Luna's Picks: 2023 Albums of the Year
☆ By THE LUNA COLLECTIVE STAFF ☆
AS THE CURTAINS DRAW ON 2023 - it's time to reflect on all of the incredible music we were blessed with. The year, marked by a collective yearning for connection and meaning, saw musicians pouring their hearts into creations that resonated deeply. In a post-pandemic landscape, where the live music experience found new footing, artists eagerly shared the fruits of their introspection and creativity.
Navigating through a vast sea of releases, our staff worked together to identity the standout albums of 2023. From the intricacies of the creative process to the visual landscapes that accompanied each release, our writers embarked on a journey to unearth the albums that left an indelible mark on 2023.
Read below for our sonic retrospective, where we celebrate the artistry, diversity, and resonance of our top picks, presented in no particular order.
Postcard Boy - Somewhere On A Hillside
Review By Gomi Zhou
Conceptual and literal, intricately scaped yet viscerally freeing all at once, Somewhere On A Hillside, the full-length return of Postcard Boy, refines an unnameable, treasured, and precious sound.
The antithesis to carwash, the more commercially prominent project of Garrett Seamans, the multimedia artist behind his many monikers. Postcard Boy’s sound has always been more tender in nature, acoustically structured with delicate touches of R&B melodies. Somewhere On A Hillside, which arrived nearly three years after the last Postcard Boy single, deliberately samples the anti-pop reverbs of carwash, infusing neo-indie rock with late 2010s alt-R&B. Songs such as “Teeth,” “Polka-Dot,” (which cheekily credit both Postcard Boy and carwash) and “when tomorrow comes, we’ll be nothing but a fading feeling” demonstrate both a more seasoned musicality of the artist and the familiar gentleness from older Postcard Boy cuts.
As an album, Somewhere On A Hillside presents an idyllic version of California that is near and dear to anyone who’s ever called California home. The serene moments within the record paint the greening spring in national parks, the fading lights on the freeway hillsides, the urge and need to send handwritten letters to all your childhood friends who moved away for better and greater things — all perfectly captured in the accompanied music videos featuring an imaginary mailman.
Needless to say, this album will make you miss your home. With the three-song closer (“Shepherd,” “A whole lifetime,” and “Horizon”), the artist once again leaves us with a sentimental send-off: you’d always leave a Postcard Boy project wanting for more, but every goodbye feels like a perfect moment of closure.
It’s rare to see a thematically cohesive album that pays equal care to an intricately curated sound. Every second of Postcard Boy’s Somewhere On A Hillside demands you to handle it with care, bringing a craving of nostalgia that invites you to dream of a better future.
SLOW PULP - Yard
Review By Aleah Antonio
If music from this year taught us anything, it’s that friendship breeds the best of it. Slow Pulp is an underrated friend-group-turned-indie-rock-band who released Yard, their sophomore album after 2020’s cult favorite Moveys, this fall. Each song came out of lead singer and guitarist Emily Massey’s multiple trips into middle-of-nowhere cabins where she cranked country CDs and had a good cry. According to Massey, it was crucial for her to be alone, completely alone, to tap into a sense of vulnerability that is clouded by the presence of other people.
However, Yard isn’t completely Nietzschean. The closeness that Massey’s bandmates, who she’s known since the ballpit, hold with each other is at the center of every song. Massey’s friend Carina (after whom “Carina Phone 1000” is named after) called her almost telepathically when the isolation became a little too much. Yard is a place engined alone but fueled by companionship. It’s eclectic, punchy, yet soft in all the right spots— a perfect record.
The Japanese House - In the End It Always Does
Review By Sophie Gragg
Embark on a mesmerizing journey through the sonic landscapes of The Japanese House In the End It Always Does. Crafted by the visionary Amber Bain, this musical odyssey delves deep into the intricacies of love and self-discovery. Each track unfolds like a carefully painted canvas, blending ethereal production with poignant lyricism to create an immersive experience.
Amber Bain's songwriting prowess shines as the album navigates themes of vulnerability and the cyclical nature of life. In the End It Always Does marks a significant evolution for The Japanese House, where innovative soundscapes meet introspective narratives. It's a testament to Bain's artistry and the ability of music to capture the profound nuances of the human experience, making this album a captivating addition to the band's discography and a notable album of 2023.
DEL WATER GAP - I MISS YOU + I Haven’t left yet
Review By Rayne Antrim
Noted to be inspired by romantic encounters and dimly lit rooms, the New York songwriter and producer Holden Jaffe strikes with raw vulnerability and cuts through the indie-pop landscape with a guttural edge on his sophomore LP I Miss You Already + I Haven’t Left Yet. After receiving international recognition for his self-titled debut album, his life had begun changing rapidly. His days constantly looked new, and the bed he would come home to would be different every night -- as the lifestyle of touring doesn’t accept many moments of downtime.
As his global tour came to a close and the timeline for his next record began, he found himself spiritually depleted. What exactly was he to write? How could one be expected to, given the physical and social demands of an artist on tour? After working with producer Sammy Witte, someone with a prolific track record working with artists like SZA and Harry Styles, Jaffe found himself surrendering his thoughts, and in turn wrote an incredibly existential, heartbreaking and fulfilling record.
The sound of I Miss You Already + I Haven’t Left Yet is incredibly crisp and bombastic, creating an atmosphere that is all-consuming and hard to put down. A lot of the existential, relationship and loss themes are hidden behind an entirely up-beat tempo and tone with Jaffe’s gleaning vocals and major chord progressions to accompany him. The lead track “All We Ever Do Is Talk,” is an incredibly fun song that completely hinges on the questions of whether young love’s passion will last past the honeymoon phase or whether or not you can ever feel you’ve reached nirvana without the use of drugs.
Each song on the LP can be considered a pop-hit, with the entirety of the record being tight, concise and following consistent themes through the music itself whilst not shying away from the existential thoughts everyone has. The music is endearing and fun, which perfectly complements the themes within the record. Jaffe has defined his sound in this record and will be continuing in this direction with his raw talent and undeniable, passionate vocals and lyrics.
PARAMORE- Re: This Is Why
Review By Sophie Gragg
Paramore continues to redefine the boundaries of their sound with their latest album Re: This Is Why. A force in the alternative music scene for over a decade, Paramore, led by the dynamic Hayley Williams, unleashes a collection of tracks that are both a celebration of their journey and a nod to the future. The album's title, Re: This Is Why, hints at a revisiting and reaffirmation of the band's core essence.
Re: This Is Why is a sonic exploration, blending elements of punk, pop, and rock into a cohesive narrative. Hayley Williams's emotive vocals soar above intricate instrumentals, delivering lyrics that resonate with authenticity and resilience. With this album, Paramore not only pays homage to their roots but also propels themselves forward, cementing their status as trailblazers in the ever-evolving landscape of alternative music.
CHAPPELL ROAN– The Rise and Fall of a Midwest Princess
Review By Carson Huffer
Unapologetic and joyous, The Rise and Fall of a Midwest Princess explores a complete study of contrasts with ease. Chappell is both high glam yet cartoonish, camp yet down to earth, outlandish yet entirely calculated. Single “Red Wine Supernova” holds the playful lines of “I heard you like magic / I’ve got a wand and a rabbit!” in jest before TikTok favorite “Casual” floats in three songs later to find Roan questioning if a situationship could be something more in a bout of emotional queer yearning. Her high energy is fully realized in the glitzy synthpop track “HOT TO GO” which immediately creates a level of pop icon status that emulates Madonna’s early career in its passionate authenticity.
Perhaps the most poignant of contrasts within The Rise and Fall is Chappell’s distinct knack at triumphantly riding through upbeat instrumentation and silly lyricism while not being afraid to tap into a more emotional and serious side of herself, as noted in late album single “Naked in Manhattan”. The track begs for physical and emotional connection with a girl close to her, utilizing vibrant synths to cushion her fear that her yearning could be easily rejected. This juxtaposition creates a sonic and lyrical experience that feels entirely relatable to modern queer life and the general world of womanhood. In each track of The Rise and Fall of a Midwest Princess, Roan seems to have pinpointed an exact facet of the human experience that is utterly honest, all while dressing up each moment of coherent vulnerability with a hot pink bow and six inch platform heels.
Unknown Mortal Orchestra - V
Review by Sophie Gragg
Unknown Mortal Orchestra invites listeners on an auditory journey with their latest album, V. Led by the musical polymath Ruban Nielson, UMO delves into a sonic realm where genre boundaries blur, creating an immersive experience for the ears. V is not just an album; it's a kaleidoscopic journey through a soundscape that is both familiar and refreshingly avant-garde.
The album seamlessly weaves together elements of psychedelic rock, funk, and R&B, showcasing Nielson's knack for crafting intricate arrangements and mesmerizing melodies. Each track on V is a sonic vignette, a testament to Unknown Mortal Orchestra's ability to push the boundaries of conventional music. As you traverse the sonic landscape of V, be prepared for a musical expedition that challenges, captivates, and ultimately leaves you in awe of the boundless creativity of Unknown Mortal Orchestra.
boygenius - the record
Review By Sam Mackey
Rarely does a band with merely six songs have a dedicated following. Yet the solo careers and frequent collaborations of Julien Baker, Phoebe Bridgers, and Lucy Dacus made boygenius’ first full length album one of the most anticipated works of the year. Demolishing the divide between platonic and romantic love, the record frequently references the members’ inseparable bond and admiration for one another. It spans the spectrum of the human experience with reflections of friendship, grief, and acceptance.
On the record, the acapella opener “Without You Without Them” sonically picks up where the last album left off, acoustic and impressively harmonic. The uniqueness of each member’s voice is captivating, and when fused together, is an incantation. Baker’s innocent sincerity and powerhouse belts, Bridgers’ soft vocals turned signature screams, and Dacus’ foundational, honey-like tone melt together superbly.
The most memorable moments include eruptive rock tracks “$20” and “Satanist,” the latter of which allots each member a witty solo verse where they play the role of the satanist, the anarchist, and the nihilist. “Cool About It,” a Simon & Garfunkel interpolated tune, showcases the tenderness of the singers’ psyches. Closing track “Letter to An Old Poet” serves as a gut-wrenching encore to the 2018 Boygenius EP’s “Me & My Dog.” The original song’s melody faces lyrical reinvention, as the line “I want to be emaciated” evolves into “I want to be happy.” Nominated for six Grammy awards including Album of the Year, the record is a congregation of emotion and talent.
SAMIA - HONEY
Review By Rachel Carroll
When I wrote for a different publication about Samia's sophomore album Honey upon its release in January, I predicted its inclusion on many year end Best Of lists, despite how early in 2023 it still was. I was right. Honey is the perfect cocktail of surreal storyscapes, lush production, and Samia's featherlight, masterfully deft vocals. From the gentle, impromptu jam-sesh air of songs like "Charm You" or "Dream Song" to more synth-driven, dance-friendly tracks like "Mad at Me" or the latter half of "Sea Lions", Samia's knack for subverting expectations stays consistent. The record's titular song was, at the time I first listened, one of the most stunningly ambitious songs I had ever heard. Nothing has topped it in the eleven months since, and I doubt anything will for a while. Honey has marked Samia as one of the predominant alternative indie acts currently in the game.
Jordan ward - forward
Review By Patu Ong
It pains me to choose between fantastic releases by SZA, Amaraae, Brent Faiyaz, and Noname, but I have to stick with the album I spent the most time with. FORWARD (and its deluxe version, moreward) singlehandedly propelled the St. Louis rapper/singer to my top five favorite artists this year.
With nearly every song produced by Norwegian artist/producer Lido, FORWARD tightly juggles earworms, weekend-cleaning grooves, and introspective storytelling. Much like his STL colleague (and my favorite artist) Smino, Ward excels at floating on beats while constantly switching up flows. Ward also contains the added tact of pitching up and autotuning his vocals in a way that Carti-clones can’t manage. It also helps that Ward can sing. Jordan Ward’s subject matter doesn’t get lost in the discussion, where he details choice moments from his life: losing friends and family to drugs and gun violence, the ensuing loneliness, and carrying on the Ward legacy.
I’ll be spinning this record for a long time, but I’m excited to see what the MC-songwriter has in store for us in 2024 and onward.
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