Words by Luke LaBenne
Luke LaBenne is an Off Shelf contributor and co-host of the Best Song Ever Podcast, where he and Kevin play and discuss their favorite new music. On the pod, he’s known as “Lyrical Lukey” and loves analyzing the crafting of a songs lyrics and finding nuances and details that casual listeners miss. He is an avid music consumer and a musician under the name Indie Darling (on the socials @indiedarlingmusic). Here are his top ten albums in ascending order.
Kendrick Lamar – GNX (pgLang)
I had my list locked and my descriptions mostly written when Kendrick Lamar screwed it all up! This year, Kendrick reached new heights both artistically and commercially with his highly publicized beef with Drake which resulted in Lamar dropping one of his biggest bangers “Not Like Us.” In 2022 I had his album, Mr. Morale and the Big Steppers topping my list but that album faced the criticism that you often hear that Kendrick’s music it too conceptual, conscious or sleepy. GNX attacks that criticism with dramatic and cinematic effect, delivering one of his most engaging and eclectic track lists. The album is packed with west-coast throwback vibes, references to Tupac, viral moments and unforgettable bars. Whether it’s an upbeat club banger like “squabble up” or “tv off”, a throwback melodic groove like “luther” or “dodger blue” or a creative and conceptual track like “man at the garden” or “reincarnated” Kendrick is firing on all cylinders in every sphere. Producers include heavy hitters like Mustard, Jack Antanoff and Kamasi Washington and they create a sound that feels cohesive yet dynamic, forward-thinking yet nostalgic. There is a list of features the biggest of which is the incomparable SZA who provides some gorgeous choruses and duets, as well as many artists who are not household names but hold their own with the GOAT. As someone who sang Kendrick’s praises even on his less popular releases, it’s exciting to see this evolution late in his career. This year has proven he can be incredibly prolific without sacrificing quality and he can maintain his thoughtful approach while blending it with a more commercial appeal resulting in his best album in years.
Waxahatchee – Tigers Blood (ANTI)
Katie Crutchfield’s Waxahatchee project has been on my radar for over a decade now. I’ve always enjoyed her work but in the past few years she’s cemented herself as one of my favorite modern singer-songwriters. 2020’s Saint Cloud found her rocking out less and going for a more measured southern folky sound (which also continued on her fantastic team-up with Jess Williamson entitled Plains). That sound is not the only thing carried forward as Saint Cloud was dubbed her “sober record” and Tigers Blood continues those reflections, now 6 years into her sobriety. Katie has talked in interviews about rejecting the “tortured artist trope” and this record finds her reckoning with her chaotic past to find peace and contentment. Becoming a father this year, I cut out some bad habits too and can relate to this sentiment. Crutchfield recorded this album at Sonic Ranch with the incredible producer Brad Cook and throughout the album, she is joined by MJ Lenderman. Lenderman adds the odd harmony and guitar solo, perfect sparing touches to compliment this most recent chapter of Waxahatchee’s sound. Crutchfield’s unmistakable vocal performance effortlessly glides over twangy rock jams and softly picked campfire confessionals with artfully crafted lyrics that capture complex emotions with ease. The album dropped in April and never loosened its grip on me. To borrow a phrase from the opening track “3 Sister” every time I revisited the album these songs covered me like a friend.
Middle Kids – Faith Crisis Pt 1 (self-released)
In 2018, I played the song “Bought It” on the Best Song Ever Podcast from Sydney indie-rock trio Middle Kids’ debut album Lost Friends. I was taken with their effortless catchy brand of rock with incredibly affecting and insightful lyrics and vocals from singer-songwriter Hannah Joy. They have somehow continued to improve with each successive release, 2021’s Today We’re The Greatest was an indie-rock stunner. However, on Faith Crisis Pt 1 they crystalize their magic and go from a band to watch to hidden gem hitmakers. This album brings breezy pop-rock jams, driving rock masterpieces and intimate acoustic ballads. The band recorded in England with esteemed producer Jonathan Gilmore and they have never sounded better. As the title implies this album deals with the collapse of faith and much of the lyrics deal with themes of belief and use religious language and imagery. Joy conceived of this concept in the midst of the pandemic and at a time when she and husband/bassist Tim Fitz’s child was in the hospital and she found her faith in a god collapsing. When one loses their faith or leaves a religion there is a rebuilding that happens since your whole life – your decision-making, your judgement, your emotional-processing – is intertwined with your faith. This album captures that idea better than any I’ve heard before tackling similar subject matter. Though Middle Kids have a solid following, considering how amazing these songs are I think this is the most underrated album of the year.
Charli XCX – BRAT (Atlantic Records)
BRAT summer ended long ago but its impact is still felty. I don’t have to tell anyone that Charli XCX had a great year. She topped the billboard charts, ruled the internet for months and even became a marketing tactic for a presidential campaign (for all the good it did…). I unfairly dismissed Charli in the past but now recognize how influential she was on the pop landscape, working with A.G. Cook and the late icon SOPHIE, bringing hyperpop to the mainstream. Still, I never was a huge fan until BRAT. Its stark and striking green cover and early singles like “360” and “Von Dutch” grabbed my attention. Then, when the album dropped it delivered upbeat synthpop bangers like “Mean Girls” and “Club Classics” as well as more thoughtful contemplative tracks like “Rewind” and “i think about it all the time” where Charli considers the passage of time and contemplates motherhood. This was also an album that my wife became obsessed with so we would have it playing when driving and she would tell me all the theories she heard on Tik Tok about the inspiration for the songs. It’s no surprise that I consider this one of the best albums of the year. It’s Charli’s world and we’re just living it.
Vampire Weekend – Only God Was Above Us (Columbia Records)
This album was a return to form for one of my favorite bands. Vampire Weekend’s self-titled album dropped in my first year of college and it’s one of my favorite albumse. Essentially, their releases soundtracked my adulthood. I have so many fond memories of singing and discussing the songs from Contra and Modern Vampires of the City with friends. Rostam left the band in 2016 and their subsequent release Father of the Bride was a wild evolution. Though I have a soft spot for a wedding-themed album released the same year that my wife and I got married, they failed to recapture the magic of their earlier work. Only God Was Above Us seems a bit more focused, returning to the poppy-punk indie-rock sound blended with the impressive orchestral elements that wowed me on their debut. However, some of the wild exploration of Father of the Bride carries over so you have a great hybrid of all previous eras. This album is filled with the gorgeous piano runs of “Capricorn” and “Hope”, the surprising guitar solos of “Classical” and the interesting production experimentation like the looped sample backdrop of “Mary Boone”. Their music activates in me an almost cynical nostalgia with a hopeful undertone and that’s clearest on this album. It’s waking yourself up from the reverie of the past and recognizing that you must start a new day.
Dehd – Poetry (Fat Possum)
It’s always great to discover a new band that you love right before they drop a new album. I heard Dehd’s song “Bad Love” from their 2022 album Blue Skies on a TV show, then checked out the new singles for their upcoming album and it became one of my most anticipated albums of the year. Poetry did not disappoint, offering super catchy guitar rock jams with unique production and earworm melodies. This trio penned these songs on a writing session/road trip that brought them to scenic New Mexico, rural Montana and back to Chicago. This spirit of freedom and exploration shines through in these songs. To borrow a phrase from “Pure Gold” the “easy-breezy” attitude comes through in the lyrics, the guitar tones and the overall sound of the album. These songs blend airy twang rock and urgent effervescent pop. No matter where you are on the album there is a great vibe to ride out. They invite you along on their road trip and what ensues is a wonderful, unforgettable experience.
Ravyn Lenae – Bird’s Eye (Atlantic Records)
Ravyn Lenae has been a popular feature on albums from JID, Noname and many more, yet I had not dug into her solo work until this year. I first checked out this album because it had a Childish Gambino feature but it quickly became a favorite of mine and Lenae won me over as a singer-songwriter. On Bird’s Eye, she seamlessly blends funky pop, sunny folk, catchy rock and sultry R&B into an intoxicating brew. No matter what sound she’s employing it always goes down smoothly, as this album is gorgeous and engaging throughout. As the title implies, Lenae looks back on the past with clarity and evaluates past loves, eschews toxic lovers and finds her power in glorious fashion. The big-name features of Childish Gambino and Ty Dolla $ign are a nice touch and don’t ever steal the focus from Lenea’s stunning vocal performance. This is Lenae’s second album and she has truly set herself apart as an artist to watch, demonstrating her ability to seduce and surprise listeners with her magnetic style and incredible songwriting.
Clairo – Charm (self-released)
On the Best Song Ever Podcast, we celebrate Dad Rock Summer and this year mine was cut a bit short for the best reason, my wife and I welcomed our newborn baby! After we had returned home from the hospital and settled into our routine Clairo’s Charm was my return to the world of new music. These songs played on a loop in my head as I deliriously woke up every three hours to feed my son. It also majorly scratched the Dad Rock Summer itch as these songs channel soft-rock greats like Doobie Brothers and Steely Dan with jazzy grooves and gooey electric piano with layered vocal vibes. This was the first album my son listened to in the car with me (though he mostly slept through it) and it was the perfect one to start him off with since it was so chill, smooth and catchy. However, don’t let the entrancing package distract from the incredible lyrical profundity! Clair Cottrill contemplates her nature as a “Nomad” and past struggles with love to make an album that is incredibly introspective and infectious at the same time.
Cloud Nothings – Final Summer (Pure Noise)
This Ohio-based indie-rock trio has been delivering consistent quality for more than a decade at this point and on their ninth album, Final Summer, they provide one of their best offerings yet. Dylan Baldi, Jayson Gerycz and Christ Brown are locked in, never sounding better as they flawlessly balance raw rock energy with nuanced depth. They are masters of divining melodic brilliance out of noise rock fervor with existential and philosophical lyrics that offer thoughtful contemplation and sound advice. I went into this album expecting a straight-forward rock record but they outfit the songs with subtle surprises of synths and horns while still rocking hard as hell. While their discography is full of fantastic albums this one really took hold of me and is certainly one of their finest with thought-provoking lyrics and major key rock melodies that will stick with you.
Jean Dawson – Glimmer of God (self-released)
Glimmer of God was a late-in-the-year surprise that took me off guard. Though Jean Dawson has previously released three albums, done some high-profile features and even collaborated with Mac Demarco, he wasn’t on my radar until he covered Talking Heads’ “Swamp” on the Stop Making Sense tribute album earlier this year. I was struck by his style so I paid attention to his new release and it instantly gripped me! Dawson demonstrates his dynamic style and unique voice throughout, whether it’s the soulful crooning of album opener “Darlin’” or the sporadic 80’s funk rock of “Black Sugar” or the shimmering synthpop on “Houston” and “Electric Children” or the haunting swagger of “Die For Me (feat. Lil Yachty)”. These songs balance a flickering cinematic glow with lingering darkness, as Dawson expresses his pain and the emptiness of excess while searching for meaning. Though he was previously categorized as an emo artist, on this album Dawson proves that his abilities are much more innovative and expansive and I believe he is definitely an artist that demands our attention.