Best albums of 2023: Boygenius, Mitski and Zach Bryan top the list

10. ‘Good Riddance’ by Gracie Abrams

With production from Taylor Swift’s collaborator Aaron Dessner, this album is deeply introspective with songs like “I know it won’t work” and “right now,” addressing the complexities of growing out of a relationship. The production is also unlike anything Abrams has released before, characterized by melancholic and soft-grunge notes. Her vocal range coupled by her ability to translate relatable experiences into music help the album achieve its goal. With its intimate songwriting and acoustic production, “Good Riddance” solidifies Abrams’ already esteemed body of work. -Sophia

9. ‘Higher’ by Chris Stapleton

It’s not uncommon for Chris Stapleton to be deemed a genre of his own amongst the passionate online country scene, and I’m inclined to agree with the sentiment. “Higher,” his newest of many outstanding projects, only continues to cement his place as a modern day-legend as he dedicates 14 tracks to his wife and regular co-vocalist Morgane Stapleton. With soulful sounds of longing pedal-steel guitar, heavier electric guitars alongside delicate acoustic, and a powerful voice that only seems to be getting better with age, Chris Stapleton again shows why he’s in a league of his own. -Jordan

8. ‘Weathervanes’ by Jason Isbell and the 400 Unit

When it comes to being authentic in the wide genre of country, Jason Isbell is as reliable as can be. He writes of the rural America that gets forgotten – the hard-working yet poor, the old-fashioned and raised emotionless man using drugs and alcohol to cope until he can’t anymore, rising crime and violence, and the seemingly constant cycle of systems that feel impossible to beat. Instrumentally, “Weathervanes” is as diverse as the music genre is with some rock influences, folk roots and the timeless Americana sound. Isbell has been a driving force in alt-country for over a decade, but now that the mainstream country scene is finally turning away from bro-country anthems, maybe the multitime Grammy winner will get some more of the recognition he deserves. -Jordan

7. ‘This Is Why’ by Paramore

It’s difficult to find a band that has withstood the test of time like Paramore has. Since the band’s formation in 2004, it has gone through multiple transformations in sound, yet has set the bar high with each album – from its pop punk days to the indie rock sound of this year’s more experimental “This Is Why.” Lead singer Hayley Williams not only continues to impress vocally, but pens personal anecdotes of past relationships, a diminishing hope for humanity, the internal complications of self-sabotage and the pressure that comes with being a musician in the very vocal online era. This vulnerability alongside the roller-coaster production of each track makes this album nearly six years in the making quite worth the wait. -Jordan

6. ‘Bewitched’ by Laufy

It’s difficult to describe “Bewitched” and truly do Laufey justice. With each track, the listener falls deeper and deeper into the almost cinematic daydream created by tender harmonies, perfectly placed but not overpowering percussion, strings that gracefully carry the listener and their emotions with them (as a longtime violinist my personal highlight), and Laufey’s voice a sort of silky smooth vibrato in itself. “Bewitched” is a bittersweet experience, and I can’t recommend becoming entrapped in it enough. -Jordan

5. ‘GUTS’ by Olivia Rodrigo

After her debut album smashed records and propelled her to stardom, audiences anxiously awaited the release of Olivia Rodrigo’s “GUTS.” Many expected the album to mimic the style of her first album “Sour,” which primarily included soft ballads with strong acoustics and emotional songwriting. However, in “GUTS,” Rodrigo creates songs with strong pop-punk influence and simpler songwriting, such as “get him back!” and “love is embarrassing.” These are juxtaposed with piano-driven songs with complicated songwriting such as “the grudge” and “logical.” She deviates just enough from her usual style to captivate listeners, striking a balance that keeps the essence of what initially captivated audiences without straying too far. -Sophia

4. ‘Unreal Unearth’ by Hozier

Putting Hozier in a creative box appears to be next to impossible, and “Unreal Unearth” is the grand result. The Irish musician explores soul-crushing heartbreak, painful longing, and the sins of man with complex metaphors under the hat of Dante’s “Inferno” – the gradual descent into the depths of Hell. Calling the album “diverse” is an understatement with a 16-track mold of R&B, indie, rock and ethereal moods created by licks of the Gaelic tongue, entrancing strings, gospel-esque harmonies and Hozier’s poetic voice. Hozier usually takes his time between albums, this being only his third in a career spanning over a decade, but I can’t wait for what he creates next.

3. ‘Zach Bryan (Self-Titled)’ by Zach Bryan

If one sought to personify the rural culture of the term “Americana,” Zach Bryan might just be the result. In 2022, Bryan exploded into the limelight and was one of, if not the, driving force behind mainstream country beginning to shift back to its roots, and it’s safe to say he carried on where he left off with this self-titled country master class. Bryan’s precisely personal lyrics of internal conflict, stinging heartbreak, finding peace in the simple things and wholesome love resonate with the masses for a reason. Perhaps a portion of Bryan’s ability to sound like home and invoke a familiar sense of nostalgia stems from those lyrics and the rootsy guitar licks, fiddle and banjo that accompany them. Either way, from pounding anthems to the simple songs of a man and his guitar, multiple features from the talents of the industry (Kacey Musgraves, the Lumineers, etc.), and even the sounds of a frog while recording “Smaller Acts,” Zach Bryan is truly in a league of his own.

2. ‘The Land is Inhospitable and So Are We’ by Mitski

Mitski’s “The Land is Inhospitable and So Are We,” is a heart-wrenching record that tells the story of grief and conflicting types of love. The record is refreshingly warm and organic compared to the synth-pop notes in her 2022 album, “Laurel Hell.” It provided Mitski with her most streamed song of all time in “My Love Mine All Mine,” a deeply romantic and emotional song that writes, “So when I die, which I must do, Could it shine down here with you?” In interviews about her work, Mitski emphasized that her record feels like “love that’s haunting the land.” “The Land is Inhospitable and So Are We” paints beautiful scenery of authentically real relationships, especially in “When Memories Snow” and “The Frost,” as she loves using natural themes. In what is rumored to be her final work, Mitski reaffirms her extensive portfolio and imparts crucial messages of love throughout hardship to the world. -Sophia

1. ‘the record’ by Boygenius

Following a four-year hiatus, supergroup Boygenius – featuring Phoebe Bridgers, Julien Baker and Lucy Bacus – released its second album, “The Record.” The album serves as a testament to the profound friendship among the women and showcases their distinctive songwriting capabilities. Notable tracks include “Emily I’m Sorry” which chronicles the deterioration of a once-loving relationship and “Not Strong Enough,” which personifies an apology that is both self-serving and filled with self-hatred emphasized by the repeated refrain, “Always an angel never a god,” in the bridge. What sets this album apart is its divergence from the artists’ previous work. While maintaining similar styles, “The Record” captivates with stunning harmonies and punk inspirations, creating a unique experience distinct from their solo projects. With its acoustic production and profound themes, it undeniably earns the title of the best album of 2023. -Sophia