Words by Kevin Connor
Kevin Connor is co-host of the Best Song Ever Podcast, where he and Luke play and discuss their favorite new music. He’s been eloquently labeled “The Banger Bitch.” If it slaps, rips, shreds, is a bop, a jam, or a certified banger – he wants it. It’s what he craves. He also reserves the right to completely trash this list as new discoveries come to light. Here are his top ten albums in descending order.
10. Brittany Howard – What Now (Island Records)
Brittany Howard’s resume may not be the longest – most people probably jumped on the bandwagon with Alabama Shakes’ debut, Boys & Girls. That album showcased Howard’s ability as a singer, songwriter, and guitarist to the general public, gathering critical acclaim and awards. Howard’s debut solo effort, Jaime, was a fantastic personal journey that didn’t resonate as much with me as her earlier work, but was a solid outing and an evolution in her sound. That culminates with What Now, a bombastic record that Howard released early in the year, and never really left my top 10. Slick production pairs perfectly with Howard’s distinct vocals, heard on the excellent single “Prove It To You,” where a dance beat illustrates the new sound Howard is putting forward. The highlight of the album is absolutely the title track, with a crooning chorus and shreddy guitar. With this album, Howard proves that her short career has already been a legendary one, with hopefully a lot more music to come.
9. I DON’T KNOW HOW BUT THEY FOUND ME – GLOOM DIVISION (Concord Records)
I DON’T KNOW HOW BUT THEY FOUND ME’s sophomore album GLOOM DIVISION barely contains any lowercase letters. Tracks like “GLOOMTOWN BRATS” and “SATANIC PANIC” seem likely candidates to be written, recorded, and performed in all caps. Lead vocalist Dallon Weekes is the driving force behind this album’s ear-wormy-ness, his often falsetto voice cutting through the soundscape, but the instrumentation backing him up does a heck of a job (I love hearing saxophone in an indie-rock album). GLOOM DIVISION is an melodramatic (complementary) effort that brings to mind the greats of the 2000’s (tell me “SIXFT” isn’t a hidden Julian Casablancas gem) that grooves across its runtime and often causes a replay from me, especially with the truly glamorous and funky “iDIOTS OF Oz” where the all caps end briefly, but the energy certainly does not.
8. Gurriers – Come And See (self-released)
Dublin-based Gurriers is one of my favorite up and coming bands, after featuring both “Des Goblin” and “Nausea” on the Best Song Ever podcast. Their debut – unannounced as of those episodes – was in my most anticipated albums at the time. It did not disappoint! Gurriers have a dynamism unmatched by anyone on this list. Fuzzed out guitars perfectly match up with screamed vocals, but where the album shines is in its variance, as in the previously mentioned “Des Goblin,” featuring a long, drawn out breakdown that keeps this album from repeating itself. As the tempo picks back up, it perks up anyone’s ears. The lyrics stand out as biting, shining a light on the worst of society as all good punk does, proclaiming that Gurriers won’t put up with it anymore. With music like this, I like their chances.
7. Fabiana Palladino – self-titled (XL Recordings)
Another one of my earliest entries in my top 10 list never left. Fabiana Palladino’s debut, a self-titled effort, stayed in my recently listened-to for most of this year. Palladino – daughter of legendary musician, producer, and songwriter Pino Palladino – proves off the bat she’s not just trading off her name (although that is what caught my attention). The album’s artwork features a noisy gradient with Palladino front and center, setting up the retro-inspired journey you’ll take when listening. 90’s production value drip from this record, with synths, drumloops, and handclaps all getting their day in the sun. The funky “Stay With Me Through The Night” is a highlight if you’re just looking for one song, but the entire record is worth a listen – you won’t be disappointed.
6. Fontaines D.C. – Romance (XL Recordings)
A Dublin-based rock band putting out a top ten album? Deja vu! The always excellent Fontaines D.C. elevates their signature gritty, garage sound with their most polished yet visceral entry to date with Romance, their fourth studio album. Led off by the dark and atmospheric title track, the highlight of the album is track two, the powerful “Starburster.” The chorus, featuring sharp inhales in between each line, is surrounded by the hypnotic vocals and instrumentation that Fontaines D.C. has been known for, but Romance stands out as a significant rock entry this year by chaining song after song after song into a streak of bangers (my one true weakness).
5. Brijean – Macro (Ghostly International)
Macro, the 4th album from the increasingly productive Brijean (Brijean Murphy and Doug Stuart), lives in its small moments – the micro. Broaching big topics in its ethereal and complex production, each individual element stands its ground in the album’s overall mix, heard across the entire album, especially in the first track after the intro, “Euphoric Avenue.” Conversations fade out as the soundscape of the track develops, introducing more and more instrumentation under Murphy’s gentle vocals. Macro offers a sense of sophistication in its tracks, tapping into a retro 70’s disco sound at times, but staying completely in the modern. Not to mention single standouts “Counting Sheep” and “Working on it” (the latter of which we featured on Best Song Ever ahead of the album’s release). Put this album on during your next get together – I’m sure it’ll set the mood just right, with all its big and small moments. The Macro and the micro.
4. Kendrick Lamar – GNX (pgLang)
Some behind the scenes to my process – As of 9:00AM on Friday, November 22nd, I had 2 of these blurbs written, and most of my top ten list picked. Still, with some weekend listening to accomplish, I figured I’d nail down the last 2 or 3 spots from the 32 albums that were on my shortlist at the start of the process. Then came #33. “MUSTAAAAAAAAAAAAAARD!” – yelled halfway through “tv off,” the rabble-rousing midway point of Kendrick Lamar’s sixth studio album GNX, which surprise-dropped in the last few days of determining this list. As the album looped for its second listen, I knew I’d be writing about it, which makes a lot of sense for this year. We all spent the spring on pins and needles as Kendrick and Drake traded barbs with diss tracks released at a quicker and quicker clip. In my mind, it had been settled with the excellent “Not Like Us” which Kendrick played 5 times in a row at a June concert. He’s gearing up to perform at Super Bowl LIX in New Orleans in February. No one can take aim at Kendrick Lamar and come out unscathed, which is the main message of GNX. Compared to the contemplative aura of 2022’s Mr. Morale & The Big Steppers, Kendrick spends GNX collaborating with longtime partners and up-and-coming artists to put out an insanely listenable album with slick production and incredible bars. I’m looking forward to listening to this over and over again.
3. Sabrina Carpenter – Short n’ Sweet (Island Records)
That’s that me, top ten list. Yup, I’m making the “Espresso” joke – if you don’t want hacky and contrived, I’m sure my Best Song Ever co-host Luke LaBenne’s top ten list is somewhere on the site. Having said that, stick with me. “Espresso” was the song of the summer, it’s got the best beachy sunny production I’ve heard in ages. Carpenter’s breathy vocals match perfectly with the nearly clever by a half songwriting, and Short n’ Sweet almost took too long to release; despite the excellent “Please, Please, Please” serving as a second single, the album could have been DOA if it were anything but a perfectly executed pop record. The album lives up to its name, not overstaying its welcome and delivering a dozen ‘poppy nugs’ in its brief 36 minute runtime. Despite a handful of viral moments on the album that have populated my social feed (“I’m working late, ‘cause I’m a singer,’ ‘Who’s the cute boy with the white jacket,’ and her nightly Juno performances), Short n’ Sweet is more than just its’ parts; it’s Carpenter’s entry into superstardom.
2. Justice – Hyperdrama (Ed Banger Records)
There’s just something about a French electronic duo. Justice’s Hyperdrama filled a two-robot-sized hole in my heart. Hyperdrama is elegant, smooth, cinematic, and hits all the greats highs an electronic record should be hitting. Lush with strings, synths, funk-inspired instrumentation and so, so much bass, the album art itself takes the band’s classic cross logo (first featured on their 2007 debut) and fills it with machine-powered arteries, pulsating as if alive. This visual evolution matches the auditory one, where Justice’s fully fledged production feels so much fuller than their early work (a great comparison – play 2007’s “Genesis” back to back with “Generator” the first feature-less track on this album), and you can hear more wavelengths of sound filling your ears. Not to mention, the phenomenal features on Hyperdrama elevate it beyond their previous work that stayed nearly entirely within samples. Justice and Tame Impala are a match made in heaven, but every artist that shows up on the album is bringing their best to match the energy and skill of Justice.
1. Magdalena Bay – Imaginal Disk (Mom+Pop)
Grab a pair of headphones if you haven’t heard this one. Magdalena Bay’s sophomore album, Imaginal Disk, deserves an in-depth listening experience. The pop duo of Mica Tenenbaum and Matthew Lewin impressed with 2021’s Mercurial World, proving they had pop songwriting chops (and knew for sure how to sequence and album – please see the back-to-back-to-back run of “Dawning of the Season,” “Secrets (Your Fire)” and “You Lose!”). Imaginal Disk features its own brilliant trifecta in “Image”, “Death & Romance” & “Fear, Sex” – the latter two sharing a DNA and almost feeling like a reprisal in a new tempo and style. However, Imaginal Disk isn’t just the hits – top to bottom Magdalena Bay has evolved their sound into something unlike anything else on the pop/alt spectrum, not to mention the band’s visual presence (album covers/music videos/Spotify canvas) demonstrate their current direction feels like a peek into the future. If that’s the case, I’m thrilled to hear what’s to come next.