Twelve months. A whole load of great music. This is 2023 at its very best.

50-41 | 40-31 | 30-21 | 20-11 | 10-1

→ A reflective and transformative journey through the highs and lows of early womanhood.

Maisie Peters' sophomore album, 'The Good Witch', offers a profound and emotional exploration of personal growth and the complexities of young adulthood. Drawing from her own experiences over the past year, it's a heartfelt chronicle, weaving tales of heartbreak and joy, loss and resilience. It stands as a striking contrast to her debut, 'You Signed Up For This', which was an ode to her teenage years, encapsulating the innocence and simplicity of that time. 'The Good Witch', however, reveals a matured Maisie, one who has transitioned from a girl to a woman, embracing a new-found wisdom and restraint​​.

The album's lyrical content delves into the nuanced emotional landscape of a woman in her early twenties. It balances the pain of lost love and the complexities of moving on with the invigorating sense of self-discovery and empowerment. Unlike typical breakup albums rife with anger and resentment, 'The Good Witch' opts for a more introspective approach. Maisie reflects on her feelings without succumbing to bitterness, capturing the essence of healing and growth. It's a perspective that imbues the album with a sense of authenticity and relatability, offering listeners a mirror to their own experiences of love and self-discovery​​.

→ A poignant and introspective journey into Americana, marking Cosentino's transformation from surf-rock stardom to solo authenticity.

The announcement of 'Natural Disasters' coincided with the news of Best Coast going on an indefinite hiatus, marking Cosentino's foray into a solo career.

The title-track opens with a kick of pop energy, combining smart literary references and global warming metaphors. Cosentino's songwriting shines as she seamlessly merges clever phrasing with catchy melodies. The tracks 'Outta Time' and 'It's Fine' lean towards Sheryl Crow's territory, showcasing Cosentino's unique voice and evolved perspective, while the piano ballad 'Easy' highlights her lyrical prowess, touching upon familiar themes but acknowledging the desire to avoid repeating past mistakes​​​​.

→ A fusion of genres in a signature Gorillaz style, maintaining familiarity while exploring contemporary themes.

'Cracker Island', Gorillaz's eighth studio album, features an array of collaborations, melding different genres into a cohesive whole. True to Gorillaz's style, it traverses emotional, colourful, and funky melodies, touching on themes like media over-consumption and technology addiction while staying aligned with the band's well-developed sound. Notable tracks like Oil', featuring Stevie Nicks, and 'New Gold' with Tame Impala and Bootie Brown, contribute to the varied musical landscape, while 'Skinny Ape' stands out as a particular high point from a group who continue to do things mere mortals never could.

→ A bold, world-building album that balances raw emotion with a ferocious musical edge.

Black Honey's 'A Fistful of Peaches' is a grandstand moment for a band known for creating immersive worlds with their music. Following the success of ‘Written & Directed’, the album represents the band's biggest statement yet, combining widescreen ambitions with a more introspective approach, striking a perfect balance between personal storytelling and punchy, powerful soundscapes.

Tracks like ‘Charlie Bronson’, ‘Tombstone’, and ‘I’m A Man’ offer stomping hooks and furious intensity, while ‘Heavy’, ‘Out Of My Mind’, and ‘Up Against It’ provide a deep emotional resonance. The album's refreshing honesty is captured through Izzy Bee Phillips' unflinching lyrics, exploring life's highs and lows with a hint of knowing pop sensibility.

Musically, 'A Fistful of Peaches' is a kaleidoscope of genres, merging rock, glam, and early-00s indie. In that, the heavy and unexpected ‘Nobody Knows’ stands out, showcasing the band's ability to surprise and captivate. An album that is raw, swaggering, and natural, Black Honey have crated a world that resonates with the joys and pains of real life.

→ It's been a dream to do Maida Vale. This was our second but our first full session, and I wanted to do it before it moves to Stratford. They said they are gonna build it identical, but how can it possibly be the same? I adored the session despite every single part of our kit breaking individually, and we didn't get our first take till 4pm (load in was 10am). We got a tour of the rooms. Loads of the gear is antique and custom to this studio, and I like the feeling of the hundreds of recordings passing through the walls over the last hundred years.

→ This was equally exhausting and mental as it was beautiful and fun. I loved meeting everyone and hearing everyone's stories. I would deffo not recommend two shows a day in different cities to anyone hoping to maintain mental wellness. (We're too far gone anyway.)

→ That was crazy, as well as having Elvis and Bad Nerves support us. We had just found out we were the Number 1 independent album and it felt surreal. I feel undeserving of this still / about everything all of the time, but also like it was my perfect red velvet golden plated vintage gig fantasy. If I could draw you a dream show at age 6 in crayon, it would have been a stick man version of Koko.

→ This was unreal, a massive main stage with great sound, there was a wicked crowd, and we watched Nile Rodgers side of the stage and had this crystallising moment where I realised I might just be watching the best musicians in the world from a perspective that no one gets. Emily, our tour manager, made friends with the whole band, and they sent her cookies. I've never been more jealous.

→ As I'm writing this, it starts tomorrow, so I'm going on a limb here and will probably break my leg or something from this jinx. But I feel like an arena tour with Greta Van Fleet will be 100% something we will look back on as a peak for this year. Now I've said this, keep your eyes peeled for what karma I've now caused myself. It was nice to know y'all.

→ An introspective dive into the intricacies of ageing and the bittersweet nature of nostalgia.

'Some Of It Was True', the seventh studio album from The Menzingers, encapsulates the band's journey and evolution over more than a decade. Imbued with a sense of maturity and introspection, the band members grapple with the complexities of growing older and the attendant nostalgia. Greg Barnett's lyrics, wistful and reflective, ponder on the notion of ageing without necessarily adhering to societal norms of 'growing up', acknowledging that with time, one realises how much less we actually know​​​​.

The album is characterised by its 'big Menzingers energy', blending themes of love, longing, and the paradoxes of life on the road. Songs like 'Hope Is A Dangerous Little Thing' and 'Alone in Dublin' explore themes of unrequited love and the pain of separation, set against a backdrop of Americana. 'Come On, Heartache', 'Nobody Stays', and 'Take It To Heart' showcase the band's ability to blend jubilant melodies with themes of nostalgia and introspection. A window into the band's current state, reflecting who they are as individuals and artists at this point in their careers​​.

→ A deep dive into emotional landscapes, blending pop with introspective storytelling

'Paranoïa, Angels, True Love' represents a bold leap into the expansive potential of pop music. Building on the abstract themes of previous work 'Redcar les adorables étoiles', it's an album that marks a return to a more distinct and overt pop style, infused with Chris's unique touch.

Spanning 20 tracks over 90 minutes, rather than relying on forceful beats, it elegantly weaves soft, meditative, and sensual sounds with grand, cavernous epics. At the heart is a profound exploration of grief, following the loss of Chris' mother in 2019. It's clear that he has poured every ounce of his being into the recording, crafting an album that is not only emotionally resonant but also stands as the most powerful in Christine and the Queens’ repertoire to date.

→ A genre-defying journey through eclectic sounds and emotive storytelling.

'Evergreen' is a testament to Lynn Gunn's refusal to be pigeonholed into a singular musical genre, weaving together a rich tapestry of sounds that pushes the boundaries of what PVRIS has been known for. This fourth album marks a significant evolution in sound, delving deep into hip-hop and R&B influences to create an electrifying collection that stands out as their most mature work to date. Characterised by a dynamic tug-of-war between different musical styles, the first half of the album is energetic and confrontational, with lyrics that challenge and instrumentals that are almost tangible in their intensity. Tracks like 'I DON’T WANNA DO THIS ANYMORE' and 'TAKE MY NIRVANA' are infused with cathartic electro-pop and rage-filled energy, creating an irresistible urge to dance despite the darker themes. 'HYPE ZOMBIES' stands out with its sinister vibe, combining sludgy bass and wailing synths underpinned by Lynn's powerful vocals.

The latter half of the album shifts into a more introspective mode without losing its compelling nature. Songs like 'SENTI-MENTAL', 'HEADLIGHTS', and 'LOVE IS A…' blend PVRIS' rock roots with broader musical influences. 'Evergreen' triumphs in its ability to inhabit the spaces between, finding strength and excitement in the moments of combination and contrast, rather than adhering to one singular musical identity.

→ A raw and unapologetic foray into experimental hip-hop, challenging mainstream norms.

A 'collab' album by JPEGMAFIA and Danny Brown, 'Scaring The Hoes' is an audacious entry into the realms of alternative hip-hop. A blend of aggressive production and content, it reflects a tribute to creative synergy that defies mainstream expectations. The album encapsulates the ethos of going against the grain, with tracks that are dark, raw, and satirical. Brown, known for his eccentric style, finds a kindred spirit in JPEGMAFIA, resulting in a project that oscillates between moments of brilliance. The partnership yields a record that is at times a brash and modern art-like concoction of high-brow references and ironic subject matter, pushing the boundaries of artistic independence​​. A unique blend of humour and musical experimentation​​.

→ A bold and refreshing debut from the indie pop supergroup.

'The Secret To Life', isn't your typical indie pop record. A super group of Greta Isaac, Martin Luke Brown, Orla Gartland, and dodie, Fizz are a confluence of diverse musical talents and perspectives. Each with a strong individual presence, their combination brings a fresh and dynamic energy. Characterised by its mature ideas and a mix of delicacy and confidence, it stands out with its open spaces, rattling guitars, and genuinely vulnerable vocals. An explosion of creativity, born from a collective rebellion against the algorithm-driven music industry, it's a testament to what artists can achieve when they are free from external pressures and are driven purely by their passion for music and collaboration​​.

→ The biggest highlight of this year would be recording the live sessions - particularly 'The Grand Finale' - in the very place we wrote the whole album. We took a shot before the final take, so all expectations and nerves were numbed and twisted into wonky carelessness - which worked perfectly. At the end of the song, we ripped out our in-ears, climbed through the set and wires and ran outside, gasping and laughing from the adrenaline of finishing a take and the RIDICULOUSNESS of it all. Definitely a core memory.

→ My highlight of this year was probably our first show at Hoxton Hall. We'd only just announced we were starting the band five days before, and to be on stage with my best pals and look out to a room so full of love and excitement was so joyous. So many good moments, tho.

→ A huge highlight for me was getting to headline a stage at Latitude Festival this year. The tent was absolutely rammed, and getting to see people receive the songs so openly this early on in our story as a band was so incredible to experience. There were a few moments during the set where we'd look at one another in complete shock as if to say, "Are you seeing what I'm seeing?!" I feel warm and fuzzy just thinking about it, tehe.

→ It's been an incredibly beautiful (and busy) year. A consistent highlight for me has been the goofy ass moments we've shared as friends in between all of the band madness. There was a phase during the summer where we would burn ourselves out on band admin, work all day and in the evenings get giddy and play this game where we blindfolded someone and made them chase us around Dodie's flat. It was unhinged; I loved it.

→ Getting to release our debut album, 'THE SECRET TO LIFE'! We've had the maddest year, and we owe it all to our amazing audience (or our Fizzlets as they call themselves, lmao) We can't wait to bring Fizzville to life on our UK and Ireland tour - it's gonna be big!!!

→ A cinematic and soulful exploration of love and loss.

Gabriels' debut album 'Angels & Queens' emerges as a unique blend of soul and cinematic soundscapes. Released in two parts, the album explores themes of love and loss through the diverse perspectives of its creators - vocalist Jacob Lusk and producers Ari Balouzian and Ryan Hope, alongside hip-hop producer Sounwave. The result is a record that resonates with emotional depth and musical richness. Each track is marked by lush orchestration and dramatic composition, creating a sumptuous platform that elevates Lusk's powerful vocal delivery. From the energy of the opening title track to the emotionally intense 'Taboo', the record showcases a range of dynamic and evocative moments. Songs like 'Remember Me' and 'If You Only Knew' continue the trend, offering a blend of rhythm and sublime piano ballads, further enriched by celestial strings and choir arrangements.