2023 was full of artist comebacks and highly anticipated releases by major artists. Critic favorites like Boygenius, The National, Olivia Rodrigo, and Lana Del Rey all dropped expectedly great albums, but there were also a few pleasant surprises that marked new eras for a few artists that have been overlooked critically in the past. In the streaming era, it has become increasingly difficult to stand out- in response, many popular musicians turned to new sounds and genre changes. We’ve compiled some of our favorite shockingly innovative albums of the year as we wait for new albums in 2024.
Let’s Start Here - Lil Yachty
Released in early 2023, Lil Yachty’s Let’s Start Here came as a shock to fans, who were expecting a typical rap music follow up to his 2021 full length release. Perhaps, had we paid better attention to Yachty’s 2021 collaboration with Tame Impala on a remix of “Breathe Deeper,” we might have predicted his departure from rap, in favor of psychedelic rock.
What is most impressive about the 57-minute long album is how true Yachty stays to the psychedelic genre, while still creating an entirely new product. Yachty’s reinvention of himself channels Pink Floyd, Jimi Hendrix, Tame Impala, and Radiohead, most notably. You can really feel the passion he has for the genre through his astounding attention to detail- it never feels forced or phony.
Instead of coming across as a rapper playing rock artist, the album feels like a love letter to the genre. Each different influence was given their due diligence, while Yachty’s production takes the album from good to great.
His use of samples is also excellent, including an interpolation of Radiohead’s “Pyramid Song” on the closing track. The writing throughout the album is raw and personal, showcasing Yachty’s newfound confidence in his ability as a lyricist.
“I’ve officially lost vision. I’ve been sent to a mental prison. I’ve been forced to make some terribly bad decisions,” he sings on “IVE OFFICIALLY LOST ViSiON!!!!” which is arguably the strongest track on the album. It’s these kind of anxious musings that set the album apart lyrically from anything we’ve seen from Yachty.
The album is filled with nostalgia, with tracks like “Drive ME crazy,” feeling straight off the disco floor. The sprawling album opener “The Black Seminole” shows his range stylistically, with elements of hip-hop, alternative and psychedelic music fitting together nicely.
The closest we get to his earlier work is “the ride,” a pop/rap song with lyrics that touch on anxiety and depression. Despite its proximity to his earlier work, it still fits perfectly on the album.
Warranting multiple listens to understand the full scope of the project, Let’s Start Here may very well be the best album of the year. It’s an unforgettable transformation of an artist who has been overlooked.
In Times New Roman… - Queens of the Stone Age
On their first new album in almost 6 years, Queens of the Stone Age come back stronger than ever, once again earning their reputation as one of the best rock bands of the modern era.
Lead singer Josh Homme experienced great personal hardship in the break between In Times New Roman… and 2017’s Villains, going through a difficult divorce with his longtime partner that included a lengthy legal battle over custody of their three children. When the band’s return to music was announced with lead single “Emotion Sickness,” many assumed the single and album would have a darker, more hardened sound than their previous few albums.
That assumption was far from what we actually got- instead, “Emotion Sickness” was a breathtaking upbeat anthem, which expressed frustration, but maybe even more than that, hope for the future. “People come and go on the breeze, for a whole life possibly,” Homme lilts in the chorus of the song- it’s a great thesis statement for the album. The song is powerful and moving, but most of all, it’s fun. The following release “Carnavoyeur” would further build upon this statement, with its chorus proudly boasting “there are no more mountains to climb.” This song also features a wild instrumental break primed for dance choreography.
As always, clever lyrics are embedded throughout the album, at times almost feeling like easter eggs. They seem to manage to include multiple cunning one-liners per track, despite the different musical styles present throughout.
Something that has always set Queens apart is their uncanny ability to continue to innovate the rock genre. Nothing about this release is stale or stagnated. Though the album is one of their most purely rock releases in a few decades, the use of synths and sound effects give it a fresh, current sound.
They continue to set the bar high for rock music in a way that most of their peers have not been able to keep up with. All artists should strive to remain this relevant 25 years after their debut album is released.
10,000 Gecs - 100 Gecs
100 Gecs highly anticipated follow up to their 2019 debut album was released to critical acclaim across the board and broke them into the mainstream for the first time in their career.
A pioneer of hyperpop, their early work expanded the boundaries of what electronic music looks like. On their 2023 release 10,000 Gecs they have taken a decidedly more classic approach to alternative rock music, trading in their synths and sound clipping for guitars, and exchanging their nonsensical lyrics for deep reflection. While 100 Gecs’ electropop roots are still evident within the music, it is decidedly more straightforward, in a way that works well for them.
Laura Les’s vocals sound better than ever without a barrage of autotune, and both members of the team show their prowess on instrumentals. On “Dumbest Girl Alive,” which is equal parts funny and dark, Laura Les brings her best performance yet, exploring her range as a singer and finding her stride as a vocalist.
More frequent use of electric guitar and bass give the album a darker tone than their previous work, while tracks like “Frog on the Floor,” lighten the mood with surrealism and ska beats. Heavy metal and alternative rock tracks like “Dumbest Girl Alive” and “Billy Knows Jamie” are a great juxtaposition to hyperpop tracks like “757” and “Hollywood Baby.” They make heavy use of samples, which further demonstrates their love for the rock genre and their attempt at making something old feel new (which they succeed to do.)
Clocking in at only 26 minutes, there is not a moment wasted among the tracks. Exploring new genres on nearly every one of the 10 tracks, the album opens up a Pandora's box of what Gecs music will look like going forward. As musical savants, the outlandish choices the band makes continue to surprise and delight. Gecs have wasted no time in showing us that they are not one-trick-ponies, and should have a very bright future ahead of them.
Scarlet - Doja Cat
Doja Cat’s 4th full length release, Scarlet, was one of this year’s most anticipated albums, mostly due to its controversial rollout. At the beginning of the year, in true performance art fashion, Doja began her method acting as “Scarlet,” the titular character on her new album, which was promoted as a concept album.
The following promotion cycle would see Doja covering herself in blood, worshiping the devil, bullying her fans on social media and frequently calling her previous hits “cash grabs.” For many pop artists, this would easily have been a mistake, especially if the promoted album fell short of expectations. Doja silenced her critics by releasing one of the most creative rap albums of the last decade.
Lead single “Attention” was notably different from her past releases, which fell more in line with the stylings of other popular female pop/rap artists like Nikki Minaj and Cardi B. The track would signify rebirth and would solidify Doja’s new sound as uniquely her own. Her flirtatious lilt on the chorus gives way to a 90s influenced rap flow, which is delivered almost entirely a cappella.
The following singles, “Paint the Town Red,” and “Demons,” continued to build upon the lyrical themes of “Attention.” Both songs heavily feature samples, which are smartly woven into the tracks in a seamless fashion.
The standout track “Can’t Wait,” sees Doja showing off her vocal chops, a nice break from the mostly rap heavy album. The love song makes great use of her voice, her almost angelic tone elevates the music. This song, along with “Love Life” are love letters to her fans, a welcomed surprise after her antics earlier in the year. “I love when my fans love change,” she sings sweetly.
Despite the billing as a concept album, the album features an array of different styles and lyrical themes, all of which work together in a surprisingly cohesive manner. She shows off her skills not just as a lyricist, but as a tried-and-true rap artist that could keep up with the greats in a freestyle battle. The album is fantastically weird and a whole lot of fun, but more than anything, it proves that Doja has found her voice.
Portals - Melanie Martinez
Melanie Martinez has risen to fame while releasing only concept albums, which has been impressive by itself. On her third album Portals, she builds upon the stories of her previous concept albums, but with a fresh sound that we have yet to hear from her to this point. It’s clear that in her off time she spent days on end studying music and innovating her process.
Long known for her electronic leaning, dark alternative music, Portals is a breath of fresh air. Conceptually, the album represents the death and rebirth of the main character from her previous work. Portals is far more upbeat than her earlier music, instead of a mourning, it is a celebration. In a word, I would describe the album as “light.” She incorporates more acoustic instruments throughout, which makes the electronica based songs even more impactful.
“Death,” the lead single, was a perfect comeback for Martinez. The soft, simple verses give way to a wall-of-sound, head banging chorus. The juxtaposition of the two sounds is very effective as a storytelling tool, and shows her range better than previous releases had.
Her lyrical and musical growth are very evident on Portals, and you understand why it took so long to produce. Every detail is rich and meticulous, which came as a surprise given this album has the most self-produced tracks of any album she has released.
“Void,” the second single, also exhibits a beautiful vocal performance, with powerful lyrics to match. “Like a priest behind confession walls I judge myself,” she belts on the chorus. It is a stunning piece of music that feels more honest and personal than what we are used to from Martinez. Much of the album is more raw and real, we get a look at what Martinez is like as a person.
More acoustic leaning tracks like the wonderful “Battle of the Larynx” are a welcome change, and keep the album from feeling repetitive. Album closer, “womb,” is a great example of her ability to use acoustic loops on guitar and drums to create something that transports you to another dimension (perhaps through a portal?) It will be exciting to see where she transports us next.
Endless Summer Vacation - Miley Cyrus
Miley Cyrus’s long awaited follow up to 2021’s Plastic Hearts took the 30 year old singer back to her pop roots, while still exhibiting her signature rock sound and some psychedelic twists throughout. The album is one of her most successful ever, and for good reason. There is something for everyone on Endless Summer Vacation.
Lead single “Flowers” was the most popular song of 2023, bringing Miley back into the spotlight and gaining the attention of powerful female musicians from several decades. The empowering, self-love anthem is far removed from the angst of Plastic Hearts, which was mostly a confessional album about her divorce from Liam Hemsworth.
Cyrus once again proves herself to be perhaps the best pop vocalist of our generation, with her signature low-pitched growl present throughout each track. Even on pop songs, she sounds like a rock star. “Flowers” is the most straightforward song on the album, with the rest of the album finding Cyrus experimenting and bending the limits of what someone can do in a 3-minute pop song.
Standout track “Handstand,” most closely resembles her sprawling psychedelic rock collaboration with the flaming lips in 2015. The Tame Impala style production works surprisingly well with her toned down vocal delivery on the track.
“Jaded,” the last single released from the album is one of her best singles to date. Its nostalgic sound and 90s rock instrumental are the perfect compliment to the lyrics. “You broke your own heart, but you’d never say that,” she croons on the track.
She even manages to incorporate some of the hip-hop we saw on her 2013 album Bangerz on the track “Violet Chemistry,” a fun club-style bop that is entirely addictive.
Each song takes on its own sound and combines multiple genres she has worked with throughout her career. The album manages to stay cohesive despite how many different styles she incorporates.
What Miley does best on this album is showcase her creativity and her approach to creating music that is entirely original. Instead of emulating the rock artists she looks up to, she finds her own voice as a rockstar. It is the zenith of her career to this point, and an album that only she could make.
The Record - boygenius
In 2023, the highly anticipated release The Record from supergroup Boygenius brought the influence of indie artists and music to a new level in mainstream culture. Comprising of Phoebe Bridgers, Lucy Dacus and Julien Baker, The Record stands as a marker of the evolution of its members’ sound and the increasing influence indie music has on mainstream culture.
The trio have been synthesized to create a sound that is unmistakably Boygenius, but allows each individual member to add personal touches that feel more distinct. ‘Satanist’ bears the most influence of Julien Baker, using her incorporation of high-powered drums, which is a typical motif for her solo records. Phoebe Bridgers , partly by virtue of being the trio’s more known member (especially after her opening gig on Taylor Swift’s tour,) is the most distinctively highlighted member on The Record, often using similar lyric themes and vocal styles to her own solo music. Lucy Dacus’s mixture of humor and Greek-tragedy style storytelling is also seen throughout.
Supergroups are nothing new, especially within the realm of rock and indie music, but boygenius emerges as one that best embodies gen z. The group has been intentional with their cultural parallels- from their Nirvana Inspired photoshoot to joining the Leonard Cohen homage wave. Boygenius shows have become their own unique experience, with fans waiting for hours before a show starts to get a front-row spot. The speed with which they’ve soared in popularity is inspiring, especially given women are not always taken as seriously among their fellow indie music peers. Their fans have responded with a fervor of online activity (memes,) sold out shows, and support that most artists could only dream of having.
The heart of boygenius lies in the fact that there is a backdrop of friendship and understanding between its members. Sonically, the album is working with three successful solo artists- stitches will expectedly show within its style, but the thread of lived experience, shared worries, and deep connection is weaved all throughout The Record. Asking if the sum is greater than its parts is the wrong framework to approach Boygenius, they’re best appreciated as three stars aligning.
Laugh Track - The National
Fans of The National (Nationalists? Ohioans?) got to double dip in 2023 with the release of First Two Pages of Frankenstein and Laugh Track. The first of these releases is marked as the longest wait time between albums, while the time between the two 2023 albums is noticeably shorter than their usual cycle. Carrying over from their feature on Taylor Swift’s Evermore, 2023 was The National’s breakout year in visibility with guests like Sufjan Stevens and Taylor Swift shining on different tracks.
The First Two Pages of Frankenstein is by far The National’s most gentle album, while their signature surges of rock and anxiety still flare up on tracks like ‘Eucalyptus” and “Tropic Morning New.” The National have never been in the business of making active statements- frontman Matt Berninger can usually be found in a lyrical doorway trying to figure out what he feels or want to say about his past, present and future. First Two Pages of Frankenstein is an understandably more muted entry from the group, with documented depression and writer's block from its frontman. Even if there is not much to say, we’re still happy to keep company with The National.
Like an unexpected visit from a friend, we had only a few days' notice prior to the release of Laugh Track. When Laugh Track showed up on our doorstep we were greeted with a familiar face and sound, but with an energy we haven’t seen in years. And like any good surprise drop in, The National brought friends like Phoebe Bridgers, Rosanne Cash and Bon Iver along.
‘Weird Goodbyes’ has finally found a home on Laugh Track after spending years as a standalone single. ‘Weird Goodbyes’ is The National at their best- playing in their modern style, it's not only a highlight of the album but of their discography. What Laugh Track reminds us of is the journey The National have been on for several decades, and the places they still have yet to explore. We don't know what’s next for The National, but if album closer ‘Smoke Detector’ is any hint, we know they’ll still have their fire.