Previously,
The Best 20 Albums of 2023: My Picks #20-16
The Best 20 Albums of 2023: My Picks #15-11
10.
Blondshell, ‘Blondshell’
Formerly known for her pop-oriented work under the moniker BAUM, Teitelbaum has embraced a darker, alternative rock sound that draws heavily from the 1990s in her self-titled debut album, Blondshell. The overarching theme of “Blondshell” is rage, particularly the anger that stems from personal and societal injustices. Drawing comparisons to iconic 90s alt-rock records such as Alanis Morissette’s Jagged Little Pill, Teitelbaum explores a range of emotions, from frustration with toxic relationships to the broader conditioning of women to find “shitty guys” attractive. This thematic focus is evident in tracks like Veronica Mars, where she critiques the romanticization of problematic male behavior, and Sepsis, which delves into the complexities of returning to a harmful relationship despite knowing better. Teitelbaum’s lyrics are a standout feature of the album, characterized by their wit, raw honesty, and self-deprecating humor. The song Salad is a prime example, where she sings about poisoning a friend’s abusive partner’s salad, blending dark humor with a sense of righteous anger. The lyrics throughout the album are confessional and unflinching, offering a glimpse into Teitelbaum’s innermost thoughts and feelings. In Dangerous, Teitelbaum addresses the pervasive social anxiety exacerbated by the COVID-19 pandemic, concluding the album on a note of cautious optimism. Musically, Blondshell is a homage to the 1990s alternative rock scene, drawing inspiration from bands like Hole, Nirvana, and The Cranberries. The album’s opener, Veronica Mars, starts with a nonchalant electric guitar before erupting into a powerful solo reminiscent of Lenny Kravitz. The composition is varied, ranging from the radio-friendly pace of Joiner to the ferocious chorus of Sepsis. The production of Blondshell is handled by Yves Rothman, known for his work with Yves Tumor. Rothman’s production is perfectly attuned to the needs of each song, enhancing rather than overshadowing Teitelbaum’s vocals and lyrics, where the album’s raw emotions can be conveyed effectively. For instance, Olympus could have been a minimalist ballad, but the measured production encourages the song forward, leaving a lasting impression.
Kiss city
Just look me in the eye I’m about to finish
Kiss city
I think my kink is when you tell me that you think I’m pretty
Did you expect something different?
I bet she talks dirty like she’s on a mission
Momma, I’m adjacent to a lot of love
9.
Wednesday, ‘Rat Saw God’
Georgie set fire to acres of cotton settin’ off model rockets
The kid from the Jewish family got the preacher’s kid pregnant
They sent her off and we never heard too much more about it
The sweet talk never lasts and you learn to go on without it
Rat Saw God is an exploration of the American South, capturing the essence of life in small towns and the complexities of human experiences. The album’s title itself suggests a juxtaposition of the mundane and the divine, a theme that runs throughout the record. Karly Hartzman’s lyrics are deeply rooted in personal and observational storytelling, painting a picture of a world that is both familiar and unsettling. The album’s opener Hot Rotten Grass Smell immediately sets the tone with its chaotic energy and vivid imagery. The song’s title evokes a sensory experience that is both nostalgic and repulsive, reflecting the duality present in much of the album. Throughout the album, Hartzman’s lyrics often blur the lines between reality and allegory, capturing the grotesque and the beautiful in the same breath and creating a tapestry of experiences that are both specific and universal. In Bull Believer, an eight-minute epic, she navigates through themes of violence, despair, and resilience. Moreover, Hartzman tends to employ ekphrastic storytelling, drawing vivid pictures with her words. In Chosen to Deserve, she reflects on her youth with a mix of humor and tragedy, recounting reckless adventures and near-death experiences. In Rat Saw God, the band blends various genres, from grunge and shoegaze to country and slowcore, and this eclectic mix is evident in tracks like Quarry, where fuzzed-out shoegaze guitars intertwine with twangy pedal steel, creating a sound that is both dissonant and harmonious. The production of Rat Saw God is intentionally rough around the edges, reflecting the band’s DIY ethos. Such an approach allows the raw emotion and energy of the performances to shine through. The album’s sound is characterized by heavy distortion, jarring walls of noise, and moments of quiet introspection, which can be exemplified in Turkey Vultures, a track that starts slow but builds to a frenetic climax, mirroring the emotional highs and lows of the lyrics.
8.
Mitski, ‘The Land Is Inhospitable and So Are We’
Mitski has described her seventh studio album, The Land Is Inhospitable and So Are We, as her “most American album,” a statement that is reflected in the album’s exploration of love, loneliness, and the human condition. The album’s title, which originated as a joke during the pandemic, encapsulates the sense of alienation and inhospitability that Mitski perceives in contemporary America. The central theme of the album is love, in all its forms and complexities. Mitski explores the unavoidable destruction and difficulty of love, whether it is the love of the world, the self, or others. This theme is woven throughout the album, with Mitski’s lyrics oscillating between internal monologue and external self-reflection, infusing every line with highly concentrated emotion. The album’s opener, Bug Like an Angel, introduces themes of divinity, self-reflection, and catharsis, whose haunting harmony and poignant lyrics set the tone for the rest of the album. Mitski’s ability to blend quotidian experiences with profound existential musings is evident in tracks like The Deal, where she contemplates a bargain with celestial forces, and Heaven, where she treasures the remnants of a lover’s presence in a cup of coffee. The lyrics are imbued with a sense of longing and introspection, often projecting Mitski’s emotions onto the physical and celestial landscapes around her. Musically, The Land Is Inhospitable and So Are We is a blend of Americana, country, folk, and orchestral pop. The album’s composition is influenced by a diverse range of artists, including Ennio Morricone, Igor Stravinsky, and Faron Young, and this mix of influences results in a sound that is both intimate and cinematic, with wide and dramatic soundscapes that are balanced by precise and poignant lyrics. The production of the album is characterized by its stripped-down nature and acoustic-leaning arrangements, which allows Mitski’s voice and lyrics to take center stage, creating a sense of hushed intimacy that is both powerful and affecting. The use of a 17-person choir and an orchestra, conducted and arranged by Drew Erickson, adds depth and richness to the album’s sound.
Then, of course, nothing replied, nothing speaks to you in the night
And I walked my way home, there was no one in sight
Save a bird perched upon a streetlight, watchin’ me
So, I stopped and let it watch ’til I found that it saidNow I’m taken, the night has me
You won’t hear me singin’, you’re a cage without me
Your pain is eased but you’ll never be free
For now I’m taken, the night has me
7.
Paramore, ‘This Is Why’
Paramore’s sixth studio album, This Is Why, marks a significant return for the band after a six-year hiatus. This Is Why is a deep dive into themes of growth, discovery, and the complexities of modern life. The album reflects the band’s introspective conversations about the state of the world and their role in it, addressing global issues and personal experiences. Hayley Williams, the band’s frontwoman, sings about the pressures of public life and the desire to retreat from a world that feels increasingly hostile. The album explores various facets of contemporary society, from the overconsumption of news in The News to the existential dread of living in a post-truth world in Running Out of Time. These themes resonate deeply with listeners, capturing the collective paranoia and isolation that many feel in today’s world. Hayley Williams’ lyricism on This Is Why is both incisive and evocative. The lyrics are a blend of personal introspection and social commentary, delivered with a raw honesty that has become a hallmark of Paramore’s music. In This Is Why, Williams sings, “This is why I don’t leave the house / You say the coast is clear / But you won’t catch me out,” a refrain that echoes the anxieties of stepping out into an unpredictable world. The album’s lyrics also tackle themes of betrayal, isolation, and the search for genuine connection. In The News, Williams sings about the overwhelming nature of media consumption and the consequent anxiety. In Big Man, Little Dignity, Williams addresses the hypocrisy and moral failings of those in power, while Figure 8 experimentally touches on toxic relationships and the cyclical nature of emotional struggles. Musically, This Is Why is a departure from the band’s previous work, embracing a more mature and experimental sound. The album draws inspiration from a variety of genres, including post-punk, funk-pop, and shoegaze. The album’s composition is marked by its dynamic range and innovative arrangements. Thick Skull, the final track on the album, is a standout example of this, with its brooding guitar lines and Williams’ powerful vocals building to a climactic finish.
Exploitative, performative
Informative and we don’t know the half of it
Rhetorical, deplorable
Historical, and all along, we called it normalEvery second, our collective heart breaks
All together, every single head shakes
Shut your eyes, but it won’t go away
Turn on, turn off the news
6.
Lana Del Rey, ‘Did you know that there’s a tunnel under Ocean Blvd’
To get to you, save you, if I take my life
Find your astral body, put it into my arms
Give you two seconds to cry
Take you home, I, I’ll give you a blanket
Your spirit can sit and watch TV by my side
Lana Del Rey’s ninth studio album, Did You Know That There’s a Tunnel Under Ocean Blvd, is a profound exploration of Americana, personal introspection, and the complexities of human emotions. The album’s title, Did You Know That There’s a Tunnel Under Ocean Blvd, is a reference to the defunct Jergins Tunnel in Long Beach, California. This obscure and evocative title sets the tone for the album, which is rich in metaphor and historical references. Del Rey revealed that the song and title were inspired by a sealed tunnel under the Jergins Trust Building and a 1974 track by Harry Nilsson titled Don’t Forget Me. The album explores themes of loneliness, self-esteem, familial connections, and the passage of time. Del Rey’s fascination with Americana is evident throughout the album, as she weaves together personal anecdotes, historical references, and cultural icons. In essence, Did You Know is a sweeping, sterling, often confounding work of self-mythology and psychoamericana. Del Rey’s ability to craft vivid, emotionally resonant narratives is on full display in this album. The opening track The Grants begins with background vocalists rehearsing the song’s hook before transitioning into a melancholic piano ballad, setting the stage for the introspective journey that follows. Songs like Paris, Texas and Margaret delve into Del Rey’s personal history and relationships. Paris, Texas is not just a romantic notion of running away to Europe but an insight into Del Rey’s younger years and the effects of being sent away at an early age. Margaret, featuring Bleachers, is a poignant reflection on love and loss, showcasing Del Rey’s ability to blend personal storytelling with universal themes. The album’s composition is a blend of Americana and alt-pop, with influences from baroque orchestral pop, characterized by its dreamy, atmospheric quality. The use of piano and orchestral elements creates a rich, immersive soundscape that complements Del Rey’s velvety vocals. The album’s titular song is a slow-paced, piano-heavy track that draws clear influence from Harry Nilsson’s Don’t Forget Me.
I’m at the Roadrunner Café
Probably runnin’ away from the feelings today
In the snow-capped mountains of the desert
I’m in the mountains
Probably runnin’ away, I’ve been meaning to say
That there’s nothing to do except know that this is
Continue Reading:
The Best 20 Albums of 2023: My Picks #5-1