100 Songs I Liked In 2023

 

As always, my official end of the year lists will start on December 29th with my 20 favorite albums of 2023.  But there's so much great music out there that my album post could never cover all of the things I enjoyed over the past 12 months.  So this list is an additional rundown, one that highlights songs from albums that won't be appearing on the top 20 in a few days.  I'm including songs from my five honorable mention albums, so if you see something on here from an album you love, who knows, maybe that album is ranked somewhere between 21 and 25 for me.  And this year I'm running so late that I actually haven't finalized my top 20, so there could be a song from an album that sneaks into that list at the last minute.  I've been going with 100 songs for this list for that past few years, but this time I really had to stretch and find some tracks to stretch to those last few slots.  Hopefully you enjoy these picks and find some new music to get into!

Here's a Spotify playlist with all of these songs in one place.

100 gecs - "The Most Wanted Person in the United States"

100 gecs popularized an entire genre with their debut album, so the mountain of expectation that came with their follow-up was to be expected, and the feeling of disappointment many felt was perhaps even more so.  But when taken in outside of all of that baggage, 10000 gecs is a pretty good record.  "The Most Wanted Person..." is one of the many examples of them bringing new elements to their hyperpop sound.  It's got an air of Odelay-era Beck and slacker-alt to it, and I just find its wacky grab bag of sounds and loping flow totally infectious.

Albert Hammond Jr. - "Memo of Hate"

I don't always show up for the various side projects and solo outings that the boys in The Strokes put out when they're not making mainline records, but sometimes there's a premium grade banger that catches my notice.  Such is the case with "Memo of Hate" from Strokes rhythm guitarist Albert Hammond Jr.'s latest solo album.  It's a song that would be right at home on actual Strokes record: the chugging rhythm, the lackadaisical cool, the double helix guitar interplay, that pace-shifting solo.  Excellent work from one of the best guitarists ever (despite what Rolling Stone recently had to say).

The Alchemist - "RIP Tracy" (feat. Billy Woods and Earl Sweatshirt)

Alchemist has a knack for bringing out the best of low-key, unhurried rappers like Billy Woods and Earl Sweatshirt, and he definitely does here on "RIP Tracy."  Sweatshirt gets his usual off-kilter line constructions off: "Uneasy steps, deep in it like needle in flesh / In the center, couldn't see the end / Indecision, leave the pieces split."  Billy Woods delivers sly humor ("All that sound and fury, it reads like pantomime / But what do I know?  I'm just a regular guy / Putting designer jeans on one leg at a time"), withering put downs ("Your hot song was a couple funny lines I would've summarized"), and an outlook on the state of things so grim you have to laugh ("3D printer will get you everything but the laser sight").

Amaarae - "Counterfeit"

I'm a simple man.  If I hear a song that samples the beat to Clipse's "Wamp Wamp (What It Do)," especially that monumental drum loop, I hit the repeat button.

Armand Hammer - "The Gods Must Be Crazy"

I like Armand Hammer albums, but sometimes when Billy Woods and Elucid get together, they get mired in being too cerebral.  That's why El-P providing them with a beat that has some real groove is the perfect shock to the system in the middle of We Buy Diabetic Test Strips.

bar italia - "harpee"

Detractors of cult band bar italia ridicule their detached coolness, but the thing is, it doesn't feel like a put-on.  They seem like people who just walked out of a French New Wave film and found themselves in the present day.  And because of that, there's an authentic cool that exudes off of their album Tracey Denim.  That guitar tone!  Those disaffected vocals!  The general vibe of malaise!  I tend to recoil at this kind of thing, but I can't deny a genuinely rad band when I hear one.

Beach House - "Devil's Pool"

Everything Beach House touches is gold, but I'd be lying if I said I didn't miss when they made more lo-fi music that sounded like overhearing somebody playing it through a wall.  Their Become EP proved to be suitable ground to return back to that style, as they do in beautiful fashion for one song on "Devil's Pool."  It really feels like something that got left off of their self-titled debut or Devotion.

Belle & Sebastian - "When the Cynics Stare Back From the Wall" (feat. Tracyanne Campbell)

I didn't return back to Late Developers as much as I did with last year's A Bit of Previous, but it's still amazing how rock-solid Belle & Sebastian's output is almost 30 years in.  They've evolved gracefully, but there's nothing like that classic B&S sound, which "When the Cynics..." recalls.  Add Tracyanne Campbell of Camera Obscura fame onto it and you have indie pop perfection.

Benny the Butcher - "Big Dog" (feat. Lil Wayne)

Don't worry about Benny the Butcher's weak hook.  Just sit back and listen to Lil Wayne destroy his verse.

The Beths - "Watching the Credits"

The fact that The Beths can drop a heater like this as a loosie instead of saving it for an album is how you know they have hooks for days.

Big Head - "i get along too good"

Big Head is one of those bands I heard about from a few very enthusiastic Twitter users stumping for the record.  They throw everything but the kitchen sink at you -- "i get along too good" is a twangy rock song, but the next minute they can blast something completely different at you.  It seems like we don't get enough of these kind of weird, adventurous bands anymore.

Billy Woods - "FaceTime" (feat. Hemlock Ernst)

Billy Woods is one of the most beloved rap artists working outside of the mainstream right now, but he's not exactly accessible.  Part of the reason why his Kenny Segal-collaboration Maps blew up even more than his other work is because it's just a little more approachable, without sacrificing what makes him great.  "FaceTime" finds a way to make a somber travelogue linger in your mind, thanks to Segal's warm production, Woods' typically absorbing imagery, and a terrific hook from Hemlock Ernst.

Blondshell - "Joiner"

I think Blondshell is a nepo baby or an industry plant or something like that, but I don't really care because "Joiner" is a catchy song with a great hook.

Boldy James - "Trust Issues"

2023 was a light year for the prolific Boldy James, which means he still put out two releases.  That slowdown was mostly due to him getting into a car accident that left him in critical condition and unable to walk for weeks.  2024 is already looking like a comeback year for him, as he's already got a release slated for January.  Until then, enjoy "Trust Issues" from Prisoner of Circumstance.

Career Woman - "Lady" 

Grapevine, the latest EP from Career Woman, reminds me of a shaggier version of Beach Bunny.  Opener "Lady" is my favorite of the five-song collection -- it's just straightforward, catchy guitar pop with a killer melody.  I wouldn't mind seeing her have a Beach Bunny-esque leap in popularity.

Carly Rae Jepsen - "Shadow"

Last year on this list, I extolled the virtues of the few and far between times Carly Rae Jepsen has sung over Rostam Batmanglij production, and I'm here to do it again.  She just finds something deeper and more emotional when she works with him.  The wistful yearning when she sings "And in no time, I'll be coming to you / I'll be flying to you.." under the chorus?!  Exquisite.  Just make a whole album together already!

Caroline Polachek - "Welcome to My Island"

I also love "Blood Butter" off of this album, but I chose to highlight the opening track, which seems like a perfect mission statement.  The soaring falsetto vocals that start the song, the melodic acrobatics in the chorus, the off-kilter almost rapping verse towards the end -- it's the Caroline Polachek experience in a nutshell.

Chase Fetti - "One More Sale" (ft. Boldy James and Rome Streetz)

Boldy James and Rome Streetz on the same track?  Thank you, Mr. Chase Fetti.  I'm shocked this hook wasn't just something that was plucked from a 90s song.

Chloe - "Pray It Away"

Her sister may have lapped her by being in The Little Mermaid and The Color Purple this year, but Chloe Bailey put out some great songs in 2023.  The gospel background vocals on "Pray It Away" are a great touch, and add to the immensity of the song's sound. 

The Clientele - "Blue Over Blue"

Back when I was getting into indie music as a middle schooler, I remember The Clientele were a big deal.  Or, at least I thought so because they always got good Pitchfork reviews.  I never listened to them much, but based on my listen to their new album, I've been missing out.  "Blue Over Blue" is a wistful, delicate, lightly psychedelic indie pop song that will always be welcomed by me.  There's something very timeless that I get from this tune every time I listen to it.

Conway the Machine - "Stab Out" (feat. Ransom)

When Conway gets his teeth into a rhyme scheme like he does in his verse on here, there are few things as enjoyable.

Danny Brown - "Celibate" (feat. MIKE)

There's no way around it: I was not a fan of Danny Brown's Quaranta, which sounded listless and had some fairly unimpressive rapping.  "Celibate" is not too bad though, thanks to a glassy-eyed beat and a rousing verse from MIKE.

Diners - "Domino"

Power pop seems to be on a big comeback tour, and Diners are a part of the Mo Troper-verse that's the vanguard of that movement.  I haven't had too much time to fully dig into their album from a few months ago, but I really love the bite-sized nugget of sunshine that is "Domino."

Disclosure - "Talk on the Phone"

It seems unlikely that Disclosure are ever going to recapture the lightning in a bottle they had with Settle, but in the meantime they've been producing some fantastic music anyway.  Alchemy-closer "Talk on the Phone" is a big tune, blending their usual UK Garage with some vocoder and jamming out for three and a half minutes.

Doja Cat - "Agora Hills"

I don't really listen to Doja Cat outside of her big hits, but somebody mentioned that on "Agora Hills" she raps like Kilo Kish, who I also don't listen to that much, but I always liked her voice and rapping style when I did.  This is a long and convoluted way of saying "Agora Hills" is a cool song.  Love that affectation Doja puts on in that first verse.

Dua Lipa - "Dance the Night"

Back when Future Nostalgia came out and I put one of those songs on this list, I kind of negged Dua Lipa for making music that's catchy but doesn't have alot of personality.  I still stand by that statement.  But boy is "Dance the Night" sure catchy as hell anyway.

Earl Sweatshirt - "Sirius Blac"

It's rare that Earl Sweatshirt raps at pace faster than a crawl these days, so it's always cause for celebration when a song like "Sirius Blac" comes around.  Even though it was wack that Voir Dire came out as an NFT at first, Alchemist and Earl Sweatshirt sound right at home collaborating together.

Empty Country - "Dustine"

Cymbals Eat Guitars was such a wonderful band (despite the name) and I was excited when Joseph D'Agostino started his Empty Country project after they broke up, but I couldn't really get into the singer-songwriter vibe of the first album from a few years ago.  Empty Country II brings him closer to the Cymbals Eat Guitars sound and I dug it much more because of that.  "Dustine" is a sprawling six-minute number that eventually erupts, but the buildup of atmosphere, with guitars that sound like a faraway memory, is just as captivating.

Equipment - "LO/FO"

It stands for "log out, fuck off," which makes me picture Brian Cox as Logan Roy from Succession saying it, and that tickles me.  Good song too.

Felicita - "Spalarking"

This song sounds like a nightmare.  Like having a melted synth jacked right into your skull.

Fiddlehead - "The Woes"

My other Fiddlehead choice was "Sullenboy," which makes me think of an EA Sports video game soundtrack from the 2000s, but I couldn't deny that main riff from "The Woes" that carves right through the song.

Fireworks - "Megachurch"

"Megachurch" does the best at capturing the emo-meets-Arcade Fire vibe that lovers of the latest Fireworks album Higher Lonely Power pitch it as.  I don't think all of the album gets there, but it feels good to hear something with this specific strain of fiery bombast again.

Frankie Cosmos - "hey whatsup"

There's a special quality to Greta Kline's sound and voice that evokes so many emotions in me.  "hey whatsup" is a track off of the new deluxe version of last year's Inner World Peace, and it's short and simple, but in those 90 seconds Kline is able to deliver a mountain of melancholy with her delicate falsetto and cozy melody.

Fucked Up - "Huge New Her"

I've never been able to get into a Fucked Up record since their epic David Comes to Life back in 2011, but One Day is the one I've enjoyed the most by far.  And how could I not with songs like "Huge New Her" delivering a massive, driving sound to power Damian Abraham's guttural vocals forward.

Gracie Abrams - "I know it won't work"

On my list of most hated nepotism babies, Gracie Abrams used to be near the top.  Every time I thought about the daughter of J.J. Abrams making knockoff Phoebe Bridgers songs with that quivering voice of hers, I got irrationally angry.  Then I saw her open at The Eras Tour and perform "I know it won't work," and I gained a slight appreciation for her music.  I'll still make fun of her, don't get me wrong.

Guitar Fight From Fooly Cooly - "Wooden Cross"

Nobody does a nasty guitar breakdown like Guitar Fight From Fooly Cooly, and "Wooden Cross" is constructed out of almost nothing but nasty guitar breakdowns.  It's one of the best songs this unpredictable band has ever done.

The Hold Steady - "Carlos is Crying"

You could tell this list was made by somebody who started growing pubes in the 2000s because it's still got bands like The Hold Steady, Belle & Sebastian, The National, and The New Pornographers on it.  Somebody has to keep that era alive!  The Price of Progress is another album from The Hold Steady that shows a renewed verve.  "Carlos is Crying" is vintage stuff: bar rock with terrific storytelling and a deep sadness to it.

Home is Where - "Daytona 500"

When Home is Where's the whaler first came out, I saw it as a bit of a letdown after loving I Became Birds, but in returning to it for these lists, I can't understand why I felt that way all year.  Maybe it's because it doesn't have any flat-out masterpieces like "Assisted Harakiri" and "Long Distance Conjoined Twins," but "Daytona 500" is pretty great in its own right.  Only this band could transition from "Animal control came to collect / Last night's roadkill from the roadside / Where fathers of drunk drivers plant a cross / For their loss when the wreck is hauled off" to "I saw Dale Earnhardt / Pushin' a shopping cart / From the Wal-Mart / On the tracks of Daytona speedway."

Hot Mulligan - "It's a Family Movie She Hates Her Dad"

Great emo title aside, Hot Mulligan bring the energy on the whirlwind "It's a Family Movie She Hates Her Dad."  There's nothing better than when a guy with a whiny voice is singing the main parts, and then a guy with an even whinier voice comes in to help him out.

Hotline TNT - "I Thought You'd Change"

In 2024, I'm going to try to listen to Hotline TNT's Cartwheel some more, because it's an album that I desperately want to love for some reason.  I tend to get bored with shoegaze music pretty quickly, so while I like this record, it kind of starts to blend into a wall of guitars after a while.  "I Thought You'd Change" is my favorite from the album because it's got a more poppy, hooky edge.

IAN SWEET - "Emergency Contact"

One of the great tragedies of this year is that I didn't carve out space to really get into the latest IAN SWEET album, because my last minute cursory listen was a lovely experience.  I've finally gotten over wanting her to go back to the queasy anxiety-rock of Shapeshifter and learned to fully appreciate her new mode of dreamy anxiety-pop.

Ice Spice - "Princess Diana"

Ice Spice's whole thing might get old pretty soon, so let's enjoy it while we can.  What I like about "Princess Diana" is that it eschews the New York drill format of looping a pitch-shifted, obvious sample and instead keeps things simple with a beat that's just booming bass and a spy guitar riff.

IDK - "Thug Tear" (feat. Fat Trel)

If Chance the Rapper's going to stay away from dropping another album because he's still embarrassed from the reception that The Big Day got, then at least we've got somebody else still doing this kind of soulful, sunny rap music.  (Also The Big Day was good!)

Indigo De Souza - "The Water"

Indigo De Souza came out of nowhere and blew me away with Any Shape You Take in 2021, so her follow-up album being merely solid was a major letdown for me.  I did come back to "The Water" alot though.  It's a very cool blend of the singer-songwriter guitar rock of this generation with splashes of mid-2000s indie music.

Janelle Monae - "Only Have Eyes 42"

The Age of Pleasure's consensus standing as a minor album for Janelle Monae was a bit surprising to me this year.  This album's a blast, the perfect summer beach album.  "Only Have Eyes 42" arrives near the end of the tracklist like a lovely little comedown from a day laying out in the sun.

The Japanese House - "Touching Yourself"

The Japanese House makes the kind of clothing store soundtrack indie pop that I'd usually find toothless and grating, but I always enjoy myself whenever I hear one of her songs.  "Touching Yourself" is a total banger.

Jason Isbell & The 400 Unit - "Middle of the Morning"

I mostly know Jason Isbell as the guy people retweet alot and who makes music that NPR dads love.  Unfortunately, the dads are right on "Middle of the Morning," a gorgeous country song written in and about lockdown.

Joanna Sternberg - "People Are Toys to You"

Joanna Sternberg's music on I've Got Me sounds alot like Milk-Eyed Mender era Joanna Newsom, which is something you don't hear much.  But behind that quirky voice and jaunty music on "People Are Toys to You" lies a real venomous streak.  It's a song suffused with pain about a selfish and manipulative ex-lover, but the rage points in both directions, filled with just as much self-loathing as there is outward anger.

KAYTRAMINE - "Master P" (feat. Big Sean)

Producer Kaytranada and rapper Amine paired up to release a breezy, low-stakes album, but that's not the focal point here.  The reason "Master P" was chosen is because of Big Sean being absolutely locked in and skating on his guest verse.  I used to make fun of him alot, but he's got a lifetime pass for whatever goofy thing he does next after bodying this song.

Kicksie - "You're On"

I love the way Kicksie is able to sound homespun but never amateurish on "You're On" and the rest of her songs.

Killer Mike - "Scientists & Engineers" (feat. Andre 3000, Future & Eryn Allen Kane)

As of the writing of this list I have neither listened to Andre 3000's flute album nor the entirety of Killer Mike's album, but I made time for "Scientists & Engineers" when I heard there was a Three Stacks verse on it.  The verse itself isn't mind-blowing -- I think he's become too in love with unconventional flows in his hiatus era -- but it's nice to hear him rapping anyway, and Killer Mike closes it out nicely with his verse at the end.

Larry June - "Turkish Cotton"

A good way to find new rap is to just pay attention to who The Alchemist is releasing collab albums or EPs with.  I wasn't familiar with Larry June before this year's The Great Escape, but his drowsy rapping style is unique and intriguing.  I don't necessarily know if I need it for a full tape's length, but it works well on "Turkish Cotton."

Life in Vacuum - "Hugo"

"Hugo" reminds me of a harder Interpol.  It's a shame the music press has moved away from championing this kind of music, because I'm sure there are many bands doing it that we just never hear about.

Lil Uzi Vert - "Flooded the Face"

When Lil Uzi Vert's unwieldy, genre-agnostic The Pink Tape first dropped, I loved it.  Even with the choices that didn't work, like including a cover of System of a Down's "Chop Suey"(?!), I respected the batty vision.  As the year went on, it fell lower in my rankings because I just never really wanted to revisit it, but album opener "Flooded the Face" has never fallen out of my favor.  It reminds me of the six-song salvo that opened Eternal Atake, where he's just rapping like there's no tomorrow.  If there was more of this on The Pink Tape, it might've had a little more staying power.

Liquid Mike - "American Record"

The groundswell around Liquid Mike on DIY Music Twitter that made them go from a band that had a few dozen monthly listeners on Spotify to a few thousand was one of the most heartwarming things to happen on the internet this year.  And it happened to a really deserving band and album.  Once I got annoyed enough by the constant tweeting about Liquid Mike Hive, I finally gave S/T a listen, and it turned out to be an excellent, short-but-sweet power-pop album.  The thought of shredding, weapons-grade catchiness like "American Record" going largely unheard before the grassroots campaign made more people aware of it is almost too tragic to bear.

Loma Prieta - "NSAIDs"

"NSAIDs" alternates between pretty and pummeling beautifully.  I tried this Loma Prieta album even though it's out of my comfort zone, and while I didn't love it, this song does rule.

Meet Me @ the Altar - "Say It (To My Face)"

Zoomers need Hot Topic pop-punk too, and Meet Me @ the Altar ably fulfill that need on the punchy, snarling "Say It (To My Face)."

Mickey Diamond - "Chrome Dome"

The cover of Mickey Diamond's Oroku Saki pays homage to MF Doom's Mm...Food? album cover, and its song titles that reference the Ninja Turtles even feels like something Doom would've done.  But Diamond's deep, booming voice is something else entirely, and it elevates this project past mere imitation.

Militarie Gun - "Big Disappointment"

"Do It Faster" is everybody's pick from Life Under the Gun, but I'm going with "Big Disappointment" because I love its off-speed pitch rhythm in the verses before that massive guitar-crunch chorus.

MSPAINT - "Delete It" (feat. Militarie Gun)

Every time I hear a band described as synth-punk, I want them to sound like Death From Above 1979 and they never do.  MSPAINT doesn't either, but I like their brand of shouting phrases over blaring keyboards on "Delete It."

Nation of Language - "Too Much, Enough"

For some reason, Nation of Language never clicked with me before this year.  I would listen to their singles dutifully because on paper, a band bringing back the synth-pop sound of New Order and early Depeche Mode sounds like it should be my thing, but it never had enough of a spark for me.  I don't know what changed, but I love a handful of tracks on Strange Disciple, including "Too Much Enough."  It's lithe and fun, and there's something almost mischievous about the tiptoeing bassline that forms the backbone of the chorus.

The National - "Space Invader"

This year, The National put out two albums that were solid but nowhere near the peak of their powers, and there's a big explanation for that: They have one of the best drummers in rock music and they don't let him cook anymore.  On Laugh Track's "Space Invader," they finally do, and it's their best track in at least a few years.  Just a great six-minute song that builds until it boils over into a classic Bryan Devendorf drumming clinic.

The New Pornographers - "Pontius Pilate's Home Movies"

It's an absolute crime that a New Pornographers song called "Pontius Pilate's Home Movies" wasn't written by Dan Bejar, because that's such a Dan Bejar title.  But the rest of the crew do this lean, catchy song justice in his hiatus from the band.

Nova One - "Best / Worst"

This year I didn't listen to much of The Alternative's weekly Friday playlist, where I usually get alot of the tracks for this list, but "Best / Worst" is one I owe to them.  I had a Nova One song on this list a couple years ago (also thanks to The Alternative), and like that song, this one has a classic quality to it where you can imagine them singing over Phil Spector production if they were around in the 60s.

Ok Cool - "normal c"

The noodly guitar style of Midwest emo can get a little boring after a while, but I really enjoyed the spin Ok Cool put on it on fawn.  Album highlight "normal c" shows how well the band locks in, making it sound like the instruments are braided together.

Oneohtrix Point Never - "Krumville"

Along with scoring the terrific show The Curse, Oneohtrix Point Never put out a new album this year.  True to its title, Again spans the sounds of Daniel Lopatin's whole career, often in the course of one song, as on "Krumville."  What starts as a glitchy electronic track eventually gives way to more ambient sounds, then to a hypnotizing guitar loop, and then a full-blown song with vocals.  Past, present, and future sewn together.

Origami Angel - "My PG County Summer"

The Brightest Days could be seen as Origami Angel's mature album, although not in the usual sense where that means a band releases a record that's slow and boring.  It's mostly just that there aren't any lyrics about chicken nuggets and Nickelodeon cartoons on this one.  But they're still producing sugary emo music to get you hyped up.  "My PG County Summer" does just that -- its fizzy guitar and keyboard-led chorus hits like a tsunami.  And its lyrics are surprisingly thoughtful amidst all the fun, reminiscing on what it's like to grow up in the DC area, where political outsiders are constantly encroaching on your home.  The Brightest Days didn't get as much shine because it was labeled as a "mixtape," but it's just as substantial as their official albums.

Palehound - "Independence Day"

Over killer guitar work, "Independence Day" sketches out a breakup narrative that occurs on the 4th of July.  It's funny and painful all at once.

Paramore - "Thick Skull"

Who would've thought in 2005, when pop-punk band Paramore and UK indie quartet Bloc Party released their debut albums, that one day the former would release something that sounds alot like the latter.  You can hear the spiky remnants of mid-2000s post-punk all over This Is Why, on songs like the title track, "The News," and "C'est Comme Ca."  That last one even features talk-singing portions in the vein of current post-punk greats like Dry Cleaning.  They're so committed to this new sound of nervy anxiety that we don't get a classic Hayley Williams vocal performance until "Thick Skull," which closes out the album.  But it's well worth the wait -- her wail in the second chorus is enough to crack the earth wide open.

Pi'erre Bourne - "Lessons"

Pi'erre Bourne is one of the best producers in the world and one of worst rappers, and that disparity continues to produce oddly satisfying results on "Lessons," as he drops one dopey bar after another on one of his trademark melted Jolly Rancher beats.

Pony - "Sucker Punch"

Like they did on 2021's TV Baby, Pony continue to provide that fuzzy, methadone Charly Bliss sound on Velveteen with songs like "Sucker Punch."  It's got a candy coated hook that's sticky and irresistible.

Poppy - "The Attic"

Remember my Poppy phase? I stopped paying attention to her music once she went the nu-metal pop route, but she seems to have left that sound and also slowly dropped the performance art aspect of her persona.  As someone who's been away for a little while, it's honestly bracing to hear a song as sincere as "The Attic," but it's a terrific new look for her.

Redveil - "giftbag"

I remember listening to Learn 2 Swim from the then-18 year old rapper Redveil and thinking it was promising but not quite there.  It turns out all it took was one year to figure things out, because he sounds fully formed on his playing w/ fire EP.  The fact that he produces his own songs makes it all the more impressive when you hear something like "giftbag," whose beat has so much going on -- pianos, a soul sample, sounds I can't even identify -- but never feels too busy.

Ringlets - "Made of Mist"

I think I heard about Ringlets from a few Stereogum commenters.  Big ups to them, whomever they may be.  "Made of Mist" is fun guitar music and sometimes that's all you need.

Roc Marciano - "DNA"

The beat on "DNA" sounds menacing, and that's where Roc Marciano performs at the highest level.  Best bit of Roc Marciano's inimitable phrasing here: "What I do with the loose leaf is immune to critique."  

Romy - "The Sea"

The xx were a band that I never had much use for outside of a few tracks, but I've liked all of the members' solo work more.  Straight up dance tracks like "The Sea" are the perfect backdrop for Romy's flat-affect vocals.  And that guitar line pierces through the beat like a lighthouse beam in the night sky.

Rosie Tucker - "fizzy water"

In lieu of a new proper album, Rosie Tucker graced us with an experiment called Tiny Songs Volume 1 this year which, just as advertised, features 12 bite-sized tunes ranging from 34 seconds to a minute and 17 seconds long.  But despite the length, it's packed full of ideas, amazing melodies and killer hooks.  Listen to the 48 second "fizzy water" and tell me that isn't a total banger.  It's almost cruel for Tucker to cut these off when they're just heating up.

Sabrina Carpenter - "opposite"

"Opposite" is about being upset that the new girl your ex is dating looks nothing like you, which is such a killer concept.  On that alone it deserves a spot here, but it's also musically terrific, carried by Carpenter's airy voice, and full of memorable lyrics ("If you wanted brown eyes, I could've worn contacts" always makes me laugh).

Sada Baby - "Playeration"

I don't keep up with Sada Baby as much as I did a few years ago, but I listened to Shonuff and was happy to hear that he's returned back to the wild energy that made me love him in the first place.  "Playeration" is just him shouting crazy bars for two and a half minutes and it's glorious.

Sigrid - "Ghost"

Sigrid has always been on my radar as somebody to check out, because people who love B-tier pop stars (non-derogatory) really love her.  Starting with her 4 song EP The Hype from this year felt like a easy entry point, and I happened to enjoy these catchy, no-frills songs.  Oddly enough, my favorite of the bunch is the power ballad, "Ghost," which showcases the smokiness in her voice that gives it real personality.

Slow Pulp - "Carina Phone 1000"

Some people just have a voice that makes you sad.  I mentioned in my Frankie Cosmos entry that Greta Kline is one of those people.  Soccer Mommy's Sophie Allison is one of those people.  And Slow Pulp lead singer Emily Massey is also one of those people.  In the middle of their excellent Yard, they drop two downer classics with the self-titled track and "Carina Phone 1000."  For a long time, "Yard" was my frontrunner, but I've come back to "Carina Phone 1000" so many times whenever I just want to feel blue.  The dejected way Massey sings "That's life, I guess..." in the chorus hits every time.

Speedy Ortiz - "Emergency & Me"

Speedy Ortiz is one of those bands you can check in on every now and then and feel the relief of knowing they're still around doing their thing.  And "Emergency & Me" is very much their thing of smart, tangled guitar pop.

Spiritual Cramp - "Can I Borrow Your Lighter?"

Reviews of this Spiritual Cramp record always namecheck The Clash and The Stooges, but all I hear is bands that I listened to in middle school like Franz Ferdinand and The Futureheads, back when describing something as post-punk meant that it was "catchy and angular," not "the most droning, boring music you can imagine."  There's something in the production and guitar sound of "Can I Borrow Your Lighter?" especially that sounds so 2005 to me, in a good way.

Spoon - "Silver Girl"

Spoon is so consistent, even their B-sides are great.

String Machine - "Out Loud"

Hallelujah Hell Yeah by String Machine was one of my favorite albums last year, and if the EP they put out this year is any indication, they haven't lost any of the heat they had.  What makes them great is they can do maximalist, lush indie rock but they're equally effective at doing a pared-back track like "Out Loud."

Superviolet - "Big Songbirds Don't Cry"

The Sidekicks run as a band occurred when I wasn't really tapped into that corner of music, but they seem like something I'd like, especially if the lead singer's post-Sidekicks project Superviolet is any indication.  This is more in the rootsy-vein than the full band seemed to be, but there's some killer songwriting and subtle infectiousness here.

Sweeping Promises - "Walk in Place"

If you ever wanted to hear New Wave music with lo-fi aesthetics, then Sweeping Promises are the band for you.  I'm not as hot on this album as critics seem to be, but "Walk in Place" is a nice DIY take on Blondie.

Tanukichan - "Take Care"

The main guitar riff of "Take Care" is very similar to "Uncalley Valley Forever" by the band Courting.  I don't have much to say other than it sounds great both times.

Taylor Swift - "When Emma Falls in Love"

I never thought the day would come, but I finally got a little sick of Taylor Swift in 2023.  She's everywhere!  I'm tired of seeing her and hearing about her!  Even the onset of Swiftie fatigue isn't enough for me to not recognize a high quality tune when it comes my way.  After all of her transformations throughout her career, there's nothing quite like her tapping into the youthful longing of her early days, which Speak Now vault track "When Emma Falls in Love" reminds us.  Last year, I teased a Taylor Swift project I'm working on that didn't come to fruition, but 2024 feels like the year it happens.  I just need her to take a nice break from the spotlight so my enthusiasm can recharge.

Teenage Halloween - "Getting Bitter"

It's a well established pattern that if a band has a male and a female vocalist, I will always like the latter's songs more.  Such is the case with the catchy punk band Teenage Halloween and the song "Getting Bitter."

Texas 3000 - "Connector Fuck Man"

Texas 3000, who hail from Japan, were initially pitched to me as Yuck meets Feeble Little Horse, which is a quick way to get me to listen.  I don't really hear much of either of those bands, but that doesn't matter, because this is excellent guitar music no matter what lens you view it from.  "Connector Fuck Man" is constantly moving forward -- it's got about 5 different guitar parts that'll make your hair stand up.

Tinashe - "Talk to Me Nice"

Tinashe is not an artist I usually check out full projects from, so BB/ANG3L caught me off guard when I did give it a spin.  All seven songs are fantastic, forward-thinking R&B, but "Talk to Me Nice" is on another level.  She's in complete command over that woozy, churning beat.  Words don't do it justice -- it's a vibe you have to experience.

TisaKorean - "SiLlY MoAn.mP3"

Even with the knowledge that music trends come in 20 year cycles, I still never imagined that the ringtone rap of my adolescence would have a revival.  But here we are, with the delightfully dumb, annoyingly catchy "SiLlY MoAn.mP3."  TisaKorean's Let Me Update My Status is entirely like this and I can't stomach all of it together, but it's very fun in individual pieces.

Tyler the Creator - "STUNTMAN" (feat. Vince Staples)

You'll recall that CALL ME IF YOU GET LOST renewed my interest in Tyler the Creator, so I was happy when he released a deluxe version of it this year with eight new songs.  I like those tracks, although they veer back into that Igor and Flower Boy territory that I didn't really vibe with.  That's why "STUNTMAN" is my favorite, because it's an unequivocal rap song -- just Vince Staples and Tyler going back and forth on a beat co-produced by Pharrell.  Hopefully he stays in this lane for the next album.

White Reaper - "Fog Machine"

White Reaper had a song in a Taco Bell commercial earlier this year, and for reasons that are hard to explain, that feels perfect.  Imagine driving on the freeway and ripping through a cheesy gordita crunch while listening to "Fog Machine."  How happy did that make you?

Wilco - "Evicted"

Man, I have just not been vibing with Wilco albums for a while now.  I guess the last one I fully liked was Star Wars?  I'm picking "Evicted" from Cousin, because it's one of the few that sounds like it's got energy.  Jeff Tweedy is actually singing instead of drowsily dripping words out, and the instrumentation has a brightness and warmth to it.

Wye Oak - "TNT"

Every Day Like the Last is a compilation album where six out of nine songs are singles that were released dating back to 2019.  But since I never listened to those, this is all brand new to me, and this just feels like a regular Wye Oak album.  And viewed from that angle, it's a rather good one.  "TNT" may be an explosive title, but the song is anything but.  Instead, it moves you like a lazy river, carried by Jenn Wasner's beautiful voice and lovely instrumentation.

Yeat - "My Wrist" (feat. Young Thug)

Young Thug showing his sons that they still can't do it like him.

Yo La Tengo - "Aselestine"

Admittedly, I haven't given Yo La Tengo's loose, jammy This Stupid World enough listens, but every time I do, I'm knocked flat by the gorgeous "Aselestine" arriving like a reverie in the midst of a storm.

Young Nudy - "Shrimp"

In many ways, I feel that I'm losing touch with rap music and that my grip on the genre is slipping as I get older and the genre continues to move at a faster pace.  But nothing makes me feel more alive than Young Nudy putting out a new album, me sampling it to find the ones that have weird/cool beats, and listening to a playlist of those over and over.