The best music of 2023 could be found across multiple genres, from pop and R&B to folk and alternative. The following list features 20 of In Between Drafts’ favorite albums of the year. These might not be your favorites, after all, year-end lists are a subjective thing, but this one is intended to give our readers and idea of what our music writers loved this year. As to be expected, some of these albums already appeared on our midyear list.
Before we get to the list proper, we’d like to mention a couple albums that just nearly missed out: ¿Quién trae las cornetas? by Rawayana, O Monolith by Squid, The Record by Boygenius, World of Hassle by Alan Palomo, Get Up EP by NewJeans, and Everything is Alive by Slowdive.
Now, without further ado, here are In Between Drafts’ 20 favorite albums of 2023.
20. Driveways – Epilogues II
Every time Driveways releases a new album, I know fall is officially upon us. Epilogues II might be one of their shorter albums —more akin to an EP than a full length album with only four songs— but that doesn’t make it any less of a banger. Driveways sticks to their Halloween aesthetic once again and it pays off well. Pat Finnegan’s vocals blend well with Ryan Passariello and Derek Serino’s backing tracks most notably on tracks such as Resurrect and November First. Their consistency shines through in each of the four songs once again in Epilogues II. They know what they do well and they stick to it in ways that elevate the listening experience. I expect nothing less from my most listened to artist on Spotify this year. [Kayla Chu]
19. WITCH – Zango
On their first new album in over 40 years, the Zambian rock band WITCH (We Intend to Cause Havoc) present themselves as if they never faded away in the early ‘80s. Zango not only features the psychedelic fuzz-rock that made them famous on tracks like “By the Time You Realize” and “Streets of Lusaka”, but also spaced-out on funk on “Unimvwesha Shuga”. The album is a good time, and serves as a great reintroduction to one of the best bands of the 1970s from anywhere in the world [Ryan Gibbs]
18. Home is Where – The Whaler
In an era where emo music has busted down the walls of being confined to an easily labeled “genre”, Home is Where stands head and shoulders above their peers through sheer weirdness and a clear love of the scene that paved the way for them. The Whaler is as unique as they come, a record where Neutral Milk Hotel styled folk jams get injected with black metal blast-beats before morphing back into anthemic punk sing-alongs, taking listeners on a surreal journey that will leave you feeling like you just took a joyride through the bowels of America’s swampiest burned-out highways. With a fixation on topics like the absurdity of human body – get ready lots of vivid lyrics about guts and organs – and our modern political hellscape on tracks like the album’s heaviest cut “everyday feels like 9-11”, Home is Where conjure up the feelings of being untethered in a world moving too fast for its own good. Luckily for us, they managed to pull it off in a way that feels as hopeful as it does cynical, unleashing a record that should go down in the books as a modern emo classic. [Quinn Parulis]
17. Tinashe – BB/ANG3L
Tinashe returns with the sizzling, electric album BB/ANG3L. The album thrums with her sweet vocals that work in tandem with the lyrical sensuality. At only 20 minutes with seven songs, the album is a quick, addictive listen, as we venture through variations of R&B, trap, and soul stylings. “Gravity” is perhaps the strongest on the album, a perfect combination of movement and beats before descending into a slower, breathy chorus that defines her greatest strengths as a versatile singer. There’s a thrilling amount of experimentation as she dabbles in new genres and influences, suggesting an artist that is on her way to developing even greater works that better fit her tastes and significant abilities. [Allyson Johnson]
16. Armand Hammer – We Buy Diabetic Test Strips
Armand Hammer’s latest record is nothing short of enigmatic, a testament to the duo’s perpetual mystique. Collaborating with a cadre of great producers, including the noteworthy JPEGMAFIA, We Buy Diabetic Test Strips is elusive, moody, and even frightening at times. These soundscapes show a digital dystopia; A world of glitches and errors. The duo’s lyrical content remains as esoteric as ever. Somehow, despite this, the record is incredibly consistent. Each moment flows beautifully into the next. Each track is a sonic labyrinth, challenging listeners with intricate beats and thought-provoking lyricism. Armand Hammer remains an avant-garde force, pushing boundaries and reaffirming their status as unconventional maestros of the rap game. [Mark Wesley]
15. Koyo – Would You Miss It?
Say whatever you want, but Koyo dropped the best album of the year in my book. They get bonus points since we’re from the same place, of course, but that doesn’t mean Would You Miss It? isn’t an amazing album on its own. Would You Miss It? has a mature sound to it that hasn’t been present in previous albums. Flatline Afternoon and You’re On The List (minus one) are two songs in particular that stand out to me. Both feature strong vocals and lyrics from Joey Chiaramonte along with spectacular drums from Sal Argento. Would You Miss It? reminds me of the old school sound that came from the Long Island hardcore bands I grew up listening to — the same bands Koyo most likely listened to as well. It’s an amazing album from a band that consistently puts out music that is second to none. [Kayla Chu]
14. King Gizzard & The Lizard Wizard – Live in Chicago ‘23
Australian musical omnivores King Gizzard & The Lizard Wizard have conquered so many genres that their live shows had already become exploratory and voluminous before the pandemic. After they emerged from their temporary live hiatus, however, the band began to resemble that all-American of institutions: the jam band. Gizz released several live albums this year, all of which featured jams and sprawling sets with their unique antipodal twist. Live at Red Rocks ‘22 acted as their coronation to the jam band world, but it is Live in Chicago that codified their place. Over the course of the three complete concerts, the band sprawls “The River” out into a 22 minute acid-fried adventure and “Shanghai” into a 12 minute space odyssey. “Magma”, “Boogieman Sam”, “Trapdoor”, “Wah Wah” and more receive definitive live versions as the band bounces from psychedelic rock to jazz to synthpop to stoner metal all over the course of five hours. While that run-time might turn some off, those who choose to give it a go – either all in one sitting or over multiple sessions – will hear one of the best live rock bands in the world at the height of their powers. [Ryan Gibbs]
13. Jon Batiste – World Music Radio
World Music Radio is a fascinating and profoundly endearing listening experience that showcases Batiste’s unique ability to transcend genres and blend the sounds of different cultures, realities, and traditions. This concept album, anchored around a supposed transmission from space by an intergalactic DJ called Billy Bob Bo Bob, creates a soundscape that feels like an expansive ode to all kinds of music, from gospel to reggaeton. The album soars in quiet and tender moments, such as the lullaby “Butterfly,” and in anthems inspired by gospel and Native American music, such as “Raindance” (featuring the Native American quartet Native Soul). WMR’s unique texture and eclectic collection of collaborators, including Lil Wayne, Kenny G, and Camilo, make it one of the best albums of the year and a testament to the power of music to connect humanity. [Pedro Graterol]
12. Julie Byrne – The Greater Wings
Julie Byrne’s The Greater Wings is a poetic sonic odyssey, seamlessly blending folk intimacy with ethereal expanses. Her haunting vocals weave through intricate guitar melodies, crafting an introspective landscape. The album unfolds as a contemplative journey, where Byrne explores themes of grief, self-reflection, and, most of all, gratitude. Let it be clear: this is the benchmark for singer-songwriters. Byrne’s words are akin to watching a painter begin on a new canvas. Her words echo through the space and weave crushingly beautiful images: blood on sheets, someone lighting a cigarette, and taking a walk where “Venus shines.” “Conversation is a Flowstate” is the album centerpiece. On it, Byrne’s words possess a strange, otherworldly warmth. She reassures us, even during these terrifying times, and when you have all these different emotions vying for priority, you have “permission to grieve.” [Mark Wesley]
11. Paramore – This is Why
Hayley Williams might’ve been one of the most productive artists trapped by the COVID pandemic. Not only did she drop two solo albums (2020’s Petals for Armor and 2021’s FLOWERS for VASES / descansos) that were surprisingly off-brand for the pop-punk titan, but she apparently discovered a love for crunchier guitars and smarmy indie rock. This is Why is a bit of a contradiction for Paramore, being both musically-restrained and still very angry. The likes of “Running Out of Time,” “The News,” and the title track have a restrained and stripped-down mix to them, making Williams’s scratchy vocals and Taylor York’s sharp riffs stand out all the more. Though they’ve matured in a lot of ways since the heyday of Warped Tour, Paramore still has fun with their age running on “spite and sweet revenge” while also stuck in chiropractor appointments and caffeine cutoffs. [Jon Winkler]
10. Sampha – Lahai
It’s been six years since Sampha laid his personal grief bare on a record. His voice still carries a heavy heart and angelic comfort to it, but thankfully he’s talking about revitalization this time around. Lead single “Spirit 2.0” has the London singer-songwriter floating into the unknown, not afraid but reassured that faith, love, and time itself will protect him in the darkest times (“I was caught by the wings of my people/Then you pick me up in your two-door/Hit the country roads, peaceful”). Whether he talks about personal growth, intimate connections, or Richard Bach books, Sampha uses his delicate voice and immaculate production skills to guide the listener through a warm dreamscape that’s one of the most emotionally refreshing listens of the year. [Jon Winkler]
9. 100 Gecs – 10,000 Gecs
When I first heard the 2019 debut album of this musical project by Laura Les and Dylan Brady, I kept thinking that this combination of ska, nightcore, and the overall feeling of the Gen-Z internet would not be sustainable in the long run. After all, how much can you push this level of intensity without breaking? However, their follow-up 10000 Gecs truly lives up to its name. It increases the intensity, the freneticism, the samples, and the feeling of hearing something both similar and profoundly unfamiliar. This album truly has everything: animal sounds, interlaced harmonies, movie samples, and a relentless percussive soul. I can’t think of a better artist that captures the zeitgeist of the internet. [Pedro Graterol]
8. Wednesday – Rat Saw God
Country and shoegaze? They go together better than you think they would on Wednesday’s fifth album Rat Saw God. The band mixes lyrical intricacy with swirling guitars, demanding you hear Karly Hartzman’s voice above the chaos. On “Quarry”, Hartzman details the sometimes-messy lives of various neighborhood characters, from the bitter old lady who gives out full-size candy bars on Halloween to the fuck-up who lit acres of cotton on fire with model rockets. On the epic “Bull Believer”, she is overtaken by a wall of guitar fuzz as she recounts watching someone play Mortal Kombat late at night over New Year’s. The album is one of the best rock records of the year, and a great portrait of a band on the rise. [Ryan Gibbs]
7. JPEGMAFIA & Danny Brown – Scaring the Hoes
For someone who makes such wild and unhinged music, you’d think it’d be impossible for JPEGMAFIA to find someone that can match his off-kilter creativity for a whole album. Then again, Danny Brown has been working on warped beats and freaky flows for over a decade so a team-up between him and the Baltimore native makes a whole lot of sense on paper. Thankfully it’s also a blast in practice: just 36 minutes of mind-melting audio blasting at 11 while two of the most intense rappers blast bars into the ether. The duo flawlessly bounce off the dusty beats on “Steppa Pig” and stuttering electronics on “Fentanyl Tester,” occasionally reaching moments of euphoria on “HOE (Heaven On Earth)” and the exceptional “Kingdom Hearts Key.” The album’s world of nostalgic sound bites (ranging from LL Cool J classics to a Brock Lesnar promo) and viciously chopped-up beats is one that Peggy still dominates, but Brown makes a good cartoonish twin laughing at all the madness his new best friend is cooking in the kitchen. [Jon Winkler]
6. Yeule – Glitch Princess
Synthpop singer yeule returns following her experimental, 2022 album Glitch Princess with the pop influenced softscars. Undeniably infectious with songs such as “cyber meat,” “daizies,” and “inferno” making for formidable songs that shake and rattle with the singer’s distinctive tones, softscars shows an fully embracing their own vision. Their ethereal vocals are put on display over buzzing instrumentation as the vocalist crafts otherworldly, alien productions that resemble genres we know from dance and synthpop to underground grunge without ever succumbing to familiarity. Futurist without ever trying too hard to achieve a certain aesthetic, yeule is the natural next step to an artist like Grimes. Every part of their sound stands out as their own, aided too by confident, raw lyricism that reveals an artist coming into their own as a person, an artist, and the intersection of both. [Allyson Johnson]
5. Aminé and Kaytranada – Kaytraminé
I love when an album shows up on my radar out of nowhere and takes me by storm. Kaytraminé is a collaborative album between Aminé and Kaytranada is that album for me this year. Amine’s lyrics are, as always, catchy. They’re clever in a way that very few rappers are able to make work in a way that doesn’t seem like they’re trying too hard. Additionally, Kaytranada’s production is top tier on Kaytraminé. The samples and beats work so well with Amine’s flow that the combination of the two feels devilishly natural. This album is definitely one that sounds like a movie soundtrack — and I would listen to it on repeat. [Kayla Chu]
4. Olivia Rodrigo – Guts
Following her debut album Sour, Olivia Rodrgio returns for her sophomore album, Guts, as a certified pop-star. Rodrigo continues to imbue her songwriting with an elevated, Taylor Swift-inspired, heart-on-her-sleeve gusto, mixing ballads with absolute head bangers. Clearly inspired by 90s women lead alternative as well as the mid-2000s emo scene (Paramore in particular) her album is a journey through an artist embracing her own style while selecting pieces of recent music history to sprinkle throughout. “Vampire” remains her most impressive vocally but it’s songs such as “All American Bitch,” “Ballad of a Homeschooled Girl,” and the anthemic “Get Him Back” that fully embrace her eclectic, yet singular sound. Guts confirms that she’s this generations Taylor Swift but don’t let that define her. She’s much more too with her insightful, self-deprecating lyricism and ability to craft melodies and hooks that will be stuck in your heads for days. [Allyson Johnson]
3. Caroline Polachek – Desire, I Want to Turn Into You
Love is sung about a lot in pop music. One could argue it’s probably THE most prominent topic for songwriters of all genres. But what about desire? Real desire can seem carnal, almost obsessive. Who said yearning is out of style? Caroline Polachek’s Desire, I Want To Turn Into You delves into the intricate themes of love and desire, transcending mere emotion. It’s something she wishes to embody and for another to join her in. Sonically, with producer Danny Harle, the record is a densely layered pop opus with near alien-like vocal harmonies on “Billions” and “Hopedrunk Everlasting.” If Pang was Polachek’s entry statement into the world of alternative pop, Desire is her putting a stake into the scene. Desire is here and she’s not leaving any time soon. [Mark Wesley]
2. Parannoul – After the Magic
After the Magic is unmistakably a Parannoul album, but is an entirely new beast in mood and makeup. After the Magic insists on optimism and euphoric joy to an almost cinematic degree – this is one of those albums that sounds just like its cover looks – coloring everything in a invitingly blissed out blanket of relaxation, and is a remarkable feat for an album that is as dense and busy as it is for almost every second of its runtime. In that regard the closest touchstones don’t lie in the bedroom pop and emo trappings that his past work recalled, but rather the overly saccharine and lush works by M83 on Dead Cities, Red Seas & Lost Ghosts, Sigur Rós on Takk and Porter Robinson’s recent Nurture. [Quinn Parulis]
1. Kali Uchis – Red Moon in Venus
Kali Uchis, the Colombian-American R&B sensation, presents a fluffy, layered, and dreamy world of luxury with Red Moon in Venus. This stunning album features a fantastic synthesis of hip-hop and R&B with a wide variety of Latin music, resulting in a pastel paradise heavily contrasted by sharp lyricism. For instance, on the track “Hasta Cuando,” she confronts haters by saying, “Paint me as the villain if that makes you feel better / Make everyone hate me if that makes you feel better.” In “Worth the Wait,” she reflects, “Most people don’t know how to love / That’s why they’re empty.”
The entire album is a fantastic exploration of themes like feminism, identity, love, and emotions that showcases Uchis’ artistry. It never feels overbearing, ensuring that each track is essential in both constructing its ethereal atmosphere and conveying its complex ideas. Truly, one of the best listening experiences of the year. [Pedro Graterol]
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