowing become Sivan’s way of finally knowing himself, and in this awareness, he keeps on dancing and loving.
// Highlights: “Rush”, “One of Your Girls”, “Honey”
8. Olivia Rodrigo, ‘GUTS’
Genre: Pop, Pop rock
Two years after the groundbreaking success of SOUR, Olivia Rodrigo returns with her sophomore album GUTS, offering an unfiltered exploration of girlhood and growing pains. The task of following such a groundbreaking debut seemed insurmountable, but Rodrigo tackles it by leaning into the main element that made SOUR resonate — her confessional songwriting style — and amplifies it on GUTS.
Tracks like “bad idea right?” and “ballad of a homeschooled girl” sway the album into a grittier rock sound, drawing inspiration from Rodrigo’s musical idols Alanis Morissette and The White Stripes. Overall, the album maintains a strong Gen Z sensibility with Rodrigo’s talky singing style and deadpan delivery of quips, such as the line in “get him back!”, “But I am my father’s daughter, so maybe I could fix him.” Even if GUTS does not achieve the same commercial success as SOUR, it is a respectable evolution of a young artist willing to broaden horizons while staying true to herself, and Rodrigo should be proud of what she has achieved at such a young age.
(Full review here)
// Highlights: “all-american bitch”, “bad idea right?”, “get him back!”
7. 파란노을 (Parannoul), ‘After the Magic’
Genre: Shoegaze
Although his identity remains shrouded in mystery, 파란노을 (Parannoul) has been open with his struggles with depression and confrontation with the denial of reality. In a 2021 interview, the South Korean musician confessed, “I wanted people who are obsessed with that ‘fantasy’ to listen to my music and face reality.” This year, he unveiled his third studio album After the Magic, giving listeners more personal insight into his enigmatic brand, yet leaving his anonymity intact.
The album is a maximalist shoegaze record, with many tracks slowly intensifying in production and building up to a soaring climax. Some outros extend its well beyond conventional depths, and with long track durations bring atmospheric experiences primed for meditation and soul-searching. In quieter moments, a female vocalist accompanies Parannoul’s more monotonous vocals. This addition provides a warm contrast to his frost, like a spark of unlikely friendship made within the music itself. In all its nostalgic indulgence of youth and yearning for connections, this album is likely to resonate with listeners who appreciate the cinematic wonder of All About Lily Chou-Chou.
// Highlights: “북극성 (Polaris)”, “불면증 (Insomnia)”, “Parade”
6. Paramore, ‘This Is Why’
Genre: Post-punk
With their sixth studio album This Is Why, Paramore establishes themselves as one of the most innovative rock bands of their era. The album is a confrontation of post-pandemic frustrations, as frontwoman Hayley Williams declares on the title track, “This is why I don’t leave the house.” It not only serves as a nod to quarantine times but also presents a snarling defiance aimed at an anonymous adversary. The penultimate track “Crave” is another standout, a soaring power ballad that explores the insidious power of nostalgia, and the toxic romanticization of the past.
While many of their peers are caught up with 2000s nostalgia, the trio — comprising Williams, guitarist Taylor York, and drummer Zac Farro — consistently stays ahead of the curve. From the early pop punk days of Riot! to the funkier pop sounds of After Laughter, and now venturing into post-punk, Paramore is a band that has grown alongside its audience. The fans who once got their life to “Misery Business” probably no longer relate to its teenage angst and internalized misogyny, but they have matured into adults who can now relate to the experiences explored in This Is Why. This evolution is a testament to the band’s ability to resonate with their listeners at different stages of life. And this is why Paramore is here to stay.
// Highlights: “This Is Why”, “Running Out of Time”, “Crave”
5. boygenius, ‘the record’
Genre: Indie rock, indie folk
As emerging female musicians in the indie scene, Julien Baker, Phoebe Bridgers, and Lucy Dacus, collectively known as boygenius, first joined forces in 2018 and released a self-titled EP. While each artist pursued individual endeavors afterwards (Bridgers, in particular, achieving notable recognition between her Grammy-nominated album Punisher and high-profile romance with actor Paul Mescal), they reunited this year with the record, their first full-length project.
“Always an angel, never a god,” declares boygenius on “Not Strong Enough.” On one level, the phrase reflects the group’s desire to defy expectations imposed onto them as female artists. “In our society women are socialized to make themselves small and to minimize their ideas,” Baker says. It also speaks to their collective struggle with self-doubt and a longing to feel the weight of their worth, echoing Barbie’s “I want to do the imagining, not just the idea” this year. Each artist takes turns leading songs, and this collaborative spirit resembles a heart-to-heart conversation in a tight-knit friend group. Rather than merely riding a trend, boygenius normalizes the presence of complex female narratives, contributing to the ongoing cultural shift in a year where such stories are more prominent than ever.
// Highlights: “True Blue”, “Not Strong Enough”, “Satanist”
4. Caroline Polachek, ‘Desire, I Want to Turn Into You’
Genre: Art pop
No album indulges in a more euphoric high this year than Caroline Polachek’s second studio album Desire, I Want to Turn Into You. The opening track “Welcome to My Island” sets the scene for high-octane mania, ushering listeners into Polachek’s pop playground. Each primal howl is like a siren for hedonists, and when coupled with fist-pumping ‘hey’s and maximalist synths, presents a refreshing portrait of female pleasure.
From Spanish guitars in “Sunset” to a bagpipe solo in “Blood and Butter,” Polachek embraces a rich range of offbeat sounds, effectively demonstrating her penchant for musical experimentation. The album maintains a meticulous ebb and flow, thoughtfully arranged for a holistic listening experience. The final track “Billions,” serves as a grounded conclusion to the album — a gracious send-off from Polachek and an inevitable return to reality. A children’s choir echoes the sentiment, “I never felt so close to you,” in the final minute, like extending a personal farewell. Overall, Desire, I Want to Turn Into You stands as an avant-garde masterpiece where Polachek’s classically-trained voice and forward-thinking artistic sensibilities are skillfully weaponized.
// Highlights: “Welcome to My Island”, “I Believe”, “Blood and Butter”
3. Carly Rae Jepsen, ‘The Loveliest Time’
Genre: Synth-pop
With each new offering, Carly Rae Jepsen reaffirms her position as one of the most underrated pure pop artists today. For the average person, she is no more than the “Call Me Maybe” girl, yet for many music enthusiasts, she is a pioneer of contemporary pop music, the discerning listener’s Taylor Swift if you will. Jepsen’s latest album The Loveliest Time serves as a companion to last year’s The Loneliest Time, continuing her trend of two-part albums following E•MO•TION and Dedicated and their respective Side B counterparts. However, The Loveliest Time, even with just a single letter change in its title, marks a more radical shift, diverging from the polished nature of its predecessor to a bold clash of desire and seduction. Songs like “Kollage” and “Psychedelic Switch” make strong cases of her sonic versatility — the former a lush Tame Impala-esque rumination of lost love, the latter a hypnotic Eurodance acid trip.
As Jepsen frees herself from mainstream expectations, the divide widens between those who have her on their radar and those who simply do not. Yet, this is inconsequential for Jepsen, having found a niche audience who wholeheartedly appreciates her innovative pop mind and pushes her to make more immaculate records like The Loveliest Time.
// Highlights: “Kamikaze”, “Kollage”, “Psychedelic Switch”
2. Hozier, ‘Unreal Unearth’
Genre: Pop rock
Since his 2014 smash hit “Take Me to Church,” Irish singer-songwriter Hozier has steadily cultivated an undying fanbase with his poetic songwriting style. This year, he returns with his third studio album Unreal Unearth which opens with a two-part introduction: “De Selby (Part 1)” is a softer folk track featuring Hozier partially singing in Irish Gaelic, before swelling into the rock-leaning “De Selby (Part 2).”
Like a mythological figure who resurfaces every few years to spread his timeless gospel, Hozier delivers his evocative lyrics with grace that is equal parts charming and haunting. Drawing inspiration from Dante’s “Inferno,” he embarks on a meditative exploration of sin, and descents into humanity’s ugliest state in the process. “Eat Your Young” is a coded condemnation of gluttony, while “Francesca” is a poetic tale of lust spun out of control. “Heaven is not fit to house a love like you and I,” he sings on the latter. The 16-track spiritual odyssey culminates in a rebirth in the final track “First Light,” offering listeners a redemption of their sins and illuminating the goodness within humanity.
// Highlights: “De Selby (Part 2)”, “Francesca”, “First Light”
1. Sufjan Stevens, ‘Javelin’
Genre: Indie folk
Widely regarded as one of the most prolific songwriters of his generation, Sufjan Stevens has garnered a dedicated following with his soul-stirring discography. In a heartfelt Instagram post, he dedicates his tenth studio album Javelin to his late partner Evans Richardson, who passed away in April this year. The album charts a bittersweet journey through love, loss, and grief, providing an intimate glimpse into Stevens’s personal life.
Javelin is a monumental record that serves to extend the enduring legacy of Stevens’s craft. The album serves as a poignant celebration of the fragility of life. For Stevens, life can give the brightest of colors, as vibrant as the album cover, but so easily take away too, encapsulated beautifully in the lyric, “but everything heaven sent must burn out in the end.” In an unexpected twist of fate, just before the album’s release, Stevens was diagnosed with Guillain-Barré syndrome, forcing him to withdraw from promotional activities.
From the anguished pleading of “Will Anybody Ever Love Me?” to the sighs of resignation in “Goodbye Evergreen,” Javelin unravels like a sentimental film that quietly plants a seed of hope in listeners. When the album comes to an end, one cannot help but feel a burning desire for connection — to call up your loved ones and tell them you love them, or to give your pet the tightest embrace. Regardless, it is a powerful feeling that lingers beyond the album. And Stevens wants you to hold onto that.
// Highlights: “Goodbye Evergreen”, Will Anybody Ever Love Me?”, “Shit Talk”
Honorable mentions: Niall Horan, The Show; Kylie Minogue, Tension; Mitski, The Land Is Inhospitable and So Are We; Maisie Peters, The Good Witch, PinkPantheress, Heaven Knows
