5-9’s Album of the Month Podcast – April 2024 episode out now!

The latest episode of the 5-9 Album of the Month Podcast is here, where I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, ultimately naming one as our Album of the Month at the end of the discussion. On the Spotify version coming later this week, we also have some insightful background information to each album from Blinded By The Floodlight’s Matthew McMcLister and you can also hear our picks of the best songs from each record!

For our March 2024 episode, it was the wonderful Beach Day by Another Sky that took home the coveted Album of the Month title, winning us over with its soaring vocals, epic riffs and gorgeous songwriting. For our latest episode looking back at five big releases from April, the albums vying for recognition this time around are:

• Humble As The Sun by Bob Vylan (Poll winner, thanks for voting!)
• (I Think) I Might Be Grown by Mae Krell
• The Falls of Sioux by Owen
• All Born Screaming by St. Vincent
• Only God Was Above Us by Vampire Weekend

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and now YouTube for more news and polls relating to the podcast.

Listen on Spotify here

Watch and subscribe to our YouTube channel here

Album & EP Recommendations

Yummy by James

At some point, I imagine I will stop being amazed by James’ ability to continually deliver urgent, provocative and sonically satisfying new music, even at this stage now 40 years into their career. However, this latest opus from the Mancunian indie legends titled Yummy, their eighteenth studio effort no less, is not the one – because it is amazing.

Across the twelve tracks here, legendary frontman Tim Booth is sounding astute as ever, presenting his observations and analysis of the current social and political climate, and why above all else the world just needs a little more love. Sonically the arrangements continue to be lush and magical too, with the recent additions of Chloe Alper and Deborah Knox-Hewson to the fold adding a welcome new dimension to the vocal harmonies.

Fully deserving of their long overdue, first ever UK No.1 album on the Official Chart and while it may not hit the heights of some of their classic records, it is definitely up there as one of their recent best. For highlights, check out the fantastic single Life’s A Fucking Miracle or the soul-stirring strings on Shadow Of A Giant.

Listen here

This Could Be Texas by English Teacher

It’s one of the most critically acclaimed debut albums of 2024 thus far, with some publications even heralding it as a “masterpiece.” Whilst I’m not sure I would go quite that far with the hyperbole myself, there is no doubt that this is a special, frequently unique first outing from Leeds rockers, English Teacher.

Bouncing between styles and genres while never once being creatively confined, in one breath the band will emulate the artsy post-punk of their peers in Black Country New Road, the next it may be the pulsating indie-rock of bands like Wolf Alice and Radiohead. After that, frontwoman Lily Fontaine may then hit you with a devastating ballad, anchored around her soulful voice. It’s a dazzling mix that only grows in stature with each subsequent play.

While there is still a couple of moments like Broken Biscuits and I’m Not Crying, You’re Crying that I’ve not quite warmed to yet, the highlights such as the intricately arranged Mastermind Specialism, the string-tinged folk lament You Blister My Paint and the gorgeously triumphant closer Albert Road, help make this one of the standout debuts of 2024 thus far.

Listen here

What A Devastating Turn of Events by Rachel Chinouriri

From one exceptional debut to another, as indie-pop sensation Rachel Chinouriri also finally released her long awaited first album at the beginning of May. An album as hard-hitting lyrically as it is joyously catchy, What A Devastating Turn of Events sees Rachel transform tragedy, melancholy and important life lessons into an impressive collection of Britpop-inspired tunes.

In addition to her outstanding singles like The Hills, Never Need Me and All I Ever Asked, it’s the album tracks that end up leaving the biggest mark here. The title track and the beautifully devastating Robbed both see Rachel contemplate loss, be it those who sadly left too soon or those you never got chance to meet. My Blood and I Hate Myself are then her most honestly introspective tracks, written about a dark period of self-harm with an important message to love yourself.

It’s in these moments where Rachel really sets herself apart, showcasing her talent for producing brilliant pop songs that also have something meaningful to share or a worthwhile story to tell.

Listen here

In Lieu of Flowers by Aaron West & The Roaring Twenties

The final part of a trilogy that’s been a decade in-the-making. The brainchild of The Wonder Years’ frontman Dan Campbell, Aaron West & The Roaring Twenties blend together all my favourite genres of music into one unique, heartfelt sound. There are elements of indie, folk, Midwest-emo and a dash of pop-punk too, with this incredible collection of songs as sonically satisfying as they are lyrically moving.

Every single song is worth your time here, but to pick out just a couple of highlights I would have to go for the acoustic-angst of Roman Candles, the bluesy waltz of Whiplash or the triumphant burst of horns on the album’s title track. With an impressive score of 92/100 on AlbumoftheYear.org at time of writing, this is another highly-acclaimed record that deserves all the praise in the world.

Listen here

Slightest of Hands by Strange Magic

In 2022, Albuquerque-based musical prodigy Javier Romero set himself an ambitious goal – to write, record and mix one song a week for the entire year. It may have seemed like a big swing for the fence at the time, but Romero impressively met his bold target, resulting in four albums worth of material delivered in 2023.

Now with the added curation of Mama Mañana Records, these four albums have been condensed into one mesmerising and eclectic 56-minute compilation, titled Slightest of Hands. It’s a hypnotic collection of songs, with Romero serving up addictive lo-fi helpings of power-pop, emo and indie that unleash vibrant technicolour sounds into your ears at every turn. The duo of the infectiously catchy Star Power and the grunge-inspired The Incredible Wanderlust impress early doors, before the stomp of Irish Goodbye In Reverse and the hazy guitars of Best Friends Forever leave you spellbound elsewhere on the record.

A hugely fun compilation and with 22-tracks to choose from, it’s guaranteed to deliver something you will want to spin on repeat.

Listen here

The Falls of Sioux by Owen

“With Mike and cousin Nate Kinsella exploring new sonic territory at every corner on their magnificent self-titled collab album Lies - the record I named as my Album of the Year for 2023 - I did wonder how that would impact Mike’s music going forward. I didn’t have to wait long for my answer, as lots of the elements unlocked on that record have been brought to the table again here, with Mike utilising orchestral strings, electronic synths and dreamy shoegaze aesthetics in a way he hasn’t previously on other Owen projects.

It seems that every time I go into a new Mike Kinsella record with a heightened sense of anticipation and yet, even with my own impossibly high expectations, he still manages to blow me away every single time. With The Falls of Sioux, he’s delivered an exquisitely arranged and refreshingly honest introspection, one that perfectly balances the melancholy with dashes of laughter and charm along the way. It’s the sound of a one-of-a-kind artist in the absolute prime of his career and I can’t help but feel its only going to get better from here. Mike Kinsella, long may he reign!”

Read my full review for 5-9 here

Listen here

Exactly As It Seems by Home Counties
“Having played music together in various forms since their primary school days in rural Buckinghamshire, it’s safe to say this debut album from dance-punk six-piece Home Counties has been a long time coming. Having introduced themselves to the world with their excellent 2022 EP ‘In A Middle English Town’, this eagerly anticipated debut, titled ‘Exactly As It Seems’, demonstrates just how much the band have evolved in such a short space of time.

Listening back to that EP now, you’d be fooled into thinking it was a different outfit altogether – and you would be partially right. The arrival of vocalist and keys player Lois Kelly has not just transformed the band from a five-piece to a six-piece, but she’s also taken them on an adventure into new sonic directions, one that adds elements of 00s dance-pop and shades of LCD Soundsystem and Confidence Man to their post-punk/art-rock sound.

Overall, this is an impressive and fun thrill-ride from Home Counties, one that pulls together relatable grievances with today’s world and soundtracks them with upbeat, unique dance-punk melodies. Despite a slight moment of monotony in the back-half, it’s a debut that succeeds in introducing their eclectic current set-up while also highlighting their huge future potential.”

Read my full review for Clash Magazine here

Listen here

Also well worth checking out:

• Fearless Movement by Kamasi Washington
• Dennis by Sega Bodega
• Undefeated by Frank Turner
• Don’t Forget Me by Maggie Rogers
• Teething by Porij
• Hyperdrama by Justice
• Final Summer by Cloud Nothings
• Hovvdy by Hovvdy
• Heavy For A While by Byland
• Nothing Much To Say EP by Katie Keddie

Song Recommendations

Starburster by Fontaines D.C.

“I’m gon’ hit your business, if it’s momentary blissness…*GASPS!*”

Oh yes - take a deep breath because Irish post-punk pioneers Fontaines D.C. are officially back!

With their fourth studio album, Romance, officially announced to drop this August, it has taken exactly one song for anticipation to hit fever pitch. Including last year’s solo project, this will mark Grian’s fifth album in as many years, but if lead single Starburster is anything to go by, the frequency of the output hasn’t come at the expense of quality.

Starburster is already right up there with the band’s best for me, a mind-altering, trip-hop-infused track about modern anxieties that’s as vibrant as…well, a pack of Starburst. It’s a fascinating direction change and it’s been on heavy repeat since it dropped – roll on August!

Watch the suitably surreal and hypnotic music video here

Watch the enigmatic first live performance of the track on The Tonight Show here

Euphoria / Not Like Us by Kendrick Lamar

It’s been the talk of the music world for the past few weeks – the rap beef between Kendrick Lamar and Drake. Hearing them chop it up together on Poetic Justice seems like a lifetime ago now, with the pair escalating from snide comments over their last few albums, to now going blow for blow in a rapid fire diss track exchange. Personally, I find it all a bit silly, but nonetheless the songs and memes that have followed the rivalry have been quite entertaining.

Inevitably, Kendrick came away the winner, with his tracks Euphoria and particularly Not Like Us gaining huge chart success, with the latter hitting No.1 on the Billboard Hot 100 thanks to 70m streams in the space of just a few days. Iconic!

Listen to Euphoria here

Listen to Not Like Us here

Aw, Shoot by CMAT

As Ciara Mary-Alice Thompson gears up for another busy festival season off the back of her incredible sophomore album, Crazymad For Me, she’s gifted fans yet another stellar single. Inspired by Netflix show Emily In Paris, it’s another anthemic “sad country song” that’s seemingly destined for festival crowds to sing it at the top of their lungs this summer.

Listen here

Florida!!! By Taylor Swift featuring Florence + The Machine

It was the Taylor Swift record that even the most diehard Taylor Swift fans couldn’t get on board with, as you can read in this brilliant 5-9 review from an anonymous Swiftie. However, amongst all the cringe lyrics and repetitive melodies, The Tortured Poets Department did still have the odd gem such as this incredible collaboration with Florence Welch. It’s a hard break-up anthem that you can’t help but get sucked in by, thanks to Florence’s ever-soaring vocals stealing the show.

Listen here

Kimbara by Barry Can’t Swim

The early May period has gifted us some truly glorious weather so far here in the UK, leading me to start my annual quest for the song that will ultimately come to define the next few months. That’s right, I’m already on the hunt for the Sound of the Summer 2024. Not too many contenders have reared their head so far, but to be honest, Scottish DJ and producer Barry Can’t Swim might have already locked it up with this colourful and utterly euphoric carnival-starter.

Listen here

360 by Charli XCX

Another possible contender is experimental-pop queen Charli XCX, who is gearing up to release her club-inspired new album Brat this June. Opener 360 is the latest single to be revealed from the project, coming complete with a lavish, eye-catching music video directed by Aidan Zamiri that points the lens at “hot internet girls”, with cameos from the likes of Julia Fox, Gabriette and Chloë Sevigny.

Watch the video here

Starburned and Sunkissed by Caroline Polachek

Another blissful summer tune from the experimental pop world, this latest single from Caroline Polachek is an 80s-inspired, neon-soaked trip. With glitchy industrial instrumentation, it’s taken from the soundtrack to forthcoming A24 horror-drama I Saw The TV Glow. Whilst it’s currently reminiscent of hot and hazy summer evenings, I imagine after seeing that film it may conjure more sinister mental visuals.

Listen here

Turn The Page by Overmono & The Streets

Speaking of reminiscing, it was a few years ago at Lost Village festival when electronic titans Overmono first played this cover/remix. I remember hearing those iconic strings that open The Streets’ album Original Pirate Material and rushing over to the main stage like a lightning bolt, not quite believing what I was hearing. Since that moment I’ve been anticipating this incredible remix to drop and finally, just in time for Summer 2024, it has finally arrived. Glorious!

Listen here

Act Violently by SOFT PLAY

The signs had been there that a new album was on its way and I’m pleased to say, after six long years, Soft Play (Formerly Slaves) have a new album ready to go. Titled Heavy Jelly, it is due for release in July, with their massive previously released singles Punk’s Dead and Mirror Muscles both on the tracklist. Act Violently is the latest taster of the record, with its brilliant stuttering ferocity, chant-like chorus and hilarious calls of “HEY, I’M WALKING HERE!” Worth experiencing alongside the typically madcap video from the duo.

Watch the Act Violently video here

Walk Through Fire by Yannis & The Yaw featuring Tony Allen

A long-rumoured project, finally Yannis Philippakis of Foals is dropping his collaborative EP with the late-great Fela Kuti legend, Tony Allen. Titled Lagos Paris London, it arrives this August having been completed with the help of Tony Allen’s frequent collaborators. Walk Through Fire is the infectiously groovy first taste of the upcoming EP, with Yannis’ signature guitar riffs perfectly complimented by Tony Allen’s shuffling drums.

Listen here

Mother by Fiona-Lee

Another of my favourite aspects of the summer months – discovering incredible new artists at the start of their career thanks to some trawling through festival line-ups. Rising Yorkshire rockstar Fiona-Lee has been my favourite of these discoveries so far, after finding her through the bill for Sheffield’s Get Together festival. Not long after being exposed to her phenomenal talent, she released her first ever single, titled Mother, which is wonderfully propelled by her soft vocal tones and some powerful, scintillating guitar work. Watch this space!

Listen here

Love and Pain by Creeper

But it’s not all about summer – Halloween has come early as well, as gothic rock outfit Creeper released an expanded edition of their instant classic third album, Sanguivore. Whilst their cover of Pat Benatar’s Shadows of the Night as well as the “Count Dalgula’s Queen Of The Night Extended Mix” of Cry To Heaven are both worth digging out too, the highlight of this deluxe edition of the album is this brilliantly dramatic, new original song.

Listen here

Believe by Gus Dapperton

When I saw that one of recent favourites, American slacker-pop sensation Gus Dapperton, would be covering Cher’s iconic single Believe, I did have my reservations. Firstly, Australian indie outfit DMA’S covered it so well for Triple J’s Like A Version, I knew that there was no way Gus was topping that rendition. However, while he doesn’t quite match DMA’S version, this is still a worthwhile cover with Gus bringing his own wildly unique style and vocal tones to this summery version of the track.

Listen here

Also worth checking out:

• Jocelyn by Walt Disco
• Like I Say (I runaway) Nilüfer Yanya
• Rentrer chez moi by Christine and the Queens
• What Can I Say After I’m Sorry? By Blossoms
• Very Heaven by Swim Deep
• Moments Die by Joe Goddard & Barrie
• Knife Edge by Thom Yorke
• Same Mistake Twice by The Howl & Hum
• Wonderland by Holly Macve
• Fight For The Right by Yonaka

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

5-9’s Album of the Month Podcast – latest episode out now!

In case you missed it, it’s an exciting new era for the 5-9 Album of the Month podcast as last month we launched our official YouTube channel! Each month, we will publishing the latest full podcast episode as well as individual album reviews and our monthly highlights outside of the albums discussed. To explore all our video content so far, including our January, February and March episodes, you can find our YouTube channel here. And to help support the channel as we get it off the ground, please be sure to like and subscribe if you’re enjoying the content!

For those new here, the 5-9 Album of the Month Podcast is where I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion. On the Spotify version, we also have some insightful background information to each album from Blinded By The Floodlight’s Matthew McMcLister and you can also hear our picks of the best songs from each record!

For our March 2024 episode, the five albums we discuss are:

• Beach Day by Another Sky (poll winner, thank you!)
• Mountainhead by Everything Everything
• I Got Heaven by Mannequin Pussy
• Playing Favorites by Sheer Mag
• Where’s My Utopia? By Yard Act

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and now YouTube for more news and polls relating to the podcast.

Listen to the new episode on Spotify here

Watch the latest episode and subscribe to our YouTube channel here

Album & EP Recommendations

ACT II: COWBOY CARTER by Beyoncé

Yee-bloody-haw!

It’s a Country & Western inspired New Music roundup this week, so it only makes sense to begin with one of the biggest album releases of the year thus far – COWBOY CARTER by Beyoncé.

I’ll be the first to admit that when ACT I: RENAISSANCE was cleaning up with the year-end awards amongst most music critics in 2022, I wasn’t as impressed. Whilst it was a fun project and certainly had its moments, I personally thought it failed to live up to its predecessor, B’s confessional masterpiece Lemonade. I also thought there were much better records released in 2022, to the point that RENAISSANCE didn’t even make my own Top 50. However, when I heard Queen B was following up her House and Dance-inspired record with a Country album, I was instantly intrigued.

Daddy Lessons off Lemonade had previously given us a taste of what a Beyoncé-Goes-Country track could sound like, but there’s a big difference between delivering one moment within an eclectic, genre-hopping rollercoaster and sustaining a whole album in that style. Even more so when that album is 27 tracks and 78 minutes long! But having seen very some positive reviews and my intrigue only heightening as a result, I dove into this one with the expectation that it would be another overhyped project – I was wrong. Whilst I wasn’t onboard with RENAISSANCE, I absolutely am with COWBOY CARTER.

Firstly, if the track length on this one is putting you off, don’t let that be the case. This album is such a fun, joyous time, that the 78-minute runtime just flies along. The album is also structured almost like a show you’d find on a Country Music radio station, with the legendary Willie Nelson himself guiding you through the “SMOKE HOUR”, with these interludes helping to keep the pace ticking along swiftly.

Most importantly though, the album is simply littered with stand-out moments from beginning to end. Singles 16 CARRIAGES and TEXAS HOLD ‘EM still sound great, but it’s the album tracks where the album really comes alive, with the likes of BODYGUARD, AMERIICAN REQUIEM, DAUGHTER and RIIVERDANCE blending elements of pop, soul and R&B seamlessly with the sounds of B’s Louisiana roots. There’s two instantly iconic covers as well that Beyoncé makes her own, turning The Beatles’ BLACKBIIRD into an empowering gospel anthem whilst switching the lyrics up on Dolly Parton’s JOLENE to reference Jay-Z’s infidelity – which also happens to include a blessing from Parton herself. To top it off, there’s also a bunch of interesting and worthwhile collaborations too, including country music heroes Linda Martell and Willie Jones, along with contemporary crossover popstars Miley Cyrus and Post Malone.

Overall, COWBOY CARTER is an album I’ve enjoyed much more than I was expecting to, so much so that I find myself returning to it fairly frequently. If you’re also feeling sceptical but slightly intrigued, I promise it is worth a spin. A really fun record filled with heart, soul, fascinating collabs and Beyoncé’s ever incredible vocal and genre gymnastics. Bring on ACT III!

Listen here

Bright Future by Adrianne Lenker

From Country to Folk now, with Big Thief’s Adrianne Lenker donning her best Cowboy hat for the album cover to her latest solo outing, Bright Future. Whilst I can sometimes find Big Thief’s output easy to admire but hard to love, this one hit me in the gut straight away. Raw and impactful, it’s a collection of tracks where each song feels more emotionally devastating than the last.

Not only that but these are songs that feel instantly classic, with Lenker’s heartfelt songwriting radiating out of the music. The string-tinged melancholy of Sadness As A Gift is a big early highlight, whilst the lo-fi energy of Vampire Empire, heart-shattering piano ballad Evol and acoustic lament Candleflame all leave a strong lasting impression too, all in very different ways. Such is the emotional heft wrapped in these songs, by the time you reach gorgeous closing track Ruined, it’s likely you’ll be just that!

Whilst this is an album you have to be in the right mood for as it can be a hard listen at times, if it catches you in that opportune moment then the rewards are unparallelled to anything else released so far this year. Without a doubt, one of the best, most beautiful records of 2024 yet.

Listen here

Tigers Blood by Waxahatchee

When Katie Crutchfield, AKA Waxahatchee, released her sobriety-seeking fifth studio album Saint Cloud at the height of the COVID-pandemic in March 2020, she couldn’t have imagined the impact it would generate. Here was an album brimming with emotional turmoil, at a time when the world was dealing with just that. As a result, it was the perfect album for the perfect time, steering Saint Cloud towards a spot on many year-end lists and Waxahatachee gaining plenty of new fans to boot. 4 years on, and Tigers Blood finds Katie Crutchfield looking to recapture the magic of that record with another collection of country-infused indie and Southern rock jams. And just like its predecessor, I’m pleased to say its chock-full of outstanding cuts.

From the uplifting stomp of opener 3 Sisters, the bluesy riffs of Ice Cold to the brilliantly laid-back, MJ Lenderman-featuring single Right Back To It, you’ll find yourself wrapped up in the warming sounds straight away. However, it is the even more stripped-back second half where the strength of Katie’s raw, honest songwriting really shines through, with Crimes of the Heart, 365, The Wolves and the closing title track all hitting hard.

Whilst I can see some people being left lukewarm by this one coming off the back of Saint Cloud, for me personally I think I’m enjoying Tigers Blood possibly even more than that record. Whilst it still has the traditional melodies and relatable lyrics, it feels like Katie has stepped things up once again with her songcraft. Either way, this is another superb collection that I suspect will see her return to the year-end lists come December.

Listen here

All Quiet On The Eastern Esplanade by The Libertines

Whilst they were a big part of my teens, I’ll be honest I had minimal enthusiasm when it came to hearing a new Libertines album in 2024. Whilst Carl Barât and Pete Doherty had previously reunited almost ten years ago on Anthems For Doomed Youth, it sadly sounded like two musicians trying desperately to recapture a long lost formula, at a time when indie landfill was hitting maximum capacity. However following a couple of decent singles, I decided to let nostalgia take over and give the quartet the benefit of the doubt, spinning this album with a completely open mind. What I found was an album that defied all my expectations, with The Libertines arguably sounding even more urgent now in 2024 than they did back in the early noughties.

With their ever-present Likely Lads charm, Barât and Doherty turn their pen onto the current state of Britain, through both politics and people. Their music is also richer and more textured than ever before, with their traditional indie sound bolstered by dramatic brass arrangements, sweeping strings and theatrical production. It all comes together to form arguably their strongest record to date, a dazzling 38-minute listen where the band sound more focussed, more interesting and generally just having much more to say.

It’s also got some of their very best songs to date, from singles Run Run Run, Night of the Hunter and Shiver to the raucous look at the Ukraine War on I Have A Friend and the jazz-infused Baron’s Claw. However, the album’s crown jewel is without a doubt Merry Old England, a powerful, orchestral ode to migrants coming to the UK that is as impactful as it richly textured, both sonically and lyrically.

This has been one of the biggest surprises of the year so far for me, an album I was never expecting to love as much as I do. My hat is well and truly tipped to Carl, Pete, Gary and John, who prove they are more than an old indie act trying to relive past glories. Whilst the nostalgia of the early records will always have a hold over their die-hard fans, there’s no doubt that if they look beyond rose-tinted glasses, they’ll see this is objectively their finest work to date.

Listen here

The Sunset Violent by Mount Kimbie

One of my most played albums of April thus far, Mount Kimbie recently returned with their first studio album in seven years, bringing with them a new line-up and a new sound. Back this time as a quartet rather than a duo, The Sunset Violent sees the usually electronic outfit dive into a more indie/alternative sound to great effect. With King Krule also showing up to guest on a couple of tracks, it’s a gorgeous 36-minute listen seemingly destined to soundtrack warm and hazy summer evenings. There’s plenty of highlights too, with Shipwreck, Fishbrain and Yukka Tree all utter bliss.

Listen here

Incommunicado EP by Express Office Portico

A bittersweet release this, as Notts indie-pop outfit Express Office Portico finally released their debut EP at the end of March. However, the release of the project also coincided with the news that lead singer Tara would be stepping down from the band. A huge loss who leaves big shoes to fill, Incommunicado thankfully manages to work as both a final chapter for the band at this stage, as well as an insight into their flourishing potential. Featuring five catchy and shimmering indie-pop grooves, its highlighted by No One, In Swim and excellent recent single He Said She Said.

Listen here

Field Theory by Melts

“Dublin psych-rockers MELTS are one of those bands that very much live up to their name. With the quartet binding together after leaving various dissolved bands, MELTS’ 2022 debut ‘Maelstrom’ was a bold mission statement for their kaleidoscopic, mind-altering sound. Landing them somewhere in the venn diagram of contemporaries such as The Horrors, Working Men’s Club and Nation of Language, while still very much forming their own identity, it was an impressive first outing that left fans eager for the next chapter. Now back with their sophomore effort ‘Field Theory’, it’s no surprise to hear MELTS mostly stick with their winning formula for album number two.

Overall, this is another hugely impressive release from MELTS and one that expands the fluorescent sonic world that was laid out on their debut. You also can’t help but feel that these songs on ‘Field Theory’ are built to thrive even more in a live setting, with the Dublin outfit assuredly building a catalogue of soaring, mind-melting compositions that just scream to be experienced in-person. Due to hit the road at the end of the month, those joining MELTS at these shows be pleasantly warned – you may just have your senses steamrolled.”

Read my full review for Clash Magazine here

Listen here

Also well worth checking out:

• Three by Four Tet
• Audio Vertigo by Elbow
• Interplay by Ride
• Ohio Players by The Black Keys
• Older by Lizzy McAlpine
• Blessed EP by August Charles

Tracks of the Week

1+1 = 11 by Peggy Gou

For years, DJ/Producer Peggy Gou has been Queen of the Summer banger, releasing just one single every year to ensure an all hits, no misses ratio. From Starry Night and I Go to last summer’s monster hit (It Goes Like) Nanana, she’s been unstoppable. So, with the news that her debut album I Hear You will finally drop this June, my expectations are already sky high for the 10 tracks that I’m hoping will soundtrack Summer 2024.

Coinciding with the news is her latest single offering 1+1 = 11, the song which will close out her upcoming debut. With shades of York classic On The Beach, it comes accompanied by a dazzling video starring artist Olafur Eliasson breakdancing inside a light installation at his studio in Berlin. Check it out!

Watch the official video here

B2b / Von Dutch / Club Classics by Charli XCX

The biggest album announcement of the past few weeks, electro-pop phenomenon Charli XCX will be releasing her new club-inspired album Brat this June and then touring UK arenas at the end of the year. Coming off the back of her instantly iconic Boiler Room set, the three singles so far suggest big inspiration from the dance and electronic music scene and I personally can’t wait for it.

Listen here

House by London Grammar

Another big album announcement, indie-pop outfit London Grammar have finally announced the follow-up to 2021’s Californian Soil will drop in September, titled The Greatest Love. That record saw the band explore more electronic territory and if lead single / opening track House is anything to go by, it seems they will be building out that sound further on this upcoming effort.

Listen here

Curse by Architects

The metal world was shocked earlier on this year when Bring Me The Horizon announced back in January that longtime band composer Jordan Fish was leaving the band. Since then fans were left wondering where he would end up and but it seems he has wasted little time moving on, already producing several tracks for other genre heavyweights. The latest is this thunderous new single from Architects, which boasts polished production and an instantly anthemic chorus.

Listen here

Blue Jeans & White T-Shirts by The Gaslight Anthem

Back in 2008, rock heroes The Gaslight Anthem released their much beloved Señor and the Queen EP, with this song the closing track for the project. Now as part of their History Books (Short Stories) EP that was released to coincide with their recent UK tour, they’ve reworked the song so that it sounds even better than it did before – just gorgeous.

Listen here

How Can I Love Her More? By The Lemon Twigs

With anticipation for the D'Addario brother’s follow-up to their highly acclaimed 2023 album Everything Harmony steadily mounting, each new single release suggests another special project is on the way. Now this latest cut to be taken from A Dream Is All We Know (which drops in May) only hypes things further, an instantly timeless tune that draws heavy comparisons to The Beach Boys. Wonderful!

Listen here

Red Holiday by Dura Mater

And finally fast-rising Notts 8-piece Dura Mater, who draw comparisons to bands like Black Country New Road, Arcade Fire and Opus Kink, released their second single Red Holiday this past week, which is taken from their forthcoming Arable Ground EP that drops at the end of May. This latest single, which is inspired by coastal living, showcases their potential, bringing together ghostly vocals, ambient guitars and powerful orchestration.

Listen here

Also worth checking out:

• Human After All by Blue Violet
• First Song by Swim Deep
• Flea by St. Vincent
• Mama Say by Ibibio Sound Machine
• Big Brown Eyes by Lola Young
• Coming Back To Me Good by Kasabian
• Midas by Wunderhorse
• Favourite Songs by Maxïmo Park

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

5-9’s Album of the Month Podcast – now on YouTube with our latest episode out now!

It’s an exciting new era for the 5-9 Album of the Month podcast, as we have just launched our official YouTube channel! Each month, we will publishing the latest full podcast episode as well as individual album reviews and our monthly highlights outside of the albums discussed. To explore all our video content so far, including our January and February episodes, you can find our new YouTube channel here. And please, be sure to like and subscribe!

For those new here, the 5-9 Album of the Month Podcast is where I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion. On the Spotify version, we also have some insightful background information to each album from Blinded By The Floodlight’s Matthew McMcLister and you can also hear our picks of the best songs from each record!

For our February 2024 episode, the five albums we discuss are:

• Girl With No Face by Allie X
• Phasor by Helado Negro
• TANGK by IDLES
• Prelude To Ecstasy by The Last Dinner Party
• Loss of Life by MGMT

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and now YouTube for more news and polls relating to the podcast.

Listen to the new episode on Spotify here

Watch the latest episode on YouTube here

Choose which album joins our April 2024 lineup by voting in our poll here

Album & EP Recommendations

Filthy Underneath by Nadine Shah

Whilst everyone was going through their own personal turmoil during the last few years, much revered musician Nadine Shah was going through a particularly tumultuous time. Not long after releasing her 2020 album Kitchen Sink, Nadine would tragically lose her cancer-stricken mother during the height of the COVID-pandemic. Locked in isolation with her grief, Nadine entered a downward spiral that would play out over the next two years, with heavy substance abuse leading to depression, divorce and even an attempt to take her own life in 2022. Thankfully Nadine survived, agreeing to enter rehab where she would get the help and support she desperately needed.

Now out of rehab, substance-free and most importantly finding her happiness again, Nadine has returned with a new album that is just an absolute tour de force from beginning to end. Playing out almost like a cathartic exorcism of all the demons that have plagued her the last few years, Filthy Underneath is the sound of Nadine laying everything bare for the listener. Brutally raw, deeply personal and gracefully honest, the heavy lyrical inspiration for each track is carefully balanced with liberating, synth-drenched and rhythmic instrumentation, with the live-sounding production adding a theatrical touch to proceedings too.

While it’s an album best experienced as a complete work from start to finish, there are a few standout moments here. None more so than Greatest Dancer, a song where Nadine recalls getting high on her mum’s prescription medicine in front of an episode of Strictly Come Dancing, with pulsating synths reverberating and tribal drums pounding away as she recounts her feelings in that moment. Sad Lads Anonymous is another high point, a poetic spoken word confessional that sees Nadine describe her woes to a work experience kid in an awards show bathroom. Both these tracks present the whole album as a microcosm, filled with sounds that draw you in and make you want to dance, whilst the stories at the core are quite dark and harrowing. It all eventually culminates in the album’s hardest moment, French Exit, an ominously tense track on which Nadine openly confronts her suicide attempt. It’s a truly devastating end to an utterly enthralling record.

It’s no secret that often the darkest times can produce the greatest art. Filthy Underneath is a testament to that, with Nadine bravely and openly sharing her story as both a lesson to others but also, no doubt, her own personal catharsis. Shocking and upsetting at points yet always refreshingly honest and completely captivating, this is without a doubt one of the best albums of the year so far.

Watch the video for Greatest Dancer here

Listen to the full album here

Bleachers by Bleachers

As a producer, Jack Antonoff is partly responsible for some of my favourite records in recent years, working his magic on career-best efforts from the likes of St. Vincent, Lorde, Lana Del Rey, The 1975 and, of course, Taylor Swift. It’s strange then that up until now, his own band Bleachers haven’t done much for me. Instead, Antonoff has been more engaging musically to me when he’s working in the studio behind the scenes than performing out in front. However with this new self-titled effort, their first on new label Dirty Hit, Bleachers might be starting to finally win me over.

Let me start with the caveat that admittedly there’s not too much originality to this record. At every turn Bleachers evoke other bands with their nostalgic brand of indie-pop, with their inspirations also offering up more than they do here. Bruce Springsteen is the constant comparison of course, but shades of some of Antonoff’s recent collaborators like The 1975, The National and even Bon Iver also come through strong, which maybe isn’t surprising given both Matty Healy and Aaron Dessner appear on tracks here. The good news for Bleachers though – I love all of those bands/artists. So whilst it may not reinvent the wheel, I actually find myself drawn to the warm, familiar sounds put forward on this record.

The other big selling point of this album though as just mentioned – the collaborators. Antonoff has gone through his phone book and lined up an exceptional list of guest features who lend their talents to this album, which in addition to Matty Healy and Aaron Dessner include Lana Del Rey, Kevin Abstract, Florence Welch, Annie Clark, Clairo, Bartees Strange and more. It makes for an album filled with highlights, including all four singles (Modern Girl, Alma Mater, Tiny Moves, Me Before You) and a stellar back-end run of Call Me After Midnight, We Are Going To Know Each Other Forever and Ordinary Heaven.

So, whilst it may not win any originality prizes, this is an album I’ve had in heavy rotation since its release. With catchy hooks, groovy guitars and a smattering of saxophone, give it a chance and you may find yourself taken with Bleachers’ self-titled too.

Listen here

Beholder by The Blinders

It is sadly becoming all too frequent. Last month I wrote about nothing, nowhere’s financial pressures when writing and releasing new music as an independent artist and it seems Manchester indie outfit The Blinders are in a similar boat. Shortly after the release of this their third album, The Blinders released a statement to say that they were cancelling their EU tour and taking a step back from the band following the conclusion of their UK tour. It is the sad times we live in unfortunately, where independent artists and music venues are struggling more than ever to make a living, whilst the bigger artists and musical organisations just stand by and watch everything else collapse.

Hopefully the tide in the musical landscape will turn soon, but indeed if this is to be the last Blinders record, they couldn’t have asked for a better final outing. With hazy psychedelic guitar passages and passionate vocal cries from frontman Thomas Haywood, there’s rarely a dull moment across the 39-minute runtime. There’s also some of the bands very best moments too, with the likes of While I’m Still Young, Always, Nocturnal Skies and Swallowing Static all standing out.

Listen here

Songs That Aren’t Mine by Matt Maltese

Having delivered one of my favourite 50 albums of last year with Driving Just To Drive, singer-songwriter Matt Maltese has wasted little time in delivering this follow-up project. However rather than all new material, Matt’s decided to take on a different challenge by serving up this intriguing covers album. Taking on much-loved classics from various eras, Matt very much puts his own stamp on the songs chosen here, turning each of them into timeless, melancholic swoons. With his selection including songs from Neil Young, Bob Marley, T-Rex, Prince, Belle & Sebastien, Avril Lavigne, Sixpence None The Richer & more, his unique takes breathe fresh new life into these well-established tunes.

Listen here

Fantasies EP by Bombay Bicycle Club

A band that just don’t seem to miss, indie-heroes Bombay Bicycle Club have followed-up their much-acclaimed sixth album, 2023’s My Big Day, with this fantastic new four-track EP. Very much keeping the collaborative spirit of that record alive, each track features a female guest vocalist to compliment Jack Steadman’s signature vocals, with the wonderful Matlida Mann, Liz Lawrence, Lucy Rose and Rae Morris all appearing on a track each here. My personal favourite is Better Now with Rae Morris but if you’re a Bombay fan like me, then you’re sure to enjoy this short-but-sweet companion piece to My Big Day.

Listen here

Work In Progress EP by Holly Humberstone

Having finally released her debut album Paint My Bedroom Black last year, Lincolnshire singer-songwriter Holly Humberstone is already back with more new music, with this new EP’s arrival coinciding with her current UK tour. Forged out of unfinished tracks left on her notes app, Holly has taken the time to complete her favourite demos that didn’t make the cut for her previous EPs and debut album. Anthemic recent single Dive is still a highlight, but the spacey stripped-back title track, the saxophone-backed Down Swinging and the simply stunning Easy Tiger all hugely impress too.

Listen here

Also worth checking out:, BLUE LIPS by ScHoolboy Q, How To Make A Master Peace by Master Peace, Daniel by Real Estate, The Past Is Still Alive by Hurray For the Riff Raff, Chorus by Mildlife, A Mirror Brightly by Geographer

Tracks of the Week

Broken Man by St. Vincent

The year is heating up in terms of new releases and in the last few weeks, we got news that the ever-amazing Annie Clark would be dropping her seventh solo record next month. Titled All Born Screaming, the first taste of the record is this absolute ripper of a single, filled with electrifying industrial rock and featuring none other than Dave Grohl. We’ll be reviewing the album for our April podcast and I personally can’t wait!

Listen here

Wild God by Nick Cave & The Bad Seeds

Another big artist with a new album on the way, Australian rock legends Nick Cave & The Bad Seeds will release their 18th (yes 18th!) studio album this August. The first single is the title track and Nick Cave’s claims that the band are “happy” this time around seem legit, as Wild God is as joyous as they’ve sounded in years.

Listen here

Our World by James

Also due to release their 18th studio album this year, Mancunian indie legends James are preparing to drop their new album Yummy next month. Whilst I wasn’t completely taken with the first single, Our World is James at their best. Boasting an infectious pop groove but with a powerful political message at its heart, it’s succeeded in getting me excited for their next opus.

Watch the lyric video here

The Dream of Delphi by Bat For Lashes

Due to release her sixth studio album in May, which is also her first in five years, Natasha Khan AKA Bat For Lashes is back. Revealing her new record’s title track, it is a typically mystical composition anchored around her ever-stunning vocals. Welcome back!

Listen here

A Dream Is All I Know by The Lemon Twigs

Having been named our Album of the Month in May last year, the D’Addario brothers are planning a repeat in 2024, with their fifth studio album A Dream Is All I Know due for release this May. The singles for the record so far have been great but this title track is the best yet, filled with their trademark harmonies and vintage rock riffs.

Listen here

Passing Judgment by Been Stellar

Having caught them live this month supporting The 1975 on their current EU tour, its safe to say the buzz around Been Stellar is justified. Drawing shades to other NYC indie outfits The Strokes and Interpol, their upcoming debut is aptly titled Scream from New York, NY and if lead single Passing Judgment is anything to go by, it could end up being one of the debuts of the year.

Listen here

Mirror Muscles by SOFT PLAY

It’s great to have SOFT PLAY, the duo formerly known as SLAVES, back making music. Having released Punk’s Dead last year which ended up being one of my songs of 2023, you get the sense a new album is on the way and, based off these two singles, it may just be their best yet. New single Mirror Muscles is the one that adds further weight to that claim, boasting some monster riffs and lyrics that take digs at vanity gym goers, it’s sure to go down a storm this coming festival season.

Listen here

Monkey In The Middle by Marseille

And finally this week we have an up-and-coming indie outfit from Derby - Marseille. Influenced by the 90s Madchester scene, their singles up to this point have drawn comparisons to The Stone Roses and Monkey In The Middle is no different, thanks to its sprawling, psychedelic guitar passages. With some particularly scintillating riffs in the back end that would leave even John Squire himself impressed, Marseille are most certainly a band to watch going forward.

Listen here  

Also worth checking out: Gears by Divorce, Change Shapes by Lauren Mayberry, Pull The Rope by Ibibio Sound Machine, What A Devastating Turn of Events by Rachel Chinouriri, Makes Me Violent by Bob Vylan, New World Flow by Joe Goddard & Fiorious, You Make Me Feel So Dumb by Walt Disco

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

5-9’s Album of the Month Podcast – January 2024 Episode Out Now!

Some of January’s biggest releases are reviewed in the new episode of the 5-9 Album of the Month Podcast. For those new here, this is where I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion. We also have some insightful background information and introductions to each album from Blinded By The Floodlight’s Matthew McMcLister.

For our first episode of 2024, the five albums we discuss are:

• Sadness Sets Me Free by Gruff Rhys (poll winner, thanks for voting!)
• Big Sigh by Marika Hackman
• MADRA by NewDad
• Wall of Eyes by The Smile
• Three Bells by Ty Segall

If you want to listen to this or any previous episodes on Spotify simply click the link below, but also be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the new episode and vote in our March poll here

Album & EP Recommendations

Dark Magic by nothing,nowhere.

In a tweet just days after the release of his latest mixtape, Joe Mulherin – AKA the mastermind behind alias nothing,nowhere - got honest with his fans:

“I’ll be very real here. Void eternal was super rough 4 me. Lost 1.5m monthlies, record low tour attendance… but I love that album so much. It’s a tough spot.”

It is sadly the dilemma that faces all independent musicians these days – what do you want to make as an artist Vs what is the right choice financially, so that you can support yourself and keep making your art. For Joe, he went out on a limb in 2023 to simply make the album he wanted to make – Void Eternal. It was a hard left-turn from his trademark emo-rap crossover sound, instead delivering a metal record full of seismic riffs and features from the likes of Underoath, Silverstein and Pete Wentz. It was a bold direction change and an enjoyable record because of that, but sadly as the tweet above states, it unfortunately didn’t seem to get the audience he anticipated. So with Dark Magic, Joe’s latest mixtape, we have an artist who last year made a record for himself and it feels like this one is made for financial purposes – but also importantly, for his fans too.

Returning to his classic style with an 18-track whirlwind of punchy and melodic cuts, the album is interspersed with news headline vignettes telling the story of a supernatural being named “nothing,nowhere” and “the cult of the reaper” taking over a city. It’s a fun concept and it makes for a fascinating, genre-bending listen that doesn’t overstay its welcome, with Tunechi, Reaper Rap, and Pity Party some of the standouts. There is also still room for some slightly heavier cuts too, such as the run of Haunted Home, Beige and XXX in the back end.

So whilst its sad to see another independent artist feel like they have to return to their creative box in order to be a financial success, nothing,nowhere shows with this mixtape that the balancing act can be achieved. With a fun B-Movie concept, plenty of eclecticism and songs that are both short and to-the-point, it’s a fun ride that hopefully gives him the funds he needs to make more new music. With Joe being such a consistently visionary and unique artist, it would be a shame to lose him.

Listen here

PRATTS & PAIN by Royel Otis

By far my favourite discovery of the last couple of weeks, Aussie duo Royel Otis landed in my headphones this month thanks to nothing more it seems than some good marketing and exposure. Firstly, through their name appearing on the Primavera Porto lineup, which I am excited to say I have booked to attend in June – looking forward to that! Then through this viral cover of Sophie Ellis Bextor’s resurrected smash hit Murder on the Dancefloor, which they covered for Triple J’s Like A Version. Then finally through Apple Music promoting this, their debut album to me via their weekly New Music recommendations. And I am so glad they did because it’s a 40-minute blast of joyous, summery indie-pop that just gets better with each spin.

Produced by none other than Dan Carey, who continues his smouldering hot streak following recent work with Fontaines D.C., Foals, Kae Tempest, Squid and more, it’s a polished guitar record that lands somewhere between Life Is Yours-era Foals, Tame Impala and The Strokes. Lyrically, the songs tackle everything from failed relationships, to death and grief, to…er…masturbation. All the while backed by some truly hypnotic guitar grooves, such as those found on highlights Foam, Sonic Blue and Sofa King.

All in all, this is a refreshingly vibrant and tightly packed indie rock record, with a collection of songs that will go down a storm as Royel Otis make their way across the festival circuit this summer.

Listen here

She Reaches Out To She Reaches Out To She by Chelsea Wolfe

Despite making music for well over a decade now, this month was also my first introduction to the music from American singer-songwriter Chelsea Wolfe. This her seventh studio album was getting some immense praise from critics and as soon as I dove into the record, I could see the reason for all the fuss. Once you get beyond the clever yet slightly annoying title, Wolfe introduces you to a gothic, industrial world, built on influences from the likes of Depeche Mode, Nine Inch Nails and Björk.

With production from TV on the Radio’s Dave Sitek, it explores toxic relationships and Wolfe’s own battle with sobriety, making for a very dark, intense and deeply impressionable listening experience. From the chainsaw-like riffs of opener Whispers In The Echo Chamber, the colossal Everything Turns Blue, the atmospheric electronica of Salt to the towering grand finale of Dusk, it’s an immensely powerful record that will frequently blow you away.

Listen here

One More Thing by Lime Garden

We seem to have been spoilt with great debut albums already this year and this one from Brighton quartet Lime Garden is right up there amongst the best so far. An eclectic 30-minute blast of indie and “wonk-pop” goodness, it’s an impressive first outing that will have you reaching for the replay button. To sum this up better than I could, here’s what Gemma Cockrell wrote in her review for 5-9:

“While they may not be vastly different sonically to Lime Garden’s earlier work, these tracks do present a more confident and self-assured version of the band, with more layered, complex instrumentation and powerfully-delivered, punchy vocals. And as things progress, they begin to introduce new experimentations; the track ‘Pop Star’ incorporates hyperpop-infused vocal distortions, while ‘Pine’ is dreamy and atmospheric, with soaring vocals and enough breathing space for the intricate guitar patterns to shine through.”

Read Gemma’s full review here

Listen to the album here

Time is Forever EP by Holly Macve

There is quite simply nothing better than a perfect shortplayer, an EP that isn’t too long and where every song is as outstanding as the last. I’m pleased to say that Time Is Forever, the latest project from Galway-born singer-songwriter Holly Macve, is that EP. Self-described as a series of “diary entries”, it is Holly laying bare her inner thoughts and feelings across five exceptionally honest and majestic tracks.

From the waltzing liberation of Beauty Queen to the gut-punch heartbreak of Dreamer, to the beautifully understated, Lana Del Rey-featuring piano ballad Surburban House, it is just effortlessly stunning at every turn. However, Holly saves the best two moments for last, thanks to the hazy soulfulness of the EP’s brilliant title track, which is then followed by the gorgeous, hopeful Americana of 1995.

If you’re a Lana Del Rey fan and haven’t heard this EP yet, do not sleep on it – not just for the Lana feature itself, but because Holly frequently echoes the pop icon at her intoxicatingly timeless best.

Listen here

Desire, I Want To Turn Into You: Everasking Edition by Caroline Polachek

In case you somehow missed Desire, I Want To Turn Into You, the scintillating, imaginative fourth solo album by Caroline Polachek that became 2023’s defining pop record, then now is the time to finally get yourself acquainted. Re-released exactly a year later on Valentine’s Day, this new Everasking Edition includes a whole EP’s worth of previously unreleased material. Spring Is Coming With A Strawberry In The Mouth is the highlight of the new songs thanks to some shimmering synths and Caroline’s choral vocals, whilst the Weyes Blood-featuring reboot of Butterfly Net and the stripped-back acoustic version of I Believe are both also worth your time.

Listen here

Little Thoughts EP by Bloc Party

Ok, so this isn’t a new one – but for me, this was one of the most monumental releases of the last couple of weeks. You see I’ve long thought my old Bloc Party singles, B-Sides and EPs were lost forever once my old iPod classic died a few years back, thinking to myself I could never listen to some of their best songs ever again (legally anyway). However, it seems the London Indie legends have finally got the memo (and most likely the rights to these old recordings back), so they have started releasing these older tracks onto streaming platforms – praise be!

The Little Thoughts EP is the first of these projects to make an appearance, meaning we can all once again stream gems like Storm & Stress, Tulips and Skeleton to our heart’s content. Here’s hoping Two More Years and England are on their way shortly too!

Listen here

Also worth checking out: Harms Way by Ducks Ltd, Drop 7 EP by Little Simz, Club Shy EP by Shygirl, Open Arms EP by The Boxer Rebellion

Tracks of the Week

TEXAS HOLD ‘EM / 16 CARRIAGES by Beyoncé

She’s back and Queen B has gone country!

Announced during this year’s SuperBowl, Act 2 of her Renaissance trilogy is dropping at the end of March and this time she’s ditching the disco shoes for some cowboy boots. That’s right, where Act 1 saw her immerse herself in the world of club-friendly house music, Act 2 is pointing towards more of a country flair, with the first two singles suggesting a deeper dive into the style she experimented with on tracks like Daddy Lessons from Lemonade. With that album still remaining by far my favourite of Beyoncé’s catalogue, I’m quite intrigued to see what she has up her sleeve for this one.

Listen to Texas Hold ‘Em here

Listen to 16 Carriages here

Mustang by Kings of Leon

Another big return as the Followill cousins have announced that their ninth studio album, Can We Please Have Fun, arrives this May. With a huge world tour and rumours of a Glastonbury appearance also possibly being on the cards, it seems the Kings expect big things for this one. Whilst their most recent output has me doubting this, Mustang is a very promising lead single, with the band seemingly returning to the Southern rock roots of their early output. With an instant hooky chorus and some short, sharp riffs, it’s a welcome reminder of everything that made them breakout rockstars 20 years ago.

Listen here

Dark Matter by Pearl Jam

Also making their return, Seattle rock legends Pearl Jam will be dropping their 12th studio album Dark Matter this coming April. The first single is this epic title track, with some thunderous riffs and Eddie Vedder’s raw, powerful vocals. A promising start for the new project, here’s hoping the rest of the album delivers as well.

Listen here

Hard To Love by Bexx

Originally released in 2021, Nottingham’s biggest synth-pop export Bexx has reworked her original breakout single to breathe fresh new life into this top tier banger. Whilst the original has been granted some more refined production, there’s also three new versions to dive into - one that features a verse from queer DIY pop artist foxgluvv, a heavy nu-metal version and a full speed hyper-pop dance mix. So pick your flavour and dive on in but be warned - the guitar solo at the end will send you to another planet and the chorus will be lodged in your head for the foreseeable!

Listen to the Versions EP here

Dancing In Babylon by MGMT featuring Christine & The Queens

We have already been treated to some awesome collaborations in 2024 and now we’ve got another to add to the list. Dancing In Babylon sees 00s indie icons MGMT team up with Chris for a mesmerising song that fuses MGMT’s own psychedelic sound with Chris’ pop sensibilities. The result is an interesting new direction for MGMT, which shows further promise for their new album Loss of Life which has dropped today.

Listen here

How Many Love Songs Have Died In Vegas? By Swim Deep

It’s finally happening – Brummie indie darlings Swim Deep are releasing an album during summertime! Not only that but the new album, titled There’s A Big Star Outside, has been produced by none other than Bill Ryder Jones, who himself is already having a big 2024. This first taster promises big things for Swim Deep’s fourth album, with Jones’ influence coming through in the song’s rich, dreamy instrumentation.

Watch the hypnotic music video here

Beaucoup by Owen

A man whose track record for quality music speaks for itself, with all of his last few albums featuring in my Top 10 for the year, including his latest project Lies being named my Album of the Year for 2023. I am of course talking about the legendary Mike Kinsella, who will drop his new solo album under his Owen guise at the end of April, titled The Falls of Sioux. Co-produced by Sean Carey of Bon Iver with backing vocals from Now, Now’s KC Dalager, this first single is a typically stirring effort from one of my all-time favourite songwriters.

Listen here

Mid-Life Crisis by One True Pairing

Speaking of my all-time favourites releasing new music, I’m over the moon to say that Tom Fleming is returning as One True Pairing, five long years since his phenomenal post-Wild Beasts solo debut. With first single Frozen Food Centre released late last year, Mid-Life Crisis is the second single from his yet-to-be-announced new project, a song that continues his shift into folkier territory thanks to production from John “Spud” Murphy.

Watch the excellent music video here

Dive by Holly Humberstone

Having released her debut album to much acclaim last year, Lincolnshire singer-songwriter Holly Humberstone is already back with more new music, with a new EP arriving in March called work in progress, the release of which coincides with her upcoming UK tour. Dive is the first single from the project and despite what the EP’s title suggests, it’s a fully realised track that shows her creativity is unstoppable right now.

Listen here

When The Laughter Stops by Yard Act featuring Katy J. Pearson

It’s not long now until Leeds post-punk outfit Yard Act unleash their sophomore outing Where’s My Utopia out into the world. Based on the singles released so far it looks to be an exciting evolution for the band, with this latest Katy J. Pearson and David Thewlis (yes, Remus Lupin himself) featuring cut continuing their current hot streak.

Watch the entrancing jailbreak music video here

Stubborn by Jayahadadream & Zoutr

One of Nottingham’s most promising young MCs, Jayahadadream is making waves in the city and beyond right now, using her current buzz to help drive forward the local hip-hop scene. Now to further her momentum, she has dropped her excellent groove-driven new single, which further showcases her talent for intricate and honest wordplay.

Listen here

Close One (Acoustic) by FIZZ

And finally this week, Close One was one of my favourite songs of 2023, the clear standout from debut album The Secret To Life by indie supergroup FIZZ. If you missed the song last year then now is the time to discover it, as the band have now released this gorgeous stripped-back version from their new aptly-titled Acoustic EP.

Listen here

Also worth checking out: Floating On A Moment by Beth Gibbons, Stray by The Mysterines, Training Season by Dua Lipa, Brown Paper Bag by DIIV, Common Blue by Warpaint, Call by Kasabian

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

New Year, New Music - Welcome to 2024!

2024 is here and we have been spoilt with an avalanche of great new albums and tracks already in January. From early Album of the Year shouts to month-defining grooves, as ever I’ve tried to cover as much as possible.

Of course, some of the month’s biggest releases will be covered in the upcoming new episode of the 5-9 Album of the Month Podcast. For those new here, this is where I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion.

For our first episode of 2024, the five albums we will be discussing are:

• Sadness Sets Me Free by Gruff Rhys (poll winner, thanks for voting!)
• Big Sigh by Marika Hackman
• MADRA by NewDad
• Wall of Eyes by The Smile
• Three Bells by Ty Segall

If you want to listen to this or any previous episodes on Spotify simply click the link below, but also be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the 2023 Album of the Year special episode here

Album & EP Recommendations

Prelude To Ecstasy by The Last Dinner Party

Hype. Hype. Hype.

It’s funny, in recent memory anything that has been overhyped musically hasn’t really landed with me. Rock duo Wet Leg were being billed as a revelation and the best thing since sliced bread, but what I found was a very average band making, to me, overly repetitive music. Supergroup trio Boygenius were then one of my most anticipated records of last year, going on to receive universal acclaim as the best album of 2023. Sadly, I thought it was a good rather than great album and, in the end, it didn’t even make my Top 50 for the year. It seems over-expectation can be a curse and if there’s one band carrying that with them right now, it’s London-based quintet The Last Dinner Party.

In just three years, The Last Dinner Party have gone from forming to being signed to Island Records, to then playing talk shows around the globe and winning both the Brits Rising Star award and the BBC’s Sound of 2024 poll. Such is their meteoric rise to fame, there is constant talk of them being an “industry plant” – which of course is all absolute rubbish. But this type of extreme hype, scrutiny and expectation would be too much for any band right now to live up to – except The Last Dinner Party.

The singles in the build-up to this, the release of their debut album Prelude to Ecstasy, made it obviously clear that The Last Dinner Party were well worthy of all the attention they were receiving. Art-rock and baroque pop bangers packed with jaw-dropping vocals, scintillating guitar riffs, poetic lyrics rooted in feminism and, of course, their own captivating energy. So, I went into this album expecting greatness and I’m incredibly pleased to say, that is exactly what I found. Make no bones about it – Prelude To Ecstasy is a generational debut album that is truly exceptional in every way.

From the moment the grand orchestration of the opening title track greets your ears, you are pulled into Last Dinner Party’s stylish, richly-textured world. Burn Alive then cranks things up several gears, with singles Caesar on a TV Screen and On Your Side also carrying the momentum. Beautiful Boy is then a real standout, a gorgeous ballad about male privilege split into two parts that closes out a strong first half.

But as the album title would suggest, the first half is merely the build towards the triumphant grand finale and the stretch of six songs that make up the second half is a truly glorious crescendo. From the dramatic transition from Gjuha into Sinner, the towering guitars of Portrait of a Dead Girl and then the fist-in-the-air elation of the anthemic Nothing Matters, it pushes the album into masterclass territory. Closing track Mirror then brings everything full circle, pulling together all the elements that have made the previous 11 tracks so utterly engaging and life-affirming.

This debut from The Last Dinner Party really feels like a moment for British music, with the only thing I feel it is akin to is that of the Arctic Monkeys some 20 years ago, or Oasis another decade before that. Like it or not, The Last Dinner Party are the future of British rock music and they’ve made one hell of a statement as to why they are the chosen ones. So, stop with the industry plant nonsense and just give them and this album all the praise in the world – they deserve it.

Listen here

Saviors by Green Day

Let me start by saying that pop-punk legends Green Day were one of my first musical loves. As a teenager I discovered them through their “Best of” compilation International Superhits, before then diving through the rest of their catalogue. Then when their political rock opera American Idiot came out, that changed everything – to my teenage self along with my close groups of friends, it was a lightning bolt. So much so, our parents hired a van to take us down to Milton Keynes Bowl to see them in the Summer of 2005 – my first ever live show and still to this day, one of the best.

Sadly though like all first loves, Green Day kind of came and went. Follow-up album 21st Century Breakdown had its moments but ultimately didn’t hit quite like its predecessor and by the time triple album ¡Uno! ¡Dos! ¡Tre! dropped, I was over them altogether. However, I have still kept tabs on them since, dipping into each new record as it has come along but not getting particularly moved by what I have found. But when I read some reviews for Saviors and the record being described as “a return to form” and “their best since American Idiot”, I had to dive in to see if this was true. Whilst by no means on the level of their earlier work, I’m pleased to say that both those statements were indeed true.

If like me Green Day are prone to give you a nostalgia hit, then there will be plenty to enjoy with Saviors. The opening run of songs is particularly good fun, with opener The American Dream Is Killing Me playing out like a lost cut from American Idiot before Look Ma, No Brains! delivers a rip-roaring slice of punk. The next group of tracks are then the best on the whole record, from the angsty waltz of Bobby Sox to the rifftastic One Eyed Bastard, through to the melancholic rock of Dilemma and the nostalgia-soaked sounds of 1981. Honestly, I’m as surprised as you that Green Day could sound this good in 2024.

That said, at 15 tracks long the album does lose a bit of momentum around the midway mark, with the trio continuing to walk well-trodden ground but to less effect. However, they do pull it back somewhat in the final stretch, with the short, sharp and punchy Living in the ‘20s, the anthemic title track and the bluesy Fancy Sauce.

By no means perfect, it’s still great to hear Green Day deliver a solid effort again after all this time. With plenty of enjoyable moments, lots of fun riffs and a warm fuzzy feeling of nostalgia, this was January’s big surprise package for me, and one I was happy to receive.

Listen here

Letter To Self by Sprints

What was it I was saying earlier about hype?

One of the most talked about albums of the month, you couldn’t escape the buzz around this debut from Dublin-based, garage-punk outfit Sprints. With near universal acclaim and more than a few “early Album of the Year contender” shouts from the music press, I went into this one with a heap of expectation. Like a lot of records hyped up to the moon over the last few years, it was another that left me lukewarm on the first couple of plays. However, with the expectation then removed, I eventually started to see this Sprints record for what it is – a decent, albeit not groundbreaking, debut from a promising young band.

Everything that’s great about Sprints is served up in opening track Ticking, with Karla Chubb’s angsty howls and ominous guitar play the quartet’s driving force. From there it is pretty much more of the same with the band propelled by a relentless energy that lands their songs somewhere between The Mysterines and their Irish compatriots in Fontaines D.C. and The Murder Capital. However, when they breakaway from their core sound that’s where the highlights come for me, such as the whirring acoustic strums of Shaking Their Hands and the poetic rhythms of Literary Mind.

With a frantic pace and a runtime of just over 30 minutes, it’s a record that is over before you know it and, given time, leaves you wanting to return back to hear it again. An album I’m sure will hit hard in a live setting, whilst I don’t love this record like I know some fans and critics do, it has left me keen to see where the quartet go next.

Listen here

Iechyd Da by Bill Ryder Jones

Another record that hasn’t been short on praise this month has been the fifth solo album from Bill Ryder-Jones. Like his previous work, this is another album that leaves me slightly conflicted, as there are indeed moments of outstanding beauty scattered within, but there are also moments which can tend to drag. That said, whilst it hasn’t completely won me over, I can more than see why many have been fully captured by it, with beautiful songs like the string-tinged If Tomorrow Starts Without Me, the soaring slow march of This Can’t Go On and the radiant majesty of Thankfully for Anthony.

At times a towering work of genius and at others simply stuck in the mud, the positives ultimately outweigh the negatives and when Iechyd Da hits, it hits harder than anything released this year thus far.

Listen here

American Dream by 21 Savage

Enjoyable rap records have sadly become a bit of rarity in recent years, but thankfully January has already gifted me two that I have had fun spinning. First-up is the third album from British-American rapper 21 Savage, who has delivered a captivating new autobiographical project that coincides with an upcoming biopic starring Donald Glover and Stranger Things’ Caleb McLaughlin. With guest appearances from the likes of Doja Cat, Travis Scott and Metro Boomin, Savage tells his tale as only he can, with honesty and clarity. There’s plenty of highlights too such as The Shining-inspired single redrum, the ominous strum of trap-groove pop ur shit and soulful closing track dark days.

Listen here

All Is Yellow by Lyrical Lemonade

A project that has been met with a universal shrug of “meh” by music critics, this compilation from Cole Bennett, director and founder of Lyrical Lemonade, I actually found to be quite fun. With a superstar guestlist including Eminem, Kid Cudi, Dave, Denzel Curry, Jack Harlow and more, it’s not a groundbreaking hip-hop project by any means, but it is an enjoyable listen on an entirely superficial level. Highlights include the dreamy and melodic Gus Dapperton, Lil Yachty & Joey Bada$$ collaboration Fallout and the Blink-182 sampling Hello There. This album won’t shake you to your core but if you simply want a non-taxing hip-hop record, you can do much worse than this one.  

Listen here

People Who Aren’t There Anymore by Future Islands

One of my most anticipated records of the year thus far, Baltimore synth-pop outfit Future Islands served up their incredible seventh studio album, People Who Aren’t There Anymore, and I’m pleased to say it delivered on its early promise. Playing out almost like a greatest hits record at times, the more I spin it the more I think its quickly becoming my favourite record of theirs – which given their discography is saying something! Here’s what I said in my review for Clash:

“Whilst ‘People Who Aren’t There Anymore’ ultimately isn’t an album that breaks the Future Islands mould, it’s hard to hold that against them. This is their sound, and they prove here they can still do it better than any of their peers. And whilst the sonic evolution from their previous work may only be subtle shifts, the biggest change comes with the band leaning on personal stories this time around rather than more observational lyricism. Most importantly though Future Islands’ fans will find plenty to love with this album, with some of the songs here already instant favourites and others feeling like some of the best, most fully realised of their career thus far.”

Read my full review for Clash Magazine here

Listen to the album here

Birth of Omni by Birthmark

Quite fittingly, my first review of 2024 was a new project from one of the artists who made the standout record of my 2023. Indeed, the last time I was sat writing about Nate Kinsella’s musical output was only last month - when I was naming his album Lies, created alongside his cousin and American Football bandmate, Mike Kinsella, my Album of the Year for 2023.

Now back with his fifth solo album under his Birthmark guise, Nate has delivered yet another sonically adventurous record - one that primarily explores and reflects on his journey into fatherhood. Here’s what I said in my review for 5-9:

“Much like his recent work as LIES, Birth of Omni is a playful yet challenging listen - one that requires attention and patience in order for its full splendour to be revealed. But granted time, you may just find yourself mesmerised by Nate’s kaleidoscopic world, where his vocals frequently shapeshift from the demonic to the divine thanks to some trippy vocal distortion…

…You do get the impression that the primary audience for this album is Nate himself, which will no doubt turn off some listeners. But to any parents out there who may find themselves in Nate’s shoes, sharing some of the emotions he presents here, or indeed anyone simply interested in hearing him relay his parental journey in his own uniquely artistic way, you will find your patience greatly rewarded.”

Read my full review for 5-9 here

Listen to the album here

The King of Misery by Daudi Matsiko

As someone who sees himself as a champion for the thriving Nottingham music scene, I felt slightly embarrassed that British-Ugandan folk artist Daudi Matsiko was able to fly under my radar for so long. However, there is no escaping the understated beauty of his incredible debut The King of Misery, with LeftLion Music editor Gemma Cockrell summing it up perfectly in her review for 5-9:

“With the threat of AI taking over the music industry seeming more real as time goes on, The King Of Misery is as human as music gets. When listening to the album, you can imagine Matsiko recording each of these instruments and layering them with one another in a way that only a human being could achieve, and the emotion within his lyrics and delivery is something that no machine or robot could ever mimic or impersonate effectively.

The sadness, the despair, the hopelessness, the guilt; but also, the joy, the beauty, the gratitude and the hope, as it gradually begins to outweigh the darkness: The King Of Misery is a celebration of everything that it means to be human.”

Read Gemma’s full review for 5-9 here

Listen to the album here

Also worth checking out: How To Disappear by Casey, Little Rope by Sleater-Kinney, Everybody Can’t Go by Benny The Butcher, Plastic Death by Glass Beach

Tracks of the Month

Kool-Aid by Bring Me The Horizon

The biggest musical moment for me this month, and I’m sure lots of other music fans across the UK, was catching Yorkshire metal heroes Bring Me The Horizon on their massive arena tour.

A true spectacle from start to finish, it was a show filled with huge anthems and top tier production that combined to make for one of the best arena gigs I’ve ever seen. But just prior to that, Bring Me released their first new music since the shock exit of band composer, Jordan Fish. The good news is Kool-Aid is as great as anything they’ve released in recent memory, hopefully signifying that the band will continue to be just fine without him going forward.

Listen here

Just Another Rainbow by Liam Gallagher & John Squire

A collaboration made in 90s Madchester dreams. Legends Liam Gallagher and John Squire have announced they will be releasing a self-titled album as a duo on the 1st March and its sent indie-heads both young and old into a frenzy. Hearing the first track its easy to see why, with Liam Gallagher’s signature vocals sounding just blissful against Squire’s psychedelic guitar passages, with the latter fully stealing the show on this first taste of the new project.

Listen here

One Night/All Night by Justice & Tame Impala

Another huge collaboration, electronic icons Justice returned this month with news that their new album Hyperdrama will be dropping at the end of April, ahead of some huge festival appearances this summer. If that wasn’t big enough, the first taste of the new album features none other than Tame Impala, with Kevin Parker’s vocals lifting the track into a hazy cloud of paradise.

Listen here

Hunger Games by Bob Vylan

Expectations for grime-punk duo Bob Vylan’s forthcoming third album, Humble as the Sun, are only growing with each new single. With the first part of their latest release Hunger Games dealing with the current the economic crisis, before a self-worth affirming spoken word passage during the song’s outro, it’s starting to look like Bobby and Bobbie might just be about to drop their best record yet.

Listen here

Gift Horse by IDLES

Another punk outfit looking similarly set up to release their best album yet, IDLES release the highly anticipated TANGK in just a few weeks, which frontman Joe Talbot has described as their “Love” record. Latest single Gift Horse is yet another belter, with its clanging guitar riffs and Joe’s primal cries of “LOOK AT HIM GOOOOO!”

Listen here

We Make Hits by Yard Act

When post-punkers Yard Act released electronic epic The Trench Coat Museum last year, it looked like a change in direction may be on the cards. However, with news that the song wouldn’t feature on upcoming album Where’s My Utopia and the singles from that record sounding more in line with their traditional sound, these feelings were quickly dashed. It seems though that this may have been premature and some experimentation may still be on the cards, as We Make Hits is a left curve that’s also a catchy and joyous ode to friendship.

Listen here

The End of the Contender by Everything Everything

A band seemingly in the best creative patch of their already stellar career, Manchester indie-outfit Everything Everything are busy prepping for the release of their seventh studio album Mountainhead, which will be their third in four years. Now latest single The End of the Contender might just be the most hook-laden track from the record thus far, flush with infectious melodies and shimmering synths.

Listen here

Angel Face by Oscar & The Wolf

When Belgian pop sensation Max Colombie shared photos of his bruised and scarred face on Instagram, concern from his fanbase instantly arose. However, Max would later reveal that he was simply ready to share details of the darkest period of his life, channelling it into new single – Angel Face. A glistening, instantly catchy pop anthem, it’s a tale of sadness and heartbreak that just about overcomes its overwhelming production. Here’s hoping we get an acoustic version of the song too in the near future.

Listen here

Losing My Grip by Enter Shikari & Fever 333

With their massive arena tour kicking off later this week, genre-defying metal outfit Enter Shikari have dropped their latest banger to give themselves a further setlist headache. Featuring Fever 333 who will support them on the upcoming tour, it features a filthy Prodigy-esque beat whilst frontman Rou Reynolds takes no prisoners as he screams “I THINK I’M LOSING MY GRIP” alongside Fever 333’s Jason Aalon Butler.

Listen here

Burning Down The House by Paramore

Finishing this month’s roundup with a trio of exceptional covers, with the first one seeing Paramore take-on Talking Heads’ classic Burning Down The House, staying faithful whilst also putting their own slight spin on the track. Taken from a forthcoming tribute album to Stop Making Sense to mark its 40th anniversary, the project will also feature the likes of The National, Blondshell, Miley Cyrus and Lorde. Looking forward to hearing more from this one!

Listen here

Staying Alive (Chris’ Version) by Christine & The Queens

Technically released very late last year, I’m including it here as its too good to not include. Art-pop visionary Christine & The Queens has released his completely unique take on the Bee-Gees classic, transforming it into a trippy, swaggering electro-pop banger.

Listen here

Kiss Me by Matt Maltese

Having released one of my favourite records of last year, English singer-songwriter Matt Maltese is now getting ready to release his own covers album, with Kiss Me the first taste of the project. His take on the Sixpence None the Richer track, his smooth vocal tones and lounge-style arrangement suit the song’s mood perfectly.

Listen here

Also worth checking out: Predator by YONAKA, Off With Her Tits by Allie X, Loved by Four Tet, Is This Love by James, Gleams by George FitzGerald, Stay Cool by James Vincent McMorrow, Pearl by Walt Disco, No One by Express Office Portico

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

Listen back to my Best of 2023 playlist:

On Spotify here

On Apple Music here

Top 100 Songs of 2023

Thanks to everyone who has followed the 2023 New Music Weekly Awards so far, hopefully you’ve discovered something new along the way. If you’re only joining in now, then you’ve arrived at the best time. For the final part of my annual year-end roundup, it’s time to share with you my favourite songs of the last 12 months in the form of one mammoth playlist.

Unlike my albums list this one is unranked and it isn’t necessarily what I think are the best songs of the year, but more the songs that have ultimately come to soundtrack and define my 2023. Also, I find it impossible to favour songs over one another half the time – these are simply different tunes for different moods.

As ever, in this year’s playlist are plenty of lesser-known gems from some of my favourite new discoveries, the year’s best album cuts, my favourite collaborations, guilty pleasures and, of course, some of 2023’s biggest singles. As always for the sake of diversity, I’ve kept it to strictly one song per artist (excluding those who are also included on other tracks as features – I’m looking at you Holly Humberstone). As a bonus this year for Apple Music users, I’ve also included my new mega Best Songs: 2015-2023 playlist, which contains all my annual year-end playlists from the last eight years.

So, dive in on your platform of choice, hit the shuffle button and you never know, you might find some inspiration for your own New Year’s mix – enjoy!

Listen to the Top 100 Songs of 2023 Playlist:

On Spotify here

On Apple Music here

On Let’s Loop here

Listen to the Best of 2015-2023 playlist:

On Apple Music here

My Top 100 Songs of 2023 in alphabetical order by artist:

1. The Sky Is Melting by Alex Lahey

2. I’m Normally Like This by ALT BLK ERA

3. Welcome To The Opera by Anyma & Grimes

4. Matisse by Arborist

5. Weightless by Arlo Parks

6. Dying Star by Ashnikko featuring Ethel Cain

7. Sunsleeper by Barry Can’t Swim

8. Kicking Up A Fuss by BC Camplight

9. Loneliness by Bear’s Den

10. Now And Then by The Beatles

11. Walking Backwards by Ben Howard

12. Bad For Each Other by bexx

13. Blue Bones (Deathwish) by Billy Nomates

14. Sauvignon by Black Pumas

15. Indigo by Bleach Lab

16. Salad by Blondshell

17. He’s A Man by Bob Vylan

18. Diving (Acoustic) by Bombay Bicycle Club featuring Holly Humberstone

19. The Grind by Bored Marsh

20. Not Strong Enough by Boygenius

21. Welcome To My Island by Caroline Polachek

22. Skipping Like A Stone by The Chemical Brothers featuring Beck

23. Touched You With My Chaos by Cherry Glazerr

24. True Love by Christine & The Queens featuring 070 Shake

25. Over by CHVRCHES

26. Stay For Something by CMAT

27. Put It Down by Corinne Bailey Rae

28. Cry To Heaven by Creeper

29. Bliss by Daniel Avery

30. Daylight by David Kushner

31. Now U Do by DJ Seinfeld & Confidence Man

32. No Time by Django Django featuring Jack Peñate

33. Olympia by DMA’S

34. Jailbreak by Enter Shikari

35. No One Knows We’re Dancing by Everything But The Girl

36. Cold Reactor by Everything Everything

37. I Want To Start A Religion With You by Fireworks

38. Close One by FIZZ

39. Mermaids by Florence + The Machine

40. Deep In The Night by Future Islands

41. Michigan, 1975 by The Gaslight Anthem

42. The Roach by Genesis Owusu

43. Mother by George FitzGerald & SYML

44. Oil by Gorillaz featuring Stevie Nicks

45. Horizons by Gus Dapperton

46. Paint My Bedroom Black by Holly Humberstone

47. Dancer by IDLES & LCD Soundsystem

48. Blame by Jadu Heart

49. Love Make A Fool (Orchestral Version) by James

50. Sunshine Baby by The Japanese House

51. Free Yourself by Jessie Ware

52. SCARING THE HOES by JPEGMAFIA & Danny Brown

53. Death Is The Diamond by Julie Byrne

54. When The Rope Post 2 Break by Kevin Abstract

55. DON’T LET THE DEVIL by Killer Mike & EL-P featuring thankugoodsir

56. Better Way To Live by Kneecap featuring Grian Chatten

57. Did you know that there’s a tunnel under Ocean Blvd by Lana Del Rey

58. The Likes of Us by Lanterns on the Lake

59. Nothing Matters by The Last Dinner Party

60. Say My Name by The Lathums

61. Ghost Run Free by The Lemon Twigs

62. Resurrection by LIES

63. Unseen by Lonely The Brave

64. No Caffeine by Marika Hackman

65. Irony Would Have It by Matt Maltese

66. Homospace by Mickey Callisto

67. Buffalo Replaced by Mitski

68. Tetherball by Miya Folick

69. A Thousand Lives by The Murder Capital

70. Sole Obsession by Nation of Language

71. Smoke Detector by The National

72. When I’m With You by Nimmo & St. Panther

73. Good Lies by Overmono

74. Liar (Re: Romy) by Paramore & Romy

75. (It Goes Like) Nanana by Peggy Gou

76. Black Mascara. by RAYE

77. Sore by Rozi Plain

78. Delicious by Sad Boys Club

79. Orchid by Shame

80. Somewhere Without Language by Share

81. RUN FOR YOUR LIFE by SIPHO. & Shaé Universe

82. On The Ground by Sleaford Mods

83. No You Never by The Slow Readers Club

84. Alife by Slowdive

85. My First Name by Soda Blonde

86. Punk’s Dead by SOFT PLAY

87. Jungle by Somebody’s Child

88. Haunted by Spanish Love Songs

89. Room With A Different View by Spector

90. All My Heart by Strabe

91. Shit Talk by Sufjan Stevens

92. Wishing Well by Sundara Karma

93. Something Good by Teenage Wrist

94. Drowning In The Deep End by Ten Tonnes

95. messy in heaven by venbee & goddard.

96. BRAINWASHED by Waterparks

97. Human Resources by We Are Scientists

98. Hands Off My Money by Yonaka

99. Holy Moly by Young Fathers

100. Fear Evil Like Fire by Yves Tumor

Thanks for listening/following – see you in 2024!

Best Live Shows of 2023

In the age of streaming and with ever-mounting logistical cost pressures, it is more important than ever to go support the bands you love by catching their live show and, if you can, pick up a record or some merchandise whilst you’re there.

Of course, the price of live music itself for the average fan is going up too, with £100+ tickets for stadium/arena shows and £40+ tickets for academy shows, quickly becoming the norm. That said, if you look beyond the household names selling through Ticketmaster’s exploitive dynamic pricing system, you can still find plenty of great acts playing live shows for £10-£20. So, if you find yourself constantly being priced out of the large stadium shows, why not spend that money on five grassroots shows instead – you may just find your next favourite artist in the process!

As for myself, I live for live music and by avoiding those top tier tickets and focussing on cost-effective festivals and shows with great line-ups, I’ve packed in more live music in 2023 than I ever have in my life. Including festival performances and warm-up acts, I’m grateful to have caught 127 performances in 2023, hopefully helping in some small way to support the artists and up-and-coming acts I adore.

With that mass of live music, it’s been hard to whittle this down to just my 10 favourites. So, in true New Music Weekly fashion of avoiding difficult decisions and leaving stuff out, firstly here’s the honourable mentions in chronological order:

Honourable mentions:

Foals at Engine Rooms, Southampton, May

Simply one of my all-time favourite bands at the peak of their powers, in the smallest venue I’ve ever seen them play (800 cap). Biblical!

Opus Kink at Dot-to-Dot Festival, Nottingham, May

The annual “get-me-in-that-pit” performance at Dot-to-Dot festival, proving I’m not too old yet for at least one moshing session per annum. Just like Bob Vylan the year before, my friendship group approached the ska-punk outfit with trepidation, but all ended up fans by the end of the set.

Mickey Callisto at Dot-to-Dot Festival, Nottingham, May

Imagine Freddie Mercury’s Live Aid performance, but in a tiny loft venue – that is essentially what synth-pop superstar Mickey Callisto delivered at Dot-to-Dot festival this year. Next level showmanship and an electric end to the day’s proceedings.

Swim Deep at Rescue Rooms, Nottingham, June

The Brummie indie darlings celebrated 10 years of Where The Heaven Are We this summer, performing one of my all-time favourite albums in full. They also played the ever-magnificent King City twice in the career-spanning set!

Young Fathers at Best Kept Secret Festival, Beekse Bergen, June

The band that have defined 2023 for me, it seemed like much of the audience in the tent with me at Best Kept Secret were catching the Scottish trio for the first time and weren’t sure what to expect. The result was a truly mind-blowing performance, with the energy from the stage radiating around the tent to the point of elation and thunderous applause by the end of the set.

Watch Young Fathers at Best Kept Secret 2023 here

The War On Drugs at The Piece Hall, Halifax, June

American rockers The War On Drugs performing anywhere would probably be enough to get a mention here, such is their stature as a live force. However, with support from Warpaint, a euphoric rendition of Under The Pressure and the gig itself taking place in the beautiful surroundings of the Grade I Listed Piece Hall, outdoor summer shows don’t get much better.

Confidence Man at Splendour Festival, Nottingham, July

When you need a lift during a washed-out festival, get Confidence Man to save the day. Having waited a long time to see them perform live, the Aussie dance outfit didn’t disappoint as the sun cleared just in time for their dazzling half hour of power. Immaculate choreography and joyous vibes aplenty!

Walt Disco at Rescue Rooms, Nottingham, September

A special shout-out to Walt Disco, who supported Nation of Language at their Rescue Rooms show in September. They are my pick for the best warm-up act of the year, with their David Bowie-inspired dramatics and glam rock chic leaving me eager to catch them again in the future.

Read the full review for both Walt Disco and Nation of Language here

Don Broco at O2 Academy Leicester, Leicester, December

Genre-bending heroes Don Broco are one of the most fun live acts around and even with a neck brace leaving frontman Rob Damiani more restricted than usual, they still blew the roof off. Usually not a fan of O2 Academy venues, this was also one of the better ones I’ve visited and it all just made for a great Saturday night.

Jadu Heart at JT Soar, Nottingham, December

My final show of 2023 and easily one of the most magical of the year. Performing in JT Soar which is an old garage turned Sleaford Mods’ recording studio, electro-folk outfit Jadu Heart brought string-tinged beauty and festive spirit to the intimate space. With only around 30 people in attendance and the bargain price of just £5 for the ticket, it was capped off with a pair of singalongs to Christmas classics Happy Xmas (War Is Over) and Fairytale of New York.

Read the full review for LeftLion here

That’s the honourable mentions then, now onto the main event – out of the 120+ performances I’ve seen in 2023, these are the ten that ended up leaving the biggest impression.

Top 10 Live Shows of 2023

10. The 1975 at Motorpoint Arena, Nottingham, January

One of the most discussed arena tours of the year, The 1975 kicked 2023 off with a spectacle. Split into two parts, the first half covered their latest album, Being Funny In A Foreign Language, and then the second half was just wall-to-wall greatest hits with 10,000 people losing their minds. Add in some unique staging and some surreal, theatrical interludes, it made for one of the most memorable arena gigs of the year. In fact it was so good, we’ve already booked to see The 1975 Still At Their Very Best in 2024, this time over in Brussels.

If you’re intrigued to see the show for yourself, their Madison Square Garden performance is streaming on YouTube and Amazon – check it out below.

Watch it here

Stream the live album here

9. The Lottery Winners at Rock City, Nottingham, November

Sometimes the best gigs are the ones that come along and surprise you. With support act Deco a favourite in our household and having seen indie-pop outfit Lottery Winners once previously at 110 Above festival, this one was booked purely on the basis that it looked like a fun Saturday night. Add in up-and-coming Notts rockers The Publics, you’ve got three quality bands at Rock City for £18. However, what I didn’t expect, was this show to be as life-affirming as it ended up being.

For context, once upon a time Lottery Winners were due to support Embrace at Rock City only to be dropped when Embrace feared The Lottery Winners would receive a bigger reception than them. So finally getting the opportunity to play the iconic stage where legends such as David Bowie and Nirvana have played before, you could see The Lottery Winners were putting everything into the performance. The fact I didn’t really know a single song of The Lottery Winners didn’t matter at all either. With plenty of laugh-out-loud, inter-song banter, some thunderous crowd singalongs and the band themselves in genuine tears at certain points in the set, it was just an incredible, emotionally uplifting night.

8. ROB GREEN at Rescue Rooms, Nottingham, February / ROB GREEN at Hockley Hustle Festival, Nottingham, October

Yes, I’m cheating again! But twice I saw Notts’ soul/pop artist ROB GREEN in 2023 and both were magical in their own unique way - so it was impossible to separate them.

Back at Hockley Hustle festival in October 2022, I saw Rob play an acoustic set that just completely blew me away. Having heard only positive things about him up until that point but not knowing too much about his music beyond that, it was one of those performances where I went in with not too much expectation of what I was going to hear, and then left just in complete awe of what I had just experienced. It was a borderline spiritual experience at times, with Rob’s mix of spoken word poetry and gospel-inspired singalongs just captivating and immensely uplifting.

So fast forward to February this year and I finally got to see Rob perform with a full live band setup. However, thanks to the utter jubilance from the crowd, his impressive backing vocalists and immensely talented band, it just amplified that feeling from Hockley Hustle 2022 tenfold. With my whole immediate family in attendance with me too to celebrate my mum’s birthday, it made it even more special.

Fast forward again to Hockley Hustle 2023 and Rob somehow managed to top his 2022 performance by pulling in a string quartet to perform alongside him. Here’s what I said in my review for LeftLion:

“Performing in the corner of Broadway Cinema’s café with the Rob Rosa String Quartet accompanying him, people are literally queueing at the door to catch even the smallest glimpse of his incredible thirty-minute set. And rightfully so, as the enigmatic performer has this unrivalled ability to bring immeasurable positive energy to a room and leave the audience sitting on Cloud Nine.

Storming through performances of early singles Life Goes on and Sleeping on My Own, Rob gets noticeably emotional when the crowd singalong with recent single from his forthcoming EP, I’ll Be Around. “It’s so good to be back in NG1,” he exclaims, with the Nottingham faithful grateful to have him back. He then ends as he always does with a joyously euphoric medley of classic covers, leaving the crowd in Broadway Cinema fully uplifted and proving once again why he’s the best live performer in Nottingham.”

Read the full LeftLion roundup of Hockley Hustle 2023 here

7. Spector at Rescue Rooms, Nottingham, December

A band that have defined the last 10 years of my life but most definitely the last two months of my 2023, Spector delivered one of the best albums of their career to date in November with Here Come The Early Nights. Eager to hear the new songs from that record live, I headed down to Rescue Rooms to catch them for the third time in that venue, for the sixth time in Nottingham and for the tenth time in total! With fierce competition from their past selves, Spector pulled out all the stops and delivered a rip-roaring set that packed in so many anthems, I lost my voice completely from all the singing along.

Of course, it may be recency bias but for me this was right up there as one of the best performances I’ve seen from them over the years. It just further cemented why they are one of my favourite bands and also one of the best bands to see perform live. If you want all the details from the night, you can read my review for LeftLion below.

Read the full review for LeftLion here

6. The Chemical Brothers at First Direct Arena, Leeds, October

The legendary Chemical Brothers were another band that I saw live twice in 2023, however as fantastic as they were at Best Kept Festival over the summer, their own arena show in October was just the next level up.

If you’ve not had the pleasure of seeing Ed Simons and Tom Rowlands before, let me assure you they put on one of the best live shows on the planet, especially in an arena setting. The hypnotic, mind-melting visuals they put together to accompany their set is just like no other, in addition to all the big production tricks like confetti, lasers, giant balloons and even massive robots too.

However, all of that will only get you so far, you still need the bangers to back it up. Thankfully with a career-spanning 30+ years they have them in abundance and their setlist in Leeds was near faultless. A lot of cuts from their 2023 album For That Beautiful Feeling were included with Goodbye in particular standing out, as well as all the classics you’d want to hear such as Galvanize, Go, Hey Boy Hey Girl and Block Rockin’ Beats. They even had space for one of my all-time favourite songs, Wide Open. Probably the best show from them of the five times I’ve seen them and easily one of my favourite arena gigs of the year.

5. Oscar and the Wolf at Best Kept Secret Festival, Beekse Bergen, June

When you travel to another country and spend hundreds of pounds on a festival for one particular artist, it’s important they deliver. Sure, Best Kept Secret had a phenomenal line-up this year that also boasted The Chemical Brothers, The 1975, Aphex Twin, Young Fathers, Caroline Polachek, Christine & The Queens, Nation of Language, Arlo Parks, Billy Nomates, Interpol and so many more, so I would have gotten the value anyway. But Best Kept Secret Festival was really all about seeing one man – Max Colombie AKA Oscar and the Wolf.

You see having discovered Oscar and the Wolf at Dot-to-Dot festival in 2015, his music instantly resonated with me and he quickly became a favourite of mine. The issue is the Belgian indie-pop superstar isn’t really known here in the UK. So, whenever I have been able to see him live over the years since, it’s been in quiet festival slots with short sets and a small crowd who aren’t familiar with his output. So, when choosing a festival to attend in 2023, we chose Best Kept Secret for one key reason – Oscar and the Wolf was headlining it.

You see whilst the UK hasn’t caught on to Max Colombie’s talents, over in Europe he is a headline act on the level Muse, Liam Gallagher, Arctic Monkeys, etc. So having decided on Best Kept Secret over Rock Werchter as it looked less commercial and a much more manageable capacity, we ventured to the Netherlands to catch Oscar and the Wolf live with a crowd of 20,000 and, importantly, one which knew the words to all of his songs.

And with that massive expectation on it, Max and his band still managed to exceed all expectations to deliver a dazzling Saturday evening performance. Full of brain-melting guitar solos, a flawless setlist, Max’s own incredible vocals and all the big production tricks, it was everything I hoped for when booking the festival. To finally see one of my favourite artists with a crowd deserving of his music, it was such a special moment.

If you’re intrigued to see more and want an introduction to Max’s output, you can watch a 30-minute snippet of his performance from Best Kept Secret below.

Watch Oscar and the Wolf at Best Kept Secret here

4. Stevie Nicks at T-Mobile Arena, Las Vegas, March

It is very rare I get to tick off two bucket list items, let alone two in a single week. But earlier this year, I was fortunate enough to travel over to Las Vegas for work, a place I had always wanted to visit. Whilst I didn’t get to see everything in the short time I was there, I did have enough free time to get a flavour of the one-of-a-kind city. Of course, seeing a show is a must out there and when looking at what was on, I noticed that none other than music legend Stevie Nicks was in town for one night only. Biting the bullet on a last-minute ticket, whilst I will never get to see Fleetwood Mac perform live, I was fortunate to catch Stevie that night – which feels like the next best thing.

The production of the stage was utterly entrancing, with montages and artistic visuals projected on the screens behind her throughout. Her voice sounded as good as ever even at 74 too, with the live band playing alongside her also fantastic. Playing through all the classics from both her solo career and time in Fleetwood Mac, it made for a really special show. It also ended on quite an emotional note, as Stevie paid tribute to both Tom Petty and Christine McVie in the encore. Performing Free Falling and Landslide to round it off, she was noticeably moved following her performance of the latter.

I feel incredibly lucky to have had the chance to experience that, seeing a genuine musical legend on the opposite side of the world. One of the defining highlights of my 2023 and a moment I truly will never forget.

3. Self Esteem at Eventim Apollo, London, March

These days, the performance happening on stage is only 50% of what makes a good show. If you get the wrong crowd of people more interested in getting pissed or talking through the set, then you can quickly end up distracted during key moments. But for the final stop on Self Esteem’s Prioritise Pleasure UKtour at the Hammersmith Apollo, the entire audience were there for one thing and one thing only – a performance from Rebecca Lucy Taylor.

Off the back of a huge breakout year following the success of Prioritise Pleasure, this one felt like a victory lap as the crowd erupted into thunderous ovation after every single song. The production of the show itself was incredible too, from the dazzling choreography and vocal performances to the impressive costume changes and staging. It felt like an arena-level pop show but with the intimacy of an academy venue, just the best of both worlds.

The biggest testament I can give it though is what I touched on at the start. A lot of shows I’ve been to post-COVID, when it comes time for the acoustic songs they are sadly often spoilt now by crowd chatter, with people’s loud conversations disrupting these intimate moments. That didn’t happen with Self Esteem, as at one point she took centre stage just her and a guitar to perform her track John Elton and honestly you couldn’t hear a pin drop. Instead, everyone just stood in awe and respectfully engaged with what they were witnessing on the stage.

I said back in March this was one of the best shows I’ve ever had the privilege of seeing and I think I stand by that. An unbelievably special night thanks to a respectful crowd and an artist right at the top of their game.

2. Creeper at Rock City, Nottingham, November

Speaking of one of the best shows I’ve ever seen, I think it’s well documented at this point just how blown away I was seeing Creeper at Rock City last month. The only other time I had seen the Southampton-hailing goth-rockers previously was years ago at Slam Dunk festival and I’ll be honest, their show didn’t leave much of an impression on me at that time. However, with this performance coming less than a month since the release of their operatic third album Sanguivore, which I had been playing constantly, it seemed like the perfect storm for a special night – and my assumptions were correct.

Here’s what I said in my review for LeftLion:

“Bringing with them a uniquely theatrical live show unlike any I saw in 2023, it was full of dramatic production, crowd surfers, circle pits, plenty of monstrous riffs and a faultless setlist.

The moment of the night however came in the form of a stunning rendition of debut album favourite, Misery. Driving home the special connection Creeper have with their fans, phone torches were switched on and several audience members climbed onto shoulders to emotionally sing along with frontman, Will Gould. As the song reached its peak, Will didn’t even have to say a word or move a muscle - the crowd just instinctively belted out the song’s gut-punching refrain. A beautifully powerful moment and one of the most spine-tingling I’ve ever experienced inside that venue.

With red confetti then shooting out of cannons onstage during the triumphant closing performance of 2023 single Cry To Heaven, it was a suitably mind-blowing finish to a truly mind-blowing rock show.”

See LeftLion’s full list of Best Gigs of 2023 here

Read my LeftLion review for Creeper at Rock City here

1. James at Northern Echo Arena, Darlington, August / James at Royal Concert Hall, Nottingham, October

So here we are at my favourite live show of 2023 and guess what – I’ve cheated again. Here we have two shows that both had the recipe for an all-timer - one of my favourite bands of all-time, one of the best live acts in the country and a band with 40+ years of exceptional music in their catalogue. Funnily enough, all three of those ingredients are Mancunian indie legends, James.

I saw James twice in 2023 and what has landed them in the top spot is the fact that each time I saw them this year, they delivered a unique experience. Each of these gigs, one in Darlington and one in Nottingham, offered something completely different from the other but ended up equally as sensational for their own reasons.

The first in Darlington was just the perfect line up in the most perfect setting. An August summer’s day with three of my favourite bands on the bill together – Maximo Park, Editors and James. The venue was a decent-sized Rugby stadium, but rather than having the whole thing open, the stage was to one side of the pitch, with one side of seating open and then the pitch the standing area – so it was set up more like a bowl than an open stadium.

What worked perfectly was the fact that although we had booked seats, we didn’t have to stay in them all day. We could sit in the seats and chill for the support, make use of the toilets and quieter bars etc. but then when we wanted to go have a dance and get into the mix, we could walk down onto the pitch and join the standing crowd. This is the first gig I’ve been to with that set up and it just added to the whole experience.

In terms of the bands themselves though, it was just a fantastic day of music. Even before the trio of Maximo Park, Editors and James, you had shoegazers Pale Blue Eyes, up-and-comers The Kairos and 00s indie outfit The Pigeon Detectives, who in particular were much better than I expected. Then as fantastic as Maximo Park and Editors were, it really was all about James who just reaffirmed to me why they’re one of my favourite bands. Ploughing through the hits as the sun was setting, Tim Booth wandering gracefully through the crowd and the band on stage sounding so effortlessly tight-knit, just like a band who have been playing together for 40 years should sound. It may have been the booze, it may have been the life-defining songs, it may well have been a bit of both – but I’m not ashamed to say I was near tears at a couple of points. Just magical.

If that wasn’t enough, I would see them again a few months later at Nottingham Royal Concert Hall, this time backed by a full choir and orchestra. Having had the devastation of the cancellation back in April, after waiting over a decade for them to repeat their 2011 orchestral tour, this was a rescheduled show I had been waiting a long, long time to see. And boy was it worth the wait.

Playing some of my favourite deep cuts that I would never get to hear in a normal set like Space, Alaskan Pipeline, Ten Below and Someone’s Got It In For Me, but then with the strings and extra voices accompanying them too, it just amplified their already world class live show to another level. With goosebump-inducing singalongs to Many Faces and Sometimes also throughout the night, this was another special gig that I’ll remember for a long time.

So there you have it, my favourite shows of 2023. Just one final part of my New Music Weekly awards still left to come and it’s a big one – my Top 100 Songs of 2023 playlist.

It’ll be dropping soon so keep your eyes peeled and thanks for following along so far!

Top 10 EPs of 2023

As we have seen, 2023 has been a mega year for new albums with LIES being named as my Album of the Year earlier this week. You can read why I was such a fan of that record, along with more on the rest of my Top 50 picks by scrolling below or simply flicking through the New Music Weekly archives for December.

However, as many great longplayers we received in 2023, there was an equal abundance of great shortplayers too. In today’s hectic world where the demand for “snackable” (shout out Andrew Belt for my word of 2023) content has risen, the humble Extended Play has seen a big resurgence. So I’ve looked back over the last 12 months and picked out my ten favourites of the year. As always, I’ve gone for an eclectic selection that pulls from various genres including pop, rock, electronic, R&B, and indie. So depending on your taste, hopefully you’ll find something to enjoy on this list.

Here we go then, my Top 10 EPs of 2023…

Honourable mentions

• Forever Means by Angel Olsen
• White Magnolia by Bear’s Den
• The Rest by Boygenius
• Heady Metal by Divorce
• Julie Byrne with Laugh Cry Laugh by Julie Byrne & Laugh Cry Laugh
• Alaska Sadness by Katie Keddie
• That Sweet Breath by Lowmello
• My Eyes, Brother! by Opus Kink
• Not The Baby by Prima Queen
• See You In The Dark by Softcult

10. Modern Day by Bloxx

Kicking off the list with London-based indie quartet Bloxx, who have had a bit of a tough time recently. With multiple shows in recent memory cancelled, it was great to see them make a welcome return in 2023, with Modern Day their first new EP since 2021’s Pop Culture Radio.

Much like their output till now, it is a collection of five songs that showcases the band’s talent for writing catchy hooks and memorable riffs, with the strong opening trio of Modern Day, Television Promises and Runaway helping it secure a spot on this year’s list.

Listen here

9. Not As I by George FitzGerald

It was also a great year for synth-driven shortplayers as one of my favourite electronic musicians of recent times, George FitzGerald, released a new four track effort - Not As I.

Opener Mother is worth the price of admission alone, a beautifully ambient groove featuring American musician SYML on vocal duties. That said, the mind-melting synths of Venera, the spacey chimes of the title track and the pulsating soundscapes of All Roads make this one well worth 15 minutes of your time.

Listen here

8. More Truth by Daniel Avery

Sticking with 2023’s best electronic releases, DJ and producer Dan Avery also released a companion EP to his acclaimed 2022 album, Ultra Truth.

Featuring seven excellent new tracks that didn’t quite make the final cut originally, including trippy Georgia collaboration Going So Low and the accurately titled Bliss, it’s another absorbing collection from the Bournemouth musician who seems incapable of putting a foot wrong.

Listen here

7. Freak Show by ALT BLK ERA

As you can probably tell if you’ve made it this far onto my blog, I am a big champion of new music. On top of that, I am also a big champion of new music emerging out of my world-class local scene in Nottingham. And of all the fantastic Nottingham acts who had a breakout 2023, ALT BLK ERA are the ones leading the charge.

Word is finally getting out about this alt-rock sister duo, who fuse mind-melting electronica, heavy rock and razor-sharp bars for a sound that is entirely of their own making. This was highlighted this week when the pair received a prestigious MOBO award nomination for Best Alternative Act, nominated alongside the likes of Arlo Parks, Skindred and Young Fathers.

So, with ALT BLK ERA seemingly right on the cusp of blowing up in popularity, now is the time to get yourself acquainted with their hypnotic genre-defying sound. Debut EP Freak Show released back in August is the perfect introduction for those not already familiar, with the opening trio of I’m Normally Like This, Misfits: SOLAR and the horn-backed title track all well worth checking out, alongside fan favourite Oggy. I promise you, it’ll be unlike anything else you’ve heard in 2023.

Listen here

6. Homospace by Mickey Callisto

When I was first introduced to Liverpudlian pop sensation Mickey Callisto at Dot-to-Dot Festival earlier this year, it was obvious from the get-go he was a natural-born showman destined for big things. An enigmatic, commanding presence on stage, it was an utterly captivating performance that made for one of the highlights of the day and left me eager to see where his career would go next.

Well, this November saw Mickey releases his first EP titled Homospace and I’m pleased to say it’s a star-making debut release - in more ways than one. Here’s what I said in my review for 5-9 last month:

“Loosely inspired by Arctic Monkeys’ Tranquility Base Hotel & Casino, Mickey’s debut EP sees him transport the listener into outer space for a visit to “a gay nightclub on the moon”. The sounds that welcome you upon entry are a mesmerising blend of disco, psych-rock and 80s-inspired synth-pop, with Mickey lyrically jumping between personal stories and cosmic metaphors. The result is a joyful, imaginative orbit around some ambitious planetary pop.

This is a fantastic, high-concept debut EP from Mickey; one that is not just a lot of fun to experience, but also offers the perfect introduction and showcase for his talent. Offering a welcome escape into some vivid musical nebulas, once you’ve taken the trip to the outer limits, you’ll be reluctant to return back down to Earth.”

Read my full review for 5-9 here

Listen here

5. The High Life by Bloc Party

2022 was the year Bloc Party got their mojo back. Whilst the band’s 2016 album Hymns still had its moments, it very much reflected a band going through a transition. Indeed, Alpha Games was still far from a perfect record, but if you had ever been a fan of Bloc Party then there was plenty of familiar pleasures on offer. Following on from that effort then, and this year the indie icons released a new four-track EP where they sound even more rejuvenated.

It’s a fun collection, with summery indie belter High Life kicking things off, before brilliant KennyHoopla collab Keep It Rolling flourishes with that classic Bloc Party sound. Similarly Blue sees Kele finally get back in touch with his younger self, with the song presenting some of his most sincere lyrics in years. Final track The Blood Moon is then my pick of the bunch, with shades of Bigmouth Strikes Again by The Smiths early doors, before it then transforms into that vintage Bloc Party of old by the end, thanks to Russell Lissack’s signature riffing.

Even if you weren’t quite on board with Alpha Games, Bloc Party fans will find plenty of resemblance to that band they fell in love with all those years ago on Silent Alarm and Weekend In The City here on The High Life. Another positive step in the right direction for one of my all-time favourites.

Listen here

4. A Little Lost, A Little Found by Grace Carter

It can sometimes be lost on us as listeners just how derailing the pandemic was for new artists breaking out during that time. After discovering Grace Carter at Live At Leeds fest in 2018, it was evidently clear she was heading for superstardom. The following year cemented this prediction, as the London-based singer-songwriter made the BBC Sound of 2019 list and she set off supporting mainstream heavyweights like Dua Lipa and Lewis Capaldi on tour. However ever since the pandemic struck, Grace has been lost in the wilderness unable to further shine a spotlight on her evolving talent – until now.

Her incredible 2023 EP is Grace getting back to basics, releasing a collection of heartfelt pop ballads that explore identity, family, love and racial injustice. From the exquisitely produced groove of Pick Your Tears Up, the gospel-influenced Riot, the atmospheric tribal cries of Mother and the quirky vocal inflections of Hope, it is littered with moments that quickly remind us of Grace’s songwriting talent.

This is the mesmerising sound of Grace Carter finding herself again and getting things back on track – hopefully she has a clear run this time around.

Listen here

3. Welcome To My House by Yonaka

It doesn’t feel like too long ago I was stood watching Brighton rockers Yonaka perform in the 1am graveyard shift at Dot-to-Dot festival back in 2017. With a then long-haired Theresa Jarvis jumping off the stage to sing her lungs out amidst the modest, onlooking crowd, I was instantly entranced by the band’s energetic songs and performance. Fast forward to now and the band are now a prominent name within the British rock scene, with their songs constantly making their way into TV show, game and movie soundtracks. Returning in 2023 with another release packed with addictive commercial rock anthems, you get the feeling this new seven-track mini-album - which comes complete with a music video for every track - will only catapult them further up the chain of popularity.

With each song representing a feeling, memory or emotion within Theresa Jarvis, the trio blaze through each concisely constructed track, with most hovering around the two-to-three-minute mark. Propelled by anthemic choruses, polished production and Theresa’s ever-impressive vocal acrobatics, it’s another tour de force project from the band.

From rousing opener By The Time You’re Reading This to the anxiety-induced PANIC, through to the colossal confidence of Welcome To My House and the full-throttled punk of Hands Off My Money, it’s just an absolute blast from beginning to end. However, the EP’s best moment is arguably reserved for one of the band’s softest, most heartfelt songs to date – Give Me My Halo. Noticeably stripped back compared to the rest of the tracks here, it allows Theresa’s vocals to soar with her raw, passionate cries driving home the song’s uplifting message.

Across their early releases, their 2019 debut Don’t Wait ‘Til Tomorrow, 2021 mini-album Seize The Power and now this EP, Yonaka have built themselves an arsenal of bangers that would put most other British rock bands to shame. A seismic collection of anthems that will no doubt go down a storm when they take it on tour in 2024.

Experience the visual mini-album through the music video playlist here

Listen to the EP here

2. MANHOOD by ROB GREEN

From one visual EP to another then, however you arguably couldn’t find two more different in sound.

During my first visit to Hockley Hustle festival in 2022, an all-dayer around the cultural heartbeat of Nottingham, soul-pop sensation Rob Green’s acoustic set was such an undisputed highlight, I was wondering how he could possibly top it this year. Well, he managed it.

Performing in the corner of Broadway Cinema’s café with the Rob Rosa String Quartet accompanying him, people were literally queueing at the door to catch even the smallest glimpse of his incredible thirty-minute set. And rightfully so, as the enigmatic performer proved once again his unrivalled ability to bring immeasurable positive energy to a room and leave the audience joyously radiant by the end. I always thought if he could bottle that energy and transfer it to his studio output, he would be unstoppable. Based on his MANHOOD project released at the start of November, it looks like he had the same idea.  

Unlike any other shortplayer released in 2023, MANHOOD is a stunning new visual EP that explores masculinity, self-love and racial identity. Centred around his heartfelt recent singles I’ll Be Around and What Are We Waiting For, the other parts are short vignettes made up of beautiful gospel harmonies, catchy hooks, conversation recordings and deep spoken word passages. With the film version impressively shot in a single take too, it all makes for a powerful 10-minute experience.

A special project by a very special talent, MANHOOD gives the perfect insight into Rob’s unrivalled charm and heart as both an artist and performer. Due to take the project on a UK tour next year, I implore you to go out of your way to see his life-affirming live show if you can – I guarantee you’ll want to capture the positivity in the air and bring it home with you.

Watch the MANHOOD short film here

Listen here

1. Sucker by bexx

“Sometimes falling in love feels like the most important thing in the world, especially when you’re not doing it.” – bexx, 2023

For me, the very best shortplayers should be all killer no filler – with most at four to six tracks long, there really is no excuse on that front. Additionally for me though, they should also take you on a conceptual journey or tell you a story in the same way any great album would. Enter Notts-hailing, synthpop superstar bexx, with her banger-filled debut EP that guides the listener through the highs and lows of her hapless love life.

Ever since discovering bexx through a support slot for Fickle Friends at the start of 2022, she has been on a roll. From her incredible breakout single Hard To Love complete with soaring 80s-tinged guitar solo, to more recent efforts like the extremely catchy One More Night and body positive, rock anthem Prettier, bexx has shown her knack for writing addictive, resonant pop songs is as good as anybody in the genre right now. Taking her first big step forward in 2023, she finally released this her debut EP and it is just the perfect showcase for her talent.

Sucker presents five songs about the eternal search for human connection and the stumbling blocks along the way. It is an EP filled with irresistible tongue-in-cheek humour and packed wall-to-wall with cathartic, anti-love songs with which any amiable cynic can relate. This is “unserious, heartbreak pop” of the highest order and it makes for the most joyously fun EP of the year.

The opening title track is the perfect tone-setter, as bexx describes the urge to text back a former lover, with her wry lyricism firmly at the fore on lines like “I still wonder, do you wonder, how I’m doing, who I’m under – I’m not lonely, I’m just going through the motions.” It’s this light-hearted take on these common melancholic feelings that makes bexx so refreshing and the song itself is one of her most instantly gratifying yet, thanks to its hooky chorus.

Inescapably catchy single I’m Disgusting follows, where bexx describes becoming that hopelessly lovesick romantic she’s always despised (“The lovey-dovey shit belongs on the TV, I’d rather die”). However, the honeymoon period of the relationship quickly ends, as bexx then throws us listeners into the brutal break-up on excellent single, Stupid. Culminating in the frustration-fuelled refrain “I hate this song, ‘cause it’s about you”, it is tailor-made for heartbroken festival crowds to sing back with angst.

Recent single Bad For Each Other is then undoubtedly the EP’s best moment, with bexx found unravelling a toxic friends-with-benefits relationship (“Steal a kiss, 3AM, just a secret between friends – even though I don’t feel used, still a little bit confused”). Once again channelling some palpable rock energy with a guitar-driven chorus, it is mixed seamlessly with a brilliantly produced electronic beat on the quieter, almost whispered verses.

After taking this wild journey with bexx through her romantic life, navigating attraction, sex, heartbreak and all the mixed emotions found along the way, the EP’s climatic song Haha, I’m dying alone can’t help but feel brutally poignant. This is the moment where bexx finally lifts that shield of humour that she’s carried throughout just a little bit, but enough to show the vulnerability hiding underneath - acknowledging that making a joke out of these feelings is her way of coping with the strain of it all. It’s another special, brilliantly written pop song and it’ll have you reaching through your headphones to give bexx a big comforting hug at the end of it.

For a first outing, bexx really couldn’t have crafted a better shortplayer to introduce new listeners into her world. A collection that has been cohesively pulled together and is simply beaming with the catchy, singalong choruses and witty takes that have made her music such a joy to behold. She has really knocked it out of the park with this batch of songs and it is no surprise that it has held on throughout the year to remain my favourite EP of 2023.

Listen here

Thanks for reading – I’ll be back next week with final year-end awards, including my favourite live shows and Top 100 songs of 2023!

Top 50 Albums of 2023: #10-1

10. Lost In A Rush of Emptiness by Bleach Lab

It’s safe to say, 2023 has been a year of some fantastic debut albums. This Top 50 countdown has already seen incredible first outings from the likes of SIPHO, Barry Can’t Swim, Blondshell, CASisDEAD and Holly Humberstone all featured, and now the big Top 10 features no less than four debut records. However, with two of those coming from well-established acts taking on new projects and another one more a final testament, I think that means London-based quartet Bleach Lab technically take my debut album of the year title.

Lost In A Rush of Emptiness is an utterly stunning debut, one that I’ve found myself constantly reaching for during these cold, dark evenings. Similar to the Mitski record on the previous blog, this is an album that demands you stick on your headphones and just dive into the whirlpool of gorgeous sounds with which you are presented.

Bringing together elements of shoegaze and melodic indie rock, gorgeous flourishes of strings and the softly spoken vocals of frontwoman Jenna Kyle, it’s an album that will leave you completely entranced from the get-go. Particularly worth diving into is the majestic opening trio of All Night, Indigo and Counting Empties, along with Smile For Me and the astonishing 7-minute closer, Life Gets Better. They may still be in their infancy, but between their EPs and now this debut, Bleach Lab have proven they already have the knack of creating music in which you’ll want to just completely immerse yourself.

Best tracks: Indigo, Counting Empties, Smile For Me

Listen here

9. CACTI by Billy Nomates

Albums released in January always have the hardest job of sticking it out to make year-end lists. So, the fact this sophomore album from Tor Maries, AKA Billy Nomates, has made it into my Top 10 of the year is a testament to its greatness. A record which won the inaugural 5-9 Album of the Month title, CACTI is an addictive, pulsating record that delves deep into isolation, politics and relationship breakdowns.

Whilst her self-titled debut was impressive, it’s clear CACTI is a huge step up. On her debut you could very much hear the similarities to her frequent collaborators in Notts’ duo Sleaford Mods - politically charged punk with spoken word vocals and some DIY electronics. Whilst CACTI still carries that raw punk energy, partly due to the album being recorded in Tor’s own flat, there is a noticeable uplift in the songcraft and vocal performances from her previous effort.

It’s simply littered with sublime moments too, with the first five songs particularly strong. Balance Is gone is an invigorating opener, black curtains in the bag is a soulful electronic track whilst blue bones (deathwish) boasts a powerfully anthemic chorus. It doesn’t let up in the back half either, as spite with its grungy guitars, fawner with its bare bones acoustics and blackout signal with its air of finality all leave their mark too.

In a year of some difficulty for Billy Nomates, I hope she leaves 2023 proud of what she accomplished. Internet trolls will sadly always make noise, but they will never achieve anything like what Tor has crafted with CACTI. A personal, resonant record that simply beams with her wonderful, unique artistry.

Best tracks: Blue Bones (Deathwish), Spite, Blackout Signal

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8. Desire, I Want To Turn Into You by Caroline Polachek

2023 set a high standard for pop records, but arguably none left a bigger mark than Desire, I Want To Turn Into You by American alt-pop artist, Caroline Polachek.

Back in February, Caroline gifted this album a few days earlier than planned, releasing it on Valentine’s Day. It was a date that felt fitting, given this album’s undeniable passion. Sonically it’s a mesmerising listen, with Caroline throwing the kitchen sink at this one by incorporating bagpipes (Blood and Butter), Spanish Flamenco guitars (Sunset) and even a children’s choir (Billions). There’s also a blockbuster collaboration with both Grimes and Dido (Fly to You), two artists whose influence you can hear frequently across many of the album’s other highlights.

Although the individual moments themselves are full of vitality, the beauty of this album lies in the sonic journey on which it takes you. From the Tarzan-like cries of introductory track Welcome To My Island, the Charli XCX pop stylings of Bunny Is A Rider, the Eurovision glow of I Believe to the folk-dance of Smoke, Caroline delivers a vibrant explosion of sound at every turn.

Colourful, uplifting and filled with endlessly fascinating sonic exploration, Caroline owned 2023 by delivering a masterclass in experimental and art-driven pop music, earning herself countless new fans along the way. Rightfully one of the most acclaimed records of the year, this is without a doubt one of the 2023’s defining albums from any genre.

Best tracks: Welcome To My Island, Blood and Butter, Butterfly Net

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7. Chaos For The Fly by Grian Chatten

He may only be four albums into his career, but Grian Chatten has already forged himself a formidable legacy. Before this year, Grian had a 100% track record of getting into my Top 20 Albums of the Year, with all three Fontaines D.C. records making it in there. So with 2023 seeing him drop his first solo outing, I was obviously curious to see if it could live up to the standard set by his work in Fontaines. I’m pleased to say it absolutely did and Grian deservedly earns himself another Top 10 finish for the second year running.

Here’s what I had to say about the record, when I reviewed it back in June:

“Inspired by a late-night walk through the worn casinos and bars of Stoney Beach (around thirty miles north of Dublin), the album was essentially written in Grian’s mind that very same night, as he jotted down lyrics and clearly envisioned the sonic direction which he wanted to take with this solo project. Knowing it wasn’t going to be a Fontaines album, he still teamed up with regular producer Dan Carey to bring these songs and the tales of murky coastal glamour to life. The result is one of the best albums of the year so far, a dazzling dose of melancholic splendour that strengthens Grian Chatten’s position as one of the finest songwriters working today.

Lead single The Score opens proceedings and sets the scene perfectly, instantly transporting the listener to a lustful evening in Madrid on this sun-kissed acoustic track. Follow-up Last Time Every Time Forever then flies us instantly back to that dilapidated season town in Ireland, with Grian illustrating imagery of seagulls and slot machines with sweeping strings, flashes of synths and some gentle vocals from his partner Georgie Jesson. It’s a poetic early highlight, with memorable, wonderfully written lines like “Without a chance, I’m king of every single thing, and it’s the cheapest spend, to make a dead heart sing.” The brilliant Fairlies then rounds off this opening trio of singles, with its stuttering strums and resplendent chorus. Supposedly written under the influence of a lot of beers, it makes poignant lines like “The boat is drifting in, the weight is cast, how can life go so slowly and death come so fast?” even more impressive.

With this incredible first solo effort, Grian continues to justify the hype and prove his greatness, with this album for me more than able to stand shoulder to shoulder with the three exceptional Fontaines records that are already out living in the wild. While it may lack the raw primal power of those records, it more than makes up for it with a wealth of rich instrumentation, accomplished musicianship and engaging, vivid stories. Whether you’re a Fontaines fan or not: sit back, hit play and revel in the chaos.”

Best tracks: Fairlies, Season For Pain, All of the People

Read the full HeadStuff review here

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6. PARANOÏA, ANGELS, TRUE LOVE by Christine & The Queens

Whilst I’ve always been a fan of Christine & The Queens’ records, I’ve maybe enjoyed and appreciated the music without the albums necessarily ending up in my year-end list. This has all changed in 2023 though as Red (formerly Chris/Christine) delivered without a doubt the most ambitious record of the year, which has also ended up being one of my most played of the last 12 months too.

Seeing Christine & The Queens at Best Kept Secret festival over the summer and then catching Red’s subsequent Glasto performance turned out to be quite essential for understanding the concept for this complex triple album. Whilst of course the record can be enjoyed on the surface, Red’s full vision becomes clear once you’ve deduced the narrative arc at the heart of the record. Essentially it tells the story of an Angel coming down from the sky, enjoying all our earthly pleasures, falling in love and then eventually returning through the “sky door” to the “Big Eye” in the sky. What’s more, the role of the Big Eye character is played by none other than Madonna, who acts as the narrator throughout this three-part journey. Underlying within that story are heavy themes of grief, as Red lost his mother in 2019 and that loss is still very much present here, with some truly heartbreaking lyrics being delivered at times.

As you can tell there is a lot to unpack with this one - it’s massively ambitious, deeply personal and at 90-minutes long, it can admittedly be quite self-indulgent in places. So whilst this definitely isn’t an album for everyone, as someone who adores concept records that play out almost like novels, the scope and artistry of this album has drawn me back in time and time again over the last six months.

The first two parts in particular are really special – Tears can be so soft draws shades to Massive Attack whilst Marvin descending is full of soulfulness. Over on part two, He’s been shining for ever, your son channels Kate Bush, Flowery Days is a stunning ballad and 070 Shake collaboration True Love is just a really fantastic pop song. A special mention also to Mike Dean, whose production throughout the record is superb as always.

This is a record where Red swung for the fence and ended up producing something quite beautiful and unlike anything else all year. An unapologetic, uncompromising, and utterly staggering work of art, the originality and imagination of Christine & The Queens’ music continues to be unmatched.

Best tracks: True Love, He’s been shining for ever your son, Tears can be so soft

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5. Strange Disciple by Nation of Language

A couple of months back when indie-pop trio Nation of Language dropped their brilliant third album Strange Disciple, I saw someone call them the undisputed band of the 2020s so far. Given the quality of their first three records, I think I’d be inclined to agree. Already named as Rough Trade’s Album of the Year for 2023, Strange Disciple is the sound of one of the most exciting new acts of the last few years, operating at the top of their game and crafting some of their very best songs to date in the process.

Here’s what I had to say about the record, when I reviewed it for HeadStuff back in September:

“On this latest opus Nation of Language very much give the fans what they have come to expect from them, which is retro-inspired tunes in the vein of great bands like New Order and OMD. There are no radical sonic direction changes, so if you enjoyed their first two records the good news is you’ll likely love this one as well. This is simply Nation of Language having now mastered their sound, taking it to grand new heights. Some of their finest tracks to date can be found here, songs of romantic adoration and unhealthy infatuations backdropped against playful synth melodies that just make you want to groove.

Opener Weak In Your Light gets proceedings off to an exhilarating start, bouncing along on a minimalist synth beat whilst front man Ian Richard Devaney’s impassioned vocal performance steals the show. Spiritual title track and lead single Sole Obsession is then one of the trio’s finest outings to date, with its infectious bassline, pulsating electronics and Devaney’s vocal tones once again gliding resonantly across the hypnotic sounds on display. It’s a stellar opening combo which will see fans old and new jiving with joy.

There is no mid-album slump to be found either as after a thrilling first half, Nation of Language just keep the highlights coming. Spare Me The Decision is another career-best moment, with a meandering bassline and siren-like synths as Devaney achingly sings “You weigh on my mind, all night.” The guitars then takeover once again, as Sightseer gracefully echoes in reverberating melancholy before Stumbling Still injects the album with a scintillating rush, a track that sounds guaranteed to become an instant live favourite. A New Goodbye then moulds together some delicate yet somewhat operatic moments with a catchy chorus, whilst closer I Will Never Learn ties things all together with lyrics about being broken and imprisoned in a never-ending cycle of addictive obsession.

There is no doubt this is some of Nation of Language’s best work, with Strange Disciple coming marginally closer to matching the greatness of their debut than that of its (also fantastic) predecessor. That said, it’s an opening trilogy of albums most other bands could only dream of, and if there is one thing I would say going into the next record is I’d like to see how far Nation of Language can push their sound from this point.”

Best tracks: Sole Obsession, Spare Me the Decision, Sightseer

Read the full HeadStuff review here

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4. Lullabies From The Lightning Tree by Sad Boys Club

A hugely bittersweet entry into the countdown now as we arrive at the first and only album from London-based quartet, Sad Boys Club. Having released this record back in May which I hoped would be a launch pad onto the next stage of their career, this November saw Sad Boys Club sadly play their final show before disbanding and going their separate paths. As a result it’s an album that’s gone up a notch in my estimation, shifting from one of my most played of the year and one that I thoroughly enjoyed, to one of the year’s most important and monumental releases.

In many ways, Lullabies From The Lightning Tree isn’t just about Sad Boys Club and a lasting memory of their incredible talents and the joy their music brought. It is a reminder also to support up-and-coming musicians in any way you can, as you never know how long they will be around in this current climate of nostalgia-act obsession and streaming underpayments. That’s maybe a bigger discussion for another day, for now let’s take a minute to discuss what makes this Sad Boys Club album so special.

As their name suggests, the London-based quartet very much wore their influences on their sleeve. At times you’d find them channelling the goth-rock of The Cure, at others the melodic emo of bands like Death Cab For Cutie and Sunny Day Real Estate. Sometimes it may even be the shimmering indie-pop of more contemporary bands like Spector and The 1975. However, whilst the inspirations behind their music were always clear, Sad Boys Club’s uniqueness lay in them bringing together all these touchpoints to forge a genre-defying sound that was entirely of their own making.

This mission statement is laid out straight away on thunderous introduction Peak, which sees frontman Jacob Wheldon at his most Robert Smith-esque as he describes deep seas and fires burning. Fully living up to its name, Delicious is then an addictive alt-rock banger filled with tasty hooks and poignant lines like “I guess the love that stretched miles wide was maybe only ever inches deep.” It highlights one of the record’s biggest strengths which is Jacob Wheldon’s heartfelt, nuanced lyricism.

The album then hits another peak with lead single To Heal Without A Scar (Is A Waste of A Good Wound), an indie-rock anthem where Wheldon sings of his own instincts to self-sabotage so that he can remain creative and inspired to write songs. Throughout the track he confesses to pushing himself to the brink for his art, with “one hand on the canvas, the other on the curtain” before then exclaiming “it’s never a car ‘till it crashes.” Eventually it hits boiling point around the three-minute mark, with a seismic instrumental breakdown exploding around Wheldon as he empties his lungs into the delivery of the words: “I am pursuing you Life, to the end of the earth, across an Amazon of portable TV screens.”

The band then save two of their finest moments for a strong finale, with Cemetery Song, 20/5 showcasing Sad Boys Club at their darkest and most vulnerable. With his honest words surrounded by a beautiful arrangement of soaring strings and folky banjos, Wheldon reflects on living with his brother during a particularly tough period. It is a stunning piece of songcraft, that is both a real gut-punch but ultimately quite uplifting too. (You’re) All I Ever Wanna Do then brings the record to a close amidst a triumphant soiree of blues rock, a wonderful love letter from the band to each other.

As I said at the start, this record should’ve been the launch pad for this band but it seems life just had other plans. It is a mighty shame we won’t get any more new music from Sad Boys Club going forward, but I am also so grateful I have this treasure trove of an album that I can turn to now whenever I need it. As a final parting gift to their fans, it’s damn near perfect.

Best tracks: Delicious, To Heal Without A Scar (Is a Waste of a Good Wound), Cemetery Song 20/5

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3. No Joy by Spanish Love Songs

You know when an album comes along and just seems to get you? Says all the right things that speak to your soul and as a result, it resonates with you like nothing else. Well, that is exactly what this album from American rock outfit Spanish Love Songs does for me. Whilst this may not be the most revolutionary instalment of this list, this is a rock record that uses sentiment and lyrical prowess to emotionally hit you hard, then pull you back in time and time again.

Although I named it as a runner-up to Genesis Owusu’s record back on the August edition of the 5-9 Album of the Month podcast, as the weather has turned a little chillier, I’ve found myself constantly listening to it. Packing the same punch as its predecessor Brave Faces Everyone but with more refined production and songcraft, you can hear how Spanish Love Songs have matured on this effort. Whilst die-hards may well prefer the rawer sound of their earlier efforts, No Joy is the one that has clicked with me the most.

Lyrically very dark and intense, the music counteracts the darkness of the lyrical themes and balances it perfectly, with instrumentation that is both cathartic and uplifting. Lifers is a stop-you-in-your-tracks opener, full of vivid imagery with a great central riff and a big chorus. Then you’ve got an awesome trio of singles, Pendulum, Haunted and Clean-Up Crew, with the line in the latter “Fuck the garden and the yard, we can barely tend to our own dreams” particularly cutting.

The second half is then more of the same, but that certainly isn’t a negative. Mutable boasts atmospheric synths that help set the mood, whilst Exit Bags is a really tender penultimate track. Finally, Re-emerging Signs of the Apocalypse delivers the triumphant climax this album deserves.

So, whilst it’s admittedly not going to win any originality prizes, No Joy is a record that I just absolutely adore. With hard-hitting songwriting that makes for a stunning collection of tracks from beginning to end, Spanish Love Songs prove they are a band making soaring rock anthems better than anybody else in their scene right now.

Best tracks: Pendulum, Haunted, Clean-Up Crew

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2. Heavy Heavy by Young Fathers

So here we arrive at my runner-up Album of the Year for 2023 and in many ways, it is the record that has most defined the year for me. From listening to it on repeat when it first dropped back in February, to catching their jaw-dropping performance at Best Kept Secret festival over the summer, to then rooting for them to win the Mercury Prize in September. An album as adventurous and joyous as any released in 2023 – my No.2 album for 2023 is of course Heavy Heavy, the awe-inspiring fourth album from Scottish trio, Young Fathers.

An album that rides a hugely uplifting sonic wave from start to finish, Young Fathers convey their message more through mood than through lyrics most of the time. As a result, it plays out like a celebration happening right between your ears, with the vibrancy of the music shining through and leaving its melodies happily lodged in your brain. Rice starts it all off with this wonderful tribal jubilance before I Saw draws comparisons to Tame Impala’s Elephant with its stomping beat, with both tracks showcasing glorious layers of vocal harmonies and a fascinating variety of sonic textures.

Tell Somebody is then beautifully atmospheric, with organ-like synths and gorgeous echoey vocals reverberating beautifully around the space. Shoot Me Down has a hip-hop style sample at the start and then gracefully shifts into this incredible explosion of gospel vocals at the end. Holy Moly is then one of my favourite songs of the whole year, with its fierce guitars and euphoric vocal harmonies.

I could go on and on about the magic of this record, but I think this is one of those albums you simply must hear if you haven’t already. Life-affirming and year-defining, it’s only personal sentiment and my love for this next record that has stopped Heavy Heavy from being named my 2023 Album of the Year.

Best tracks: Holy Moly, I Saw, Tell Somebody

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1. Lies by LIES

A day later than planned, but finally here we are then!

If you’ve been following this blog, the 5-9 Album of the Month podcast or my music writing in general this year, then this self-titled debut from American Football side project, LIES, being named my 2023 Album of the Year should come as no surprise. A record that was my frontrunner at the mid-year mark, ultimately no record has been able to blow me away in the same manner as this symphonic and frequently dazzling opus from cousins Mike and Nate Kinsella.

As a big American Football and Owen fan, when I saw Mike Kinsella had a new project with his cousin and bandmate Nate, I was instantly intrigued. The amazing string of singles released towards the end of 2022 - Blemishes, Echoes, Corbeau, Summer Somewhere and Camera Chimera - only heightened that intrigue further. So much so that in the January episode of the 5-9 Album of the Month podcast, I said this was the album I was most looking forward to hearing this year. So even with a load of hype and anticipation, this record still managed to deliver and exceed my lofty expectations.

Beginning life as fourth album sessions for the next American Football record, when it became clear these songs were their own thing, the Kinsellas decided to further expand their sonic boundaries. As a result, you get an album which is the sound of these two maestros just playing about the studio, going on all these ambitious sonic adventures and taking their songcraft into weird and wonderful new directions along the way. Because of this, it ends up being a record that has everything I want from an album in 2023 - there’s heart, there’s eclecticism and there’s a daring nature to push their sound to places it’s never been before now. Beyond that, it’s just spellbinding from start to finish.

Opener Blemishes is a stunning, upbeat love song about unconditional adoration for someone despite their flaws, that eventually transcends into this amazing swirl of strings. It’s not the only orchestral moment on the record, as Echoes boasts brass horns whilst Knife begins super quiet with distorted vocals and harps, before then erupting into an ominous swell of pianos, strings and Mike’s anguished cries. Similarly No Shame, which is one of my favourites on the whole album, starts out as this gorgeous softly spoken piece, then in the final two minutes transforms into this glorious wave of cinematic strings that lifts you into another dimension. It all really is like a carefully constructed symphony at times and there’s almost no words to describe the feeling I get when I listen to these songs.

But it wouldn’t be a Mike Kinsella record without some visually descriptive lyricism and I’m pleased to say this album has that too. On Resurrection, one of the opening lines is “I bit my tongue until it bled, blood in the sink, blood in the bed - if memory serves even the wedding dress was red.” It’s a striking thought and that dark, emotional imagery being painted is classic Mike Kinsella at his best. After that line, the song then instantly crashes into this combination of playful guitars, pounding drums and sparkling synths, which is just wonderfully hypnotic.

The cousins have said Depeche Mode and Nine Inch Nails were two of the biggest influences on this project and Camera Chimera is the song where you can really hear that influence coming through. Filled with atmospheric synths and guitar textures reminiscent of The Cure, it ended up one of my favourite songs of 2022 and a year later, I love it just as much.

Whilst I appreciate this album won’t be for everyone and some will find it overindulgent, as someone who adores Mike Kinsella’s music and just loves the experimental direction him and Nate took with one, it ultimately became the album I personally connected with the most this year. It is simply one of my favourite artists, delivering an album that sounds like it was made specifically for me with what it offers.

With the emotional heart of an American Football record and the cousins Kinsella just pushing their sound into these majestic realms that take my breath away every time I listen to them, it’s without a doubt my Album of the Year for 2023.

Best tracks: Blemishes, Resurrection, No Shame…and the rest!

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Thanks so much for following the countdown, I hope you enjoyed it – still to come this month, my Top EPs, Songs and Live Shows of the Year!

Top 50 Albums of 2023: #20-11

20. A Kiss For The Whole World by Enter Shikari

If there’s one band that has soundtracked my 2023 more than any other, it’s St Albans’ finest Enter Shikari. Not just because this album is far and away my most played of 2023 but also because back in May, I decided to rank every single Enter Shikari song from worst to best – an article that is sadly now lost in the ether. As a result of that mammoth undertaking, they were by far my most played artist of 2023. Therefore, I couldn’t think of a better way to kick off the big Top 20 than with A Kiss For The Whole World, an album that also earned Britain’s most underrated band their first ever number one album on the UK charts earlier this year.

The last we heard from the Shikari boys before this year, it was at the height of lockdown when they were found revelling in the abyss on their most ambitious outing to date - Nothing Is True & Everything Is Possible. Now with A Kiss For The Whole World, the band re-emerged from those depths, this time filled with hope, positivity and gratitude. There’s a sense of optimism in the songs here, with the band also referencing their previous work multiple times (“You’re still standing like a statue” on the title track, “Wish I was back at the Dreamer’s Hotel” on Jailbreak and “I went to live outside to find myself” on Giant Pacific Octopus to name just a few easter eggs).

It presents an interesting dynamic at the heart of the record, almost like the band know how dire the world is right now, but on the flip side they are just so grateful for their fans and the career that they’ve been able to have until now. With these contrasting emotions driving forward the writing, it all makes for a thrilling 30-minute listen that’s impactful yet joyous, and also plays out like a love letter to their fans.

Best tracks: Bloodshot/Bloodshot Coda, Jailbreak, A Kiss For The Whole World

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19. Here Come The Early Nights by Spector

There is simply nothing better than one of your favourite bands pulling out all the stops and turning in one of their best records to date. I’m pleased to say, that’s exactly what Fred MacPherson and Jed Cullen did this November, as the duo that now make up Spector delivered a record that is both equally poetic and anthemic.

Frontman Fred MacPherson has always had a distinctly unique way with words, with his sharp, witty lyrics making him one of my all-time favourite songwriters. Fourth album Here Come The Early Nights finds him in a particularly reflective mood, contemplating heartbreak, aging, political pressures and the metaphorical party coming to an end. With longtime friend and collaborator Dev Hynes (Blood Orange/Lightspeed Champion) also adding further weight to the songwriting and instrumentation at points, it’s simply an outstanding collection of songs.

The Notion is one of their best songs to date, centred on a great central guitar riff with intricate lines like “What happens after the afters?” Single Driving Home For Halloween is also jam-packed with cutting lyrics, with my personal favourite: “Been a minute since we shot the shit but I assure you I’m still full of it.” Following the horn-tastic Never Have Before, things get a bit grungier on Not Another Weekend which boasts the most hilarious lyric of the whole album: “Fear and Loathing in Leo Valley, Shaun Williamson’s Mustang Sally.” Big up Barry From Eastenders!

Despite all these great moments in the first half, it’s the final three tracks that are probably my favourites. Room With A Different View just has an instant timelessness about it, the title track is just a beautifully melancholic look at hedonistic days gone by and then All the World is Changing is a triumphant, New Order-inspired finale with its chugging, Peter Hook-esque bassline.

Had this record come out a month or two earlier so I had longer to live with it, there is a strong chance this would’ve finished in the Top 10. That said, Here Come The Early Nights feels tailor-made for this time of the year and I have no doubt this is one I will revisit constantly over the festive period and beyond. An incredible record that just connects on every level.

Best tracks: Here Come The Early Nights, Room With A Different View, The Notion

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18. Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds) by Yves Tumor

An album that came out back in March and to which I’ve found myself continually returning. Although active since 2015, I discovered musician and producer Yves Tumor through their last record, 2020’s Heaven To A Tortured Mind. It was a fascinating record, one that seamlessly blended elements of pop, hip-hop, alternative, soul, art-rock, grunge, shoegaze – you name a genre, Yves Tumor can pull it into the mix and use it to create a wonderful collage of sound. Hot Between Worlds (because I’m not using the daft full title) is a similar story, albeit Yves has travelled further into the rock realm this time around.

God Is A Circle is a cool scene setter, opening the record on the sounds of frantic panting before some buzzy, math-rock guitars arrive. Lovely Sewer is wonderfully hypnotic, featuring these dreamy guitar passages and an uncredited female vocalist who just lifts the track into another dimension. Meteora Blues is then one of the biggest highlights, somewhat reminiscent of Smashing Pumpkins with Yves’ grungy vocals, walls of guitars and then some mesmerising, almost psychedelic breakdowns.

Obviously setting a high bar so early always runs the risk that you can’t keep the momentum up, but Hot Between Worlds just gets better as it goes along. Heaven Surrounds Us Like a Hood draws shades to the late-great Jimi Hendrix, featuring some amazing guitar work but with glossy pop-style production. Fear Evil Like Fire has been one of my most played songs of the year according to Apple Music and I’m not surprised as it features the most amazing melody, with Yves seemingly mocking himself in the lyrics for becoming his own enemy and the thing he hates. Purified by the Fire is then this thunderous instrumental, with crashing cymbals and seismic electronic blasts, before Ebony Eye closes things out in a swirl of strings.

There’s obviously a story playing out within the music, amongst all the religious imagery it’s like Yves travelling through purgatory and coming out the other side. Even after a year of spinning this I’ve still not put all the narrative pieces together, but I think in the grand scheme of things it ultimately doesn’t matter - the sheer sonic splendour that you get with this record is more than worth the price of admission. A sharply concise, wildly imaginative 35-minute listen, where Yves pulls you into all these fascinating spaces of sound which you’ll just want to keep coming back to experience again and again.

Best tracks: Meteora Blues, Fear Evil Like Fire, Ebony Eye

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17. Laugh Track by The National

Anticipation can be a funny thing. When asked on the January episode of our podcast earlier this year what were some of my most anticipated records for the upcoming 12 months, a new album from The National was one of my picks. As one of my favourite bands, I couldn’t wait for the next instalment in their catalogue and by the time April and The First Two Pages of Frankenstein came around, my hype-o-meter had hit fever pitch. Sadly what I found, left me massively disappointed.

Whilst some fans took to the record immediately, for me Frankenstein was (and still is after numerous plays) the sound of a band seemingly out of ideas and just going through the motions. So when it was announced that The National were releasing their second album of 2023 titled Laugh Track, my expectations were hopeful but a bit more modest. Thankfully, Laugh Track turned out to be The National album I was hoping for at the start of 2023.

For me the contrasting contents is evident from the front covers of the two albums alone. Where Frankenstein is dull pink and monochromatic, Laugh Track is vivid and full of colour - which for me represents the huge difference in sound between the two. Bryan Devendorf has more of a presence whilst the Dessner brothers are stringing together interesting musical arrangements again. Matt’s lyrics suit the flow of the tracks better too, with some lines punching you in the gut like we know he can. But above everything else, a few of the songs here can stand shoulder to shoulder with The National’s very best.

A prime example is the colossal closing track Smoke Detector that sends the record into another stratosphere for me. Clocking in at just shy of eight minutes, it is like Sleep Well Beast cut The System Only Dreams In Total Darkness cranked up to 11. It sees Matt Berninger poetically rant over the top of an ominous riff as it begins to surge, the volume of his vocals steadily escalating along with it. Anchored around a heartfelt refrain of “You don’t know how much I love you, do you?”, it eventually explodes into a thrilling final couple of minutes led by the Dessner brothers’ climatic duelling guitars.

Whilst I appreciate some will still prefer Frankenstein and others may even be left lukewarm by this album as well, for me this is The National I know and love. Several songs here I immediately put alongside my favourites in their catalogue and overall, it is just a beautifully arranged record from beginning to end.

Best tracks: Smoke Detector, Weird Goodbyes, Space Invader

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16. Black Rainbows by Corinne Bailey Rae

I’ll admit, beyond her overplayed and overly twee breakout hit Put Your Records On, before this year I couldn’t name you another Corinne Bailey Rae track. With that being the case, I went into this fourth album from the British singer-songwriter with little expectation, other than a recommendation from 5-9 Editor Andrew Belt and some extremely positive reviews. As a result, I was blown away by the absolute tour de force with which I was presented.

Across the album’s ten tracks, Corinne effortlessly jumps from genre to genre whilst sharing her thoughts on subjects such as slavery, spirituality, freedom, hope and survival, all inspired by an art exhibition on Black history that she attended in Chicago. Whilst these radical style switches can be jarring at times, it also makes for an absolute thrill ride with not a single dull moment to be found. In just the opening three songs alone, Corinne flies between the rip-roaring A Spell, A Prayer, the experimental jazz of the title track before landing at the stomping rock riffs of Erasure.

It’s then in the middle section where the best songs can be found, with Corinne’s soulful cries of “I wanted to know you” gracefully gliding across the stirring arrangement on album highlight, Red Horse. She then immediately does a complete 180, firing into the full throttle garage rock of New York Transit Queen. Near 9-minute epic Put It Down is then the entire album in a nutshell, starting out as a magical slice of smooth R&B before transitioning into a pulsating buzz of electronica.

Black Rainbows is an album that on the surface sounds like it should be a hot mess, an “everything including the kitchen sink” collection of sounds and styles that would’ve quickly misfired in anyone else’s hands. Full credit to Corinne Bailey Rae though, as she keeps the project anchored and makes the dramatic transitions seem like the most natural thing in the world. An incredible record that you simply must hear and without a doubt one of the year’s most ambitiously inventive.

Best tracks: Put It Down, Red Horse, New York Transit Queen

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15. Sanguivore by Creeper

Back in October, I ranked this album third in the 5-9 Album of the Month podcast, below the debuts from both Barry Can’t Swim and SIPHO who we have already seen on this countdown. So how has this third album from Southampton-based goth rockers Creeper ended up here? Firstly, experiencing this album live at the start of November was without a doubt one of the musical highlights of my year, an incredibly theatrical live show unlike anything else I attended in 2023. Secondly, it’s an album that just puts the biggest smile on my face whenever I give it a spin.

Inspired by the likes of Jim Steinman, My Chemical Romance and Sisters of Mercy, it is a concept record that tells a vampire love story. However, the vampire in this case is meant to represent live music, with the Twilight-esque narrative told throughout the record actually a metaphor for the COVID lockdown and the eventual return of gigs and festivals. So not only is this an album that’s a ton of fun on an entirely superficial level, but if you want to scratch beneath the surface, there is a bit more to the album to which you can – excuse the deliberate pun – sink your teeth.

That’s the thematic concept, then sonically it’s a big, overly theatrical rock record with plenty of 80s-style synths and a bit of glam-rock/hair metal flair. Further Than Forever kicks things off with a 9-minute epic boasting more than a few shades of Meat Loaf classic, Bat Out of Hell. Singles Cry To Heaven and Teenage Sacrifice remind me of something you could see soundtracking Netflix series Stranger Things, with its neon glow and heavy metal energy. Elsewhere Sacred Blasphemy offers something a bit more punky and closer to the style of their debut, whilst Lovers Led Astray is a dramatic track filled with big rock riffs and spooky organs.

Sometimes music just needs to be a lot of fun to resonate and that is what Creeper delivered with Sanguivore. Without a doubt one of the best rock/metal albums of the year and one that offered the perfect soundtrack to the 2023 Halloween season.

Best tracks: Cry To Heaven, Further Than Forever, Sacred Blasphemy

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14. The Land Is Inhospitable And So Are We by Mitski

When this was a very narrow runner-up on the September episode of the 5-9 Album of the Month podcast, I mentioned that I was intrigued to find out where it would land on my year-end list. Well, here it is finishing right up in 14th which, given the beautiful wintery nature of the music Mitski crafts on this her seventh album, is no surprise.

As I said on the pod back in September, this Mitski record is a good advert for why you should always listen to an album at least once on headphones. I feel like you don’t truly know a record until you’ve sat down and properly indulged in it on a good set of noise-cancelling headphones. The first time I played this album it was on in the background whilst I was cooking on the kitchen speaker, where I noticed a few nice moments but not too much really standing out. Then the second time I played it was walking to work on a cold but sunny Autumn morning, quiet roads, headphones on - and then suddenly the music and words hit me like a ton of bricks.

Every time I’ve played this record since, I’ve found myself growing more and more fond of it. Bug Like An Angel was the first track I heard and it works wonderfully as the opener, with the choir vocals joining her for a powerful start. Buffalo Replaced is then my favourite on the whole album, just beautifully written with a great piano/organ passage. Heaven also lives up to its name, with Mitski gently cooing as the orchestration swells in the background. When Memories Snow I wish was longer, as it seems to end just as it really gets going with the triumphant sound of the Ennio Morricone-inspired brass horns. Sonically it’s all majestic but the way she conveys feelings of heartbreak, isolation and disillusionment in the songwriting is just beautiful too.

Above all though, it’s an album that feels instantly timeless, with the songs sounding like they’ve been plucked from another age in the same way as a lot of Lana Del Rey’s music. A wonderful record and one I can see myself picking up again for many Autumn/Winters to come.

Best tracks: Buffalo Replaced, When Memories Snow, I Love Me After You

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13. The Greater Wings by Julie Byrne

From one gut-punch record to another, as we arrive at the third album from American singer-songwriter Julie Byrne. Missing out on the 5-9 July Album of the Month podcast through losing the public vote, it was a big “Oh, what could have been” moment, in a month where none of the albums we reviewed particularly gripped us like other months. If Julie had won that vote, I have no doubt she would’ve finished near the top of our collective Album of the Year rankings. This is a devastatingly beautiful meditation on heartache and grief that demands to be heard.

Having begun recording the album in late 2020, the project was thrown into disarray when producer for these sessions, Eric Littman, suddenly and tragically died in mid-2021. In the wake of her loss, Byrne wrote this set of songs to process her grief, also expanding her instrumental palette by bringing in synths, harps and strings to further elevate her guitar-based arrangements. With her own haunting vocals then the key component that brings it all together, the result is a deeply stirring reflection on death and sorrow unlike any I’ve ever heard.

It’s hard to pick out individual moments as highlights, as this really is an album that should be experienced from beginning to end. However, the ones that resonated with me the most were the gorgeous opening title track, the understated splendour of Moonless and then the powerful, emotionally charged finale, Death Is The Diamond.

I have to once again thank friend of the blog Kiley Larsen, as this is another record I may well have missed had it not been for his recommendation back in the summer. Like Mitski, an album made to be heard at this time of year and one that leaves a huge lasting impression.

Best tracks: Death Is The Diamond, Moonless, The Greater Wings

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12. Crazymad, For Me by CMAT

If there is one artist who most definitely had a breakout year in 2023, it is Ciara Mary-Alice Thompson - better known by her stage name, CMAT. Sure, she is already a superstar over in Ireland having won the Irish Choice Prize and reached the top of the Irish Album Chart with her 2022 debut If My Wife New I’d Be Dead, but in 2023 it feels like she introduced herself to a whole new audience over here in the UK too.

Having only just released that debut last year, CMAT has wasted little time in delivering an assured follow-up that successfully builds on the foundations laid with that breakout first album, with this sophomore outing another record full of high points. It starts very strong with California and Phone Me both joyous, string-tinged pop anthems, before midway through Robbie-Williams-endorsed John Grant collaboration - Where Are Your Kids Tonight? - shines bright. However, it’s the latter section where my favourite tracks seem to appear, with the piano-driven I…Hate Who I Am When I’m Horny seeing CMAT bemoan herself and her love life.

However, Stay For Something is undoubtedly the pick of the whole bunch and although I don’t rank my Top 100 Songs of the Year (which is still to come later this month just to remind you!), this song would honestly be at the very top. Thanks to some wonderfully bluesy guitars and CMAT’s own impassioned vocal cries of “Have you found what you’re looking for”, it builds to a devastating crescendo that never fails to hit me in all the feels. Also for those who haven’t seen it yet, make sure you watch her live performance of the track on The Graham Norton Show. A real star-making moment and, for me, the TV music performance of the year - check it out here.

Whilst admittedly I hadn’t completely bought into the CMAT hype the first time around like I know some did, there are a ton of moments on Crazymad, For Me that have already had me coming back for repeated spins. A brilliant follow-up from an artist who shows no signs of slowing down her ever-gathering momentum.

Best tracks: Stay For Something, I… Hate Who I Am When I’m Horny, California

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11. For That Beautiful Feeling by The Chemical Brothers

For the past three decades, the duo of Tom Rowlands and Ed Simons have been a constant - delivering iconic, instantly recognisable dance tracks and some of the best electronic music the world has ever seen. Whilst some guitar bands are often put on a pedestal beyond their worth, The Chemical Brothers by comparison don’t always get the recognition they deserve for their longevity and consistently excellent output. Now 10 albums into their career, the Brothers are aging like fine wine, with this latest opus - titled For That Beautiful Feeling - right up there with their very best work.

As ever, the Brothers have crafted this record as a mesmerising sonic journey, with each track able to stand alone as a magnificent piece of art whilst also seamlessly segueing together to form one mind-altering experience too. It’s a balance that only the best can muster and it seems like the duo have taken the best parts of their 30 year career to forge the inspiration for this new effort. The Weight plays out like Block Rockin’ Beats Version 2.0, a hypnotic blend of hip-hop and pulsating electronica. Skipping Like A Stone is then their latest collaboration with Beck, with it’s choral-like beat ensuring it hits every bit as hard as their previous classic together, Wide Open.

Those two tracks would be enough to secure the Top 20 spot, but honestly this album is littered with incredible moments. Singles Live Again, No Reason and The Darkness That You Fear sound even better in the context of the whole, with the latter having been reworked to better fit the mould. Feels Like I Am Dreaming is then a heady 7-minute colossus, transporting you across several new dimensions during the song’s duration. Goodbye is then my pick of the whole record, with a gorgeous soul sample immersed wonderfully within transcendent beams of synths at every turn.

This is without a doubt one of the records of the year, with the duo building on 2019’s No Geography to deliver yet another late career highlight. Not only are The Chemical Brothers one of the UK’s best live acts, but after this album we should recognise them for what they are – one of our most enduring artists, period.

Best tracks: Goodbye, Skipping Like A Stone, Feels Like I Am Dreaming

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Tomorrow, I reveal the final 10 albums of the countdown – don’t miss it!