The 2023 Albums of the Year from Modern Music Analysis
The Modern Music Analysis writers share some of their favorite albums from 2023.
Contributors: Josh Herring, Robin Krause, Mark Chinapen, Paul K. Barnes, Dara Babatope
2023 was a phenomenal year for music. With so many projects released throughout the year, we here at Modern Music Analysis have picked a few of our favourite albums that we kept spinning in 2023. Read on to see what a few fellow writers had to say!
Slipping Into Color — EP by Little Dragon x April + VISTA | Words by Paul K. Barnes
Slipping Into Color is a collaborative EP from the band Little Dragon and the duo April + VISTA. The former is known for a myriad of sounds, most notably electronic grooves that are infused with a unique blend of whimsy, creativity, and emotion. Meanwhile, duo April + VISTA are known for bringing the same amount of layered detail to soulful R&B creations with beautiful arrangements and songwriting. April + VISTA opened for Little Dragon on their most recent tour and this collaborative project was released before the tour began, giving fans hope they would hear the songs live in addition to music from their separate catalogs.
Slipping Into Color is a four-track EP that takes listeners on a short but impactful journey through an amalgamation of integrated soundscapes. Opening track “Layers” showcases the joint vocals of April and Little Dragon frontwoman Yukimi Nagano right out the gate over an ethereal psychedelic track. The relaxed pace of the track welcomes into their joint world as skittering percussion and melodies of all kinds ebb and flow throughout the song. The strings that arrive in the track’s second half may remind listeners of the ones from April + VISTA’s last output, Live from the Pit. If this track took listeners through a peaceful rainforest, the follow-up “Nowhere Else To Go” is a peaceful ride through space. Once again, the duo of these group’s vocalists proves how their contrasting styles can pair excellently. This shines prominently with April on the hook and Nagano giving her backup vocals. There’s a certain airiness to both their voices that is highlighted in the best possible way when they come together.
“Rebels” features the danceable grooves Little Dragon fans listeners are accustomed to. Lovers of production will appreciate the one-minute-long instrumental outro on this one. A variety of creative sounds joins the pulsing kick drum that runs throughout the song. These include additional percussion and a bass line that sounds like it’s in an underwater chamber. Project closer “Slumber” has a hook that showcases where the EP’s title came from. Nagano and April blend especially well on this one which captures a beautiful blend of neo-soul and electronic jazziness. In fact, this classification would be the perfect summarization of the sounds found on the entire EP.
everything is alive — Slowdive | Words by Robin Krause
Rarely has an album touched me as deeply this year as this one. Rarely have I ever felt so much at once when I was listening to music as I did when I listened to this album. But what fascinates me the most is my helplessness. It seems to me as if the verses and notes are chasing me. I can’t express my affection in words because the words necessary to do so have not been found so far. Slowdive’s everything is alive came into my life at exactly the right moment and has remained there ever since. Hopefully, it will stay there for a very long time.
UTOPIA — Travis Scott | Words by Dara Babatope
What makes Scott’s 5th new album so appealing? One can list many reasons, but primarily what is impressive are the ambitious new heights it reaches. From the darkly synth oriented production, numerous dancehall and Kanye-esque influences, to the unpredictable vocal chops from prog rock icons, the Cactus Jack founder/affiliate dares to smoke the competition, showing that he’s not confined to the laws of hip-hop and rap. UTOPIA isn’t stagnant however, as for those who want a little diversity, R&B melodies dwell within as one of the primary elements that carry this album. All of these things incorporated together successfully create a kaleidoscopic atmosphere– satisfying Travis fans (including me) all over the globe.
The Rat Road — SBTRKT | Words by Josh Herring
In one of the most wonderfully eclectic projects of the year, SBTRKT traverses soundscapes with the help of an established cast of professionals including Teezo Touchdown, Sampha, Toro y Moi, and the breakthrough of LEILAH to act as the ultimate curator. A fellow music journalist put me onto this early in the year and I couldn’t be more appreciative. While it wasn’t the most reigned-in and precise project, the wandering musing of the album only benefits the gaudy album — I appreciate the journey SBTRKT seems lost within. From high-flying to absolutely devastating, it is hard to find an album that exudes noise so exuberantly and aptly but The Rat Road surpasses all expectations, especially since it flew under the radar for most of the year in the undercurrent of mediocre disappointments and other trapfalls of pop culture.
Data — Tainy | Words by Mark Chinapen
Those familiar with the name Tainy will recognize him for his work as one of Reggaeton’s star producers. Working with the likes of Bad Bunny, and J.Balvin to craft some of the genre’s biggest hits. His solo album Data sees him invite some of his frequent collaborators into a digitized world of Latin trap, Perreo, and more. What I appreciated is that Data is not your run-of-the-mill Latin pop project, as there are a ton of nuances that make this album special. Whether it’s Rauw Alejandro’s vocoded voice at the end of “Sci-Fi”, the poppy tinges of “Mojabi Ghost” Or the switch from danceable house music to aggressive Perreo on “Colmillo”. Data is full of welcome surprises that elevates this genre, and will hopefully influence other artists to take notes from Tainy going forward.
The Boy and the Heron — Joe Hisaishi | Words by Robin Krause
Hisaishi, using few notes and without losing his signature touch, creates a soundtrack that is equal in its mastery to the visual magnificence of the film. Yes, in some moments, the music may even surpass the imagery. Hisaishi’s soundtrack never convinces with opulence or exuberance, but shines instead by not relying on the repeatable in crucial moments. Instead, it ruthlessly presents the uniqueness of the silence between the notes. At first, it may seem like the music is lagging behind or too fast compared to the film, not harmonizing with it. However, in the end, it becomes clear that the music, not the editing, was the metronome of the film from the beginning. Through the music, the film can come into existence in the first place. It serves as the light that falls onto the metaphorical Polaroid and leaves its imprint, almost as if the music came before the movie. It is the heart and center of this magnificent film.
Tracing Patterns — AKTHESAVIOR | Words by Paul K. Barnes
AKTHESAVIOR is one half the New York rap duo, The Underachievers. Their music is known for having two sounds — high-energy bangers and introspective lyric-focused tracks. AK’s solo music often lines up with the latter, taking it a step further in terms of vulnerable yet motivational lyricism and emotionally layered production. However, he’s had his share of high-energy tracks and freestyles too. Tracing Patterns finds him speaking on his current mental state over a plethora of peaceful instrumentals.
Tracing Patterns is an album for those looking for something new yet familiar in rap. AKTHESAVIOR maintains the roots of the genre with a strong injection of modern techniques. The project finds him taking pride in his self-worth and continuing down the path he sees as best for his own life. He touches on the struggles, trials, and tribulations he’s faced and how he overcame them by looking to his own inner strength. His verses also seem genuine — he didn’t make this music to combat the more popular trends in rap, he made it because this is the type of music he wants to make for his own sake. The motivational bars come from his own heart and aren’t built on cliches we’ve all heard — they’re built on his own life experiences. Throughout all of these emotional moments, AK still weaves in clever bars and references to anime and other figures in rap.
The production on Tracing Patterns is another strong aspect of it. AKTHESAVIOR flows over soulfully bright instrumentals like the ones found on “Hiiigh Vibratiiions,” “Day Dreaming” and project closer “Yesterday.” At other times, mystical yet still soulful sounds set the tone like on “Cuban Dust” and “La Brea Boys” The emotionally solemn keys of “Trials and Tribulations” leaves room for AK and feature Zombie Juice to deliver verses that keep the tone of the production intact. AK’s beat selection is just as intentional as his verses on every track with them lining up perfectly to paint an emotional picture of what’s going on in his mind. Listeners may find many of his experiences relatable and can use his victory over his obstacles as motivation to overcome their own.
Scaring The Hoes Vol. 1 — JPEGMAFIA & Danny Brown | Words by Dara Babatope
I actually recently started diving into JPEGMAFIA’s catalogue. It was something. I started with LP!, something much more recent just to set my mind up for his older work. Luckily, he dropped (the intensely experimental and brash) Scaring the Hoes w/ Danny Brown and that’s when for me, it was solidified that he wasn’t just any other rapper mumbling on beats. The producer’s ambidextrous nature along with internet quip-like bars (“Fuck Elon Musk/$8 way too expensive”) and witty production style sets him apart in a different space of his own. Sampling isn’t just an instrument for PEGGY–it’s a weapon of fun, musicality, and targeted meta-humor.
My 21st Century Blues — RAYE | Words by Josh Herring
RAYE is brutally honest and boy does it pay off. From the mind-numbingly catchy, “Escapism.”, to the harsh truths of multiple tracks harping on sexual assault, body dysmorphia, and suicidal ideations, My 21st Century Blues puts the experience of zillennials on full display unforgivingly. Grasping the space she had been denied for so long, with renewed confidence and a persistent anxiety, RAYE snatches center-stage from the rich, white CEOs that quite literally loomed over her for the past decade. This album is addictive and catchy in all the right ways while revealing her deepest, darkest thoughts in a way that is absent of pity and abundant in nerve, audacity, and bravery.
Oppenheimer — Ludwig Göransson | Words by Robin Krause
The soundtrack to Oppenheimer is, so to speak, the perfect mirror image of Hisaishi’s. While Hisaishi aimed to be ahead of the film, Göransson seems to embrace disharmony itself as an objective. This is evident not only in those moments where multiple tempos collide, but also in those where image and music diverge in their dramatic intensity. However, it is precisely this disharmony, that supposed flaw, that elevates this soundtrack to the best of the year, perhaps even the decade. Göransson truly succeeds in turning a simple court trial into a tension-filled thriller that does not shy away from its emotionally charged moments. Quite the opposite. At all times, the music moves in tandem with the superbly and skillfully recorded perfect IMAX shots. Simultaneously, the soundtrack, in the right cinema, makes itself felt not only auditory but also genuinely physically. Right at the beginning of the film, when Nils Bohr asks Oppenheimer if he can hear the music, we feel it in a way that we rarely can experience music in the cinema. Through the pulsating air in the room. Through the vibrating walls and cinema seats. Passing through our swaying bodies, the music transcends being mere accompaniment.
Let’s Start Here — Lil Yachty | Words by Dara Babatope
Lil Yatchy’s brand of energetic bubblegum trap takes a totally different turn in his new album. This shocked me a little, majorly because I never envisioned he would go with the indie-alternative path. But it isn’t surprising, as a lot of artists as of recent, especially rappers, are starting on clean slates and trying something different, which is very commendable.
This album could be genreless, but it follows the same formula Travis of Cactus Jack uses, but instead of being gothic, it leans towards more psychedelia with its use of reverb and borderline T-Pain vocal vibrato and the strong funkiness of the 80s. If there’s one thing I can confidently argue in support of, it’s that Yatchy definitely had a vision when going in to make this album. The absolute epitome of ear heaven.
Cyberpunk 2077 Phantom Liberty Original Score — Jacek Paciorkowski and P.T. Adamczyk | Words by Mark Chinapen
A few months ago I bit the bullet and returned to Cyberpunk 2077 after writing it off 3 years ago for its technical issues. I was thoroughly impressed by the improvements made and ended up enjoying the game a lot more than I expected, more so that I bought the game’s expansion Phantom Liberty. Despite my initial disdain for the video game’s original release, I held its soundtrack very highly. It was a great blend of glitchy techno, rock, and hip-hop that fit the seedy underworld of Night City quite well. The game’s composers returned to soundtrack Phantom Liberty, bringing about elements of espionage and dramatic flair to tie in with the expansion’s more grounded and James Bond-esque storyline.
The musical pieces here really ramped up the gameplay and made several moments extremely memorable. The thumping bass of “Gate K9” merely added more tension and excitement in an ensuing airport shootout. “I’m a Netrunner” perfectly encapsulates the character Songbird with its eerie chanting vocals and booming percussion, hinting at what players could expect from her as they continue playing. Furthermore, the expansion’s title track sung by Dawid Podsiadło is a slow-burning ballad characterized by Dawid’s powerful vocals, perfectly capping off what was otherwise a solid conclusion to Cyberpunk’s additional story.
Volcano — Jungle | Words by Paul K. Barnes
Jungle makes the type of music where giving it a genre classification is difficult in the best possible way. But, if one was absolutely necessary, I’d say it’s a blend of dance and pop with influences of all kinds coming in to bring an upbeat, fun sound. This project finds them collaborating with both singers and rappers, bringing even more genre-blending elements to their world of auditory happiness.
Volcano is 14 tracks with a length of 44 minutes and four seconds. This may be coincidental or intentional but either way, the tracklist has little room for filler. There’s not a “concept” but there is a running theme of having a good time while dealing with issues that may be happening and different facets of a relationship. The former comes through strongest on tracks like “I’ve Been In Love” “You Ain’t No Celebrity” and “Pretty Little Thing” which features Dreamville artist Bas. Jungle composes and arranges this theme around a multitude of instruments. At other moments, specific sounds on songs were stuck in my head such as the guitar on “Us Against The World” the flute on “Problemz” and the synth that only appears once on “Palm Trees.” Fortunately, the awesome groovy bass line on the latter sticks around for much longer.
I mentioned this album had little filler but for me “Don’t Play” was a track that could have been cut. With feature Mood Talk, the track is a simple and repetitive electro-house dance number. However, the layered arrangements seen throughout the album are absent here both vocally and instrumentally. It doesn’t sound bad but its simplicity and length are not a good combo. Had it been half as long, it would have worked better for me. “Good At Breaking Hearts” with features JNR WILIAMS and 33.3 is also more stripped back but it works because of the variety of vocals on it which are arranged excellently. The blending of background vocals with the song’s melody worked really well for me even though the production was simplistic but still soothing.
Sometimes, due to the stylization of the vocalists, the lyrics may be hard to understand but are simultaneously still pleasant and enjoyable. “Holding On” is a good example of a moment like this where the irony was the hook — which is the song title — was the part that was indecipherable to my ears. This also happened to me on the follow-up track “Candle Flame” which had a surprising feature from Erik The Architect. He has built quite a resume as a solo artist outside of his group Flatbush ZOMBiES. The same situation happened with me for album closer “Pretty Little Thing” which is a relaxing and subdued ending to the energy-filled project.
heaven knows — PinkPantheress | Words by Mark Chinapen
It’s no secret that PinkPantheress practically dominated the music scene and social media early this year with her single “Boy’s a Liar Pt. 2”, elevating her status as an internet darling to worldwide pop sensation. She capitalizes on her newfound fame and success with her enchanting debut album heaven knows. She fully embraces her early 2000s aesthetic on songs like “Nice to Meet You” while also expanding her sound, as on the disco-influenced “The Aisle”. She’s also sounding much more extroverted compared to her past works, while still maintaining that bit of mystery about her that drew my attention to her in the first place. Pink brings something very refreshing to her debut album, and I have a strong feeling she will usher in a new wave of pop music inspired by the whole Y2K, garage sound she’s perfected on here.
And there you have it! We hope you found something new and agreed (or disagreed) with our takes. If you made it this far thank you for reading, and we here at Modern Music Analysis would like to wish you all a happy New Year!
