With our mind’s eye, we envision brilliant cathedrals with rear balconies flanked by towering pipes, erupting in pious fanfare to a congregation stunned into resignation and worship.

Developing this idea through glitchy, noisy electronica, Pyur’s new record Lucid Anarchy releases its sonic energy in fits and spurts, giving us the sensation that something inside the music desperately yearns for freedom.

Folklike percussion and overall song structure give the project a distinct voice and a sense of trajectory, while choral-inspired harmonies layer over attention grabbing guitars and synth drones.

Now that we’re recovered from New Year’s Eve, a new set of dance records are conspiring to get us back on our feet.

The noise falls away when Geraldi escapes the city limits, the countrysides’ twangy pedal steel playing smooth and clear through the airwaves. But the road trip is inherently transient. The signal is lost.

Abstractly tracing the arc of abuse, this record begins with these hauntingly warm tones, sounds that hold you in a loving embrace even as you know that that embrace will imprison and stifle your soul later on.

Incorporating tendencies like swirling repetition and biting jazz chords within country music creates an unusual and unforgettable sound, inviting bands of the future to elaborate upon the ideas demonstrated here.

Seeing outer Chicagoland through the city’s eyes and vice versa, this album pulls us away from rural folk themes into an environment that we are significantly more likely to have firsthand experience living in.

Someone who sings about people 2 by natsu no owari begins with a dark punk sound rife with potential energy and adds in heavy influence from traditional and modern Japanese music, quickly hitting the gas and leaving all source material behind.

SPRINTS further refines their sound in Letter to Self, delivering frustrated and dark garage rock with an edgy 00s flair.

From nu metal throwbacks to experimental black n’ roll, the metal scene got ready for the new year with an impressive array of new releases. Let’s take a look at some of the last records of 2023!

As we headed into New Year’s, we entered prime time for dance music. Here’s some of the last dance records to come out last year!

We really thought that we’d be safe putting out our top 50 albums list a week ago, but 2023 had one last ace up its sleeve in the form of this masterpiece for the slacker generation.

When Solska rails against people in their community who have caused harm to themselves or their loved ones, their unapologetically bloodthirsty tone forces us to analyze our own most strained relationships, uncovering the most grotesquely spiteful portions of ourselves and forcing us to decide whether these enemies deserve such vitriol.

Like a fever dream somewhere between a late night true crime documentary and a televangelist sermon, the record Edifice by December Magic presents a mythologized version of the murder of JonBenét Ramsay.

As the record progresses, each track continuously strips back further layers of warm synthetic drone, further exposing a bumpy, bristling underbelly of clicks, wavers, and pops that destabilize the record’s central sound.

This album imprisons charming country and folk riffs into sparse loops with intense delay and reverb, recontextualizing the remoteness of the countryside into something threatening.

However, while the cracks in the American facade appear implicitly in other vaporwave releases, the stifling level of distortion and noise in this record makes its source material nearly unrecognizable, showing us just how far we’ve come from this so-called “golden age.”

The top 50 albums of 2023, according to us

Yes, we waited until the last possible minute to release our album of the year list. That being said, the artists we like to cover typically aren’t bound to the schedule of the broader music industry, and for our AOTY list a few last-minute additions were worth waiting until the actual end of the year.