Three months ago, I kicked off this website by gathering 15 albums I considered to be underrated from the year thus far. As 2023 is starting to come to a close, I can't help but feel once again compelled to share my thoughts on some more phenomenal albums that I feel haven't received anywhere near the attention they deserve. This list consists of 10 records that have either been released or finally reached my radar within the past few months, all of which I enjoy quite a bit. I did my best to pull from a multitude of genres, and I think that this list serves as a solid combination of gems that have thus far eluded both many mainstream and music-Twitter-thread conversations. If any or all of these records are familiar to you, I hope you enjoy my thoughts on them, and if these picks are completely unfamiliar, I sincerely hope this article can help you find some last minute greatness to help spice up your Spotify Wrapped by the time the year has come to a close. Now, without further ado...
1. Me Chama De Gato Que Eu Sou Sua - Ana Frango Elétrico
Genre(s): Pop, MPB (Música popular brasileira)
For their third studio album, Brazilian polymath Ana Frango Elétrico set out to communicate something more personal and decidely queer than anything they had created before. The result was Me Chama De Gato Que Eu Sou Sua (Call Me They That I'm Yours or Call Me Cat I'm Yours), a 30 minute masterpiece of tightly produced Brazilian pop bedazzled with boogie, jazz, easy-listening, and so much more. Although the majority of the album and its titles are in Portugese and have not been translated in any sort of official capacity, this is a record that should find its way into every single person's rotation by the time this year has come to a close. Elétrico themself has stated that the album's central focus is its production and instrumentation, so while the words are undoubtedly lost on a listener such as myself, the power of the music is still nothing short of electric. Me Chama is an addictive romp that seamlessly transitions from styles and genres with each and every new sound. Elétrico's vocals are charming and strange, utilizing their childlike rasp as one of the most dynamic instruments in the record's arrangements. The soundscape ranges from full-on string sections on tracks such as "Nuvem Vermelha" to Mario Kart-ready synths on "Boy of Stranger Things." At every turn, Elétrico embodies an essence of unabashed self-expression and care, curating an album that's as welcoming as it is button-pushing. This is easily one of my favorite things I've had the privilege of hearing this year, and while it has certainly received a good deal of praise from the likes of Anthony Fantano, the fact that Me Chama isn't dominating more Album of the Year discussions is nothing short of perturbing.
Favorite Track: Nuvem Vermelha
2. Sardines - Planet Asia & Apollo Brown
Genre: Hip-Hop
In 2017, Detroit-based producer Apollo Brown and West Coast indie darling Planet Asia came together to create Anchoives, a hard-hitting record of dusty boom-bap revival that's never strayed far from my rotation. Six years later, the duo has once again blessed us with another full-length collaboration, this time entitled Sardines, and it's even grimier than we ever could have hoped for. Clocking in at a runtime almost identical to Anchoives — as well as returning to the thematic imagery of canned fish — the two records very much feel like companions to one another. This time around, Brown's beats are swampy and lurching; a stark contrast to his usual penchant for chipmunk-soul sample chops. Planet Asia rides every track with the gravelly splashes of braggadocio he's become known for, but his pen sounds even hungrier than usual. His lyrical gymnastics walk an impressive tightrope between Royce da 5'9"-esque complexity and Jadakiss-level grittiness, and he once again sounds completely comfortable amidst Brown's production. Without a doubt, this particular duo is one of the most underrated pairings in modern hip-hop, and their undeniable chemistry permeates the entirety of this record. You can tell that these two know how good they are, but rather than feeling like a victory lap, Sardines is hungry, striking, and raw; and I for one couldn't be more pleased.
Favorite Track: Peas & Onions
3. Solar Music - Butcher Brown
Genre(s): Jazz, Hip-Hop, Funk
For Virginia-based jazz quintet Butcher Brown, genre-bending isn't really a habit, it's a given. As the band's drummer Corey Fonville explains it, "We get daps from the jazz cats, the rap scene, the indie scene, and everyone else." For the band's latest LP, Solar Music, they channel that web of connections into their most star-studded and ambitious effort to date. The band's players are here in full force, but the track-list is also littered with names like Pink Siifu, Jay Prince, Nappy Nina, and many more. Clocking in at nearly 55 minutes and consisting of 20 tracks (17 not including single mixes), this is a gargantuan leap forward for the jazz outfit, and speaks to even further growth in their future. Butcher Brown's music has always sounded like a tapestry of wide-ranging influences being filtered through a modern vision of Southern jazz composition, but Solar Music pushes that ambidexterity even further. The music is effervescent and strange, but never strays into abstraction or alienation. There really is something for everyone on this one; ranging from moody funk epics ("Espionage"), disco-infused dance bangers ("MOVE"), or Bossa Nova revival ("Run It Up"). If you're at all a fan of jazz, hip-hop, or R&B and are somehow still unfamiliar with Butcher Brown, Solar Music is the perfect place to begin what will undoubtedly become a very addictive venture.
Favorite Tracks: Espionage (feat. Charlie Hunter)
4. Deli Girls - Deli Girls
Genre(s): Punk, Techno, Industrial
Deli Girls are a well-documented fixture in Brooklyn's late 2010's queer punk scene, consisting of vocalist Dan Orlowski and a roster of different producers and bandmates. For the last several years, the band's music has consisted of raucous punk messaging paired with neck-snapping industrial backings. This latest effort is no different, and it might just be their most abrasive project to date. Clocking in at nearly an hour in length, Deli Girls is perhaps best described as an auditory assault, overwhelming the listener with mountains of breakbeats, screaming vocals, and chronically-online sample chops. This is easily the least accessible album on this list, but that doesn't mean that there isn't plenty here to enjoy, especially if you're already a fan of noisy or experimental music. On every song here, Orlowski teams up with a different listed producer, resulting in a wildly varied soundscape that still manages to deliver a very similar vibe. What is that vibe, you ask? Well, while Orlowski's lyrics can oftentimes be difficult to pick out of the mix, the general rhetoric of the album comes across fairly clear: destruction. While it may be decked out in the trappings of every other hardcore genre under the sun, make no mistake; Deli Girls is still very much a punk album. The energy on this album is gripping and utterly cataclysmic, sometimes straying into hyper-pop levels of self-parody and irony, but never fully losing its rage-filled heart. There have certainly been clearer and more precise musical statements made in the same vein as this particular album, but that doesn't mean that this one should be brushed past as a result.
Favorite Track: Stay (feat. Fortified Structures & Johnny Killman)
5. Greg Mendez - Greg Mendez
Genre(s): Indie-Rock, Alternative
While he was admittedly unfamiliar to me, Philly-based singer/songwriter Greg Mendez is far from being a new kid on the indie-rock block. Having come into prominence alongside names like Alex G and Rachel Lightner, Mendez' fuzzy sketches of heartbreak and angst have helped him earn a devoted cult fanbase over the past few years. His latest release, Greg Mendez, is a continuation of that familiar indie-rock style, and the project serves as his most well-rounded work yet. For a mere 23 minutes, Greg Mendez explores a litany of intimate woes including weary ruminations on faded childhood memories and hopeless appeals to unattainable lovers. The resulting mood is incredibly gentle, something that is only reinforced by the record's utilization of lo-fi instrumentation and grainy mixes. While I'm sure it's a comparison Mendez himself is quite tired of at this point, I really can't emphasize how much fans of Alex G are going to enjoy this project. This is by no means an attempt to diminish Mendez' work as derivative, but rather a testament to how well his own brand of heartfelt songwriting adds so much to the sound of one of modern indie-rock's most popular lanes. For anyone who enjoys artists like Alex G or is in the mood for something downtrodden to soundtrack the tail end of their autumn; look no further than Greg Mendez.
Favorite Track: Clearer Picture (of You)
6. I've Got Me - Joanna Sternberg
Genre(s): Singer-Songwriter, Folk
Since signing to the Fat Possum roster in 2019 and re-releasing their debut studio album, New York-based singer, songwriter, and cartoonist Joanna Sternberg has become a beloved cult figure of indie music over the last several years. Five years after that debut (which was originally released in 2018), Sternberg has debuted with their second full-length project: I've Got Me. Recorded in just five days, the album collects years of personal complications and struggles within the music industry — as well as that little thing known as the COVID-19 pandemic — into a concise package of unassuming brilliance. Produced by Matt Sweney, the record embodies a distinctly DIY aesthetic that truly feels like listening to someone perform from the comfort of their own home; probably because that's exactly how it was recorded. Sternberg plays every single instrument heard on the album, and the result is a home-spun record that sounds not unlike the sonic equivalent of a well-worn sweater. Sternberg's lyrics are confessional and wry, and their performances are Daniel Johnston-esque in the best possible way. At times, listening to I've Got Me can feel like having your ear pressed against someone's bedroom door, because while the record is certainly whimsical and fun-loving in nature, it's also an expression of tribulation and the tooth-and-nail struggle for healing. Without a doubt, Joanna Sternberg is definitely someone who will not be going anywhere but up in the coming years, and I'm so glad they've made their way into my library (thanks, Blake).
Favorite Track: Mountains High
7. Permanently Blackface (The 1st Expression) - Lukah
Genre(s): Hip-Hop, Jazz
In case the cover art for Memphis rapper Lukah's latest album, Permanently Blackface, wasn't indication enough, I should make it quite clear that this is not a record that pulls its punches whatsoever. This is an album fueled by rage and injustice, and it channels those feelings into a scathing depiction of the dystopian realities of Black men and women in America. While runious ruminations are certainly nothing new for Lukah and his music, Permanently Blackface is downright brutal in its execution. Lukah's performances are gut-wrenching and sharp, spitting with fiery passion and tinged with the inescapable sadness of all that has been lost. His writing here is nothing short of astounding, demonstrating a level of technical prowess and emotionality that even the headiest of rap fans can't help but acknowledge. His words are paired with a variety of haunting jazz instrumentals, which spin a backdrop of macabre elegance for him to paint upon. As the title and cover suggest, this album is deeply concerned with minstrelry, both the actual practice as well as the innumerable comparisons that can be drawn to the treatment and explotation of Black bodies and Black art. The album is narrated by an unnamed speaker who provides a conceptual structure to the record, and nearly every single one of his pieces is preceded by distorted recordings of the beloved Al Lewis (from The Muensters) performing in blackface. When paired with Lukah's exceptional storytelling throughout the record ("A Black Man's Worst Fear" needs to be heard to be believed), Permanently Blackface is an engrossing and utterly important album that needs to be talked about more than it currently is. This is the sort of project that leaves benchmarks for other artists to return to, and the world of hip-hop should consider itself lucky to be existing in a time when Lukah is also contributing. Please, please, please... listen to this album.
Favorite Track: Melanin Child (feat. LottaLox)
8. Coin Coin Chapter Five: In the garden... - Matana Roberts
Genre(s): Jazz, Spoken Word
In 2011, Matana Roberts began the multi-chapter Coin Coin series, a musical jazz project that aimed to explore the ancestry, history, and beauty of both Roberts' own life as well as Black people at large. Eleven years later, the 47 year-old instrumentalist and composer returns with their fifth installment of the long-running series, this time entitled In the garden... The album is one of the most distinctly narrative-driven in the Coin Coin saga thus far, detailing the story of one of Roberts' ancestors who underwent an illegal abortion. Through a soundscape of avant garde jazz experimentation, Roberts unfurls that narrative with a delicate sense of care, simultaneously informing the listener while also discovering things for themself. Musically, the album is guided by wavering string sections and gritty percussion, usually punctuated by Roberts' emotive saxophone wailing. In between the sections of instrumental experimentation, the album is filled with spoken word pieces that unveil the album's narrative through half-forgotten memories and anecdotal accounts. Roberts has described this album as a "character study," and this theme is clear to see in how the record is presented. Much like the rest of the Coin Coin series, In the garden... is a tapestry that collects an innumerable array of threads, but this particular album feels even more human than some of the other entries in the series. The record is unafraid of imperfection, and revels in the mire of unreliability and fallibility as it sets out to tell its story. Coin Coin Chapter Five is far from being the most accessible album on this list, but I can wholeheartedly promise that it's an experience you will not soon forget.
Favorite Track: Unbeknownst
9. Suntub - ML Buch
Genre(s): Dream Pop, Alternative
While I was completely unaware of ML Buch prior to hearing this album, a quick deep dive into her past work revealed just how much of a departure Suntub marks from her usual sound. While much of her earlier music has relied heavily on cybernetic soundscapes, the focus on this latest record is decidely more grounded. Through mostly guitars and ambient synth pads, Buch conjures up a world of dreamy 90's nostalgia. While the album certainly pulls from a variety of alternative influences, actually pinpointing the specific styles proved to be somehat of a futile endeavor. There's traces of just about everything that was once "cool" (Joy Division, Roxy Music, Bathaus, the Cranberries, etc.), but Buch incorporates them so strangely and so deftly that the result is wholly a brand new creation. This is by no means an inaccessible or off-putting record, but it's certainly experimental. Suntub sounds very much like a dream within a dream, and truly reminded me of the half-remembered melodies I would hear playing from my mom's car radio when I was younger. Lyrically, Buch's focus is very much corporeal, often referencing the human body by way of its many disparate parts. The songs play out like otherworldly encounters with the natural world, and listening to Suntub can absolutely feel like an out-of-body experience at times. Altogether, it's a captivating introduction to a compelling artist I'm so glad to have found, and I have no doubt that I'll be returning to this record many, many times before the year is out.
Favorite Track: Somewhere
10. Zango - WITCH
Genre(s): Zamrock, Psych Rock
Of all the things that could have happened in 2023, I never would have predicted the return of the legendary Zamrock band WITCH, reuniting for the first time in nearly 50 years to release one of the most exciting albums of the entire year. Formed in Zambia during the 70's, WITCH's early output consisted of psychedelic rock and funk albums that introduced an African twist to the music and helped spearhead a burgeoning genre known now as "Zamrock." Over time, the group's music has garnered a significant cult status, and records such as Lazy Bones!! have become staples in trendy record stores and Spotify playlists alike. With many of the original band members still kicking, WITCH has seen fit to return to the world of music with Zango, and us listeners couldn't be more lucky. Make no mistake, this album is not at all an attempt to reinvent the traditional WITCH formula. While there are certainly splashes of modernity, such as the inclusion of Zambian rapper Sampa the Great, Zango is ultimately a tried-and-true throwback to everything that the band's original style embodied. In fact, in keeping with the tradition of their early records, this album was recorded on 1/8 inch tape, ensuring a sound that feels completely seamless when placed next to the rest of the group's discography. Aside from mere aesthetics, the songs here are some of the tightest and well-performed the band has ever released. The years haven't softened WITCH even a little bit; their playing here sounds hungry and spirited, and the music is just as groovy and psychedelic as it's ever been. There's truly a tremendous amount of heart poured into this record, and seeing the return of such a legendary and important group alongside such an incredible album is a rare and beautiful moment to witness.
Favorite Track: Nshingilile (feat. Keith Kabwe of Amanaz)
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