The journey to find the 23 best albums of 2023 continues! That’s right, we’re listening to new albums as they come out each month and sorting the standouts into “yes” and “maybe”. Next up: June!

If you’re new here, this all started in 2021. In a quest to get familiar with newer music, I listened to the critics choices for the best albums of the 2010s, and picked my own favorites based on their choices. I did the same for 2020, picking my top 20 from their lists. And I started off listening to new releases each month, eventually arriving at my picks for the 21 best albums of 2021. I had so much fun in the process that I decided to do it again in 2022, listening each month and discovering the 22 best albums of 2022.

There are links to the 2020, 2021, and 2022 albums in the posts, but if you’d like a one-stop playlist for each year, I’ve set that up on Spotify:

• 2020 top 20
• 2021 top 21
• 2022 top 22

And if you want to catch up our voyage through 2023, the earlier posts for this year are here:

( January/February/March April May )

As for how those “yes” and “maybe” categories I mentioned above work, as I listen to the new releases for each month I sort the ones that particularly catch my attention into two categories:

Yes– This represents the albums that, upon first listen, could definitely be in running for best of the year.

Maybe– These albums have a lot to recommend them, but also something that gives me pause. I put them in their own category, because I’ve found “maybes” sometimes linger and eventually become “yeses”.

Now that we’ve got that established, let’s get on with my picks from the 121 June new releases I listened to!

Albert Hammond, Jr., Melodies on Hiatus– What with his work with the Strokes and all, Hammond is clearly a top rate guitarist, and this makes me aware of just how much the sound of that band owes to his rhythm guitar work. But this is not just a matter of a Strokesque album, though those flourishes are delightful. It’s the deft way he has with balancing melody and rocking guitar, and genuine melancholy yearning that leaves an impression.

Baxter Dury, I Thought I Was Better Than You– Dry wit and more than vaguely unsettling lyrics wrapped in sophisticated pop and laid-back detached spoken word vocals. You might think from all these descriptors that he’s English. You would be right! He is also, incidentally, the son of Ian Dury of Blockheads fame, and it is apparent that a great deal of the sardonic deadpan passed down to him.

Big Freedia, Central City– This album from New Orleans-based rapper Big Freedia is overflowing with humor, booming bawdy energy, and classic mix motifs. This is apparently a subgenre known as “bounce music”. And heaven knows this is a historical moment where exuberant energy from a gender nonconforming gay man who embraces femininity is extremely welcome.

Bob Dylan, Shadow Kingdom– We all had to figure out something to do during COVID. For his part, Bob Dylan put out a black and white film of a live-in-the-studio concert where he revisited songs from earlier in his career. Two years later he’s released an album version of that concert. Casting early Dylan into later-day Dylan with a slowed down and precise vocal phrasing and musical reworkings of his old standards is kind of a revelation. It makes you realize what he’s been doing since Time Out Of Mind, and both the links it has with his earlier work, and the phase shift involved.

Boris/Uniform, Bright New Disease– New York industrial noise-rock band Uniform toured with the also noisy and pan-genre Japanese trio Boris in 2019. The two groups then began recording music together. The result is unhinged in the best way- it has elements of noise rock, metal, hardcore, all delivered with an edge of madcap experimentalism.

Detwat, HiTech– I have learned that ghettotech is a fusion of electro, techno, ghetto house, and Miami bass that has arisen from Detroit’s club scene. I’ve also learned that I like this. It’s very fresh! It shows the verve of both good hip hop and electronic, with stuttering energy, humor, and a sophisticated mix.

Dream Wife, Social Lubrication– I was on the edge with this- at first it seemed punky, but not terribly originally so. And pleasantly featuring girl-power, but not overly notably. But then the lyrical bite kept coming, and the 80s and 90s alt influences got piled on top of the punk. This London-based band won me over!

Joanna Sternberg, I’ve Got Me– Quirky vocals, acoustic, with sharp dense emotionally internal lyrics and slightly off-kilter instrumentation. It’s often kind of sing-song, and deliberately artless, but vulnerable. All-in-all, this NYC-based singer, songwriter and visual artist is doing something delightful and that I want to hear more of!

Juan Wauters, Wandering Rebel– The lyrics here are at times wistful and at times tongue in cheek, the musical mix light and inventive, the whole thing shot through with his signature experimentalism, and winning multi-cultural mix. The formerly Queens-based artist has relocated to his native Uruguay, and both landscapes show through here.

King Gizzard & the Wizard Lizard, PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation– This Australian psyche band par excellence is nothing if not constantly morphing, and this morph has them going full-out metal- there’s some thrash, some psychedelic, some stoner, and it doesn’t falter for a single one of its 7 tracks.

Nat Myers, Yellow Peril– A Korean-American Blues musician, which is a story I like. But even better, it is as fine a genuine-feeling dynamic set of steel guitar traditional blues as you are going to find. It never felt less than fun and true for a single track.

Owl City, Coco Moon– I heard this was from an electronica collective, which put me a little on edge. But in fact, it turns out to be delightful! It is electronic , but in the way, for example, the Postal Service is electronic. And in fact, reminds me of the brighter and more quirky side of Ben Gibbard’s work. It’s somewhere between affecting storytelling and high-energy summer fluff, and unusually informed (for indie electronica) by the artists’ Christianity. Per Wikipedia: “Owl City is an American electronic music project created in 2007 in Owatonna, Minnesota. It is one of several projects by singer, songwriter and multi-instrumentalist Adam Young, who created the project while experimenting with music in his parents’ basement.” Three cheers for music that comes from parent’s basements!

Ruen Brothers, Ten Paces– An atmospheric indie rock with cowboy ballad flavorings, minor chords, and weird western themes. How am I not going to fall for this? I’m NOT not! Turns out on subsequent investigation that they are an English duo infatuated with American music a la rockabilly. Well, okay! Well done lads.

Speech Bebelle, Sunday Dinner on a Monday– This British hip-hop artist has an interesting voice, in both senses of the word, and a lush richly-produced mix backing her. I really appreciate her poetic flow, and the fact that it takes on social concerns and reveals internal emotional truths with equal fluency, organically joining the two.

Sweeping Promises, Good Living Is Coming for You– Such a bright clear classic new wave sound! They wouldn’t sound out of place on a circa 1983 double-bill with Missing Persons. Which is not to say there is anything inauthentic here, behind the slinky synthy excellence, there’s some genuine heft and personality to the vocals of lead singer Lira Mondal. Dagnabit, I think I love this Kansas by way of Austin by way of Boston by way of Arkansas band!

Teke::Teke, Hagata– Their album Shirushi made my 2021 Honorable Mention list, and this one is charming me in a similar fashion. Eclectic, alternately serrated and swinging, with an edge of dark frenzy and a hefty dash of mirthfulness. Yes, it is all in Japanese, no that doesn’t matter, the wealth of its sonic landscape is well worth the journey.

Witch, Zango– “On their first album in nearly 40 years, the Zamrock pioneers prove their malleable, genre-spanning style still sounds like the future.” So says Pitchfork, and I don’t disagree! It reminds of the sunny rock/soul crossover of the late 60s a la Sly Stone, the African polyrhythms informing new wave, good old fashioned crunchy 90s guitar rock, and other things besides. The musical approach is so fresh and alive I’ve got to consider it!


Maybe

• Bobbie Nelson/Amanda Shires, Loving You– One of my 2022 top picks, Amanada Shires, with Willie Nelson’s sister covering country-flavored standards with associations with Willie Nelson. Well shucks! It isn’t the most original thing ever, but it is pretty darn nice.
  
  
• Bombadil, In Color– What a sunny, multi-layered, weirdly fun world this invokes! Color me a fan of this eclectic neo-folk North Carolina band. Also, it’s surprisingly coherent given the way it was recorded in different locales during the pandemic, though there are some pacing issues.
  
  
• Bully, Lucky For You– I feel like this fell straight out of the 90s! Crunching guitar rock, ragged vocals, a deliberately unkempt, in your face energy. There are glimmers of 00s dance, because she is of the generation that is pop-fusing that with 90s alt rock (witness guest track by Soccer Mommy). It’s derivative, but it’s a good derivation.
  
  
• Cory Hanson, Western Cum– A little southern rock, a little country rock, gets into 70s classic rock riffs, and occasionally ventures into country hardcore territory. Sometimes reminiscent of Neil Young. All with a great deal of humor! It’s a mood, it’s an era, but it is a great evocation of it.
  
  
• Jason Isbell & the 400 Unit, Weathervanes– I am such a sucker for what Jason Isbel does. On this album, he starts on a genuinely dark and spooky note musically and lyrically, then lightens up from there- mixing in his signature combination of country, 70s rock, Springsteen-reminiscent anthemic songs, and Dylan-reminiscent sketches. But even as the music grows more exuberant, the darkness and ache is never far away. It’s a little incoherent for its sprawl (with a run time of an hour), but that’s the only thing keeping it from “yes”.
  
  
• Jenny Lewis, Joy’All– Comparing Jenny Lewis to the best of Jenny Lewis is maybe unfair to her, but that’s what you get for being great! On that front, her lyrics here are occasionally shallower, her vocals sometimes more washed out, and the music not always as sharp as her best. in other words, sometimes it is merely “good” instead of “really, really good”. But definitely good enough for a second listen!
  
  
• Jess Williamson, Time Ain’t Accidental– A country folk excursion with hints of Jenny Lewis, Nanci Griffith, and others. The lyrics are richly visual, evocative of the musical space without being cliché, and her voice warmly invites you in. It has a fairly narrow musical and vocal range but bears repeated listening.
  
  
• Kool Keith, Black Elvis 2– Sequel to the well-regarded 1999 solo album from this founding member of the Ultramagnetic MCs. And, indeed, it has a certain kind of 90s verve to it- hard metallic drive to the beats and the flow, clever lyrics, varied if not downright whacky samples. As if to prove the point, there’s even a guest spot from Ice-T. And there’s a track devoted to Marvel comics, so you know that’s going to reel me in.
  
  
• Laura Cantrell, Just Like a Rose: The Anniversary Sessions– Well that is some lovely countrified electric Americana! Both musically and vocally it’s full of brightness and clarity, with lyrics and chord changes that have a feeling for authentically honoring country while bringing in pop rock energy. Cantrell has been recording in this vein since the late 90s, and this is her 6th solo album (raising a family and having to work for a living having taken a lot of her time). The musical and vocal range is rather narrow track to track, which is about the source of my “maybe”, but it shines with sincerity.
  
  
• Louise Post, Sleepwalker– I like cooking with salt. Do you know what kind of salt I like best? Veruca Salt! So, in service to my evergreen love affair with 90s loud guitar alt rock female singers, I am always going to be interested in what Louise Post is up to. And she’s up to classic form here! Not to mention self-consciously looking back and reminiscing. As such, it sounds a little dated. As such, I can’t help but love it.
  
  
• Lucinda Williams, Stories From a Rock ‘n’ Roll Heart– Lucinda Williams rocking out is going to be a pretty good combination to bring me on board with. And indeed, this album is full of fine moments. It lulls toward the second half, but even if It isn’t “great” Lucinda Williams, “good” Lucinda Williams is pretty great.
  
  
• Metro Boomin, Metro Boomin Presents Spider-Man: Across the Spider-Verse (Soundtrack From and Inspired by the Motion Picture)– This soundtrack is led up by hip-hop and trap DJ/producer DJ Leland Tyler Wayne aka Metro Boomin, but loaded full of guest stars. The surprising news, to me, is how successful it is as an album. Perhaps because of the focus the film provides, perhaps because of a skilled producer with a clear vision, it feels “together”. And even uses auto-tune in a way that feels holistic to the songs and tone of the album without sacrificing dynamism and vitality. I’m not totally sold, but I can’t dismiss it as a possibility!
  
  
• Pardoner, Peace-Loving People– A nice snotty jangly guitar sound that reminds me of a certain strain of American alt 80s and 90s alternative, with occasional dips into total hardcore, delivered via 14 songs in 28 minutes. Not the most original components ever, but I will say I liked it more as time went on. And wouldn’t you know they’re a San Francisco band?
  
  
• Protomartyr, Formal Growth in the Desert– Solid post-punk, with an edge of industrial, and some weighty anger, as befits a band from Detroit. They remind me of many things from the 80s and 90s, and as such, it’s not a startlingly new or different sound. If you read Rage Against the Machine through Magazine, you might get something like this. But the feeling conveyed is genuine, urgent, and timely.
  
  
• Son Volt, Day of the Doug– This tribute album to Tex-Mex musician Doug Sahm was conceived by Son Volt frontman Jay Farrar. What results is classic Son Volt, lent a little bit of focus by the theme. Not “different” from the countrified rock space they usually operate in, but very well done.
  
  
• Special Friend, Wait Until The Flames Come Rushing In– Their 2021 album Ennemi Commun was on my semi-finals list. This has that same feeling for fuzzy guitar, pop melodies, and genuine emotion with quirky twee delivery. I won’t be mad at listening to it again!
  
  
• The Baseball Project, Grand Salami Time– This starts off feeling like a lost album from the original American punk scene(s) somewhere between New York and LA. Not on the hard thrashy side, but on the more melodic, and conversant with 60s harmonies side- think Richard Hell, Television, X. Or the New York Dolls. More than a hint of garage psyche gets into it from there, a la the Nuggets collection. I am a little unsure due to the multiplicity of dated feels but darn it’s a good exemplar of its sounds!
  
  
• The Dead Milkmen, Quaker City Quiet Pills– In a way, this could have been an album from them at any point in the 80s or 90s. But the snarky excellence and low-key brutality of their approach on songs like, “Grandpa’s Not Racist” is pretty damn timely. Dated? Timeless? Any which way, I have to consider it.
  
  
• Youth Lagoon, Heaven is a Junkyard– This is musically and vocally extremely low-key, which had me on the fence. But also, haunting, and compelling in the melodic yet ragged spell it weaves. Youth Lagoon is the vehicle of Idaho-bred bedroom pop/neo psychedelia musician Trevor Powers, returning after a break since 2016. Welcome back!

And there you have it, June, coming to you before the end of August. We’ll keep working on the pipeline. Because you can’t quit when you’re halfway there!