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 descending order.
Viagra Boys – viagr aboys (self released)
I had almost written off this band because of their outlandish name, but this year I got to know what they’re all about, and in hindsight, they couldn’t be called anything other than Viagra Boys. This Swedish band led by eccentric frontman and American ex-pat, Sebastian Murphy, has made a name for themselves in recent years by satirizing incels and masculinity, predatory wellness trends, and the dystopian quality of our capitalist consumerist culture. They do this expertly on this album, delivering catchy post-punk bangers that balance humor and bleak reality existing side by side. Murphy blurs the line between satirical commentary and autobiographical expression as he talks about how he “subscribed to your mom’s OnlyFans,” or “eats cigarettes for breakfast.” Some lyrics deceptively seem like they’re just fun and goofy, yet upon further listening hold deeper meanings and astute observations. This band holds a funhouse mirror up to our society and highlights the absurdity of our reality.
Model/Actriz – Pirouette (True Panther Records)
When I listened to Dogsbody, the debut album from Model/Actriz in 2023, I was intrigued but didn’t fully buy in, yet something about it stuck with me. This year, when I checked out their sophomore effort, I was locked in, and it all clicked into place. This band creates haunting, ominous, and dissonant rock music that is hypnotizing, addicting, and danceable at the same time. Frontman Cole Haden chronicles his journey of coming into his power as a queer man over grinding and throbbing industrial grooves. These songs are almost amelodic with spoken word vocals, yet they build and morph, making the bright spots and epic crescendos feel extra special and well-earned. This is a band with a singular sound and a distinctive perspective, and I look forward to seeing more of what they can do in the future.
Saba & No I.D. – From The Private Collection of Saba and No I.D. (self released)
Saba emerged out of the Chicago music scene that also delivered us artists like Jamilia Woods and Chance the Rapper. In the past decade, he’s been one of my favorite new voices in hip hop, both solo and with his Pivot Gang collective. He released two albums this year, but my favorite was this collaboration with legendary Chicago producer No I.D., who has produced for the biggest names in the music industry, including Beyonce, Common, and Killer Mike. On this album, Saba spits pure poetry over cozy, smooth, and sun-soaked compositions from No I.D. that feel uniquely Chicagoan. Saba prides himself on always staying independent, yet this album boasts big name features like Kelly Rowland, Raphael Saadiq, and Ibeyi as well as his common collaborators like Smino and BJ The Chicago Kid, among others. This year, as Chicago has become a target for fascist thugs and a hateful administration, it’s the perfect time to hear firsthand about the imperfect beauty of this great American city by some of the residents who know it best.
Black Country, New Road – Forever Howlong (Ninja Tune)
Forever Howlong marked a fresh start for British six-piece Black Country, New Road. Days before their last album release, lead guitarist and vocalist Isaac Wood announced his departure, and the band decided not to play any previous material at live shows, so they needed new songs. The resulting compositions are staggeringly expansive and ambitious, with surprises waiting around every corner. May Kershaw and Georgia Ellery, taking over as lead vocalists and songwriters, take this band to the next level. The wide variety of instruments employed makes this album feel so grand and special, with joyous bursts of melodic genius punctuating brilliantly written tracks. Their sound evokes the nostalgia of The Beatles and Joni Mitchell while also channelling more modern acts like Fiona Apple and Architecture In Helsinki. Since their first release, I knew there was something about this band that set them apart, but this unplanned new chapter crystallized their musical magic in one flawless album.
McKinley Dixon – Magic, Alive! (City Slang)
I’ve been a fan of McKinley Dixon since 2021’s For My Mama and Anyone Who Look Like Her, and on his latest offering, Magic, Alive!, he cements himself as one of the most inventive lyrical storytellers. On this concept album, he imagines someone resurrecting their deceased friend, imbuing the resurrected with superpowers. McKinley spins this grand tale over impeccable jazz instrumentals featuring appearances from some of the finest talents in indie rock and indie rap, including Quelle Chris, Anjamile, Shamir, Blu, and Ghais Guevara, to name a few. This record serves as a reminder of why we love fantasy and sci-fi storytelling: by exploring a heightened and fantastical world, we can reveal powerful truths about our own reality.
The Mountain Goats – Through This Fire Across from Peter Balkan (Cadmean Dawn / Thirty Tigers)
The Mountain Goats are one of my favorite bands of all time. I’ve listened to their previous 22 albums, seen them live, and return to their music constantly to mine forgotten gems. However, the last time they appeared on my Top 10 was in 2017 with Goths. After first hearing “Armies of the Lord,” I thought this new one might break that streak and that’s exactly what happened! As a fan of musicals, I was excited to learn that Lin-Manuel Miranda provided background vocals on this album – which makes sense since it is essentially their take on a Broadway musical. A grand orchestral overture begins things and the epic orchestrations continue throughout. The narrative revolves around 16 men on a fishing boat that sinks, leaving 3 stranded survivors, including our narrator and the titular captain, Peter Balkan. Each song conjures clear scenes of their journey of survival (or lack thereof) and explores themes of faith, madness, mortality, ambition, and unseen strength. Though the narrative is left somewhat ambiguous, the journey throughout is enriching. It’s a Mountain Goats musical, what’s not to love?
Stereolab – Instant Holograms On Metal Film (Warp Records)
Stereolab’s first album in 15 years is yet another return from a beloved group on my list this year. I heard “Ariel Troubles” earlier this year and became very excited, and the album did not disappoint! Each song here takes you on its own journey, with plot twists and unexpected instrumental appearances, so that a song you were already liking becomes even more awesome the more you listen. These instrumentals are rich with quirky synths, boisterous horns, dreamy guitars, and lush organs, and Lætitia Sadier’s regal vocals add a cinematic gravitas that takes them to the next level. Instant Holograms On Metal Film is pure sonic delight, and I became captivated by its specific charm and craftsmanship.
Geese – Getting Killed (Partisan Records / PIAS)
Brooklyn art-rock quartet Geese came on my radar with their incredible 2023 album, 3D Country. I didn’t think they could top that record but they’ve done it with Getting Killed. Frontman Cameron Winter has such a unique voice, sliding effortlessly from buttery baritone to creaky croaking. The music has always had a 70’s rock influenced sound, almost feeling like a band time-travelled from the CBGBs heyday. This album was produced by the great Kenny Beats, so their instrumentals have never sounded better. It was recorded over 10 days, and has almost a feverish, breakneck pace that adds great momentum to each track. I usually just let Geese songs wash over me, but the more I listen the more I find cryptic meanings in the lyrics, dealing with themes of love, freedom, control, and regret. This is one of the most exciting and interesting bands making music today, and this album is a great representation of the heights they can reach.
Turnstile – NEVER ENOUGH (Roadrunner Records)
Baltimore punk band Turnstile had been on my radar for their past few releases but when I heard their new album, their sound really clicked for me and I became obsessed. Their roots in the hardcore punk scene are still evident, yet they blend it with ethereal atmospheres, with frontman Brendan Yates’ vocals mixed and filtered as if he’s speaking to you in a dream. This interplay of sounds ensures that you never know what to expect on the next song, with shades of The Clash, The Strokes, Bad Brains, and Linkin Park appearing throughout the album. The unique sound lends itself perfectly to the lyrical content of this album. They explore the dark depths with “now my heart is hanging by a thread,” and “you’re better off alone” before the realization that, “finally I can see that these birds aren’t meant to fly alone.” NEVER ENOUGH beautifully captures the human push and pull between despondence and hope, between indifference and care, between isolation and connection.
Clipse – Let God Sort Em Out (Roc Nation)
What do you get when you combine the long-awaited return of two legendary lyricists with one of the greatest producers of modern music? The album of the year! After a 16-year hiatus, the Thornton brothers, better known as Pusha T and Malice, have come back together at last. Though Push has had an incredibly fruitful solo career in the time away, when these two collaborate on a track, it’s a particularly potent brew. While the brothers deliver some of their finest “coke bars” and true crime stories, they also tackle weighty emotional topics like Push’s wife miscarrying and the death of their parents. They blend emotional depth with triumphant braggadocio, telling their rags-to-riches story, the challenges they faced, and how “by the grace of god” they survived and excelled. All this is done over Pharrell Williams’ masterful production, with big-name features like Nas, Tyler, The Creator, and Kendrick Lamar. Not only is this album musically addictive, but the lyrics also reward further examination and analysis with easter eggs, brilliant turns of phrase, and expert songwriting and storytelling. I kept returning to Let God Sort Em Out and loved it more with each listen. This is a sterling example that gangster rap can be the height of artistic expression and musical workmanship.