The 100 Best Songs Of 2023

The best single tracks 2023 had to offer.

Dec 14, 2023

According to Spotify, I listened to 68,050 minutes of music in 2023. And it took every single one of them to whittle down the best 100 tracks of the year. They are as follows, with each entry including a YouTube link to the song, as well as a Spotify playlist of all 100 songs linked at the bottom. Here we go!

The first teaser from Bleachers’ upcoming record is a raucous, millennial party anthem. Jack Antonoff taps into his superproducer powers and makes this one mightily catchy. LISTEN

With her hot girl attitude and forward-thinking pop aspirations, Charli XCX was a natural fit for the Barbie soundtrack. “Speed Drive” samples Robyn and her cover of “Cobrastyle” for a song that soundtracks one of the movie’s most memorable sequences, a chase through Mattel’s headquarters. But even outside of the film, it’s another winner for an artist never content with sitting still. LISTEN

Janelle has spent a decade building her career as both a musician and actress, and since 2018’s Dirty Computer, she’s reached a hell of a career peak. She celebrates her accomplishments on “Float”, a rap-heavy track that still has the melodic intricacies I’ve come to love from her music. She glides around on catamarans, buys expensive clothes, and celebrates her own sexual liberation. It’s quite the victory lap, and definitely a deserved one. LISTEN

No matter how old you get, the titillation one can feel from initial attraction remains one of life’s greatest feelings. “Shiver” is a tribute to that, with Karin Dreijer feeling just that to girls with thick thighs, a feeling I know all too well. LISTEN

On the heels of their breakout 2022 record, The Beths dropped a non-album single that could’ve easily made that record. “Watching The Credits” has all the breezy elements that make that record great, wrapped around movie metaphors galore. These guys rarely miss. LISTEN

The Swedish duo’s first record in a decade was a disappointment to me, leaning too hard into club music rather than the sweet sweet synthpop of their early career. That being said, I did find “I Want You” to be a worthy addition to 2023’s pop playlists. It’s the closest they get to the DGAF attitude of their early work, and their scream-at-the-top-of-your-lungs vocals pair well with a beat cooked up by Galantis. It’s a great throwback to when Icona Pop was a dominant pop force. LISTEN

For years, Night Flight Orchestra has been my go-to group for pure 80’s hair metal nostalgia, and their latest single is everything you’d expect and want. “The Sensation” has overdramatic vocals, a singalong chorus, and synth leads that’ll give you a mullet if you aren’t careful. It’s modern classic rock done right. LISTEN

Our favorite plucky 90’s alternative worshippers are back with a single that hints at more catchy alt-rock to come. Eva Hendricks’ voice is as nasally and spiteful as ever, and she still has a penchant for sticky one-liners. It’s a good sign that Charly Bliss know their niche and continue to dominate it. LISTEN

“Blades” is a fascinating point in Arlo Parks’ career. Lyrically she’s become more dense in her examinations of young love, and the instrumental incorporates more synths than she’s ever used before. It’s a great track for a young musician who continues her artistic evolution. LISTEN

A breezy beat from Kaytranada is all that Aminé needs to turn in one of this year’s summer bangers. Pharrell floats around as well, all while Amine gives us way too much detail on his private life. On a purely vibes-based level, “4eva” is one of the best 2023 has to offer. LISTEN

Chromeo knows what they’re good at, and “Words With You” doesn’t mess with the formula. It’s a straightforward electro-funk jam about a failure to communicate, with a ridiculously catchy bridge towards the track’s end. Dave 1 and P-Thugg make it pretty clear; no Q&A’s, no interviews, just fun. LISTEN

Throughout “For Tomorrow”, laziness and anguish pervades. Our protagonist constantly finds himself at the corner of a liquor store, further eroding what respectability he had. His concerns are never for tomorrow, yet the boisterous instrumental brings a sense of urgency to his plight. Joe Casey’s bellowing voice may not help this character’s plight, but it makes this track highly captivating. LISTEN

Jenny Hval and Havard Volden tapped into a little more conventional pop music on their latest record, and the results are great. “With The Other Hand” has a solid melody with a quicker runtime, but the whispered vocals keep their experimental origins alive and well. LISTEN

We’ve got a release date for the Baltimore band’s next LP (January 26 of 2024) and a single to drive some excitement. “The Tower” has all the hallmarks of a great Future Islands song: a driving, groovy bassline, moody synths to set the scene, and Sam T. Herring’s deep-as-the-ocean-floor voice that’s as magnetic as ever. LISTEN

The sessions for 2022’s THE UNRAVELING OF PUPTHEBAND were highly successful as evidenced by both that record and the follow up EP of extra material. The best song from that EP is “How To Live With Yourself”, which measures up well with the preceding record. PUP’s knack for making feeling bad feel so good is here, with wildly self-loathing lyrics and a punky instrumental that catches your ear immediately. LISTEN

It’s no understatement to say “I Got My Tooth Removed” is one of the zaniest songs 100 gecs has ever produced. It sees the fusion of glitch & ska the duo has used on songs like “stupid horse” done to perfection, complete with obnoxious horns, slap bass and frequent “pick it up” lines. It’s a wildly fun combination that’s elevated by, yes, lyrics about getting your tooth removed, much to Laura Les’ chagrin. Dental care has never before been this fun. LISTEN

The fire that Howard emits on “What Now” is enough to singe you through words alone. The title track to her upcoming record rattles with spite, not so much asking a question but making a statement. The soul of the song is laid bare, both in the groovy instrumental and Howard’s voice. It’s a promising start to what could be one of next year’s best records. LISTEN

Like a modern day version of The Avalanches, Jungle mines the past for modern success. The highlight of their latest record is “Candle Flame”, a brisk bop that features vocals from Erick The Architect. It’s a bit hard to describe without hearing how tightly it’s produced, so do yourself a favor and put it on repeat. LISTEN

The level of rage accumulated by the end of “$20” is enough to power protest mobs for the rest of time. It builds and builds thanks to Bridgers, Dacus and Baker’s harmonies, with each singer often finishing the other’s lines for them. Bridgers’ outright screams at the end are searing, and will leave an imprint on many listeners, myself included. LISTEN

For once in her life, Mitski isn’t burned by love on “My Love Mine All Mine”. She celebrates love of others and self-love on this beautiful country-tinged track. Though the instrumental makes it sound like she’s all by herself in a western vista, her words show how truly enveloped in passion she is. LISTEN

To give up on an obsession that’s unhealthy for you is a liberating feeling. Nation of Language brings that feeling to life on “Sole Obsession”, blissfully separating from detrimental activity. Ian Richard Devaney’s cries of “I will stop limiting myself” are ushered in by the group’s trademark analog synthesizers, and those synths sound brighter than ever. LISTEN

Josh Homme has been through hell and back, through divorce, sickness and probably more. He unleashes some pent up rage on “Emotion Sickness”, which has all the hallmarks of a classic QOTSA smash. Homme sneers while rolling his r’s and dropping some great puns, while a bigger emphasis on drums and those punch-you-in-the-face guitars wraps the whole thing together with a bow on top. It’s so classic you’ll probably hear this one on a future Best Of album. LISTEN

The best track from Amber Bain’s latest record could be viewed two different ways: a fun song about sexting, or a song longing for connection with someone far away. She herself has viewed it as both, but whichever way you want to see it, you can’t deny it’s a simple, fun pop song. Sometimes, those are the best. LISTEN

The closing track to Daniel Lopatin’s latest project might be the best thesis for his take on electronic music. “A Barely Lit Path” distills warped synthesizers, mesmerizing strings, ghostly vocal harmonies and more over its six minute runtime. It encompasses elements of his past records like R Plus Seven and Garden Of Delete while forging a new path forward. While path may be barely lit, Lopatin’s endless creative mind is as bright as any of his peers. LISTEN

The king of vaporwave continues to do his thing. “I Been Young” isn’t anything you haven’t heard before, but hearing it done so well time in and time out makes it worth hearing again and again. LISTEN

After almost six years, the kids who gave us “Kids” are back with “Mother Nature”. But these kids are all grown up, and this new single is a coming-of-age that Oasis would be proud of. Its twinkly eyed vocals are like a hero’s journey, just trying to make it over the richly textured synthpop instrumental. It was a long wait for new MGMT music, but this first taste was well worth it. LISTEN

Under the guise of fuzzy indie rock, Hotline TNT questions the growth of a friendship on the excellent “I Thought You’d Change”. The sheer amount of noise only serves to make a strong rhythm stronger, with crashing drums and guitars pelting you with a joyous cacophony. Lead singer William Anderson pines for both more from a relationship and the return of innocence, almost using the song’s noise to shield himself from his conflicting emotions. At some point he’ll have to choose, but for now he’s brought forth some excellent sonic bliss. LISTEN

The relaxing nature of Helado Negro’s music percolates its way throughout his latest single. “LFO (Lupe Finds Oliveros)” brings elements of jazz, pop, folk music and his native Latin music together for a musical stream worth swimming down. Even if you don’t speak Spanish, the gentle delivery will still draw you in. LISTEN

Like daydreams of better times, Cut Worms’ voice is distant but welcoming. The lead single from his self-titled record beckons into the dream of the American West, no matter the heartbreak and pain that might accompany your journey. LISTEN

When you’ve been around as long as Superchunk has, things begin to hurt. Perhaps it’s the state of the world, perhaps it’s their back. Whatever it is, “Everything Hurts” attempts to destroy it through their tried and true grunge-tinged rock. Whether the pain goes away is up to you to decide, but at least the veteran group’s music still packs a punch. LISTEN

The more we live in this universe, the less sense it makes. That’s the core idea of “The Universe”, and Róisín does a magnificent job of celebrating the uncertainty. Vapid interludes break up Róisín’s carefree musings on the universe, sounding like a trophy wife full of wine and a poet at the same time. DJ Koze’s beat matches Róisín’s vibes to a T, and it’s easy to place yourself on the cruise ship towards peaceful oblivion the duo find themselves on here. LISTEN

The amount of shit Kesha has been through in her professional career is staggeringly high, and on “Only Love Can Save Us Now”, she seems to have no choice but to turn to a higher power to guide her. The Gospel-inspired chorus is another showcase for Kesha to show off her impressive voice, and it’s a beam of light amidst some of the grimiest beats she’s ever used. It’s an interesting dichotomy for an artist that continues to shine in the face of turmoil. LISTEN

The plain, honest questions Sufjan Stevens asks on “Will Anybody Ever Love Me?” are what set him so far above his compatriots as a songwriter. beyond that, it’s his ability to turn these straightforward questions about love into something wholly beautiful and heartbreaking. Accompanied by an airy instrumental and gorgeous background harmonies, Sufjan crafts up one of this year’s best ballads. LISTEN

The sheer amount of weird worlds that came from the sessions from Caroline’s latest record are evident by the album of course, but especially from loosies like “Dang”. The deadpans of “dang.” mixed in with name dropping Mary Poppins and a loopy, indescribable beat make for an electric song. The only thing kookier than the song is the fact that it didn’t make the main album! LISTEN

Phoenix is on a roll after last year’s “Tonight” with Ezra Koenig, and “Odyssey” continues the magic of collaboration with indie chameleon Beck. They produced it as a teaser for their co-headlining tour, and while you may not have attended one of those shows, this bubbly track gives you an idea of how high the vibes were. LISTEN

CHAI rarely overthink things, and on “PARA PARA”, there’s nothing more to the song than the desire to dance. Bandmember Mana has said as much, and the catchy beat will no doubt get you out of your seat. As the quartet has continued to evolve their music, they’ve utilized synths more and more, and “PARA PARA” has them using electronic instrumentation to full effect. LISTEN

It’s an impossible task to truly move on from the loss of a loved one, but “Under You” is Foo Fighters’ most valiant effort. The memories of Taylor Hawkins pervade every lyric of the song, and each time Grohl adds an extra oomph to the words, you can feel those memories in your own soul. It paints a vivid picture of a man Foo Fighters must live without, and the titanic chorus will chills you with its simple message. And despite its focus on one individual, the song is instantly relatable to anyone going through loss. LISTEN

Damon Albarn has written plenty of songs about love over the years, but “Barbaric” looks at it through the eyes of a wily veteran. The slow realization that this particular romantic entanglement isn’t working is approached at a brisk pace, with a classic Albarn melody guiding it forward. It’s strong work from a frontman and his band that’ve been making music for almost 30 years now. LISTEN

As far as horny club songs go, “Rush” is up there with the best. Troye Sivan wastes little time in letting his intentions be known: he has a target and he’s going to get what he wants. The brisk, groovy synth beat carries you through the sweaty crowd of the dancefloor, finding euphoria in the experience. It’s simple, direct, and catchy as hell. LISTEN

This could be the opening track to a feel good anime, and somehow, Fall Out Boy makes that corny idea soar. It’s definitely too goofy for some, but I love the upbeat melody and generally happy attitude the track has towards the world. It’s rare we get something so naively positive that doesn’t make me cringe. LISTEN

The older he gets, the better Killer Mike becomes at being a curator as well as a top rapper. “SCIENTISTS & ENGINEERS” really brings together a cast of characters, including trap icon Future and crooner Eryn Allen Kane. The biggest get is of course ATLien Andre 3000, who takes a break from making 20-minute flute songs to sound like vintage Outkast Andre. Mike is no slouch himself, putting power into every word he raps. The ethereal brings everyone together on one of 2023’s best collaborative rap songs. LISTEN

For as poor as most of her recent output has been, Kim Petras can still put out a banger when need be. “brrr” makes full use of its beat, sounding like it could be played in sweaty underground clubs. Kim coldly (pun intended) offers herself to be someone’s release, almost egging them on to take it all out on her. It’s nice and quick too, not overstaying its welcome with lame lyrical repetitions like too much of her latest music has. You only wish the rest of her music was this good, but at this point I’ll take what I can get. LISTEN

The way Sabrina Teitelbaum refuses to keep her violent thoughts contained on “Salad” parallels her rebirth as an excellent indie rock artist. She confronts the differences in justice between men and women in a searing fashion, backed by an instrumental that matches her furor. It’s a fiery mix, and something she’d have been incapable of nailing in her previous pop persona. LISTEN

As she gears up to release her 3rd studio album, Holiday Sidewinder has begun to master her tropical-infused pop stylings. “The Last Resort” leans hard into yacht rock, no doubt influenced by her daily life near a sandy paradise. Her voice makes a perfect pairing, sultry and humid like the vibes the song gives off. It’s a welcoming entry to what could be one of 2024’s best pop records. LISTEN

One of the more grizzly rock bands working today go by the name of Frog, but their best new track isn’t all that grizzled. Leaning into an unnecessarily groovy disco rock rhythm, lead singer Dan Bateman tells the tale of the Greek myth of Odysseus with his off-kilter vocals. Sounds strange? It is, and “Black on Black on Black” is better for it. LISTEN

Australia’s foremost pop star may be closer to the senior discount at IHOP than her peak club days, but she proves she’s as game as ever on “Padam Padam”, perhaps her raciest single ever. As she sings about her latest sexual encounter, the earworm beat draws you in with its heavy lean into pure club-ready electropop. The song’s title is an onomatopoeia for the sound of the heartbeat, and everything about this banger will get yours pumping. LISTEN

It’s 2023 and yes, a new Beatles song exists. Paul & Ringo sought to finish an existing John Lennon demo with the power of technology, and honestly, it’s kind of incredible to hear a murky demo turned into something so Beatlesesque. Lennon’s chilling lyrics make it a pseudo-goodbye to his band members years after he passed, and Paul’s backing vocals add an extra oomph. There’s a great tune at its core, and “Now And Then” is a continuing sign of how the Beatles legacy will carry on forever. LISTEN

The title track of Geese’s latest record is the moment in the album’s story where our cavalier cowboy begins his acid trip. The ensuing journey is expectedly nonsensical, a stream-of-consciousness string of references to sky-high mothers, Julius Caesar and Butch Cassidy. The eclectic lyrics are eclectically delivered by vocalist Cameron Winter, and it’s supported by one of the best instrumentals of the year. The jam band aspect feeds into the ersatz vibe of the track, and it ends on one of my favorite lyrics of the year: “Hit me, motherfucker!” LISTEN

What’s set Danny Brown apart from his rap colleagues is his willingness to get weird both lyrically and instrumentally. “Tantor” has both in spades, with Danny’s typically insane delivery as on point as ever while The Alchemist’s beat samples everything from Darth Vader to Michael Scott to anime noises. It’s everything you’d want and more from a solo Danny Brown track. LISTEN

Maybe the best part of GUTS is Olivia’s commitment to the bit. She’s all in on the hot goss and drama of being a teenager in love, and the worst parts of her character come to life at the worst time. “bad idea, right?” a natural successor to previous grunge-tinged bangers like “good 4 u”, but funnier, catchier and more understanding of why she’s part of the problem. As her own problems continue to get bigger, so does the level of bombast, and it’s one hell of a ride. LISTEN

“Time Ain’t Accidental” is all about not worrying about tomorrow. Williamson’s Texas twang doesn’t care for the future, choosing to enjoy a relationship in its infancy that, in another world, probably wouldn’t make sense. It sounds like a nice fantasy, filled out by a smooth country pop instrumental. If she can’t have this in real life, she can damn sure have it here, and that’s no accident. LISTEN

Oozing with producer Kevin Parker’s touch, “Houdini” sees Dua Lipa firing on all cylinders. It’s full of the girlboss-adjacent boasts we’ve come to love from her, all over a slinky beat from the Tame Impala mastermind. It’s a match made in pop heaven, and an excellent first taste of what might be 2024’s biggest pop smash. LISTEN

The desperation of sitting and thinking about your previous relationship. The realization of all the money you sunk into that lost cause. All the hallmarks of post-relationship depression are expertly captured on “You’ll Never Get Your Money Back”, the best and funniest of Alex Lahey’s latest breakup record. LISTEN

“Gila Monster” may be the shortest song on PetroDragonic Apocalypse, but don’t let that fool you into thinking it doesn’t go suitably hard. Stu Mackenzie fills it with imagery of burning hillsides and giant monsters, fitting for an album full of apocalyptic metaphors. A lesser artist couldn’t sell all the high fantasy elements the song has, but King Gizz’s attention to detail makes it another raucous journey. LISTEN

What would an 80’s fantasyland be without a forgotten star ready for a comeback? That star in World of Hassle is Mickey Milan (not to be confused with the real Mickey Milan), and he makes a scintillating comeback on “The Return Of Mickey Milan”. With delectable synths and a highly catchy chorus, Palomo makes Milan into a man so mystical it’s a mystery how he ever faded away. LISTEN

The closing track to Red Moon In Venus is the best encapsulation of the project’s theme: love. Kali’s voice is as seductive as ever, plainly professing her love for her partner, saying they make her feel high. Or maybe she actually wants to get high. The song was released on 4/20 after all. The instrumental will make you feel high, pillowy soft and an excellent match for Kali’s voice. “Moonlight” is a showcase for an artist at the peak of her powers & can make you feel high through audio alone. LISTEN

Sean Bowie is in both a toxic relationship with their partner and with society in general on “Echolalia”. The mindless repetitions represent how numbing the day-to-day activities life presents can be, not to mention how it wears you down like a toxic relationship. Their grip on this brand of experimental rock has never been stronger, with swirling drum patterns and a buzzy bassline surrounding the vocals. How something so toxic can be so beautiful, we may never know. LISTEN

Having previously used the sounds of tribal drums to help Kanye West craft “Black Skinhead”, Travis Scott returns to the sound on the highlight of his latest LP. “CIRCUS MAXIMUS” is a maximized version of his vision, complete with those epic drums, shrill screams and a hearty helping of Mike Dean synths that cascade over the track’s close. The Weeknd & Swae Lee assist on this epic track, and on a purely vibes based level, this is close to the peak of Travis’ powers. LISTEN

As Hannah’s robot persona continues to develop, she starts to find the joys in the real world as opposed to the manufactured. On “Poster Girl”, she laments the fact that she’ll never be as perfect as the girls on her wall, and its clever commentary on the unrealistic beauty standards of our society. But through these unfulfilled desires, the beauty of the imperfections of her life begin to shine, and the glittery, lively synthpop beat helps these feelings soar. LISTEN

Parannoul’s ability to stretch out emotion shines again on “We Shine At Night”. The post rock track grows and grows to an epic climax, but unlike his previous work, the height of the song sounds almost hopeful. After years of sounding full of despair, it’s nice to hear Parannoul have a little light in his world. LISTEN

In the world of nu-disco, there’s fewer artists more celebrated than Jessie Ware and Róisín Murphy. So to hear them combine their forces on a remix of Ware’s “Freak Me Now” is akin to tectonic plates overlapping, creating an earthquake of sonic force. An already electric disco rhythm is only heightened by Murphy’s breathy voice, further encouraging you to lose your mind on the dancefloor. Ware herself is titanic, practically demanding you get it like you deserve it. Both women elevate each other, turning an already fantastic song into the party of the year. LISTEN

When you can’t “scrape off the dog shit that's stuck on the heart of the fuckin’ world”, what do you do? Try anyway. “DOUBT” is a slow burner that morphs into a fiery denunciation of giving in to hesitation. Jeff’s trademark passion can’t stay quiet long, starting at a whisper but ending in a shout. He even tells us to scream, no matter how weird it makes you feel, sold by his undying spirit. The crescendo the instrumental hit mirrors the spirit of the song, and “DOUBT” is the kind of rallying cry that can get you through even your lowest moments. LISTEN

Every invasive thought you’ve had about that cute girl across the bar is put into “Red Wine Supernova”. It’s awkward, it’s lovey dovey, it’s horny, and it’s hilarious, sold by Chappell earnest pipes and a rockin’ synthpop instrumental. Chappell is so desperate she ignores her target’s stoner habits and stretches the truth about her bed size. But who among us hasn’t been a little dishonest to get what they want, and this track is anything but dishonest. Chappell means business, and this song delivers the goods. LISTEN

Sometimes, it isn’t about the pot of gold, it’s about journeying on the rainbow to get there. “Fine Wine” celebrates the joy of newfound love, with AJ Jackson sounding as elated as he’s ever sounded. The descending strings create an indie euphoria, and it’s impossible not to get swept up in the joyous nature of the track no matter your relationship status. LISTEN

Pink Tape is defined by its limitless creativity, and its most thrilling moment is “Fire Alarm”. A stadium destroyer to end all stadium destroyers, it turns a sample of “Stress” by Justice sample into something truly uncontrollable. Even listening at home, it’s hard not to get caught up in the blaring sirens, jarring synths and Uzi’s guttural rasps. If “Fire Alarm” was created for thousands to collectively lose their minds to when the beat drops, consider it mission accomplished. LISTEN

After finding solace in loneliness last year, Carly returned to her joyous roots, and she’s found euphoria on “Psychedelic Switch”. Utilizing a French house-inspired beat that reminds me of Daft Punk’s “One More Time”, CRJ gushes on her partner, the peanut butter to her jelly. Some of her best music has come when she celebrates the connection instead of the longing, and you’ll find yourself swallowed in the genuine joy she exudes here. LISTEN

Marcus Brown is as human as the rest of us with his fear of the world. But his simple message on “Shed That Fear” is to do just that. With a pop rhythm that 90’s boy bands would be proud of, Brown plainly sings about how you can’t give in to the fears of daily life. His voice brings a calming aura to the track, as if through sonic force alone he can assuage all of your insecurities. LISTEN

How can you take away the furor that defined Turstile’s GLOW ON? By turning to the wonders of modern jazz. BADBADNOTGOOD strips “Mystery” down to its skeleton and replaces it with one of the most gorgeous sounding re-workings you’ll ever hear. And while the kinetic energy of the original is gone, the sentiments of Brendan Yates’ lyrics are equally as powerful over a softer instrumental. It’s not the re-working of Turnstile I was expecting but it’s one I can’t live without now. LISTEN

Hayley Williams and Paramore have grown up like the rest of us, and they too rarely have the time to do anything. “Running Out Of Time” laments and lambasts those who are always behind the clock with clever lyrics and an irresistible chorus. The band’s evolution also plays its way into the instrumental, sounding like a grown up version of past indie rock hits. But though the band doesn’t have enough minutes in the day, their musical maturation is on schedule. LISTEN

Amaarae’s mastery of effervescent pop is apparent throughout Fountain Baby, and “Co-Star” is the best example. With an eclectic mix of exotic drums, bouncy synths and beautiful harps, every coalesces into pop excellence. Amaarae herself glides through the track, utilizing mystical imagery like the elements and star signs to weave together an unforgettable pop track. LISTEN

Something about NewJeans and abbreviations, huh? “OMG” was their first song I heard during their breakout 2023, and it remains my favorite. The mixture of melodic rap, 90’s R&B and modern k-pop makes for a very catchy beat, and the girls effortlessly flip between English and Korean for some irresistible choruses. It’s a refreshing bit of k-pop that’s put the group at the forefront of the genre. LISTEN

What’s made the majority of Tyler’s recent output is the melodic R&B he’s perfected, but “SORRY NOT SORRY” reminds us all that the man can still spit absolute fire. It’s a searing non-apology for anyone who’s doubted him, anyone who’s gotten in his way, and everyone in between. The song's climax sees Tyler rapping faster and faster, almost as if the titanic amount of fame he’s accomplished is crushing him. But he ends his time in the CALL ME IF YOU GET LOST era with two words: “Fuck em”. It’s a hell of an end to the extended edition of his latest masterpiece, and a sign he’s not slowing down any time soon. LISTEN

“Give Live Back To Music” is a dense beginning to Daft Punk’s swan song, and “GLBTM (Studio Outtakes)” offers a compelling look into that song’s creation. The same basic melody remains, but the dynamic strings take the song in a whole new direction. It’s much more symphonic, with multiple movements but nary a dull moment. Even 10(!) years after its release, Random Access Memories remains the gift that keeps on giving. LISTEN

With an epic, descending piano melody at its heart, “Sugar Babies” is another example of how fruitful the sessions for Spoon’s Lucifer On The Sofa were. This tale of sex workers is sold by Britt Daniel’s unmistakable voice, as all Spoon songs are. It’s workmanlike and effective, and I continue to marvel at how good Spoon are at their craft this far into their career. LISTEN

Stephen Bruner knows exactly what he is: a liar. He and new bestie Kevin Parker spend the entirety of “No More Lies”, their amazing collaborative single, lamenting that they can’t keep their girls due to their constant truth-twisting. It’s purposefully pathetic, but aren’t truths sometimes just as bad as the lies? That’s something the duo argue over an instrumental that finds the perfect symmetry between the two artist’s styles. Thundercat’s closing monologue ends with the one liner of the year: “I live in LA, sweetie, what do you expect?” LISTEN

Trevor Powers’ unique delivery lends a powerful tribute to a lost friend on “Prizefighter”. Though you might not know the man he’s singing about, you’ll be hard pressed not to get sucked into the emotion of Powers grappling with mortality. Powers’ voice also makes a perfect match for his brand of America, combining synths and pianos to make a truly great mark. LISTEN

Eschewing the club-ready beats that made her famous has Avalon Emerson slowing down and taking time to smell the roses. “Sandrail Silhouette” is Balearic bliss at its finest, peacefully drifting through the sands of time. Emerson provides a calm guide as she comes to terms with how time affects her, like her friends all being old enough to have children. Such an existential crisis is made palatable by the plush synths and occasional string interludes. It goes to show any type of dread can be assuaged through calming pop music. LISTEN

Do we get to choose our life partner, or does life choose our partner for us? Regardless, your partner is who hears your deepest troubles, and “Chosen To Deserve” pays tribute to that idea. Karly Hartzman’s voice is plain and direct, recalling the memories that led her to her partner. The guitars and drums are similarly direct, in a big, bombastic way. It’s a supercharged kind of sound, yet it never takes away from the small but universal emotions of the track. LISTEN

One of my favorite new voices in 2023 came from Indigo De Souza, and “Younger and Dumber” is the perfect showcase for her incredible talent. A tried and true subject like young heartbreak reaches magnificent new heights thanks to her incredible pipes. These memories of her youthful optimism become piercing reminders of the bitterness of life, best delivered by a voice like Indigo’s. LISTEN

Slowdive have transitioned to more dream pop in their comeback, and “kisses” is an example of how they’ve mastered the style. Neil Halsted & Rachel Goswell’s vocals float down the river of bliss the instrumental creates, all centered around a heavenly chorus. For a band that staked their fame in the 90’s, they sound as spry as ever here in the 2020’s. LISTEN

As fame has surrounded her, Yaeji ponders if she’s taking it all for granted on the aptly titled “For Granted”. Her signature blend of mellow hip hop and house music creates one of 2023’s best beats, beginning innocuously but ending at a breakneck pace. Yaeji’s voice never rises above her inside voice, choosing to keep her thoughts plain and in front of her. Based on this song, nothing’s being taken for granted. In fact, I think we have to think if we’re appreciating her enough! LISTEN

It’s been almost 7 years since Kirin’s last album of new material, and he’s been taking his sweet time to release If I Could Sing in full. But it’s shaping up to be one of next year’s best if “Young Drunk Driver” is any indication. Callinan has lost none of his charisma, giving as much gusto as one can as he pleads his case for his lover to not die behind the wheel. It’s such a ridiculously high concept that only an artist like Kirin could pull this off. And pull it off he does, delivering one of the year’s more memorable and quirky pop songs. LISTEN

You won’t find many other electronic songs from 2023 with as heart-racing of a pulse as “Don’t Leave Me Now”. The jittery drums match with Jessy’s wispy voice to make something highly urgent, a cry for this companionship to continue. There’s not a moment to rest, making the entire thing a quick burst of exhilarating electronica. LISTEN

“No Reason” is one of the Chemical Brothers’ finest tracks since their 90’s heyday. An unforgettable bass line permeates through the track, with synth-y twists and turns at every corner. The paranoia of the lyrics infects the instrumental, creating a stirring atmosphere that, while admittedly surface level, still makes for a highly memorable cut. For a duo that’s been making music for almost 40 years, they still have plenty of tricks up their sleeves. LISTEN

Give Damon Albarn a good melody and he’ll do wonders with it. “Silent Running” is an incredibly mournful synthpop number, in line with the cultish themes of Cracker Island while using said cult as a metaphor for the pitfalls of social media. We all feel anonymous as we scroll the apps on our phone, as if we’re silent running through the gamut of platforms looking for a real connection when there’s none to be had. Albarn’s voice is as great as ever, aided by the soulful wailings of Adeleye Omotayo. It’s a breathtaking combination of sounds and themes, as addicting as the endless scroll Albarn sings of. LISTEN

Many of us spend day after day wishing our problems could fade away. On “Smoke”, Caroline Polachek attempts to do so herself. Her voice is as wispy as the title object, with airy chants of “na na na” floating around the breakbeat instrumental. The smoke is simultaneously the denial and the acceptance of your problems, whisking them away but acknowledging you’ll never get rid of them. It makes for a heady single that Polacheck’s voice is more than capable of handling. LISTEN

Within Lana’s catalog, there’s plenty of stories of her being the other woman in a relationship. On “A&W”, she takes that story up to a whole new notch. The harrowing pianos that carry the song’s first half detail a sex addicted woman who, despite her best attempts, seems resigned to her fate. She’s down bad but she likes it that way, to the point where even if she’s been abused, she couldn’t find her way out of it. Lana’s ghostly voice adds an even more chilling element to the lyrics, paralleling this story of an American whore with how the American woman is often the secondary party. It never becomes rambly, with every lyric holding some purpose in the twisted life of this character. Then, the song switches its beat midway through, turning into an almost techno folk banger, where she finally finds a way to stand up to her abuser. It’s an epic production held together by Jack Antonoff’s magic touch, and another reminder of how Lana has grown into one of our generation’s premier American songwriters. Her stories may not be happy ones, but they drag you in whether you like it or not. LISTEN

It’s been three whole summers since Jeff’s last record blew my mind, and in that time his stardom has skyrocketed. But what toll has it taken on the man behind such great music? He addresses that on “3 SUMMERS”, an album closer that never takes a break, much like Jeff himself. He worries about his anxiety of continuing to produce great music, the fear of burnout, and grapples with the very fame he’s seen come his way. It seems his best path forward is to take on these fears head on, and he uses his impassioned voice to propel himself forward. The anthemic cries of “stay young until you die!” at the track’s end will have you screaming along too. Jeff is still the reluctant voice for many millennials out there, and you’ll find no finer example of why then here on HELLMODE’s closer. LISTEN

Cobra Man have long been a favorite of mine, but I wasn’t prepared for the level of cheese they rise to on “Cadillac”. This is one of the greatest 80’s pastiches ever assembled. From the drum patterns to the glittery synthesizers to the over the top vocals, everything is pitch perfect, and a perfect imitation of every 80’s trope you know and love. And most of all, it’s catchy, and the way it’s sung makes it seem like the stakes have never been higher. “Cadillac” is one of those songs you can create an entire movie scene out of, full of explosions, high-stakes romance, and probably a Kurt Russell appearance. In other words, it’s incredibly fun stuff. LISTEN

Over the years, I’ve constantly found myself drawn to Sufjan’s longer songs, like 2020’s 15-minute long “America”. On the 8-minute “Shit Talk”, he might have outdone himself. It’s one of the most emotionally affecting journeys you can go through in musical form. The arrangement is incomparably gorgeous, a twinkling, fleeting mix of acoustic and electric guitars and drums. Sufjan’s voice is ghostly, backed by beautiful vocal harmonies as he pangs at the realization he can’t live with the person he loves. It’s harrowing stuff, and he’s kind enough to give us two minutes of pure instrumental at the end to emotionally recover. Time and time again Sufjan hurts us with these beautiful tragedies in song form, but it’s a pain worth enduring for something so incredible. LISTEN

Ever think you’d imagine two rappers getting ready to joust on a rap track? If not, you haven’t heard “Burfict!”. The horn samples evoke images of Roman gladiators getting ready for battle at the Coliseum. It’s a perfect backdrop for Peggy & Danny to unleash their wild styles of rapping. Danny sounds classically unhinged, while Peggy references everyone from Ruth Bader Ginsburg to famous heroin traffickers to Joe Rogan. It all makes for a truly madcap affair, fitting for a song named after one of the National Football League’s dirtiest players. LISTEN

This one is for everyone in their bedroom dreaming of becoming a star; no one gives a shit. Laura Les literally says as much. “Hollywood Baby” both pays tribute to those dreaming of stardom while making fun them, and since it’s 100 gecs, you know things are gonna get wild. This is the most cacophonically catchy song of 2023, a marvelous mixture of Dylan Brady’s underground, glitchy roots and pristine pop structure. It coalesces into something that goes HARD, especially with Laura screaming her heart out to her finest abilities. The world of stardom is a tough one, yet 100 gecs were clearly destined for it long ago. LISTEN

In an album full of incredible pastiches of the 1980’s, no song truly captures that imaginary magic like “Nudista Mundial ‘89”. It’s a debaucherous dream of paradise at nude beaches, told in multiple languages with a deliciously aggressive synthpop beat to match. The way Palomo makes such a ridiculous fantasy sound so effortlessly fun is a testament to his musical skills, and it’s hard not to get sucked into a song that’s as musically accomplished as this. The music video is the cherry on top. Nude beaches might not be your thing, but a song that oozes with fun like “Nudista Mundial ‘’89” might make it your thing. LISTEN

It’s rare for a singer to wholly encompass any subject. So for three of them like Phoebe Bridgers, Lucy Dacus and Julien Baker to so wholly encompass the angst of never feeling like you’re enough is a miracle. “Not Strong Enough” is one of the most moving indie songs of the last decade, something so raw and powerful that it’s impossible not to insert yourself into the song. Their voices border confident and about to collapse, delivered over a gorgeous indie melody. 2023 was the year of boygenius, and “Not Strong Enough” was their pinnacle. LISTEN

Love is a kooky thing, ain’t it? Róisín knows this all too well, and to encapsulate that feeling, she enlisted DJ Koze to cook up a matching beat. The result is “CooCool”, a song about how whimsical love can be but also how necessary it is. The “silly season” the song brings about is brought to life by DJ Koze’s silly little strings, celebratory horns and Róisín’s natural coo. It’s as if she’s taken away with the entire concept of love, as she sounds truly elated to be lost in the feeling. Her idiosyncratic style is a perfect match for Koze’s production style, making “CooCool” the kookiest little love song of the year. LISTEN

Meg Remy has written songs about plenty of odd things before, but never before has she taken on the persona of a sentient tuxedo. And after hearing “Tux (Your Body Fills Me, Boo)”, I have no idea why she waited so long to do so. Such a bizarre idea is made whole by a delectably funky disco beat, full of hard-nosed synths, sharp bass guitars and piano keys to tie it all together. It’s a 6-minute cosmic force of an instrumental, but Remy is no slouch. Her clever lyrics from the tuxedo’s perspective poke fun at clothing double standards in a way only she is able to. Unconventional is the name of U.S. Girls’ game, and this highly unconventional effort is truly one of her best ever. LISTEN

“Beyond adventure!” With those two words, M83 plunges you into one of the most incredible sonic journeys of 2023. “Oceans Niagara” is a fantasy world beyond your wildest dreams, a landscape full of cascading synths and galactic melodies. Anthony Gonzalez’s project has long been a conduit for fantasy worlds, but “Oceans Niagara” is on another level for doing so much with so few lyrics. The electric guitars that fly in at the song’s climax send chills down my spine every time. Allow yourself to drift away in this song and you’ll find fantasy nirvana. LISTEN

No song from 2023 is more opulent, more lavish, or more dazzlingly fun than “Pearls”. It gleams as bright as the title gem, as immaculately produced of a nu-disco anthem we may ever hear. And if the sublime production wasn’t enough, Jessie’s vocals are as pitch-perfect as they’ve ever been, hitting every high note with gusto and glory. It’s the party of the year in song form, and it’ll make you shake it til the pearls fall off for the rest of time. LISTEN

A modern ballad is a hard thing to master, let alone one about something as commonly covered as heartbreak. No doubt you’ve heard corny crooners wax poetic on what could’ve been before, but those singers are not Olivia Rodrigo. The trauma and pain that drive “vampire” may be familiar on the surface, but they’re delivered with a tour-de-force bite that puts Rodrigo a world ahead of her peers. Comparing her ex (or another pop superstar?) to a blood-sucking monster, her level of wrath grows to an incomparable roar as the song reaches its peak. The instrumental is sequenced perfectly, escalating alongside Olivia’s rage to an epic climax. “vampire” is the crown jewel of Olivia’s discography, and a sign that she’s not coming to dominate, she’s already here. LISTEN

My favorite song of 2023 doesn’t have anything to hide. Dave Grohl is as direct as can be, recounting just how sudden Taylor Hawkins’ passing was. It was a tragedy no one was expecting, and Grohl’s coping mechanism was to create catharsis in stadium rock the likes of which Foo Fighters haven’t created in decades. He bellows his trauma like a man possessed, seeking rescue from this tragedy in one of his most impassioned performances ever. It’s such a raw and unfiltered emotional experience, heightened by blistering guitars and a drumming performance from Grohl that does Hawkins’ legacy right. The entirety of But Here We Are is therapy for a shocking loss, and it couldn’t get kickstarted without “Rescued”. It’s the most electric Foo Fighters have been since I was a little kid, and though it took a disaster to come to fruition, I think Hawkins would be proud. Do yourself a favor and listen to it. LISTEN

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