The 50 Best Albums Of 2023

The best albums 2023 had to offer.

Dec 15, 2023

In a world where streaming songs and playlists dominate listening styles, I’d argue that albums are in as good of a place as they’ve ever been. Artists continue to find new and interesting ways to draw us in, and below are what I thought the 50 best albums of 2023. A link to every album on YouTube is included with each entry, and a Spotify playlist with a song from each album is included at the bottom.

It’s wild to think Blur has been at it for 35 years now. Their career is older than I am, and that affords them the veteran experience to make a record like The Ballad of Darren. Damon Albarn sounds tired of love but not tired of music, and his impeccable ear for melody is as strong as ever. I’d say this is the band’s best album since Britpop’s heyday in the 90’s. LISTEN

The latest release from Big Freedia is both a great introduction to Freedia’s colorful music and a victory lap for an artist that’s spent years putting New Orleans bounce on the map. And bounce Central City does, with plenty of songs that’ll get you up and at 'em. You’ve got boastful bangers like “Bigfoot” and “El Niño”, positivity anthems like “Motivate Ya” and “$100 Bill”, and of course, songs that’ll make you shake your ass like the aptly named “Booty Like A Drummer”. Freedia’s iconic voice is as iconic as ever, and by the time “Voodoo Magic” closes the album, you’ll be shaking along like you’ve never shaken before. LISTEN

When people call you the king of vaporwave, you’d think there’s pressure to live up to that title. But on Ooh Rap I Ya, George Clanton the anointed never breaks a sweat. His mastery of the genre leads to silky smooth tracks that swirl together, and every “woo” and “ooh” are perfectly placed. The album is a product of its parts, and every song congeals together to keep Clanton on his throne. LISTEN

Cut Worms is as meticulous of a painting of the American West as you’ll find in musical form. The barren vistas of sand, tumbleweeds and cacti are brilliantly filled by Max Clarke’s soft voice. You’ll feel as if you’re meandering through salt flats and rest stops on Route 66 as the album carries on. LISTEN

I’ve never felt the effects of the drugs the narrator of 3D Country takes, but the musical stylings of this record have to be similar. It’s one of the wildest rock records of the year, jammy and ersatz at every turn but with a clean sense of melody. Cameron Winter’s voice is a perfect match for the overall weird vibe of the record, and the end of the title track makes a great summation of the overall experience: “Hit me, motherfucker!” LISTEN

With songs full of messy emotions, there’s plenty to Chappell Roan’s debut that can constitute a fall. But thanks to her vibrant vocals and producer Dan Nigro’s touch, The Rise and Fall of a Midwest Princess leans much more into the rise. Roan takes us through various locales like tiny bedrooms, Los Angeles bars and more, and in every place she finds a way to have a good time. She can stand to work on her balladry a bit, but on the whole she’s a great new voice for pop music. LISTEN

The Aussie rockers were typically prolific in 2023, and their second record runs like a well-oiled machine. This synth-heavy effort is mechanical in nature, with each song flowing into one another smoothly. And though the synths sound like gears whirring away, the lyrics concern things like Egyptian gods and Sumerian myths. Yet again the odd combination works for King Gizz, and that’s all without even mentioning there’s 12+ minute versions of every song! LISTEN

There’s a lot of words to describe Frog. You could go with wild, you could go with unpredictable, you could go with squirrely. I’ll go with entertaining, as no matter what eclectic style they choose on each song on GROG, they nail each one. They can switch from groovy disco rock on “Black on Black on Black” to conventional indie rock on “Maybeline” in the blink of an eye. It may be all over the place, but it’s been all over my mind since I first heard it. LISTEN

Detroit is a city with a rich musical history, and Protomartyr deserves a seat at that table. Their combination of post-punk and gothic rock is as strong as ever on Formal Growth in the Desert, and Joe Casey’s booming voice carries the project. He roars on each track, singing about life and death, love and hate, but no matter how dire the situation gets, that magnetic voice draws you back in. LISTEN

Between Blur and Gorillaz, Damon Albarn had one hell of a year. His digital band’s latest is a concise, focused affair compared to the gargantuan Song Machine. But don’t worry, there’s still room for some massive collaborations from artists like Bad Bunny, Stevie Nicks and Tame Impala. Incredible rhythms on “Silent Running” and “Skinny Ape” remind us just how good of a songmaker Albarn is. The mournful “Possession Island” closes Cracker Island out, but even that song’s dour vibes can’t change how great Gorillaz’s latest can be. LISTEN

Every invasive thought you’ve ever had about an ex make their way onto The Answer Is Always Yes. Alex Lahey’s way of coping is through unleashing those thoughts, and they can be hilarious like “Shit Talkin’” or spiteful like “You’ll Never Get Your Money Back”. No matter their emotions, these thoughts are tightly wrapped together with catchy indie rock instrumentals. And even if Alex is constantly singing about the pain of the past, there’s a hint of hope through the fuzz, like these songs can power her forward to someone worth loving. LISTEN

I called Minogue’s last album a standards record for nu-disco songs back in 2020. Here in 2023, she’s made a greatest hits album for the genre. The free flowing nature of Tension ensures the grooves are always spectacular, with Kylie and her producers perfectly in sync with what she does well. You won’t find many more songs this year with more fun than “One More Time” or with more heart-racing beats like “Padam Padam”. Unlike most veteran artists who sound old trying to be young, Minogue is in her element at the club, leading the dance at its center. LISTEN

If the R&B groups of the 1990’s are still listening, they’d be proud of Marcus Brown. His debut record clearly draws from acts like Jodeci or Boyz II Men, but also Prince, Quad City DJs and even Talk Talk. It’s a swirly mix of pop music that Brown dominates. His languid voice sings about life and death like it’s no big deal, complimented by lurid instrumentals that mix all previously mentioned acts into something unique. The world may be falling apart around him, but why fret when there’s time to chill? LISTEN

What exactly is that beautiful feeling the big beat juggernauts are searching for on their latest record? There’s plenty of feelings to be had. It could be the euphoria on the twinkly “Fountains”, or maybe the dread on the thrilling “No Reason”. The line between these feelings is thin, as songs smoothly flow into one another to enhance the overall experience. In the end, the feeling is whatever you want it to be, and the Chemical Brothers prove they have plenty left in the tank. LISTEN

For an album that’s DIY to its core, the amount of polish on Cartwheel is incredible. In the lane of Alvvays’ Blue Rev, these songs rarely exceed three minutes yet fill you with emotion as fuzzy as the instrumentals. Anderson’s voice reigns clear as he struggles with heartbreak, and each time the guitars get loud, the songs deserve to be played louder. LISTEN

There wasn’t a new voice in 2023 that wowed me more than Indigo De Souza’s did. All of This Will End isn’t a debut but it is her breakout, with her powerhouse voice echoing Nilüfer Yanya as she conquers all sorts of styles. De Souza uses her voice to break away from trauma, no more clearly seen than on the stunning closer “Younger & Dumber”. As the emotions pour out, she gets louder and louder to the point where she’s letting loose everything she’s ever felt. It’s powerful stuff, and I can’t wait to see what she does next. LISTEN

From McDonald’s collabs to tragedy at his festival, no artist has had as many ups and downs over the last few years than Travis Scott. He finds catharsis on UTOPIA, creating a world where he doesn’t have to answer for his sins and instead gets to vibe all day long. With plenty of help from the likes of Beyonce, The Weeknd and more, the songs of UTOPIA dazzle with star power and excellent production. The long runtime never bores thanks to Travis’ touch, and he himself provides strong vocals from start to finish. Say what you want about his response to the Astroworld crowd crush, but this album proves why he’s such an admired producer of talent. LISTEN

The venerable Slowdive have slowly morphed their shoegaze sound to something more akin to dream pop, and on everything is alive, it’s as beautiful of a sound as it’s ever been. Glistening synths and the pillowy soft voices of Rachel Goswell and Neil Halstead guide each song along like a gentle breeze blows around a leaf. There’s so much to get lost in within the record, so just turn it on and drift away. LISTEN

The nature of Jessy Lanza’s latest record was inspired by her move out to Los Angeles. In turn, her electronic pop music has become as lively as it has ever been. The pulse of LA nightclubs flows through songs like “Don’t Leave Me Now” and “Drive”, and you can practically feel the sweat dripping off the songs as they dance away into the night. The lyrics can be introspective, full of hidden emotions underneath the pulsing beats. That’s the familiar Jessy Lanza we’ve heard before, only this time she’ll get your heart racing in no time. LISTEN

Years after yearning to Be The Cowboy, Mitski follows her own advice and dons the leather hat. Her latest album has a distinct Western tinge, from the acoustic guitars and sparse drums to the loneliness felt in the wide open plains. That loneliness is an important part of Mitski’s music, but for once, love isn’t all bad for her. Songs like “My Love Mine All Mine” see her loving love for once, a nice character development for someone who’s been very sad for too long. LISTEN

If Grimes went down a path other than dating a billionaire manchild, she might have ended up like Yuele. Their latest album softscars has early Grimes written all over it, with plenty of shoegaze & 90’s alternative mixed in. The self-proclaimed glitch princess shows off some of their most expressional and honest songwriting to date, using some of the more cutting instrumentals as a way to vent. It’s the clearest thesis statement yet for an artist that’s been evolving their craft. LISTEN

No other rap project in 2023 has as much ambition as Pink Tape. Does it all pan out? Absolutely not. But when it does, it sees Lil Uzi Vert making some of the best music they’ve ever made. Typical melodic rap songs like “Flooded The Face”, “x2” and “All Alone” are good beginnings, but things get real interesting when Uzi gets creative. Samples range from wrestling intros on “Nakamura”, Eiffel 65’s goofy europop on “Endless Fashion”, and Justice’s harshest beats on “Fire Alarm”, a track that will blow the roof off of future concerts. And that’s not even mentioning a straight up cover of System of a Down’s “Chop Suey!” right in the middle of the tracklist. It’s very nearly too much, but Uzi commits to each style and gives most songs the love they deserve. An hour and 27 minutes of music is still too long, but give yourself time to listen to it all and you’ll be rewarded. LISTEN

The world’s most unlikely rock star continues their hot streak with Praise a Lord…, an album that furthers their descent into rock madness. It’s more melodic and subtle at times than 2020’s Heaven to a Tortured Mind, but no less enthralling. The punk sex god they portray has been awakened, and this is the perfect entry point for listeners unfamiliar with Sean Bowie’s ascendant style of rock music. LISTEN

Four albums in, the Japanese quartet act like veterans on this self-titled romp. They’re so good at playing up their neo-kawaii MO that these songs feel supremely natural. “PARA PARA” and “We The Female!” are what the band does best, and the further CHAI moves into pure synthpop, the better they get at it. The entire album is catchy and concise, and another winner for a band that’s produced nothing but greatness in their short career. LISTEN

After years of toiling away as a bland synthpop artist, Sabrina Teitelbaum reversed course and created a searing piece of indie rock greatness. Her first album as Blondshell is exquisitely made and even better lyrically, with some of the most biting commentary on love and relationships you’ll hear this year. It’s an impressive career switch, one that happened at the right time to for her career. LISTEN

With a distinct Texas twang, Jess Williamson breaks through the country pop stratosphere on Time Ain’t Accidental. She embarks on this road trip full of memories and heartbreak, with lyrics both funny and poignant along the way. The country pop instrumentals are the smoothest this side of Kacey Musgraves, and though there are emotional bumps on the road, the journey is one worth taking. LISTEN

Your favorite rapper’s favorite rapper is back with his first solo album in 11 years, and the wait was well worth it. Michael Render’s rapping ability is sharp as ever, and on MICHAEL, he ups his skills as a curator too. A host of Atlanta artists join in on the fun to make this one soar, from Cee Lo Green, T.I., Young Thug and even the elusive Andre 3000. Mike is of course no slouch himself, sounding as spry as ever, and every gospel-inspired instrumental plays into his strengths. Now for the next RTJ album to slap as hard as this one does. LISTEN

The only thing bigger than the indie rock instrumentals on Rat Saw God are the emotions. They go hand in hand, with Karly Hartzman portraying love, misery and more on a grand scale. Yet for as big as the emotions and songs are, everything is entirely relatable. Hartzman is direct in her lyrics, telling real stories that drive these huge emotions. It makes the entire experience feel organic, a real breakthrough for a band already on its fifth record. LISTEN

After bursting onto the scene with their 2021 record A Way Forward, the synthpop trio hunker down on all their strengths and strengthen them further. The melodies on Strange Disciple are tighter, the analog synths are moodier, and Ian Richard Devaney’s vocals are more assertive. He’s commanding as he guides us through these synth landscapes of uncertain love. No longer an emerging band, NOL are one of the best at their craft today. LISTEN

When Lana is in her zone, she’s borderline unstoppable. Her latest is her best since 2019’s Norman Fucking Rockwell!, and all 77 minutes are necessary to convey Lana’s current mood on the world. Each song is gorgeously produced, full of lavish pianos, strings and more to create lavish worlds of sound. They’re tapestries of sound, woven together by Lana’s most mature lyrics to date. Just listen to the epic and moving “A&W” and tell me she hasn’t grown leaps and bounds as an artist. Lana proved she was one of America’s premier voices years ago, and her latest only reinforces how powerful of a musician she is. LISTEN

The character that Hannah Diamond has played on her music is that of a robot learning what emotions are. She’s slowly developed it over the years, and on Perfect Picture, she finally blossoms. Diamond finds perfection in the imperfection, using her robotic musings to comment on affirmation walls, celebrity image and more. It’s wrapped together by glistening synth beats that bring a brightness her music has never had. She’s finally realized the best parts of our world aren’t perfect, and it makes Perfect Picture Diamond’s best album yet. LISTEN

Are you ready for another trip to hell? King Gizz’s best album of 2023 sees them returning fully to thrash metal and nailing the landing. Villages burn, societies collapse, and supernatural weather phenomena destroy the world across PetroDragonic Apocalypse, and the longer length of these songs allow this world to fully take shape as it gets wiped away. Stu Mackenzie’s guttural roars are as entertaining as ever, and once again the band’s commitment to this style to makes everything sound great. Plus, it’s probably got the best album title of the year, with all respects to Yves Tumor. LISTEN

The unique voice Trevor Powers has was missing for years when he abruptly retired his Youth Lagoon moniker in 2016. Thankfully he’s back under that name with one of 2023’s best indie records, where he confidently mixes indie pop, punk, dream pop and more. It’s a memorable mix that Powers brings together, and his voice sounds assured singing over it. He sounds renewed, making each song his own as he confronts his own struggles with family, substances, self image and more. Heaven Is A Junkyard is pop therapy for Powers, and he comes out on top. LISTEN

Everything Kali does seems like it comes easy to her. Her latest record is an exquisite tribute to love, and at no point does she exert any more effort than necessary. She smoothly glides track to track boasting about smoking weed and steamy nights with that trademark pillowy soft voice. The instrumentals match her attitude by being posh and easy going. Red Moon In Venus is engaging from start to finish, perfect for lazy nights in but with enough depth for a long night in. LISTEN

Meg Remy’s pop music has always been a little off-kilter, but her subjects have never been as leftfield as they are on Bless This Mess. Anything goes, from New York’s real estate market on “So Typically Now”, the colors of the rainbow on “R.I.P. Roy G. Biv”, and a sentient tuxedo on “Tux (Your Body Fills Me Boo)”. But we should know at this point to trust Remy’s wandering eyes, and she turns these seemingly random concepts into a cohesive pop project. The grooves on every song are undeniable, turning heads with both the beats and the lyrics. You know, typical stuff from Remy, and I'm here for it. LISTEN

With reckless abandon, Anthony Gonzalez plunges us into the deepest realms of our imagination of Fantasy. Every song is caked with dazzling synths, and few words are necessary to conjure incredible landscapes. It’s as if the lack of words lets each song be a canvas for the listener to draw on, letting you create a fantasy world of your own choosing. LISTEN

You can practically feel the years stacking up on Paramore’s latest record. The trio has grown older and gotten more tired of the shitshow surrounding them, much like the rest of us. They remedy the threat of existential dread through their music, taking their rage out on the news (The News), people full of excuses (Running Out Of Time), and the general malaise that’s infected us all (This Is Why). Despite the rage, Hayley Williams’ words are deft, full of vim and vigor for someone who’s exhausted by the constant deluge of bad news. If the once-vibrant pop punks can find a way through, then I think all of us can. LISTEN

There are times when an artist and a producer were destined for each other. In Róisín Murphy’s case, that producer is DJ Koze. The two have collaborated sporadically before Hit Parade, but this new record lives up to its title with bangers galore. Koze’s off-kilter production style, full of subtle elements that make each song unique, brings out a whole new side of Róisín. She’s as free as a bird, full of love and frequently without a care in the world. She’s master of her domain, a domain she couldn’t have built without Koze, and one the world is a better place with. LISTEN

Years ago, I found Amaare’s gurgly baby voice to be a total turn off. Fast forward to 2023, and I can’t get enough of her. She’s turned down the gurgly vocals for something clearer and more confident, accentuated by pop instrumentals that borrow from all spectrums of the genre. Fountain Baby’s pace is brisk, sliding from one song to another effortlessly. Amaarae makes use of the elements frequently in the lyrics, and like the Avatar, she combines all the musical elements to make one of 2023’s most colorful pop records. LISTEN

It’s been three years since Jeff Rosenstock burst onto my music scene, and the world hasn’t really gotten much better since then. Sure, the pandemic is over, but the general malaise that’s plagued every millennial is still in the air. So it’s no surprise to see Jeff continue to be the voice of his generation, and his aggressively awesome voice has only gotten stronger over that time. HELLMODE is coping with how much the world sucks with singalong choruses and guitars designed to smash you in the face, but with a purpose. The production is slicker than Jeff has ever had before, but it never takes away from the raw emotions we’ve come to love from him. It also doesn’t take away from the catchiness, and you’ll be singing along to these doomsday repellants for a long time to come. LISTEN

On no other album in 2023 will you find songs so gorgeous that’s inches away from collapsing at any moment like Javelin is. Sufjan’s typically fragile voice is ready to break on every song, sounding as inspired and as arresting as he’s ever sounded. Performances like those on “Will Anybody Ever Love Me?” will break your heart, and that only scratches the surface of the record. Sweeping melodies filled with dainty strings and ghostly choruses bring Javelin to life, akin to Sufjan’s previous records like Carrie & Lowell but on an even more magnetic level. No artist toes the line between heartbreak and beauty quite like Sufjan, and his latest might be the best he’s ever done it. LISTEN

Why would a DJ who’s never made a dream pop album before decide to make a dream pop album? Because she can, that’s why. Avalon Emerson’s transition from bumping beats to Balearic pop is silky smooth, much like the voice she uses to guide us along this river of sound. The switch to comfy dream pop can be a cover for some really existential lyrics, with Emerson questioning her place in life as those around her have families. If the issues of life remain unsolvable, she can at least bask in the beauty of her debut record, one I’m sure to listen to on tranquil days for a long time to come. LISTEN

GUTS is like every sequel should be: bigger, bolder, and better than the original. Olivia Rodrigo’s sophomore effort takes every aspect that made her debut SOUR great and turns it up to 11. Olivia’s commitment to the bit of being a lovestruck teenage girl is elevated on hilarious ragers like “get him back!” and “bad idea, right?”. The monstrous fever pitch of “vampire” shows an artist locked in to the Nth degree, and other ballads like “logical” and “the grudge” make her past songs sound like pre-school. These songs soar because of Olivia’s chemistry with producer Dan Nigro, but especially of her own maturation as a songwriter and as a singer. She’s grown up from some of her whinier moments to evoke real emotion that even a late 20 something sourpuss like myself can relate to. Rarely do sophomoric efforts sound this good, but top to bottom this self-described “all-american bitch” outdoes herself. LISTEN

Dave Grohl and his band went through a catastrophic loss that easily could’ve torn the fabric of the band apart. But rather than let Taylor Hawkins’ untimely death be their demise, they powered forward to create the best record of their long careers. But Here We Are is cathartic unlike any record I’ve ever heard, using stadium-sized rock music as therapy and as an exploration of grief. Their guitars shred and their drums crash like a band unhinged, with Grohl’s work on the drums something Hawkins would be proud of. Grohl’s voice is mammoth and commanding, belting his innermost struggles with Hawkins’ death. From the simple shock and uncertainty of “Rescued”, the nostalgia he’ll never recreate on “Under You”, or the acceptance on “But Here We Are”, he’s never sounded this passionate or inspired with this band. What elevates But Here We Are even further is the ending, as the multifaceted “The Teacher” and the heartwrenching “Rest” eschew the typical Foo song for something more experimental and awe-inspiring. To hear the band go through so much trauma and respond with some of their best music ever is magical. I hope Taylor can rest in peace knowing the band he loved created the best tribute possible. LISTEN

Sometimes you hear a collaboration and wonder how two artists ever made music apart from one another. I felt that way through the entirety of SCARING THE HOES, a record that has surely succeeded in its title mission with how wonderfully weird it is. The duo are at the top of their games on every song, not sticking around for a long time but a damn good time. All 15 tracks are a quick smack to the face, or in the title track’s opening sample’s case, your ass. Peggy’s production work has never been more on point, mimicking whatever he and Danny are doing lyrically through the bombastic beats. The pair can be ready for war on “Burfict!” then flip to a melodic middle finger on “Kingdom Hearts Key”. There’s never a moment to breathe between the cacophonic beats and the fire Danny & Peggy spit, but if you’re ready to be scared a little, you’ll be treated to the best rap album of 2023. LISTEN

After making a career out of mining the 80’s to create modern pop music, Alan Palomo finally gives in and creates an 80’s wonderland of his own. World of Hassle is exactly that, an incredibly detailed fantasy that takes the best bits of 1980’s culture and morphs them into a sonic paradise. Shopping malls, forgotten stars, mysterious killers, nude beaches and more pepper this idyllic land, and every single corner is filled with impeccable melodies. Every song is meticulously made, and the love for its inspiration is obvious with every groove/saxophone. Palomo himself is a more than willing tour guide through this world, playing up his characters with gusto. The amount of languages he sings in gives World of Hassle a global feeling, unrestrained by the grasp of American 80’s culture. It’s the work of an artist who’s been at this for a long time, waiting to create his masterpiece until just the right time. So go ahead, explore this world, because there’s plenty to find. LISTEN

Dylan Brady said he wanted 10,000 gecs to be one thousand times better than 1000 gecs, because that’s just how the math works out. He and Laura Les clear that bar seconds into the record, and you’ll find their sophomore LP strikes the perfect balance between hyperpop experimentation and pristine pop melodies. Brady’s understanding of both worlds leads to crunchy beats that never sacrifice catchiness, like the jarringly amazing “Hollywood Baby”. These songs utilize plenty of noise, but it’s purposeful noise, never obnoxious without meaning to be. Laura Les brings the songs to life even further, and her lyrics are as zany as you’d expect. Whether it’s frogs trying to get their life together, your favorite chip brands, or disdain for dental care, she gives it her all and then some. 10,000 gecs is a monumental moment in underground pop music, and the duo has rightfully become an icon for Tik Tok teens and longtime music fans alike. LISTEN

For years, Caroline Polachek has been dropping teaser tracks that hinted at a pop masterstroke. Now, that masterstroke is here in the form of Desire, I Want To Turn Into You, a mammoth achievement in modern pop music. Each track is its own unique journey, from Caroline’s wails of desire on “Welcome To My Island” to the flamenco stylings of “Sunset” to the wispy memories on “Smoke”. It’s one of the more imaginative pop releases of the last few years, all held together by the thread of Caroline’s voice and emotions. These fantastical sounds are a mask for the very real emotions felt throughout the record, a fantastic dichotomy few artists can pull off. But few artists are Caroline Polachek, and if you weren’t already tuned in, welcome to her island. LISTEN

It takes little time to understand the boygenius hype. Album opener “Without You Without Them” sees Phoebe Bridgers, Lucy Dacus and Julien Baker harmonizing with no instrumental, and their bond is immediately apparent. That magic never dissipates across the record, the rare debut that destroys expectations to create something truly special. At times they trade off who sings lead, other times they all take turns at it, but they never allow one member to fall behind. They scream, cry, and soar equally as they work through heartbreak, trauma and healing, transcending supergroup cliches along the way. Backed by no shortage of impressively produced indie rock instrumentals, the record is a stunner, and clear proof of why 2023 was the year of boygenius. LISTEN

I’ve thought long and hard about this, but I can’t deny it: there’s no album out there that emulates its title quite like Jessie Ware’s 2023 masterpiece. There isn’t a second on That! Feels Good! that isn’t sublime, squeezing every inch out of disco and pop to create 40 minutes of perfect music. It’s a non-stop massage on the ears, and as Ware declares early on the opening track: “Pleasure is a right”. She makes sure you feel that pleasure in a variety of ways, whether it’s soothing like “Hello Love” or through piano-driven force like on “Free Yourself”. The performances are pinpoint, with Ware fitting the role of the mother, the caretaker and the commander. She’s in complete control at all times, rattling off all of her favorite boys on the hysterical “Shake The Bottle”, and she encourages you to find your pleasure in a multitude of ways. It could be through a lavish party like the immaculate “Pearls” or by starting over in love on the epic “Begin Again”. No matter the method you’ll fall in love with every note, and the pace of the record is equally sublime. The transition between “Beautiful People” and “Freak Me Now” is the mark of a veteran, knowing how to link every individual moment into something bigger. She boasts about how her lips are wanted in “100 countries, maybe more” on album closer “These Lips”, and by that point, there’s no reason to doubt her. She previously asked what your pleasure was, but now she’s here to tell you all about what hers is, and it makes for the best album of 2023. So yes, that feels good. Go listen to it! LISTEN

The 50 Best Albums Of 2023

The best albums 2023 had to offer.

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