Over the last five years, Janelle Monáe’s brand as a creative force to be reckoned with hasn’t gone unnoticed. However, after dipping her toes into new experiences like acting and writing, she’s getting back to her musical roots. Much like the Kansas City-bred, ATL-cultivated musician herself, The Age Of Pleasure (which clocks in at just over 32 minutes) is sweet and petite. Yet, despite its length, her fourth studio-album serves as a jam-packed, Pan-African-spanning ode to finding pleasure in everyday moments.
Released June 9, The Age Of Pleasure creates a comforting space for Monáe and her beloved “Fandroids” to live out loud. Crafted in response to the pandemic and influenced by “Everyday People,” a globally-recognized cultural gathering and love letter to the Black community, the project showcases the 37-year-old’s evolution as a “free-ass motherf*cker.” Pleasure’s varied yet succinct production traverses the Black diaspora across 14 songs — Afrobeats, Ampiano, Lover’s Rock reggae, and trap-infused tunes showcase the artist’s creative license to do whatever the hell she feels like doing, in the name of artistic and individual gratification.
Though lyrics were crucial to Pleasure’s predecessor, 2018’s Grammy-nominated Dirty Computer, they don’t demand the spotlight here. Instead, the music — and the communal energy it ultimately stands for — speaks volumes. While outside ears may have felt that Dirty Computer’s content wasn’t “for them” for whatever reason, Pleasure makes it clear that anyone — regardless of gender identity or affirmation — is welcome to toast to life’s delights and concede to the rhythms. (“I want all of us (Black and Brown people, specifically) to have a soundtrack to this lifestyle,” Monáe told Angie Martinez in May.)
But this is not to say that Pleasure is devoid of queer moments, which should not come as a surprise considering the mechanisms of Monáe’s catalog and personal life. (The artist uses she/they pronouns, and identifies as non-binary.) For instance, the “Vivrant Thing”-interpolating “The Rush” featuring Amaarae and Nia Long is a call-out to the “pretty girl” who’s caught her eye. The runway-ready “Haute” nods to gender-fluidity. (“A bitch look pretty, a bitch look handsome,” Monáe says.)
The island-tinged single “Lipstick Lover” celebrates queer Black bodies, and the buzz surrounding its “controversial” music video (which showcases those bodies and much more) ultimately forced the multihyphenate to create a censored version for virgin eyes. Despite the new visual’s slight deviation from full-out freedom, the point still stands firm through Pleasure’s music. Monáe urges listeners to give in to enjoyment of self and with others, whether it’s emotionally or sexually.
This could be through Issa Rae-in-the-mirror-style affirmations (“I’m looking at a thousand versions of myself, and we’re all fine as f*ck,” she states in “Phenomenal,” which features TDE’s Doechii), or through commemorations of personal growth. The album opener “Float” finds the artist applauding her wins over an infectious trap beat created by Nate Wonder and Nana Kwabena, and horns provided by Seun Kuti and his band, Egypt 80. (Pleasure largely feels Fela Kuti-esque through grandiose instrumentation, so the sonic support from the legend’s son feels especially apropos.) And obviously, pleasure can also be found through physical self-exploration. (“If I could f*ck me right here, right now, I would do that,” Monáe admits on the aquatic, autoerotic “Water Slide.”)
But The Age Of Pleasure is best represented through songs illustrating the importance of community — the hallmark of “Everyday People” bashes. Monáe has been open about her past experiences living with a perfectionist complex. Through healing, she’s learning to enjoy the present without edits or filters, and she encourages others to do the same. (“I’m working on the balance of knowing that some things are just beyond your control and you’ve got to be in the moment and roll with the punches,” she said of her journey back in 2018.)
The dropping of this shield is most evident during The Age Of Pleasure’s trifecta of tracks: the CKay-assisted “Know Better” (which samples a hip-hop favorite: “Darkest Light” by the Lafayette Afro Rock Band), the bouncy “Paid In Pleasure,” and “Only Have Eyes 42,” a cheeky nod to polyamory that concludes with a euphoric string outro. This particular trio amplifies the notion of loosened inhibitions, forcing us to surrender to the moment and just have fun soaking up the company of others.
Given the internet discourse surrounding Monáe’s expression of her autonomy after years of donning (and shedding) her iconic tuxedo uniform, the growth of her individual freedom and self-understanding feels affirmed through The Age Of Pleasure. It can be anxiety-provoking to let your guard down, let people in, or to show up completely as yourself, but it can also be liberating to be exactly who you want to be in a world that doesn’t want you to do so.
The album captures what we all aim to experience at the end of the day. In this mid-to-post-pandemic era, it amplifies a new definition of freedom for many. The attacks on Black, Brown, and queer Americans is a daily concern. (A centuries-long one for all, but especially within the last several years.) Considering the constant diversions from the real national issues at hand, art celebrating the euphoria of authentic humanity, even with the threat of Right-winged erasure congregating in the distance, is resistance at its finest.
Throughout history’s most unsavory moments, music has always been there for minorities in particular to feel safe and seen. As someone who has never been a stranger to creating art reflective of The Times, Janelle Monáe’s The Age Of Pleasure maintains the musician’s crusade of using her work to allow any and all “dirty computers” to remember that there is indeed a place for them in the world, and on the dancefloor.
Janelle Monáe is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
So far in 2023, the biggest music stories of the year have been about live shows, whether it’s Taylor Swift’s The Eras Tour perpetually carving out space in the news cycle, Beyoncé’s similarly lauded trek in support of Renaissance, or Ticketmaster running into issue after issue after issue after issue after issue after issue.
All of this has overshadowed the fact that during the opening months of the year, there have been a number of terrific new albums. SZA’s SOS has made R&B history with its chart success (and per tradition, we’re considering December 2022 albums as part of the 2023 slate). Fans saw Jack Harlow’s Jackman as a return to form for the increasingly popular rapper. Lana Del Rey and Yves Tumor duked it out for the title of longest album name with (takes a deep breath) Did You Know That There’s A Tunnel Under Ocean Blvd and Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), respectively.
As for what releases are the best of the best, here is our unranked list of 2023’s top albums so far, below.
100 Gecs — 10,000 Gecs
Dog Show/Atlantic
100 Gecs could have so easily had their moment in the meme sun with their 2019 debut album 1000 Gecs and then faded away forever. The songs were both catchy and off-the-wall weird, a delicate balance that’s not easy to pull off on a single album, let alone two. They did it again, though, on 10000 Gecs. How? Songwriting. Throughout the album are compositions that reach out through their alternative, kooky grime and smack you in the face with catchy hooks and memorable lyrics. The inevitable 100,000 Gecs can’t come soon enough. – Derrick Rossignol
6lack — Since I Have A Lover
LVRN/Interscope
It’s always beautiful to see musicians continuously find new ways to bring their artistry to life with each project they release. That’s undoubtedly been the case for 6lack who finally delivered his third album Since I Have A Lover. Unlike his previous two albums, 6lack combines pop references with his trademark alternative R&B for a body of work that is both freeing and diverse. Through success in love, 6lack finds himself to be a new man with a new outlook on life, all of which is detailed through records that display his loyalty (“Fatal Attraction”), patience (“B4L”), commitment (“Temporary”), and more. Whether he’s rapping or singing, 6lack gets his message across in an effortless and impressive manner. – Wongo Okon
Arlo Parks — My Soft Machine
Transgressive Records
After first making a name for herself with her poetic lyrics and touching confessions on mental health and queerness, UK artist Arlo Parks returned with her sophomore album My Soft Machine. Living up to the accolades that came along with her debut (which included two Grammy nominations and the Mercury Prize for Album Of The Year) Parks doubles down on her revelations about the realities of relationships and struggling with depression, this time adding synths into the mix. Lush indie earworms like “Purple Phase” and the Phoebe Bridgers-featuring “Pegasus,” Parks’ My Soft Machine continues to prove she’s one of the best indie songwriters of her generation. – Carolyn Droke
Baby Rose — Through And Through
Secretly Canadian
It’d been a little while since Baby Rose released a full-length project, but that period finally came to an end with her sophomore album Through And Through. The project is a refreshing addition to the musical landscape and Rose’s savory croons and heavy, soulful spirit guide the album that details the various fires she escaped her life. We meet a determined Baby Rose on Through And Through who isn’t afraid to put her hand out for a new foray into love (“Dance With Me” & “Love Bomb”), overcome heartbreak (“Stop The Bleeding”), and show that there are more sides to her than a hopeless romantic (“I Won’t Tell”). Through its 11 songs, Baby Rose offers an elegant and enchanting showcase of her undeniable talents with Though And Through. – W.O.
Blondshell — Blondshell
Partisan Records
LA-based songwriter Blondshell was the latest buzzy indie songwriter to arrive on the scene in 2023. Her self-titled debut offers a realistic snapshot of navigating your early 20s, relationship woes, and a heaping pile of self-doubt included. Blondshell opens with a song titled “Veronica Mars,” referencing the early aughts hit TV show. But that’s not the only ’00s reference you’ll find sprinkled throughout the album. The blown-out guitars and tangible angst call back to early alt-rock, along with singer Sabrina Teitelbaum’s earnest yet at-times guttural vocal delivery. Her lyrics pack an emotional gut-punch, my personal favorite being, “My kink is when you tell me that you think I’m pretty” on “Kiss City.” – C.D.
Boygenius — The Record
Interscope
When Boygenius — the supergroup comprised of Julien Baker, Lucy Dacus, and Phoebe Bridgers — first appeared with their 2018 self-titled EP, its members were known indie quantities but not quite the stars that they are in 2023. Their steady rise makes their debut LP, The Record, all the more of an event, and has found them on the cover of Rolling Stone, headlining festivals, and even appearing on the massive Taylor Swift stadium tour. But what might get lost in the hype and the friendship-focused narrative is that Boygenius also finds three magnificent songwriters working in their prime, tapping both new and unfamiliar territory in equal measure, and discovering parts of themselves that can only be illuminated through the artistry of others. – Philip Cosores
Caroline Polachek — Desire, I Want To Turn Into You
Perpetual Novice
Caroline Polachek is by no means new to the music world. Despite this, her solo sophomore release, Desire, I Want To Turn Into You, finds her experimenting with a range of influences and elevating herself beyond the initial sound that first drew listeners in. Here, she plays with flamenco on “Sunset,” while also not alienating anyone by adding the catchy, electronic early preview of “Bunny Is A Rider.” In her present chameleon fashion, she then flips the script once more for the quiet tension on “Crude Drawing Of An Angel.” Just as the title suggests, Polachek reaches a new peak by being able to play with the concept of transformation and versatility on this album. – Lexi Lane
Chlöe — In Pieces
Parkwood Entertainment/Columbia Records
There are many impressive aspects of Chlöe’s debut album In Pieces. First, is the fact that the singer even arrived at a point in her career to release. Her solo career was criticized for more reasons than it wasn’t, but none of that seemed to hinder the body of work that is In Pieces. In fact, it only strengthened it. The critiques and doubts became the backbone of the album which also detailed her recovery from heartbreak. Between the uptempo and bouncy “Body Do” and the captivating “Make It Look Easy,” Chlöe showcased her versatility, her writing, and her evolving vision on her debut album. Though the sky is the limit for her, Chlöe is well on her way to reaching it. – W.O.
Daniel Caesar — Never Enough
Republic
If there was any doubt that Daniel Caesar could replicate the glory days of his past, the Toronto singer put them all to rest with his euphoric third album Never Enough. It’s with this album that he took on a bigger producer role as he placed himself in a small town that’s hours outside of Toronto to make the beats that became the landscape of Never Enough. He grapples with wanting love (“Do You Like Me?”) and seeing that it’s run its course (“Let Me Go”) while finding time to shade those who believed they moved on from him to better (“Homiesexual”). Never Enough excellently captures the rollercoaster ride of love and the constant search for perfection, if that even exists. – W.O.
Davido — Timeless
Sony
Davido’s absence from the afrobeats world over the past couple of years, though it was respected, was surely felt by fans. So with the arrival of his fourth album Timeless, the expectation was that he would fit right into the genre’s newly-mainstream landscape while showing why he’s on the Mount Rushmore of the genre. To the surprise of no one, that’s exactly what happened. Timeless arrived as Davido’s best album to date and it’s thanks to the singer’s theme of conquering all things in his way on the album. Whether it be those who want to bring him down or unfortunate events in his life, Davdio stands tall “over dem” on Timeless. – W.O.
Don Toliver — Love Sick
Atlantic Records
Travis Scott’s protege takes yet another step into his own on his third studio album, released appropriately just two weeks after Valentine’s Day. “I want people to listen to my music and think it’s timeless,” Toliver said of his latest release and while he’s got a ways to go before he realizes this dream, Love Sick constitutes an impressive step in the right direction in tracks like “Honeymoon” and “Leave This Club.” – Aaron Williams
El Michels Affair & Black Thought — Glorious Game
Black Thought
Listen, you can go ahead and call me a stodgy old crank for continuing to value technically superior exercises in formalism in 2023. That’s fine. Black Thought remains the (read: THEE) finest bar-for-bar, straight-up rapper in hip-hop to this day and it’s worth honoring that — especially when he possesses the awareness to pair his prodigious talents with production worthy of the finest funk-soul excursions into ’70s Classicism this side of Adrian Younge’s Luke Cage soundtrack. – A.W.
Gorillaz — Cracker Island
Parlophone
From Snoop Dogg to Kali Uchis, Gorillaz have always positioned themselves as expert collaborators. And their latest album Cracker Island is no exception. Throughout the 10-track release, their first since 2020’s project Song Machine, Gorillaz whisk up a collection of lush and attention-grabbing songs that prove they’re still innovators after over 20 years as a band. The project spotlights artists from Bad Bunny with “Tormenta” to Tame Impala with “New Gold” (and even includes a collab with Stevie Nicks!), showing that the band is at their best when they work with other artists. The end might be nigh for the current iteration of Gorillaz — according to Damon Albarn — but with Cracker Island, the band has primed itself to continue pushing the boundaries of indie music, no matter who’s at its helm. – C.D.
Gracie Abrams — Good Riddance
Interscope
“You fell hard / I thought, good riddance,” Abrams twists the knife on the album opener “Best,” while maintaining themes of self-criticism throughout. The new album finds her exploring new horizons by working with Aaron Dessner and putting her biggest fears, worst behaviors, and an expanded level of emotional vulnerability on full display — all while backed by some gentle production. She also provides pauses to lift the energy, like the sweet caught-by-surprise moment on “The Blue.” Yet, staying true to the themes of struggling with the rollercoaster of entering adulthood, the album ends with the darkly contemplative “Right Now,” where Abrams wonders if her “little brother thinks my leaving was wrong,” as she continues growing up, getting out, and saying good riddance. – L.L.
Hot Mulligan — Why Would I Watch
Wax Bodega
The singles for the new Hot Mulligan album Why Would I Watch consisted of “Shhhh! Golf Is On” and “Gans Media Retro Games,” both of which are some of their best material to date. Their pop-punk earworms explode with unabating riffs and fervent shouts; every melody has the stickiness of a song you’d hear on the radio. The Blink-182 influence is directly confronted on the ridiculously catchy and inconsolably depressing track “It’s A Family Movie She Hates Her Dad”: “Sit me down and give me the confessional / Stay together for the kid / Isn’t that original?” – Danielle Chelosky
IDK — F65
IDK
DMV rapper IDK keeps getting more innovative, creative, and insightful with each new release. F65 applies a thematic veneer of Formula 1 racing to tie together a sprawling meditation on race (get it?), art, identity, and aspiration, drawing parallels between his drive to be the best and the adversities faced by F1 driver Lewis Hamilton. Throughout, IDK liberally pulls from the canon of Black music — jazz, dance, soul, and hardcore hip-hop — to prove his point: that Black artists are not a monolith. – A.W.
Indigo De Souza — All Of This Will End
Saddle Creek
Indigo De Souza is a master of imbuing sad songs with a contagious aura of hope. Though “Time Back,” the opener of her new album All Of This Will End, dwells on loss, it bursts with lively synthesizers and ends on an optimistic note: “When I come home / I will begin again.” This is also true of the confessional yet jubilant “Smog,” as well as the anxious “Parking Lot.” The images of pain are all outlined in a revelatory glow that forces her to recognize the significance of feeling anything at all. – D.C.
Jack Harlow — Jackman
Atlantic
Jack Harlow heard the complaints about his last album, Come Home The Kids Miss You, and responded in kind with a 10-song salvo of tracks that saw the Louisville rapper revert to the hungry, intensely-focused artist he was as he freestyled and battle-rapped his way to the top. The highlights: “They Don’t Love It,” “Gang Gang Gang,” and “Blame On Me,” which saw his talent for conceptual songwriting flexed to a degree fans hadn’t seen for nearly two years. – A.W.
Jessie Ware — That! Feels Good!
Interscope
Jessie Ware snuck “Free Yourself” under the wire last July. She’s ahead of the game this year with a disco-pop indulgence inspired by divas like Donna Summer. “Lightning” is ready-made for dog days, oozing romance. “Freak Me Now” is brash lust. “Begin Again” is pure refreshment. Pick one, and you will feel good. – Megan Armstrong
Jonas Brothers — The Album
Republic
The Jonas Brothers are a trifecta, but the Jon Bellion-produced The Album underscores their dynamism. “Waffle House,” TikTok’s favorite single, reframes their formative fights with loving eyes. “Little Bird” delicately illustrates their newer roles as girl dads. They haven’t lost their edge in marriage — just listen to “Summer In The Hamptons.” Life keeps changing, and Joe, Kevin, and Nick keep writing. The ‘70s-inspired LP propels them into a boundless future. – M.A.
Kali Uchis — Red Moon In Venus
Geffen
Kali Uchis’ third album Red Moon In Venus is without question her best album to date. Maybe it’s because she’s more in touch with herself than ever or maybe it’s because she’s more at peace than ever. The result of either, or maybe both of those observations, is a 15-track body of work that captures Uchis majestically and graceful float through elements of R&B and pop, while also tapping into her Spanish roots, to make what sounds like Uchis’ idea of paradise. Whether it’s “Fantasy” with Don Toliver, “Deserve Me” with Summer Walker, or solo efforts like “All Mine” and “Moonlight,” Kali Uchis’ Red Moon In Venus has plenty of music to get lost in and find your own paradise. – W.O.
Karol G — ‘Mañana Será Bonito’
Universal Music Latino
After a very public breakup, Karol G chose to heal the way she knows best — through music. The Colombian superstar’s fourth album Mañana Será Bonito proves to be a therapeutic experience, for both Karol and the fans. Over the course of 17 flawless tracks, Karol engages in self-care, debates returning to an ex, falls in love on her travels, and has several good cries. All while repeating the very phrase that got her through it all — “Mañana será bonito.” – Alex Gonzalez
Kaytranada and Aminé — Kaytraminé
Amine/Kaytranda
The term “album of the summer” gets tossed around quite a lot lately, but this joint effort from the Portland rapper and Canadian dance producer earns it with 11 breezy-yet-diverse approaches to the seasonal sound and its related topics. From the glitzy, mellow “Rebuke” to the funk-tinged Pharrell feature “4Eva,” the lively spirit of the warmest months of the year comes through in ways both unexpected and comfortingly familiar. – A.W.
Khamari — A Brief Nirvana
Via the label
The lone newcomer on this list is singer Khamari, who delivered his debut project A Brief Nirvana to kick off the unofficial start to summer. The 11-track project is a sweet combination of nostalgia and a fresh breath from a new artist to the game, and his sampling of Al Green’s “On My Way” on “These Four Walls” for an honest tale about loneliness is a perfect example of that. Even when through completely original compositions like “Doctor, My Eyes,” Khamari’s artistry shines through vivid lyricism that’s aided by emotive production. The Boston-born singer has earned comparisons to Frank Ocean and his A Brief Nirvana debut is a great start to hopefully one day reaching the status of the celebrated singer. – W.O.
Lana Del Rey — Did You Know That There’s A Tunnel Under Ocean Blvd
Polydor/Interscope
Lana Del Rey’s career has been defined by a hot and cold reaction from the press, and equally hot and cold moments of self-sabotage and self-mythologizing. But if anything, it speaks volumes that any online spat that might accompany a rollout is generally forgotten by the next album cycle. That’s how continually surprising and sharp Lana is as a songwriter, that mild controversy slides off her. And that talent is underscored on Did You Know That There’s A Tunnel Under Ocean Blvd. “A&W” is another high point in sonic adventurousness and lyrical insight, while “The Grants” and the title track are so instantly familiar, they might as well be pulled directly from the singer-songwriter canon. We just can’t quit you, Lana. – P.C.
Lil Yachty — Let’s Start Here
Lil Yachty
Is Lil Yachty’s experiment in psychedelia technically hip-hop? I think the point he makes with Let’s Start Here is: who cares? (We’re including him here because of how Yachty got his start, the mode of the music he primarily makes, and the fact that he spends as much of this rock-inspired effort rapping as he does singing.) Yachty’s always bristled at the thought that he could be limited to just one genre. Here’s the strongest argument in his favor. – A.W.
Luh Tyler — My Vision
Luh Tyler
Luh Tyler is like the perfect synthesis of predecessors such as Kodak Black and Lil Tecca, with the carefree confidence of pre-graduation youth and the poised, deceptively clever pen game of the frequently incarcerated gangster rapper. By combining his natural gifts with an easygoing, unpracticed charisma and subject matter centered more around teenage fantasies of luxury lifestyles than drug game-produced shootouts, Luh Tyler cleans up the typical Florida approach to hip-hop without losing his cool. – A.W.
Madison McFerrin — I Hope You Can Forgive You
MadMcFerrin Music
There are nepo babies. Then there are people that have music following through their genetic makeup. Born to a family filled with creative professionals Madison McFerrin is the latter of the two. On the singer’s debut album, I Hope You Can Forgive Me, that lifelong exposure to the arts permeates across the project. Largely produced and written by McFerrin, the body of work is an ethereal sound bath of jazz, R&B, folk, and rock elements tactically incorporating each sound sets. Her musical IQ sets McFerrin apart from her independent counterparts. Her viral 2021 track “Guilty” served as her formal induction to the larger music audience. However, the album’s breakout track, “Utah,” will keep listeners tuned in. I Hope You Can Forgive Me is the culmination of Madison McFerrin’s exploration as an artist, and it paid off exponentially. – Flisadam Pointer
Masego — Masego
Masego
Masego’s magnum opus arrived more than a decade into his career and it’s fitting that it’s for his self-titled sophomore album. The project’s 14 songs are a masterful combination of the elements that make Masego an artist we’ve come to love. The tropical side of his discography comes alive through “Say You Want Me” while his jazz and funk roots are wrapped around records like “You Never Visit Me.” With Masego, the singer proves that the music will never be a concern for himself. Since day one, he’s impressed fans repeatedly with his talents, and now with his second album, Masego perfectly combined those talents for a body of work that couldn’t be more representative of himself. – W.O.
Metro Boomin — Heroes & Villains
Metro Boomin
Arguably the most dominant producer of the streaming era, Metro Boomin comes close to creating his magnum opus with this late 2022 compilation (which is after Uproxx’s cutoff for Best of 2022 consideration). His full curatorial superpowers go on display in Heroes & Villians as he assembles his own Avengers of rap titans — or a Legion of Doom if you want to see it another way. 21 Savage, Future, Migos, Travis Scott, and more help fill out the roster, but the star here is always his production, skillfully tying them all together. – A.W.
Myke Towers — La Vida Es Una
Warner Music Latina
Puerto Rican artist Myke Towers couldn’t be held in a box while making his third album, La Vida Es Una. On the album, Towers showcases his versatility by way of lightly revisiting his rap roots, but mostly experimenting with a multitude of genres. While 23 tracks may seem saturated for an album in 2023, Towers delivers through reggaeton, dancehall, and ‘80s-synthpop sounds, defying the pigeonholing of the industry. Needless to say, he’s keeping fans fed. – A.G.
The National — First Two Pages Of Frankenstein
4AD
This is the most National-like that The National has sounded in years. While there are plenty of high-profile guest stars — Taylor Swift! Phoebe Bridgers! Sufjan Stevens! — First Two Pages Of Frankenstein at its best when they re-focus on their most essential attribute, which comes when these lifelong friends and brothers plug in, stand in a circle, block out the outside world, and sound like a great band. – Steven Hyden
Oddisee — To What End
Oddisee
Oddisee, one of the most consistent voices operating in the rap world for the past decade or so, has reached an impasse with himself about why he does what he does. And, in the spirit of true talent, he winds up using that as inspiration on this, his 10th studio album, which questions the nature of aspiration. To What End finds Oddisee wrestling with not just his goals and ambitions but what they might cost and whether it’s all really worth it. For us the listeners, it is. – A.W.
RAYE — My 21st Century Blues
Human Re Sources/The Orchard
After years of having her debut album delayed, UK singer/songwriter RAYE took matters into her own hands. Two years ago, RAYE outed her previous label, Polydor, for holding her music hostage. In February, she finally released My 21st Century Blues independently. And in turn, she flipped the industry on its head, with tales of heartache, insecurity, and gaslighting. Having finally earned number one song and album on the UK charts, it’s safe to say RAYE’s big risk paid off. – A.G.
Samia — Honey
Grand Jury
Many of 2023’s biggest releases of the year across genres shared one commonality — all were gracefully thematic. Samia’s sophomore album, Honey, was the complete opposite in all the best ways. Throughout the project’s 11 tracks which includes singles “Breathing Song,” “Pink Balloon” and “Sea Lions,” the musician jumps across topics and sounds. – F.P.
Skrillex — Quest For Fire, Don’t Get Too Close
Owsla/AtlanticOwsla/Atlantic
Skrillex is most readily associated with the early 2010s, but he’s been killing it lately, too. Aside from his beloved Coachella performance alongside Fred Again.. and Four Tet, he dropped a pair of albums in February, his first since 2014: Quest For Fire came first and Don’t Get Too Close followed the next day. The list of artists featured across the projects (including Justin Bieber, Missy Elliott, Kid Cudi, and PinkPantheress) evidence how much esteem Skrillex has in the industry, while the top-rate albums illustrate why he remains an icon. – D.R.
Skyzoo x The Other Guys — The Mind Of A Saint
Skyzoo
A masterfully executed concept album inspired by the characters and events of the drug-game epic Snowfall, The Mind Of A Saint finds Skyzoo putting his feet in the shoes of the show’s principal criminal mastermind. Sky writes through the perspective of an older, wiser Franklin Saint who turned to the pen instead of the bottle — after all, he did finish the project before the final season had aired — but even with two layers of functionalization, the words and themes ring true. – A.W.
SZA — SOS
TDE/RCA
Yes, this album came out in 2022, but with most of its success taking place in 2023 and the fact that it came after our 2022 lists, it’s only right that SZA’sSOS makes the cut here. Five years removed from her debut album, SZA returns to a world riddled with troubled waters that people from all over hoped to survive and swim out of. Through the album’s expansive 23 songs, SZA guides us on a journey of surviving life’s elements, the lessons learned along the way, and what it looks like to make it to shore. The ups and downs of life, growing pains, and artistic struggles are all present on this album, and it’s even more impressive that she made its 23 songs not feel like an absolute drag. It was a long time coming for SZA, but boy did she arrive. – W.O.
THEY. — Nu Moon
AWAL
THEY. — the duo comprised of singer Drew Love and producer Dante Jones — entered a new era with the release of their third album Nu Moon. The project is the duo’s first independent album, and the freedom to create as one pleases that comes with this independence is hard to ignore through the project’s 14 songs. With Nu Moon, Drew and Dante give us another take of their trademark alternative R&B style and it’s one that seems to live under the night sky. With records like “In The Mood,” “Riptide,” and “Wait On Me” which features the incomparable Kacey Musgraves, THEY. present no sign of sunlight while proving that even in the darkest moments, love can still exist. Searching for it, having it, and losing it; it’s the theme of THEY’s Nu Moon which strikes as their best and most complete body of work to date. – W.O.
Twice — Ready To Be
Republic
One of my close friends is a gigantic Twice fan, which by association, has led to me getting into their Ready To Be mini-album from earlier this year. While I’m not as familiar with their past records to compare, the early singles, “Moonlight Sunrise” and “Set Me Free,” showcase the group’s romantic side over the bubbly production that truly just pulls you in. (Plus, their live performances are so impeccable and synchronized.) On other tracks from the record, Twice shift into fiery, flirty territory with the rock-influenced “Blame It On Me,” which shows off the band’s wide-spanning inspirations that push the boundaries of the general K-Pop conceptions — and prove that they really are the ones to watch. – L.L.
Wednesday — Rat Saw God
Dead Oceans
On the previous Wednesday LP, 2021’s Twin Plagues, singer-songwriter Karly Hartzman wrote evocative story songs set in what I like to call the GummoSouth, a partly real and partly made-up region in which dead dogs and burned-down Dairy Queens dot the landscape like Starbucks crowd street corners in big cities. But on Rat Saw God, her songwriting exhibits a level of detail that is practically physical. The title alone of the opening track, “Hot Rotten Grass Smell,” filled my nostrils with the aroma of a humid late July day. – S.H.
Yaeji — With A Hammer
XL Recordings
Yaeji simmered relatively under the radar as a beloved figure in the electronic scene for years before impressing with her debut 2020 mixtape What We Drew. Now, it’s debut album time. With A Hammer came out in April and it too is a critical hit. She clearly hasn’t let early success coerce her into taming down her experimental ways in pursuit of a more commercial sound. Singles like “For Granted” and “Passed Me By” are as adventurous as ever while also maintaining an undeniable charm, which can also be said for the rest of one of the year’s most interesting projects. – D.R.
Yves Tumor — Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Warp
It’s not quite radical enough to qualify as “experimental” and not quite catchy enough to work as a full-on pop move. But sonically this is one of the best-sounding indie albums of 2023’s first half. With the assistance of Noah Goldstein, an engineer who worked on My Beautiful Dark Twisted Fantasy, and Alan Moulder, who’s one of the great architects of ’90s alt-rock, Praise A Lord invites you to get lost in its grooves. It’s a very good headphone record. The instrumental tones are on-point. – S.H.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.
Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of May below.
Tame Impala — Lonerism (10 Year Anniversary Box Set)
Interscope
Tame Impala defined psychedelic rock in the early 2010s and Kevin Parker’s sophomore effort, 2012’s Lonerism, was a big part of that. The album turns 10 this year, so it’s being reissued as a 3-LP box set that includes goodies like a 24-page booklet and previously unheard demo sessions.
Before ABBA was ABBA, they were Björn & Benny, Agnetha & Frida. Under that name, they released their debut album, 1973’s Ring Ring. That was 50 years ago, and half a century later, the project has been pressed on vinyl for a fresh rerelease, giving a new generation the chance to experience the launch of an enduring phenomenon.
Sun Ra & His Arkestra — Space Is The Place: Music From The Original Soundtrack
Sundazed Music
Back in the ’70s, Sun Ra recorded the soundtrack for the movie Space Is The Place. It took decades for the soundtrack to get a proper release as an album, and now the definitive version of it is here with a new vinyl reissue. In addition to the album, this edition comes with the movie on BluRay and DVD, a tote bag, and a pizza box-style box to house everything.
The Exploding Hearts — Guitar Romantic (Expanded & Remastered)
Third Man Records
The Exploding Hearts ended tragically after three of the band’s members died in a van accident. They did manage one well-received album, though: 2003’s Guitar Romantic. Third Man Records just reissued the album as an “Expanded & Remastered” edition: along with the original remastered album are a few new mixes of select songs.
It feels like Lucy Dacus has been around for forever, but her breakout sophomore album Historian only just came out five years ago in 2018. She’s taking a moment to celebrate the project with a vinyl reissue, which is pressed on vibrant red vinyl and comes with Dacus’ first draft of the album art.
Daft Punk — Random Access Memories (10th Anniversary Reissue)
Sony
It’s really been ten years since Daft Punk released what would end up being their final album, Random Access Memories. While the duo is no longer active, they’ve been busy with a fresh reissue. There are a lot of goodies here, including an unreleased Julian Casablancas collaboration and some demos with Pharrell.
Death Cab For Cutie — Transatlanticism (Vinyl Me, Please Reissue)
Vinyl Me, Please
Transatlanticism was an iconic release for Death Cab, so it’s worth honoring 20 years later. Vinyl Me, Please is doing so with a killer reissue, which is pressed on red marble vinyl and comes with a listening notes booklet from Sean Nelson, who contributed some vocals to the album.
Paul Simon is 81 years old and still trying different musically: His new album is totally acoustic and it’s one multi-section song that runs for 33 minutes. It’s quite the concept and one that’ll come across beautifully on a turntable.
The Rhino label has launched Rhino High Fidelity, a new series of high-quality vinyl pressings. They’re kicking things off big with reissues of The Cars’ self-titled 1978 debut album and John Coltrane’s 1964 release Coltrane’s Sound. The series will unveil two new installments every quarter, and all of them will be limited to 5,000 numbered copies.
Animal Collective started their journey to defining experimental indie music in the 2000s with 2000’s Spirit They’re Gone, Spirit They’ve Vanished, back when it was just Avey Tare and Panda Bear. There’s a new reissue and on top of the remastered album and new artwork, there’s also A Night At Mr. Raindrop’s Holistic Supermarket, a bonus EP containing five previously unreleased bonus tracks.
Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.
Whatever you might be into, each April brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of April below.
It’s not often we hear much from Jai Paul, but he just played Coachella and he also has a fresh new vinyl release. It’s a pressing of Leak 04-13 (Bait Ones), the officially released version of Paul’s famously leaked set of demos from 2013. This is the first time the set has ever been made available on vinyl and only 3,000 copies were made available, so it’s a must-have for Jai Paul die-hards.
45 years ago, in 1978, the now-late Warren Zevon dropped what would become his signature album, Excitable Boy. For this reissue (which features classics like “Werewolves Of London” and the title track), the album was remastered from the original analog master tapes and pressed on 180g 45 RPM vinyl, making this edition an audiophile’s dream.
Rudimental is a beloved UK dance music institution now, but it all started with 2013’s Home. It’s been a decade since that debut album dropped, so now there’s a new anniversary edition that includes a number of new remixes made specially for this reissue.
Jack White and the folks at Third Man Records know their way around vinyl, so their new deluxe reissue of the White Stripes classic Elephant is one to behold. It’s pressed on beautiful clear, colored, smoky vinyl, which is home to beloved tunes like “Seven Nation Army” and “The Hardest Button To Button.”
Aesop Rock and Blockhead — Garbology Instrumentals and The Recycling Bin
Rhymesayers Entertainment
Aesop Rock and Blockhead have formed a strong partnership over the years, and now the rapper and producer are bringing a pair of their projects to vinyl for the first time. Garbology Instrumentals is an instrumental version (duh) of the pair’s 2021 album, while The Recycling Bin is a companion EP featuring Blockhead remixes of Aesop songs that Blockhead previously wasn’t involved with.
Love And Rockets — Earth, Sun, Moon (Reissue) and Love And Rockets (Reissue)
Beggars Banquet/Big Time
’80s English rock group Love And Rockets (which rose from the ashes of Bauhaus) is in the midst of some catalogue reissues and April brought a pair of new ones. Both albums — Earth, Sun, Moon and the self-titled one — come on classic black vinyl and the latter includes their best-known song, the top-three hit “So Alive.”
Get Earth, Sun, Moonhere. Get Love And Rocketshere.
Violent Femmes — Violent Femmes (Reissue)
Craft Recordings
Record Store Day was this month and Craft Recordings came through with a number of reissues, including a new picture disc to mark the 40th anniversary of Violent Femmes’ self-titled album. Aside from being a gorgeous piece to look at, it features favorites like “Blister in the Sun” and “Please Do Not Go.”
Paul McCartney And Wings — Red Rose Speedway (50th Anniversary Reissue)
Apple
Speaking of Record Store Day, Paul McCartney And Wings made the day count with a 50th anniversary rerelease of Red Rose Speedway. This edition will sound as good as possible thanks to the half-speed remastering treatment the LP received. This was the first Wings album to top the charts in the US, so if you don’t have any of the McCartney group in your vinyl library, this reissue is a good place to start.
GoldLink — At What Cost (Vinyl Me, Please Reissue)
Vinyl Me, Please
At What Cost was a strong and well-received debut for GoldLink back in 2017. Vinyl Me, Please is celebrating the project in 2023 with a lovely new reissue, which is pressed on 2-LP orange and blue galaxy vinyl and comes with newly written listening notes.
Metallica have been at it for over 40 years now, and on their new album 72 Seasons, it really sounds like James Hetfield and company truly haven’t lost a step. All the new fans they gained after their Stranger Things sync last year are in for a treat with this exceptional LP.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
The video for Davido’s “Unavailable,” an early highlight from his fourth album Timeless, begins with a radio message that announces the long-awaited return of the “King Of Afrobeat.” That figure is Davido himself, who went two and a half years without a project and minimal releases outside of that.
Though that isn’t all that long, the absence was noticed as his contemporaries – Burna Boy and Wizkid – elevated to new heights. Burna dropped an award-winning album while Wizkid released a magnum opus while newcomers in afrobeats arrived to define the new class of artists that would lead the way.
Five years ago, Davido was at the forefront of afrobeats’ mainstream takeover, firing off records like “If,” “Fall,” and “FIA” that were played so frequently that fans grew tired of them being the only afrobeats records to play in outdoor spaces. To start 2023, Davido was that same star but had yet to insert his defining project into the massive ring that afrobeats created for itself in this current decade.
That’s what makes Timeless the perfect title for Davido’s fourth album. Yes, it continues the theme of time that served as the foundation of the afrobeats singer’s last two albums, A Good Time and A Better Time, but by definition, it accurately describes Davido’s music in today’s afrobeats space – “not affected by the passage of time or changes in fashion.”
With Timeless, Davido proves himself to be a limitless artist with enough strength to always find a way to finish at the top. The same singer who arrived with the electric and raw “Dami Duro” can use that same joy and energy in a different way for another party-friendly record, like “Unavailable,” more than a decade later. Between the two records, the similarities and differences are clear, above all, they speak to the timeless nature of Davido and his artistry.
Timeless caters to those who were assured that its awaited arrival would be nothing short of monumental while also sneering at those who had doubts about its potential. Davido re-emerges from one of the lowest points in his life as a rejuvenated man with a new sense of appreciation, value, and vigor. Defeat is not a part of Davido’s ministry and it’s a message that couldn’t be any clearer on the album’s opener “Over Dem.”
He boasts about his ability to win no matter the circumstances, singing, “Over dem all / If dem wan turn Goliath / I be David for life / Oluwa dey my side.” Davido delivers these lines with such certainty and little doubt that not only are we convinced of his strength, but it’s also enough to make listeners believe in their own. Davido re-establishes this connection with a higher power just three songs later on “Godfather.”
“All of thе blessings wey dey come my way / They are all from God,” he sings with the certainty and confidence that only the God he sings of could supply. “And if dem try to talk / E go burn them like hot water oh.” To loosely translate: “All of the blessings that come my way / They are all from God / If they try to talk against them / It’ll burn them like hot water.”
As much as he flaunts his strengths, Davido also embraces the losses and the moments of uncertainty. A broken heart and questions for the woman who split it in two are the foundation of “E Pain Me.” Davido croons his pleas to this woman, begging for their return and showcasing the pains of a loss that he can’t seem to wrap his head around. “Wetin I no do for you? / Shey you promise say you no go let me go?” Davido asks. “And last night you told me that it’s all over / E pain me oh.”
The trend continues in the second half of the album with “For The Road,” a record that swaps sadness for disappointment while still finding itself in the realm of love. It’s upended by a well-played double meaning that comes alive with his request for one last night of intimacy “for the road” with a girl who has no desire to be confined by the limitations of a relationship – in other words, she’s “for the road” in Davido’s eyes.
Davido bravest moment in the face of loss comes through “LCND (Legends Can Never Die),” a song dedicated to the people he’s lost in his life, which presumably includes his three-year-old son David Ifeanyi Adeleke Jr. Davido proves that he found life through death, a concept that couldn’t be more representative of the theme behind Timeless.
Davido’s Timeless stretches its arms to touch on areas that pertain to the singer and the world he finds himself in. It boasts the confidence of a man who considers his music and impact to be timeless as well as the fight and focus to prove this case to those who doubted. It’s crafted with the precision that will have it be remembered as one of the best afrobeats albums to come out of the genre’s most spotlighted era while offering moments where Davido is forced to accept his time with an experience was paused, or worse, cut short, whether it be through love, friendship, parenthood, or his career.
The lesson here is to value the time with something or someone while you do have it. With that, Davido is able to produce the tunnel-visioned “Precision,” the besotted “No Competition” with Asake, and the infatuated “In The Garden.” With Timeless, Davido reduced the force that is time into a feather-like obstacle that a king like himself can effortlessly knock down.
Timeless is out now via Davido Music Worldwide/Sony Music. You can stream it here.
As the seasons change and the weather warms up — allegedly, anyway — it’s time for a spring cleaning. While it’s important to take care of the cobwebs around your apartment and finally donate that musty bag of clothes in the back of your closet, it’s also an apt time to refresh your go-to playlists. No, we’re not telling you to stop streaming SOS, but it might be good for your mental state to mix it up a bit…
Without further ado, here are ten artists to help you shake off the winter blues, from a Korean rapper that mashes up punk rock with hyperpop to a queer Chicano singer that wants to smooch on all his homies. And best of all? None of these tracks would feel out of place on a playlist with “Kill Bill” and “Snooze.”
GALE
For fans of: Rosaliá, Avril Lavinge
Last November, GALE scored her first Latin Grammy win for a co-write on Christina Aguilera’s latest Spanish language album, Aguilera — but it’s her own tracks that will have you slamming the repeat button. It’s no surprise that the singer was raised on Shakira and Avril Lavinge; her latest tracks mirror the IDGAF-itude found on Laundry Service and Let Go.
Early in her career, Adanna Duru appeared on both The Voice and American Idol, but it’s clear the singer, now 26, has since taken time to figure out who she is as an artist. Despite proving to be more than capable of a big vocal moment, Duru has discovered a necessary ingredient that makes her soulful debut EP, Nappy Hour, sound like pure butter: restraint.
Check out: “ur a bitch,” “POP!”
Bentley Robles
For fans of: Jonas Brothers, Charlie Puth
It’s impossible to make it through Brooklyn-based Bentley Robles’ catalog without cracking a grin. Whether he’s begging his homies to “come taste my lips, it’s just platonic” on the horny “kiss my friends,” or answering Lady Gaga’s “Alejandro” from a queer, Chicano perspective with “salvatore,” Robles is a much-needed dose of serotonin for the coming spring season.
Check out: “kiss my friends,” “salvatore,” “kim kardashian”
Noelle
For fans of: Carly Rae Jepsen, Halsey
Raised on the Tyendinaga Mohawk territory in Ontario, Canada, Noelle was exposed to a menagerie of influences, from jazz greats like Sarah Vaughn and Nat King Cole to the native wind flute and powwow drum of her indigenous roots. After finding her footing through viral YouTube covers, the singer found her voice writing her own songs — the latest of which have a sparkling, synth-heavy sound.
Check out: “Cold Killer,” “Mars”
Whiterosemoxie
For fans of: Travis Scott, Omar Apollo
Not many artists would think to draw inspiration from a bizarre Young Thug tweet, but that’s exactly what Detroit’s whiterosemoxy did on bass-heavy “girls die,” spinning Jeffery’s rumination into a thesis on the bittersweet feeling of life’s resets. The poignant track is a sample of the artist’s forthcoming debut full-length album.
Check out: “girls die,” “whts rght,” “CALL!”
Vivi Rincon
For fans of: Olivia Rodrigo, Phoebe Bridgers
Vivi Rincon’s debut EP, crash landing, opens with the vulnerable ballad “if we lived on the moon,” a delicate track in which she confesses the struggles of being in a queer relationship. With stingers like, “we’d never think twice about who we’d offend, and we’d never say we’re just friends,” it’s clear that Rincon has the songwriting goods — a promise she makes good on through the project’s bitter (but relatable!) closing number, “the party.”
Check out: “if we lived on the moon,” “the party,” “overflow”
Lil Cherry
For fans of: Doechii, Doja Cat
South Korean rap sensation Lil Cherry’s unique sound can be found at the intersection of hyperpop and punk rock, and it was developed with guidance of her older brother and producer GOLDBUUDA. Last year, the sibling duo dropped their adrenaline-soaked collaborative album, Space Talk, which included the belligerent, Rico Nasty-assisted “Catwalk.” Most recently, the rapper flexed her agility by teaming up with MVW and TiaCorinne for a more subdued contribution to the hazy “Tru Tru.”
Check out: “Catwalk,” “Tru Tru,” “PYE LIFE”
Blake Rose
For fans of: Shawn Mendes, The 1975
If you haven’t been introduced to Perth export Blake Rose yet, get familiar. The 25-year-old made his U.S. television debut on The Late Late Show with James Corden last month and followed it with a solid 7-track EP, You’ll Get It When You’re Older – the bulk of which was self-produced.
Check out: “Use Me,” “Demon,” “Already Be Dead”
Ayleen Valentine
For fans of: Taylor Swift, mxmtoon
It’s actually shocking that singer-songwriter-producer triple threat Ayleen Valentine is only 21-years-old given the sheer intricacy of her work. The Berklee dropout’s latest project involves releasing sets of singles in pairs as a way to explore the idea of opposites.
Check out: “anesthetized,” “stars”
iyla
For fans of: Kehlani, Ariana Grande
The Los Angeles native’s latest EP, Appetite for Disaster, begs to not be put into a box. The project sees iyla cooing jazz-influenced harmonies on one track, spitting rhymes over a trap beat on another and yodeling — yes, yodeling — on another. On standout track “Sad Bitch Bad Bitch,” the singer shares a meme-worthy mantra: “I don’t get mad, I get pretty/ Can’t have me, I’m too busy.”
Check out: “Mona Lisa,” “Sad Bitch Bad Bitch,” “2LATE”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
Masego’s approach to music has always been as smooth as the sweet symphonies that leave the end of his trademark saxophone. His cool demeanor has produced records as out-of-the-box as “Old Age,” as funky as “Girls That Dance,” and as flavorful as “Silver Tongue Devil.” With a smirk and the crack of a smile, Masego can step to the mic and do whatever he wants – successfully at that.
His 2018 debut album Lady Lady was a formal introduction to Masego the person. The 25-year-old singer at the time was full of youth which produced an album that portrayed his witty, flirtatious, and at times, tender-hearted persona. His 2020 project Studying Abroad balanced the highs and lows of love with a tropical backdrop that nearly distracted you from his qualms in romance. Nearly three years after that project’s release, Masego returned with his self-titled sophomore album which is a wonderful blend of the best elements in his discography. With Masego, the “Tadow” singer dances through the unfulfilled aspects of his life while also noting that music will always be the least of his worries.
Masego is the project I’ve always wanted from Masego. Though its 14 tracks have yet to exist in the world for more than a week, the elements that make up its full composition are so strong that when combined, it requires the “magnum opus” title to be bestowed upon it. Give it time and you’ll see that to be true. Studying Abroad is a body of work that resulted from Masego pushing himself out of his comfort zone to learn and experience new blends, tones, and so much more with music. Masego is the result of those learnings when combined with the sturdy foundation that Masego built upon to become the dazzling singer and instrumentalist that we know him to be today. If Lady Lady and Studying Abroad had a missing puzzle piece between them, Masego would be that piece.
This is evident through records like “You Never Visit Me” which combines elements of jazz and funk with the freeing feeling of riding in a convertible on a sunny day with your hands in the air. Its chorus is available for a fun call-and-response moment for an audience because of the changes in Masego’s tone throughout each line. Then there’s “Say You Want Me” which is steered by tropical drums and the same inspiration that blanketed Studying Abroad. It’s flavorful and tantalizing as Masego weaves through elements of afrobeats and dancehall to reel a woman into his bed after she knocked him off his seat. These warm records make up a slim percentage of the whole album, and it’s for that reason that they’re so refreshing and noteworthy when their turn comes on Masego.
Though the music isn’t a concern on Masego, nor is it for Masego himself, there is a bit of grappling that the singer is left to do in other areas of life. The failed reciprocation of love is the overbearing issue for Masego on his sophomore album. “You Play With My Heart” sounds like it’s set at a diner where Masego sits and dwells to no end about a woman who was unserious at best about loving him. Steam from a presumably hot drink floats to his face as he wearily sings about his latest qualms in romance. “You play you with my heart / I lay in the dark,” he croons. “You play with my heart / You were dancin’ with a star.” Moments before, Masego put his wit on display on “Afraid Of Water” for a double entendre that paints a shallow woman with nothing to offer beyond the surface as someone who can’t swim and fears the blue waters. Even when he does find someone suitable for himself, it ends with their departure and Masego’s disappointment as we see on “Down In The Dumps.” Car notes could’ve been paid and trips to Monte Carlo could’ve been taken, yet their premature exit – which has Masego in his feelings – has caused them to miss out on it all.
Right there, another aspect of Masego comes alive. The expectations Masego had for fame are far from reality. “Remembering Sundays” is a weary reflection of the days before the fame when serenity and tranquility were easier to come by. He doesn’t miss it per se, but his current lifestyle has made him more appreciative of it. His quarrels with fame spill into the combative “Who Cares Anyway” for a swing at the so-called tastemakers and critics that have misunderstood and attempted to box in the ever-so-diverse and genre-spanning singer. If you couldn’t tell that Masego is a man of music and nothing more, this record is proof of that. “I mean, yeah, we getting money / Yeah, we getting notoriety,” he quips. “But nowadays y’all looking real, real dumb / I had to say something.” Moments of appreciation for his position aren’t hard to find on Masego. “Sax Fifth Avenue” is a playful pun on “Saks Fifth Avenue” and a salute to his trustee saxophone that has earned him the attention that performing on Saks Fith Avenue could bring. As the album concludes, “In Style” opens the gates for a triumphant and sax-laden ode to the spotlight he currently stands in.
Masego spotlights the musician that is Masego. At nearly 30 years old, the singer is a seasoned journeyman who trusts the music to guide him to his destination. Sure, he’s still working to grasp the elusive concepts of dating and fame, but at least there’s something that can aid him in recognizing and expressing the successes and failures within it. While many use a self-titled project for their official introduction to the music world, Masego waited nearly a decade into his career to do that. There’s probably a good reason for that, but I’d have to guess that it has something to do with this being the perfect encapsulation of everything that makes Masego, Masego. So with every blare of the saxophone, croon of the voice, and witty lyrics, know that Masego has mastered the music, and evidence of that lives within the hypnotizing elements of Masego.
Masego is out now via EQT Recordings/Capitol Records. Find more information here.
Compared to the same time last year, it may not feel like hip-hop has been quite as productive. It’s been a great year for indie releases; Greedo came home with a new mixtape, underground faves Skyzoo and Oddisee both released excellent projects in January, and rising stars like Maxo and Nappy Nina crafted standout projects.
Likewise, plenty of buzzy faves released stuff; ZelooperZ, Ice Spice, Boldy James, Reuben Vincent, Big Scarr, Gloss Up, and Kash Doll all came back strong ahead of a flurry of end-of-month releases in February that seemed to signal a shift. Just check out Key Glock and Don Toliver‘s new projects. But looking forward, it looks like hip-hop’s penchant for surprise releases is gearing to strike, because although very few projects have been announced, such a wide-open field has to be inviting for anyone looking to make a name for themselves.
So, although things are looking pretty bare bones for the time being, here are the most anticipated hip-hop albums of spring 2023.
March 3
De La Soul — 3 Feet High And Rising, De La Soul Is Dead, Buhloone Mindstate, Stakes Is High, etc.
De La Soul
Okay, this one is a little bit of a cheat, I admit. None of these are new, so much as folks have been anticipating the coming of De La Soul’s long-lost catalog to streaming since… well… streaming started. Between a prolonged label dispute over publishing rights and a labyrinth of sample clearance issues, it seemed for some time that De La’s discography would be a curio consigned to the memories of Gen Xers and millennials, like the 100-point Wilt Chamberlain game. But here they all are, in high definition, 100 percent intact. The only downside is that Trugoy the Dove isn’t here to see it.
Masego — Masego
The Virginia-based polymath — he sings, raps, and plays the sax — is just about five years removed from his debut album Lady Lady. Since then, he has polished his self-devised TrapHouseJazz style and grown his fan base with a handful of strategically based viral favorite singles and a charming, charismatic social media presence that has rap fans very much looking forward to seeing what he does next.
Slowthai — Ugly
Fresh off the success of 2021’s breakout hit Tyron, the UK punk grime star is picking up right where he left off. Slow is known for the emotional push-pull of his music, which cycles through aggression and processing the trauma behind it. Ugly continues his tradition of fusing rap, rock, and electronic music with surprising vulnerability.
March 6
Talib Kweli & Madlib — Liberation 2
One of rap’s earliest experiments in the “free online release” mechanic gets a follow-up a decade and a half later as the Brooklyn MC reunites with one of rap’s most coveted producers. They’ve proven to be a match made in heaven in the past, and longtime fans are excited to hear the evolution of their chemistry.
March 10
6lack — Since I Have A Lover
It always feels iffy to include 6lack in hip-hop lists considering he’s as much of an R&B traditionalist as he is a bars-first rhyme spitter, and with every project, he can easily split the difference or go all-in on just one side of things. I feel prettty confident in saying this will be one of the better projects to come out this year, though.
March 11
Yeat — Afterlyfe
I’ll be honest and say I don’t quite have the best handle on what exactly makes Yeat so damn popular. There’s a unique blend of Gen-Z nihilism and deep-web-bred meme humor I suspect I’m missing (have I finally found myself on the other side of the Lil B equation?), but anyone with eyes can see that he’s having quite the effect on online discourse. Fans are looking forward to his next album, so I’m looking forward to his next album — even if only in hopes of finally “getting it.”
April
Lil Uzi Vert — The Pink Tape
There’s no hard date attached to this one as far as I can tell — and it would be largely useless, considering the release drama around this album so far, as well as Uzi’s last one, Eternal Atake — but Genius has a tentative April release date. Given Uzi has already blown through the original October date and another February one. All that has only served to increase the anticipation surrounding this release — especially since Uzi promised the delays were to ensure the tape wouldn’t “suck.”
Destroy Lonely — If Looks Could Kill
Similarly to Lil Uzi Vert’s Pink Tape, this one is just posited by Genius for an April date, and simliarly to Yeat, there’s a buzzy, grown-up-confusing element to Destroy Lonely’s music that makes him heavily anticipated, but only by those “in the know.” A clear descendant of the SoundCloud Rap era he’s also a rap nepo baby (his dad I-20 was one of Ludacris’ Disturbing Tha Peace artists in the 2000s), but his vibe is very inspired by Trippie Redd and Playboi Carti — whose label he’s signed to.
May
Your guess is as good as mine. None of the usual forums or resources have any information about what might be coming out, but no one on our Most Anticipated Albums Of 2023 list has dropped yet, and just before summer would be an opportune time for anyone looking to dominate the latter half of the year.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
It’s time to shake off the snow because spring is here (at least for our purposes, for which we’re considering spring to be from March 1 to May 31). Our purposes? To look at what albums set to drop this season we’re looking forward to most.
Indeed, there are a lot of albums to anticipate this March, April, and May. The No. 1 single “Flowers” has made Miley Cyrus’Endless Summer Vacation an especially major release, the Boygenius reunion is in full swing, and Lana Del Rey and Yves Tumor are coming through with album titles that feature so many words.
Instead of giving everything away in the intro, let’s get into the list below. Here are the most anticipated albums of spring 2023.
Kali Uchis — Red Moon In Venus
Geffen
Release Date: March 3
Uchis apparently has two albums planned for 2023, but for now, the one that’s been officially announced is Red Moon In Venus. She launched the project in January with a revealing “I Wish You Roses” video, and joining her elsewhere are Omar Apollo, Don Toliver, and Summer Walker, who are making guest appearances on the album.
Lana Del Rey — Did You Know That There’s A Tunnel Under Ocean Blvd
Polydor/Interscope
Release Date: March 10
Lana Del Rey’s dad Rob Grant has his debut LP coming out this summer, but the spring is all about Lana. There’s a lot going on with Did You Know That There’s A Tunnel Under Ocean Blvd (which somehow almost had an even longer title): Father John Misty, Bleachers, and Jon Batiste are among the features on the project, and it includes songs with names like “Taco Truck X VB” and “Grandfather Please Stand On The Shoulders Of My Father While He’s Deep-Sea Fishing.”
Miley Cyrus — Endless Summer Vacation
Columbia Records
Release Date: March 10
Cyrus is in the midst of a career high as “Flowers” is her second No. 1 single, following “Wrecking Ball” back in 2013. Amping up the anticipation for Endless Summer Vacation even more is the fact that “Flowers” is so far the only song from the album that we’ve actually heard, so who knows what else is going on here. It’ll be interesting, too, to hear how Cyrus works with her batch of collaborators this time around: Brandi Carlile and Sia are the only features on the album, but there are also songwriting contributions from folks like James Blake and inaugural Songwriter Of The Year Grammy winner Tobias Jesso Jr.
100 Gecs — 10,000 Gecs
Dog Show/Atlantic
Release Date: March 17
Before the enigmatic 100 Gecs head out on tour in April, they’re gonna drop 10,000 Gecs, the duo’s second album that arrives nearly four years after 2019’s 1000 Gecs. Gecs can embody completely different genres in different songs. On “Hollywood Baby,” for example, they go in a pop-punk-leaning direction, but they could do just about anything else on the rest of the album.
Yves Tumor — Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Warp
Release Date: March 17
Lana Del Rey nearly had the long album title throne for spring before Yves Tumor came through. Tumor, of course, has been one of the most fascinating musical innovators for years now because, like they do on recent single “Heaven Surrounds Us Like A Hood,” they don’t let the need for stylistic experimentation get in the way of just plain old good songcraft.
6lack — Since I Have A Lover
Getty Image
Release Date: March 24
6lack had a breakout moment with his second album, East Atlanta Love Letter, which managed a No. 3 peak on the Billboard 200 and spawned the J. Cole collaboration “Pretty Little Fears.” That was back in 2018, though, and fans have been waiting for new material from him (save for the number of collabs he’s done in recent years). Just days ago, though, he revealed that Since I Have A Lover is dropping later this month.
Fall Out Boy — So Much (For) Stardust
Fueled By Ramen/DCD2
Release Date: March 24
We’ve had Fall Out Boy in our lives for over two decades at this point, and in case you haven’t been paying attention, they haven’t stopped pumping out No. 1 albums. Their past three LPs have all topped the charts and it’s clear Patrick Stump, Pete Wentz, and company are still having a lot of fun doing it, like with their Easter-egg-packed “Love From The Other Side” video.
Boygenius — The Record
Interscope
Release Date: March 31
Phoebe Bridgers, Lucy Dacus, and Julien Baker are three of the most respected artists in their field, so it’s naturally always exciting when they find time to revive their collaborative project, Boygenius. Reviving it they are: Their 2018 self-titled EP caused a frenzy, so their upcoming full-length record is sure to draw even more enthusiastic support.
Chlöe — In Pieces
Jack Bridgland
Release Date: March 31
Since forging her own path outside of Chloe x Halle, Chlöe has turned herself into a genuine star, and it’s all set to culminate with her debut album. There’s still an aura of mystery surrounding the project, though, as we don’t even have a proper album cover or tracklist yet. What we can say, though, is that based on the singles and collaborations Chlöe has dropped over the past couple years, it’ll be worth paying attention to learn more about what’s going on with In Pieces.
Daniel Caesar — Never Enough
Republic
Release Date: April 7
When it comes to Caesar’s upcoming third album, he’s stayed mostly mum on it, save for a mysterious teaser he dropped in February. He did say in a previous interview, though, that some people he’s been working with have breathed new life into his music: “As far as other artists, there’s no one I would leak right now, but I have met a few people who have made me excited about making things again.”
Wednesday — Rat Saw God
Dead Oceans
Release Date: April 7
Wednesday made a major move last year by signing with Dead Oceans after earning acclaim with the first four albums. The group hasn’t given themselves much time to rest — Rat Saw God will be their fourth album since 2020 — but they don’t sound tired on songs like the shoegaze-y recent single “Bath County.”
Metallica — 72 Seasons
Blackened
Release Date: April 14
A fortuitous Stranger Things placement has helped put the long-running metal group back in the pop culture spotlight, and now they’re ready to capitalize on it with a new album. On lead single “Lux Æterna,” James Hetfield and company proved that despite how long they’ve been in the game, they’re far from ready to start phoning it in and just collecting paychecks with pedestrian material.
The Smashing Pumpkins — Atum: A Rock Opera In Three Acts
Martha
Release Date: April 21
Speaking of tenured groups, Smashing Pumpkins is another one that hasn’t stopped adventuring. Atum will be their twelfth album and its release is actually already in progress: The first act dropped in November 2022, the second arrived in January, and the project-completing third will be here in April. Bands less seasoned than Smashing Pumpkins lose their creativity all the time, so power to Billy Corgan and company for keeping their imaginations alive.
Indigo De Souza — All Of This Will End
Saddle Creek
Release Date: April 28
De Souza’s Saddle Creek debut Any Shape You Takewas an Uproxx favorite in 2021, and while it’s a tough act to follow, it appears All Of This Will End is up to the task. “Younger & Dumber” was certainly a prime choice for a lead single, as the evocative song is a lovely and thoughtful reflection on youth that sets the table for more greatness to come.
The National — First Two Pages Of Frankenstein
4AD
Release Date: April 28
Aaron Dessner apparently devoted a pocket of time to take a break from becoming one of pop’s newest go-to collaborators: The National have a new album ready to go. First Two Pages Of Frankenstein will be the band’s first since 2019 and Dessner’s connections actually helped here, too, as Taylor Swift and Phoebe Bridgers (and Sufjan Stevens) make appearances.
Ed Sheeran — – (Subtract)
Atlantic Records
Release Date: May 5
This one’s a late addition to the list, as Sheeran just announced it yesterday (March 1). – (aka Subtract) will round out Sheeran’s series of mathematically named albums and while we have no clue what the LP sounds like yet, we do know that the vulnerable projects stems from Sheeran’s difficult early 2022, which featured “a series of events changed my life, my mental health, and ultimately the way I viewed music and art.”
Arlo Parks — My Soft Machine
Transgressive Records
Release Date: May 26
In 2021, Collapsed In Sunbeams made Arlo Parks a star in her native UK and a Grammy-nominated critical favorite in the US. Part of Parks’ appeal is her vulnerability and it appears there’s plenty of that on the new LP: She previously described the project as confronting “the mid-20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self-sabotage and joy, moving through worlds with wonder and sensitivity.”
The Kid LAROI — The First Time
Getty Image
Release Date: TBD
The Australian teenager has a major moment in front of him: His debut proper album. (F*ck Love and its various expanded editions were technically mixtapes.) It remains to be seen if The First Time will yield a single as globally popular as the Justin Bieber-featuring “Stay,” but either way, songs like “Kids Are Growing Up (Part 1)” show LAROI progressing through life and continuing to discover a more mature side of himself.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
In the leadup to the release of his third album, Love Sick, Houston rapper-singer Don Toliver said enough of the right things to make me believe that this would be the project of his that would finally tell us who he is.
“On this particular album, I really locked in on the actual story and the theme of the album and basically the tracklist is going in sequence, in motion of the actual story, of what it will be,” he said in one interview.
“I want people to listen to my music and think it’s timeless,” he echoed in another. “To think about Marvin Gaye, Sade, Jay-Z, and just listen again. All I strive for is to be in the conversation with some of the greatest of all time.”
The one thing all of those greats did, though, is put themselves into their music. When you push play on “Song Cry,” you get the impression that Jay is letting us in on a moment in his life. When Marvin Gaye made “What’s Goin’ On?” it was considered a massive creative risk, but it was a sentiment he cared about deeply enough to take that risk.
With Don Toliver, I’ve never gotten the impression that I’m learning anything about him or what he truly cares about in his music. I tend to believe that he’s the consummate aesthete – his presentation is everything, and he’s going for a look rather than a feel.
The feeling that pervaded his prior releases Heaven Or Hell and Life Of A Don is that his primary preoccupation in making them was imitating and improving upon the aesthetics of stylistic forebears like his mentor Travis Scott, Future (both of whom appear here), and Young Thug – i.e. the wounded melodic howling, eerie vocal effects, and clipped, erratic rap deliveries that made them stand out from the pack when they first broke out in the middle of the last decade.
Love Sick, on the other hand, seemed like it would be a step forward when we’d begin to see more of the artist in his work. Love, after all, is the most personal and primal of human emotions, even as it remains the most universal. If any subject could crack the facade and reveal the interiority missing from Toliver’s past projects, this would be it.
After a few listens to Love Sick, though, I still haven’t figured out who Don Toliver is.
Don’t get me wrong; it’s a polished, pleasant body of work. If nothing else, he’s upped his game with regard to developing his own artistic flourishes. Perhaps credit belongs to his expanded roster of production partners. After all, it’s hard not to notice that the Kaytranada-produced “Honeymoon” is a standout, nor is the dreamy quality of “Let Her Go,” which features James Blake.
The hyperfocus on subject matter allows Toliver much more room to play around sonically. So while there are still cavernous club 808s and bellowing synthetic bass lines aplenty – “Leave The Club” is a prime example – “Leather Club” finds a smooth, almost ‘80s adult contemporary vibe well suited to his Drake-lite lamentations of one-directional affections.
“Slow Motion” with Wizkid is a surprising dance floor banger that goes in a completely different direction than you’d expect with the Afropop star involved, “If I Had” recruits quiet storm favorite Charlie Wilson for a classic example of the genre, and Chicago heads will almost certainly figure out a few new juke steps to “Bus Stop.”
Throughout Love Sick, I get the feeling that Don Toliver is a nice guy who is really kind of a music nerd, someone collaborators really enjoy testing out new sounds with. But there’s still no sense of identity, that undefinable something that instantly lets you know when you’re hearing a song from Future, Travis Scott, or Young Thug.
The good news is that Toliver is really good at executing an idea, and that’s a step in the right direction for where he wants to be. Coming up with a concept and making music that effectively conveys those ideas is really hard – that’s why we hold such respect for artists. If Love Sick has more style than substance, that style is really charming and enjoyable.
And if Toliver hadn’t managed to at least do that much, we wouldn’t be talking about him at all. If he wants us to talk about him in the same breath as Sade Adu, he’s laid a decent foundation for that conversation to take place. But he still needs to give us something to talk about. He’s almost there.
Love Sick is out now via Cactus Jack and Atlantic Records.
Don Toliver is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
, Janelle Monáe’s The Age Of Pleasure maintains the musician’s crusade of using her work to allow any and all “dirty computers” to remember that there is indeed a place for them in the world, and on the dancefloor. 
