2023 has been my year of discovery and rediscovery. Between the day job, parenthood, and going to gigs, I’ve managed to cram some 300 odd albums. Some of them made an immediate impression; others flicked a switch, but the light took a while to come on. There are just so many bands that could have made this list if I had spent just a little bit more time with them—Sermon, Pupil Slicer, Gorod, Anachronism, to name just a few artists that tickled my fancy. This list, like everything else in life, is just a snapshot in time. And here’s the thing. I now only have time for music that makes me feel just that extra bit alive. Whether it’s happiness, or nostalgia, existential dread, the impulse to bang my head or urge to move my body. Whatever shape sound takes for you, joy is joy. Here’s mine.
Katatonia is the childhood friend I once shared a deep history with, but as time passed, we drifted apart. Our reunion has been unremarkable and I feared we might struggle to find common ground. Despite that, we kept in touch, and slowly but surely reconnected. I’m sure Katatonia have not set out to revolutionze anything here; Sky Void of Stars is a seamlessly crafted and nostalgic affair, beautifully wrapped in crisp production. It’s homogenous, comfortable, and safe. Because sometimes all you need is a sadboi hug.
This album clicked for me almost instantly, but witnessing Calligram perform live really cemented my love for it. Position | Momentum offers a unique blend of bittersweet black metal, as expansive as it is claustrophobic and guaranteed to purge whatever needs exorcising. Skillfully weaving melodic, almost sanguine passages with intense blast beats and the singer’s anxiety-inducing shrieks, Calligram will leave you gasping for air whilst you plead for more. Cheaper than therapy, and more fun, as the band say themselves.
One year ago I would have laughed in the face of anyone telling me a Blackened Thrash album would become a staple in my playlist. And yet, Hellripper reminded me that at my core, I do love a speedy, whiplash instigating display of musical prowess. James McBain, the man behind the name, effortlessly delivers some of the tightest music I’ve come across in 2023. With one foot rooted in Scottish folklore (complete with freaking bagpipes) and the other stepping into pure, unbridled fun, Warlocks Grim & Withered Hags flows seamlessly, grabs hold and refuses to let go until all chaos has been unleashed and all hell has been ripped. All hail this catchy goat.
I like my black metal how I like my coffee: dark, sharp, with blast beats that awaken my senses and inner chaos as well as a touch of that sweet avant-garde syrup. Thy Catafalque have been delivering just that for me, but Alföld is a different roast. Sure, there’s riffage and rage, but there’s also an infusion of folk, and mystery, and an enigmatic something else that makes it feel rather homey. Gimme flutes, French horn, violins, double bass and blur those genre boundaries. Then pour me another shot because Alföld undeniably leaves me craving more. It is often difficult to be musically eclectic yet super cohesive so I applaud this feat of an album, for it has truly awakened my senses.
The Fox and the Bird is real trip—both in terms of sonic exploration and conceptual depth—with adventures unfolding around every corner. So much that it was impossible to grasp, thus I made it my most listened to album of the year. Their methodical and intricate showcase of skill is both fresh and infectious, blending elements of prog, indie Rock vibes, and djenty hooks. I have a soft spot for tender music that reveals its teeth the more I delve into it and with its lush soundscapes, this album delivers that and then some. If you're doubtful, perhaps it's time to give it another spin. Do not go djentle into that Ok Goodnight.
This debut completely caught me off guard, but it wasn’t until around the third spin that it truly and irrevocably clicked. It has an old-school charm that will slowly but surely start tugging at all inner strings through its meticulous buildups, uplifting heaviness and melodic hooks. While at its core an exploration of classic doom, The Ever-Living Fire refuses to be confined to a specific genre, and I attribute that to its big sound and dreamlike character. Is there a hint of shoegaze in there? Did I just hear sludge? I don’t really mind—heartbreak is my favorite genre.
Nemesis and Nativity was my “the one” this year. You know, the instant spark and immediate connection, the unsettling pull of its broken, bad boy allure. It is a metal-adjacent, downright bizarre mélange, seamlessly weaving dark folk and post-industrial elements into quite an intimate, gothic tapestry. The album’s moody and haunting atmosphere creates an eerie and sometimes uneasy experience, often veering into menacing territories. The Leonard Cohen-esque vocals are what provide not only a timeless quality but also a shroud of calm and unexpected comfort. While not an album to rule them all, after many months this precious is still ringing in my ears—a myrrhaculous accomplishment.
What we have here is an absolute monolith of an album and anyone who has attempted to convey it in a review deserves my utmost admiration. Words fall short in describing its essence, and if you’re considering just one album from this list, it should probably be this one. Despite my affinity for the avant-garde, Black Medium Current transcends expectations. Peculiar and emotionally charged, akin to a pupa digesting its own body within a chrysalis before transforming into a butterfly, this is a narrative of evolution and metamorphosis, often occurring in tandem. Although its pieces may seem disjointed, it is a meticulously orchestrated, beguiling and addictive experience; not only does it challenge classification but it defies the constraints of time (read: it’s long). Lie back and let it unfurl its wings, it’ll take you places.
This year’s been one of growers, and Ontological Mysterium is no exception. Did I dismiss it into the “perhaps” pile and not picked it up again for quite some time after the first spin? Did I get back to it prepared for a headbanging journey like no other? Yes and yes. Horrendous satisfied my progressive itch with the ferocity only a technical death metal band can deliver. Overflowing with energy and pure playful joy, this album is a contorting beast that blends melody, mood and chaos into a highly palatable concoction. Unhinged and relentless, Ontological Mysterium is a tour de force, one that offers a rapid-fire succession of (brace yourselves) absolute bangers. Don’t try to beat it back, it’ll KEEP ON CLIMBING.
You might occasionally find yourself in a museum, casually wandering among paintings, briskly appreciating various artworks. Yet, ever so often, you will feel compelled to sit on the bench before a particular painting to truly absorb its essence and let it consume you. Songs of Abundance became that profound artwork for me this year. I lingered before it for so long that its melodies began to echo in my dreams. So, recency bias aside (I saw healthyliving performing live in December), I had to stay true to myself and admit this has been my number one for a while now. Each track here is a distinct and mesmerising entity, appearing deceptively simple on a first spin. Yet delve deeper, and you’ll come across a highly textured musical landscape. The album traverses doom in some parts, embraces post-metal and post-rock in others and exudes a Shoegaze sensibility. Their singer Amaya López-Carromero skillfully synchronizes her vocals and lyrics with the pulse of heartbeats. Choosing a favorite song would be a real challenge as they each stand out, and the album unfolds in perfect harmony. This is a diverse and uniquely healthyliving creation, although what that means within the context of a debut remains a bit of a puzzle. It embodies darkness and light, turmoil and balance, equal parts love and despair. So after 37 intense minutes, I’m still sitting on my bench and pondering. When this one ends, where do I begin?
