Top 23 Albums Of 2023

23. Insomnium – Anno 1696 (Century Media Records)

Can an album like Anno 1696 emerge from anywhere in the world but Finland? On record number 9, Insomnium explore their Northern European country’s darkest history and secrets, a concept album shedding light on the real-life great famine, as well as the superstitions that plagued their Finnish ancestors (cannibals, werewolves, and witches – oh my!) during Finland’s troubled past. It’s as brooding as it is heavy, with Rotting Christ’s Sakis Tolis guesting on “White Christ,” and “The Witch Hunter” transitioning from acoustic folk to prodding melodic death metal. Captivating and mysterious, Insomnium have achieved bloodied victory yet again.

22. Lucero – Should’ve Learned By Now (Liberty & Lament/Thirty Tigers)

I only just started finally listening to Lucero in 2021 with When You Found Me, and although Should’ve Learned By Now isn’t nearly as vast or epic in scope as its predecessor, it still makes me question what the Hell I was doing or thinking by sleeping on this band for so long. It starts with a cowbell (on album intro “One Last Fuck You”) and ends with an accordion (during closing ballad “Time To Go Home”), and everything sandwiched in-between perfectly showcases the band’s signature cocktail of alt-country and punk rock - especially in standout tracks “Macon If We Make It,” “She Leads Me,” and “At The Show.” Lucero make me want to cosplay as a depressed blue-collar everyman whose trying to sneak in one last shot of whiskey before last call when the bartender cuts him off, all in Memphis, Tennessee of course. And although I have absolutely no idea if that’s a good thing or not, it feels alright to me. And as track #5 clearly and repeatedly states: “Nothing’s Alright” anyway.

21. Drain – Living Proof (Epitaph Records)

I know this is going to sound crazy, but everything about Living Proof’s intro, “Run Your Luck,” reminds me of Bloodhound Gang’s “Kiss Me Where It Smells Funny,”  the opening track to their 1996 breakthrough album One Fierce Beer Coaster. The infectious, aggro guitar riff on top of thunderous, almost tribal like drums, set the scene of both records perfectly: you’re about to fuckin’ party. Simply put: Santa Cruz, California’s Drain are all about FUN, and just like BHG’s OFBC (which still holds up, by the way), it’s a blast. I hope you like fast, melodic punk rock mixed with hardcore and thrash metal though, because if not? You might want to sit this party out, as their cover of Descendents’ “Good Good Things” is about the “slowest” thing on here (and it ain’t that slow). But if you like ‘em short and fast and hard & heavy, you’re going to have a literal ball with Drain’s Living Proof. Now what about a Bloodhound Gang reunion tour with Drain opening?! THAT would be a PARTY!!

20. The Mountain Goats – Jenny From Thebes (Merge Records)

Singer-songwriter and mastermind behind The Mountain Goats, John Darnielle, is a masterful storyteller. In fact, he’s even a best-selling author (check out his true crime novel Devil House, if you’re into that sort of thing), so needless to say, pull up a chair, because he’s going to tell you a thing or two. And on their 22nd album (!!), Jenny From Thebes, the stories are truly better than ever. Self-described as a “rock-opera,” Jenny From Thebes is a concept album and sequel to their 2002 album, All Hail West Texas. So clearly this band has some backstory and history to dive into, if you’re ever so inclined. But even if not, The Mountain Goats’ blend of indie folk rock is catchier than ever, and songs like “Fresh Tattoo,” “Murder at the 18th St. Garage,” and “Only One Way” will keep you captivated and on the edge of your seat – regardless if you’re a newcomer or old head. Besides, who doesn’t like a good rock opera?! Tommy and Ziggy Stardust? Eat your hearts out.

19. The Menzingers – Some Of It Was True (Epitaph Records)

Nobody captures the melancholic, nostalgic coming-of-age spirit quite like Scranton, Pennsylvania’s The Menzingers do. And while their 8th LP Some Of It Was True does absolutely nothing to progress the band’s sound or further their career, why fix what ain’t broke either? Huge, soaring chorus are what these blue-collar post punk rock & rollers do best, and they’re bigger than ever here. “Alone In Dublin” is my personal favorite of the new bunch, but “Hope Is A Dangerous Little Thing” and “Come On Heartache” aren’t too far behind. Always prolifically profound, “Some Of It Was True” states: “the older I get the less I know, and I knew nothing then.” I don’t know, guys, sounds like you’ve got it all figured out to me. Formulaic and predictable, but impressive nonetheless, Some Of It Was True proves that The Menzingers keep on swingin’ consistently, and never strike out.

18. In Flames – Foregone (Nuclear Blast Records)

14 albums in, are you still with Sweden’s melodic death metal masters In Flames, or are you one of the elitists that abandoned them after 2000’s Clayman? I seem to fall in the rare category who appreciates every album and era almost equally if you can believe that – and yes, even when they sorta started to sound like Korn a little bit. But I’d be lying if I said it didn’t feel good to have at least most of the old In Flames back, and Foregone is essentially a comeback album if there ever was one. Nobody does the true “Gothenburg” sound better than In Flames, not even At The Gates (fight me), and it’s on full display in all its glory here. Granted, it also serves as a melting pot for In Flames’ entire illustrious career, as bits of alternative metal and electronics are peppered throughout its 46 minute runtime, but make no mistake: Foregone is a melodic death metal album from Gothenburg, Sweden’s forefathers of the genre. My personal favorite track, “State Of Slow Decay” states: “there’s no way back” and “we’re in a state of slow decay,” but neither lyric could be farther from where In Flames stands on Foregone. For starters, they’re back (even though they never left if you ask me), and In Flames’ career is in a state of the exact opposite of decaying – they haven’t sounded this fresh and full of life in years.

17. Wayfarer – American Gothic (Profound Lore Records)

Wayfarer’s American Gothic is a tale so rich and unique that I could not, in good faith, exclude it from the confines of my Top 23 Albums Of 2023 List. It’s a country western black metal (yes, you read that right) opus that’s so successful, you’re led to believe cowboy hats and corpse paint have always gone together like peanut butter and jelly. With song titles like “The Cattle Thief,” “Reaper On The Oilfields” and “Black Plumes Over God’s Country,” you know exactly what you’re going to get with the mixing of these two genres here, even if you never knew you needed this bizarre marriage of styles in the first place. I’m thoroughly convinced music like this can only be born in one place on earth: Denver, Colorado, and I’m also a firm believer that only one visual artist would be able to handle this complex record’s packaging: Aaron Horkey (who of course handles it expertly). American Gothic sounds like a Mark Maggiori painting come to life, albeit in Hell, and Wayfarer are the four horsemen of the metal apocalypse that’re unleashing it on us all. Yee-fucking-haw!

16. The Gaslight Anthem – History Books (Rich Mahogany Recordings/Thirty Tigers)

New Jersey heartland punk rock & roll band The Gaslight Anthem abruptly disbanded in 2015, without providing much context whatsoever. The decision was heartbreaking for me personally, as they quickly became one of my favorite bands of all-time after 2008’s The ’59 Sound. So needless to say, when the band reformed and announced History Books, I was enthralled. After all, it had been almost 10 years since 2014’s Get Hurt was released, so I was ready. And although it’s still not the sequel to the blue jeans & white T-shirt wearing, punk-infused reimagining of the 1950’s, nor does it match the same youthful energy as its follow-ups American Slang or Handwritten, it’s still a Gaslight Anthem record at its true heart & soul. And if you were a fan of Get Hurt or TGA spinoff band The Horrible Crowes, you’ll feel right at home here. “Autumn” hit me hard, with its Pearl Jam-esque riff and lyrics that no one aside from Brian Fallon can deliver: “I hate the way time goes crashing over like a steamroller, I wish I could do my life over – I’d be young better now. I don’t know what happens to all our favorite faded memories, Christmas mornings by the fir tree – and then you’re gone.” “Spider Bites,” “Positive Charge” and “Little Fires” are a bit punkier, and definitely faster, Gaslight tunes, while the airy “Empires” and big “I Live In The Room Above Her” make you move – both figuratively and emotionally. And of course, after worshipping Bruce Springsteen since 2007, The Boss himself FINALLY guests on a Gaslight Anthem song: “History Books.” And an album that features Brian dueting with Bruce? That’s history in my book.

15. Incendiary – Change The Way You Think About Pain (Closed Casket Activities)

From the opening moments of Long Island hardcore band Incendiary’s first album in 6 years, you already know it’s going to fuck you up. I haven’t heard this much “swagger” on a hardcore album ever, and despite being a NYHC (not exactly a hot genre these days) band that sounds like it’s fronted by Rage Against The Machine’s Zack de la Rocha (which in of itself is played out at this point), Change The Way You Think About Pain ironically sounds about as fresh as it gets in 2023. The whole thing flows with hip hop energy against a blistering, metallic edged backbone. The best hardcore album of the year by a long shot, and one of the overall best in years – period.

14. Code Orange – The Above (Blue Grape Music)

The Above is going to alienate the majority of Code Orange’s predominately hardcore/metalcore fanbase, but great albums almost always certainly do, and The Above isn’t just great – it’s now one of the greats. It’s not that this Pittsburgh, Pennsylvania sextet haven’t already experimented with alternative rock sensibilities featuring clean singing and huge choruses before, as Code Orange is essentially known for experimenting with essentially a little bit of everything at this point. But they’ve also never leaned into it this heavily before, whereas they clearly decided to dive headfirst into delivering their first true “rock” album of their career with The Above, and it succeeds at every level. Guitarist and “clean” backup vocalist Reba Meyers is the star of the show here, taking the reins on “Mirror” as frontwoman, and not letting go until she’s got you hook, line & sinker. It’s a catchy and dreamy alternative hit, straight from the 90’s, and yet it somehow still fits beautifully in the sea of Code Orange’s industrial metal soundscapes. Frontman Jami Morgan proves he’s much more than a simple “hardcore vocalist,” as he duets with The Smashing Pumpkins’ Billy Corgan perfectly on “Take Shape.” In fact, it’s almost hard to distinguish between Billy and Jami here, further cementing the fact that Jami Morgan is one of the best frontmen and showmen in heavy music today. Eric “Shade” Balderose’ electronics and keyboards are as haunting yet more tasteful than ever, and bassist Joe Goldman and guitarist Dominic Landolina remain the perfect one-two punch, this time layered with drummer Mike Portnoy’s son Max on drums for his first Code Orange recording (although he’s been touring with them since 2021). With all of its greatness, I still can’t help but feel that The Above has already been forgotten about almost entirely, and will likely go down as one of most underrated albums released this year. Code Orange would have been an absolutely massive band in the 1990’s, but they seem to have been unjustly pigeonholed and typecast in a genre that they obviously aren’t interested in being confined within anymore, and thus The Above feels like it’s already been written off. Whatever the case though, fuck the naysayers – this album is perfect. Code Orange forever.

13. Queens Of The Stone Age – In Times New Roman... (Matador Records)

Joshua Homme has been through a lot since QOTSA’s previous album, 2017’s Villains. Not only was he involved in his very ugly, and very public divorce and custody battle with his now ex-wife, The Distillers’ frontwoman Brody Dalle, but he was also diagnosed with (and has since thankfully beat) cancer. So, it’s no wonder that longtime-collaborator of the band, the visual artist known simply as “Boneface,” came up with a pretty dark album cover for In Times New Roman…. Suffice it to say, Josh has definitely had some demons he’s been struggling to battle. And just like its already iconic new artwork (Boneface is pretty much just an integral part of the band at this point), things on In Times New Roman… sound pretty bleak. Absent are any possibilities of the next big QOTSA single here, as there’s absolutely no “Little Sister” or “No One Knows” to speak of. The closest they come to getting under your skin with their signature repetitive riffing, is maybe the punchy, fast-paced “Paper Machete,” or perhaps the start & stop shuffle of “Negative Space.” Otherwise, In Times New Roman… gets to you in another way: it’s unnerving. Angsty, bluesy and crunchy, Homme lets it all out in a deeply cathartic and personal way. Less stoner rock baking under the desert Sun, In Times New Roman… stings like a scorpion in the heat in a totally different way.

12. Lil Uzi Vert – Pink Tape (Atlantic Records/GenerationNOW)

Name another album that can feature guest appearances by both Nicki Minaj (“Endless Fashion”) and Travis Scott (“Aye”), simultaneously with Babymetal (“The End”) and Bring Me The Horizon (“Werewolf”), and do it not only seamlessly, but masterfully as well. And this, in a pink encased nutshell, is what makes Lil Uzi’s third album not only one of the most interesting of the year, but oddly enough, one of the most cohesive too. Vert’s moment is clearly now, because Pink Tape is the quintessential release of 2023, demonstrating that there shouldn’t be any boundaries when it comes to music, and clearly proves how all these genres are able to intertwine with one another beautifully, and Uzi seems to be the only one brave enough to go all in on that bet. Lil Uzi Vert is the maestro of this epic 26 track mixtape, and pulled out all the stops and tricks to make it one of the best rap albums in years.

11. Tomb Mold – The Enduring Spirit (20 Buck Spin)

For being a sludgy death metal band called Tomb Mold, these Canadians sure delivered one of the silkiest smooth death metal albums ever. Sprinkling elements of both dream pop and jazz fusion throughout their version of mid-paced, straight forward old school American death metal, the results are magical. Sounding like it came from outer space vs. Florida is no simple feat for a group in this genre, but Tomb Mold wields the kind of sci-fi sorcery here with such skill that they’ve achieved the impossible: they created what very well might be the first-ever “elegant” death metal album. It’s mind-bending masterpiece from another dimension seemingly, and one that proves looks can be deceiving. Because despite song titles like “Flesh as Armour” contained within the walls of its biomechanical album art, The Enduring Spirit is anything and everything but expected. Canada’s Tomb Mold did the unthinkable: they broke the mold.

10. 100 Gecs – 10,000 gecs (Atlantic Records)

What’s better than 1000 gecs? Why, 10,000 gecs of course! The follow-up to their 2019 debut, 1000 gecs, St. Louis, Missouri’s hyperpop duo 100 Gecs released their sophomore effort and major-label debut, 10,000 gecs, earlier this year on March 17th, and I STILL listen to it almost daily. Are you still with me here? I know that’s a lot of Gecs to keep track of. Boasting arguably THE catchiest song of the entire year, “Hollywood Baby,” the rest of 10,000 gecs somehow manages to keep pace with and lives up to their breakout hit and lead single as well, which is a rare feat considering this could have easily turned into a classic one hit wonder scenario. Feeling like the soundtrack to a hazy, sleazy Summer raining earworms – all of whom are surely high on…something, 10,000 gecs accomplishes a lot in its mere 26-minute runtime. “Dumbest Girl Alive,” “Doritos & Fritos,” and “mememe” are proof that 100 Gecs have already taken this trashy subgenre farther than the artists who created it (3OH!3 and Breathe Carolina), and then further up the ante by throwing in some fucking ska of all things (as heard in “Frog on the Floor” and “I Got My Tooth Removed”), because why the fuck not? One of the most fun albums in recent memory, and will likely remain as such until the inevitable 100,000 gecs hits. So.many.gecs.

9. Cattle Decapitation – Terrasite (Metal Blade Records)

I’ve always thought San Diego technical death metal mainstays Cattle Decapitation were cool, what with their ties to hardcore punk label Three One G (I’m a huge fan of The Locust), their overall message of veganism and vegetarianism (even though I no longer partake in either lifestyle, I still respect it), and their insane album covers, but I never in a million years expected this. Terrasite, the band’s eighth full-length album, is a cathartic, visceral and emotionally charged beast of a record, and dare I say it – one of my now favorite death metal albums of all time. Travis Ryan’s vocals have never sounded crazier, and Dave McGraw’s drumming is simply otherworldly. It’s an absolute terror from start to finish, even if the A Bug’s Life style artwork would have you believe otherwise (LOL). I don’t know if I’m myself quite ready for “Humanity 2.0” (Terrasite is a concept album regarding cockroaches being the only survivors of a nuclear war, and then evolving into the new “humans” that will inherit the earth), but one thing’s for certain: Terrasite certainly sounds like Death Metal 2.0.

8. Kim Dracula – A Gradual Decline In Morale (Columbia Records)

In a world where, thanks to the average attention span getting shorter and shorter, musical genres are crossing over more and more, perhaps no one is doing it as over-the-top as 26-year-old Australian rapper, singer, and songwriter Kim Dracula. To put it mildly, KD’s debut album, A Gradual Decline In Morale, is batshit crazy – in the best way possible, of course. On paper, Kim Dracula sounds like it would be a hot mess. Trap metal mixed with…Primus? Black metal mixed with…punk rap? Comedy mixed with…emo? Yet they ran with this “no rules” concept and delivered one of the most exciting new releases in all of music in quite some time. To even call out any of the tracks specifically would almost do the album a disservice, as one of the most impressive things Kim Dracula pulled off here is the fact that this truly feels like one of the most “albums” album to come out since the 90’s, if that makes any sense at all? In other words, when so many other bands, rappers, etc., are focused on individual singles vs. one LP, Kim Dracula leaned heavily on giving you an entire experience here, one that’s 20 exciting tracks from start to finish, complete with interludes, guest appearances (like Jonathan Davis from Korn), and even skits (hello again, 1990’s). You really have to experience this schizophrenic masterpiece in its entirety in order to give it the justice it deserves, but thanks to those short attention spans again, you’re all but guaranteed to be entertained throughout the entire 49 minutes. You’ll even get a “congratulations” comedic bit at the end if you make it through, but really it’s Kim Dracula that deserves all the “congrats” here. Welcome to the music industry, Kim Dracula. Now continue to break all the rules, cross all the barriers and borders, and most importantly, raise hell, in it. Music is a lot more exciting now, all thanks to you.

7. The Rolling Stones – Hackney Diamonds (Geffen Records/Polydor Limited)

It’s been since 2005 when The Rolling Stones last released a proper studio album, and the world has changed a lot in that time. Yet on 2023’s Hackney Diamonds, it’s not only as if the band hasn’t struggled to keep up with the times at all, it’s like they’ve completely surpassed them to boot. The album’s first three tracks: “Angry,” “Get Close,” and “Depending On You,” is the triple threat of back-to-back absolute bangers that showcase the undisputed fact that The Rolling Stones really are The World’s Greatest Rock N’ Roll Band (side note: yes of course I see the irony to using the term “bangers” to describe new songs by The Rolling Stones, and that’s the point). To put it bluntly, to be this old and yet sound this good is remarkable. And aside from being on literal fire throughout Hackney Diamonds, they’re refreshingly self-aware of their age and current standing in today’s world, on top of it all: “you think the party’s over, but it’s only just begun. Let’s raise a glass and get up and dance, ‘cause life’s just hit and run” (from “Whole Wide World”) and “now I'm too young for dying and too old to lose” (on “Depending On You”). Hackney Diamonds is proof that not only can you teach an old dog new tricks, but you might just end up with one of the best-trained dogs in the process.

6. Militarie Gun – Life Under The Gun (Loma Vista Recordings)

It’s hard to believe that a band who only formed in 2020 during the COVID lockdowns ended up here – with easily one of the best and most memorable albums of the entire year. This momentous time Los Angeles’ Militarie Gun finds themselves in is rare indeed, and most young bands would crack under the same pressure. But MG appear to be fully embracing their newfound hype and success, especially when it comes to playing into the fact that Post Malone is quite literally obsessed with this band. And who can blame him? Frontman Ian Shelton’s hardcore energy, complete with his own signature “ooo ooo” (not unlike Knocked Loose’ viral “arf arf”), permeates throughout Life Under The Gun’s 12 songs in just under 28 minutes, bursting at the seams with fast, melodic alternative driven “pop” punk grunge. The whole thing feels like it’s going to burst at any moment, giving it a sense of purpose that this thing is here to accomplish a lot in just a short amount of time. What’s next for these guys, and when can we expect it? I don’t care what they do or how they do it – they just need to do it faster.

5. Sleep Token – Take Me Back To Eden (Spinefarm Records)

Hot on the heels of Ghost, London’s anonymous collective Sleep Token are quickly becoming the next big think in rock, and it just so happens that they have a lot in common with Tobias Forge and his band of Nameless Ghouls as well. Sure, there’s the obvious comparison being their costumes and masks of course, but it’s also the fact that these two theatrical acts really sound nothing like how you’d expect them to, further adding to the overall mysteriousness that encapsulates both artists. With Ghost’s over-the-top satanic imagery, you’d expect them to have a lot more in common musically with say, Behemoth, vs. the reality: Boston, Foreigner, Journey or Styx anyone? Similarly, the cultlike appearance of Sleep Token’s members (simply known as Vessel, II, III, and IV) is a bit jarring when you actually hear their smooth, sultry blend of R&B, hip hop, jazz and indie pop. Obviously Sleep Token is still best described as an alternative metal band similar to Deftones (I personally hear a lot of Glassjaw as well), but it’s the aforementioned blend of unsuspecting genres that make Sleep Token truly special, and thankfully, Take Me Back To Eden is chock-full of them. “Granite,” “DYWTYLM,” and “Euclid” are perfectly chill, lo-fi contrasts to the slabs of crushing djent-infused metalcore found in “Vore,” for example. Sleep Token’s laser focus precision cuts through anything that crosses its path, much like that creepy character from their music video for “The Summoning.” Whatever this strange world that Sleep Token has crafted here, I want to live in it. So, I guess I’m in a cult now?

4. Foo Fighters – But Here We Are (RCA/Roswell Records)

Who knew that we’d lose one of the best rock drummers of our time (and my personal favorite drummer ever) so prematurely & tragically in 2022? And after the fact, who would have thought that there’d even be a new Foo Fighters album? But, here we are. It’s hard to fully embrace this record entirely, as Taylor Hawkins’ absence is so obviously felt throughout. But with Dave Grohl back behind the kit handling all drum duties for the first time since their 1995 self-titled debut, it feels like the perfect fit and best choice, as it oddly comes across like a “coming full circle” moment for Foos – albeit a heartbreaking one. No disrespect to their new fulltime drummer Josh Freese, but I’m glad this isn’t a Freese record, as Dave handles the seemingly impossible task at hand with complete and total grace. Yes, I know the time WILL come when Josh is on a Foos record, but for now the wound is too fresh – we needed Dave. And of course, Grohl delivers. In addition to the more “lowkey” drumming (Hawkins was a madman after all), everything else about But Here We Are similarly feels…different. Empty, perhaps? Maybe it’s just me, but there’s just an overall “elephant in the room” vibe that permeates throughout all 10 tracks here Still, it’s a beautiful one, through and through. While normally it’d be the undeniably radio-friendly “Under You” that would otherwise steal the show, the real showstopper here is album closer “Rest” – a personal love letter and sendoff to the late, great Taylor Hawkins. This band will never be the same after his passing, but the harsh reality is that “the show must go on.” And so, here we are. RIP to the GOAT: Taylor Hawkins.

3. blink-182 – ONE MORE TIME... (Columbia Records)

Full disclaimer: I absolutely love the 2016-2019 Matt Skiba (of Alkaline Trio fame) era of Blink. Both California and yes, even NINE, are near perfect records to me, so I was never one who fell in the “this isn’t blink camp!” after Tom DeLonge’s departure in 2015. But I must admit when the “reunited” blink released their first new single “EDGING” in October of 2022, it was a reminder of what made them so magical in the first place, and goddamn did it feel good to have the “family” back together again. After all, how could any longtime fan of blink (personally, they’ve been one of my favorite bands since 1998) NOT smile when Tom’s first lyrics back were, “I’m a punk rock kid I came from Hell with a curse, she tried to pray it away, so I fucked her in church”?! It was classic, juvenile blink in the vein of 1997’s Dude Ranch, 1999’s Enema Of The State, and 2001’s Take Off Your Pants And Jacket (which is still one of the greatest album titles ever, by the way). However, releasing exactly one year later from “EDGING”’s debut, ONE MORE TIME… is less the old school blink found in its lead single, and more in the vein of where they left off with Tom’s final albums with the band – 2011’s Neighborhoods and 2012’s Dogs Eating Dogs EP. That’s not a bad thing per se, but it did strike me as odd at first, considering the setup that “EDGING” provided, and the fact that the album as a whole doesn’t sound too far different from the Skiba years either (which was also a continuation of the “later” blink). In other words, these still aren’t the same guys that burst on the scene back in 1993, as they’ve been “grown up” now since their seminal 2003 self-titled album. But then again, why would they be? Hell, who could be after two near-death experiences (bassist and vocalist Mark Hoppus’ recent battle with stage 4 cancer in 2021, and drummer Travis Barker’s 2008 plane crash), as well as guitarist & vocalist Tom DeLonge’s divorce from his wife in 2019, to whom he was married to since 2001? Not to mention the fame, the money, the sheer amount of weight that must rest on the shoulders of one of the biggest bands in the world? Sure, there’s some time for jokes on here, but this is an album full of heartbreak and regret, forgiveness and resentment…life and death. And oh, what an album it is. Travis’ drums are insane, and make no mistake – for those who wanted Tom back so bad? This IS the Tom DeLonge Show (sorry, Mark). “DANCE WITH ME,” “FELL IN LOVE,” “MORE THAN YOU KNOW” and “WHEN WE WERE YOUNG” are some of the best, catchiest songs the band has written in years, and a few of the new ideas that blink introduces here for the first time ever, like their first dabble in crust punk & hardcore on the 30-second “FUCK FACE,” really shine as well. It’s an amazing return to form, and I simply can’t stress this enough: it feels so good to have these guys back together again, even if it’s just for “one more time.” And although it does feel genuine, only time will tell if the reunion lasts, or if it’s just a giant cash grab (their recently wrapped reunion tour raked in $100 million gross, making it the biggest tour of their career). But even if it is? Just give us more, guys. Do it for us –stay together for the kids.

2. Metallica – 72 Seasons (Blackened Recordings)

Metallica’s 11th studio album, 72 Seasons, couldn’t be any further from my favorite album of the year. But while although it isn’t the wildly ambitious, eccentric, and emotional rollercoaster that earned my #1 spot in 2023, the pure tenacity from Metallica here is what makes 72 Seasons easily second best. I love everything about this record. From the overall meaning and theme behind 72 Seasons, right down to the marketing campaign, and even its black and yellow color scheme of all things. And of course: the music itself. Now in their 60’s, Metallica sounds as fierce and thrashy as ever here – proving why they have always been, and will always be, the GOAT.

1. Avenged Sevenfold – Life Is But A Dream... (Warner Records)

What can only be described as “bizarre” by perhaps the more casual Avenged fans, Life Is But A Dream… feels oddly normal to me, simply because I somehow always knew they’d up…here. After all, we’re talking about the same band who released a piano ballad a la Guns N’ Roses (“Warmness on the Soul”) on their 2001 debut album, Sounding the Seventh Trumpet, which, for context, was released on a German hardcore label alongside acts such as 25 Ta Life, 100 Demons, and Undying. Perhaps the past wouldn’t be as important to bring up with other bands 25 years into their respective careers, but Avenged’s wild career trajectory is what ultimately delivered one of the most ambitious and wild albums of all-time, and most certainly THE craziest of 2023 by a landslide. It’s been seven years since they surprise-released their sci-fi progressive conceptual masterpiece The Stage, which was clearly way ahead of its time with its overarching themes regarding the dangers of Artificial Intelligence and nanorobotics. And now we’ve arrived at the band’s own existential reckoning, again two steps ahead of the curve within the existential crisises and dread found in the biggest pop culture phenomenon of the year with the Barbie movie. Is it a coincidence then, that the band literally released a song on LIBAD called “Mattel,” that foreshadows exactly what we’d all witness on the big screen merely a month later? Coincidental, maybe. But you can’t help but always feel like A7X has some sort of crazy foresight that only they’re privy to, which is usually the case with true artists, and the pure artistry found throughout LIBAD’s 53 minutes is staggering. Seamlessly switching from Daft Punk to Frank Sinatra to Mr. Bungle to Slayer, often in a single song. Avenged doesn’t just dabble in avant-garde, varied influences, and odd time signatures and structures here, they fucking excel in it. This is a band that has nothing to prove, who seemingly doesn’t care about alienating their legion of fans, yet clearly gives no fucks about winning over any new prospective ones either. This is for them, and this is the record they had to make at this current point in their always exciting/never-a-dull-moment career. For those who have been along for the ride since the beginning, you’ll understand it and appreciate everything contained within wholeheartedly, as this has always been the true nature and spirit of Avenged Sevenfold. A huge risk for any band to take, but it pays off in spades here. Now in their 40’s, these are guys who have conquered what most bands can only dream of, and yet here they are asking the same “now what? What’s the meaning of all this?” questions we all have. They embark on a journey that simultaneously ponders the meaning of life, along with the absurdity of it all, while the constant looming threat of death is omnipresent throughout both all the good and the bad. They say art imitates life and vice versa, so perhaps that’s the magic bullet behind LIBAD’s essence. At times, LIBAD is downright beautiful (“Cosmic” brings me to tears every time). Yet sometimes it’s annoying, or messy, and sometimes it just doesn’t make any fucking sense whatsoever. It’s life in a nutshell, and what a dream it is. Now go live yours to its fullest, because according to Avenged Sevenfold, we’re all on death’s door at any given moment anyway, so we might as well have some fun while we’re here. And remember: this is the same band that told us “everybody's gotta die sometime” in 2007’s “a Little Piece Of Heaven,” so there’s that foresight again – a little lyric foreshadowing what would become the thesis to not only an entire album of theirs 16 years down the road, but their most captivating body of work throughout their entire existence as well. To Avenged Sevenfold: thank you for not only delivering the best album of the year by far, but thanks for ironically delivering it during a time in my own life when I’ve been stuck with the exact same questions and thoughts – it truly helped me get through some shit, and I know many others feel the exact same way. The true definition of a masterpiece, and one that will live on long after the time comes for Avenged Sevenfold to leave this physical world behind. Hail to the Kings.

Single/Song Of The Year (not appearing on an album):

"The Ghost Of Billy Royalton" by Dance Gavin Dance

Longtime Dance Gavin Dance bassist Tim Feerick tragically passed away unexpectedly on April 13^th, 2022, at the young age of just 34, and roughly a year later, DGD returned with their first new material since ‘22’s Jackpot Juicer, this time in the form of a standalone single paying tribute and saying goodbye to their beloved bandmate and friend. Its incredibly touching lyrics are sang, screamed and even rapped here, layered with their self-proclaimed “Swancore” instrumentation, which mixes post-hardcore, metalcore, and progressive rock with hip hop and jazz. It’s the best song the band has ever written, and paired with a bonkers music video that was completely AI-generated, it’s quite the epic sendoff to their fallen brother. Tim would be proud.

Honorable Mentions:

I know this is going to sound crazy, but 2023 might be one of my favorite years in music –ever. So much so that I’ve never had that much trouble picking just 20 (or 23 in this case) new albums of the year, essentially since I started listening to music (aka: my whole life). So aside from my personal Top 23, I feel like there are some definite shoutouts needed here as well. If they weren’t “just” EPs, female fronted hardcore punk bands Gel (Only Constant) and Scowl (Psychic Dance Routine) would have easily made the cut, as would the (also female-fronted) progressive metalcore powerhouse Spiritbox (The Fear of Fear). Speaking of female fronted bands, Britain’s new metalcore act As Everything Unfolds floored me with Ultraviolet, and mark my words: this band is going to be huge. “Mathcore” made a massive return with newcomers Johnny Booth (Moments Elsewhere), as did late 90’s/early 00’s metalcore with Jesus Piece (…So Uknown). See? I have so many favorite releases of 2023 that I couldn’t even narrow down my usual “Honorable Mentions” list either! But if I HAD to choose, it’d have to be the NEOTOKYO soaked djent ripper [m]other from Chicago’s Veil Of Maya (just listen to “Tokyo Chainsaw,” “Red Fur” & “Synthwave Vegan” if you don’t believe me), as well as the triumphant return of Australian deathcore heavyweights Thy Art Is Murder with Godlike (which would be crowned #1 if it were for some sort of “Best Of 2023 Drama” list). And speaking of Australia, melodic rock/power pop band Luca Brasi delivered the most Australia thing ever, aside from Bluey, Silverchair, Tim Tams & Vegemite of course, with The World Don’t Owe You Anything – and it rules. Finally, while we’re on the subject of saying “rules” like it’s the 90’s all over again, grungy shoegaze duo Teenage Wrist released Still Love, complete with a guest appearance by 311’s S.A. Martinez, and yeah, it also ruled. If I had to summarize the state of music in 2023, I’d have to say the industry is in one of the most exciting places it’s ever been. We seem to have entered the age where artists are no longer trying to please record labels or TV shows, and instead, they’re just going for it by mixing various genres & styles, and just flat out refusing to “play by the rules” anymore when it comes to classic tropes that have hindered artistic freedom within rock music. Now if only it weren’t for all the sudden obsessions with death and dying that everyone seemed to have this year, but that reminds me…

Even Tool, who made us wait 13 (!!!) YEARS between albums last time, is rumored to be releasing their next record in 2024, and the reason? Because they’re “not getting any younger.” Great, more existential crisis’ to come in 2024. Oh well, I guess. If it means more of what we saw in 2023? Then bring it on. Happy New Year.