Retroversy

It’s that time of the year again when all of the major blogs are putting out their lists of the best songs of the year, so I have no choice but to share my own — seeing as the Internet clearly needs one of these that doesn’t have six variations of the one Lana del Rey song on it. Last year, I wrote about three songs and three albums. This year, it’s a simple list of my favourite songs of 2023. It has way too much K-pop on it. I dunno what to say, man, I’m sorry.

aespa – “Spicy”

Korean pop music has been a cultural juggernaut for long enough now that it’s relatively easy to define what the archetypical K-pop song would sound like, and “Spicy” by aespa makes a strong case for itself as the quintessential example. Overwhelming, bass-heavy production; vapid, vaguely empowering lyrics; vocal harmonies weaving in and out of rap verses; and most importantly, hooks upon hooks upon hooks layered upon each other like a fine piece of patisserie. The delusional excesses of corporate hyper-capitalism have never sounded this catchy.

Blush – “Crush”

East Asia gave us fireworks, karaoke, tea, anime and kimchi, and in return, we gave it shoegaze, a distinctive style of hazy, fuzzy guitar music that bands like Japan’s For Tracy Hyde and Korea’s Parannoul have continued to bring into the spotlight in the year 2023. With Blush, Singapore has sent its own champions onto the battlefield, and at least in my opinion, the debutantes have come out on top. “Crush” morphs from a trudging steamroller of a track into a shimmering, sweet little love song that nevertheless perfectly encapsulates the crushing (huh) weight of butterflies in your stomach.

Boygenius – “Not Strong Enough”

What is there even left to say about Boygenius? Three of the most talented female singer-songwriters of their generation band together and prove they are more than the sum of their parts. “Not Strong Enough” is the ultimate proof that it is not just the voices of Lucy Dacus, Julien Baker and Phoebe Bridgers that perfectly complement each other, it’s their lyricism and songwriting sensibilities as well. If you don’t get goosebumps the moment Dacus takes over after the “always an angel, never a god” bit, you might objectively not have a soul.

Caroline Polachek – “Welcome to my Island”

I read someone describing Caroline Polachek’s music is “theatre kid vocal acrobatics bullshit” in a comment section once, as if that is in any way a bad thing. Desire, I Want to Turn Into You, the album she released this year serves as a watershed moment in hyperpop history, showing that the genre can go beyond its neon-colored and irony-poisoned aesthetics, and the opening track makes for a perfect thesis statement on that intent. How many songs can you name that combine opera, hip-hop, glam rock and electronic pop without sounding absolutely deranged?

Chris Farren – “Cosmic Leash”

2023 was an exceptional year for fist-pumping, scream-your-lungs-out singalong punk anthems, the kind of songs that can only be reasonably quoted in all-caps. Chris Farren’s “Cosmic Leash” is one of these songs, an invigorating riot that sounds exactly like the sentiment it describes: “the cosmic leash, the lava flow / my body bursting like a volcano / it’s rushing back, back to me”. Or, more correctly: “THE COSMIC LEASH! THE LAVA FLOW! MY BODY BURSTING LIKE A VOLCANO!” You know how this goes.

Creeper – “Further than Forever”

Creeper are a riotous throwback to the theatrical, horror-inspired punk bands of the 80’s and as such the only band in the world who could get away with writing an entire rock opera about how much frontman Will Gould wants a vampire to suck his blood. Don’t judge! Have you ever wanted anything so badly you’d write a nearly 10-minute overture in the style of Meat Loaf’s seminal 1977 camp spectacle, Bat Out of Hell, to get it? Have you ever dared to invoke rock gods like Bruce Springsteen, Phil Collins and, err, Bonnie Tyler, as you give in to the lurid temptations of a hot goth chick? If not, it might be time to start asking yourself why.

Fireworks – “I Want to Start a Religion With You”

The good news is that there is a new Arcade Fire in town. Like that band’s best works, Fireworks’ Higher Lonely Power is a rarity, an album that builds on emo’s cathartic fundaments with an opulent sound and substitutes the angst the genre is infamous for with reflective, mature lyrics about religion’s persistent grip on contemporary society. The bad news is that these poor fools decided to release their masterpiece on New Year’s Day, dooming it to have been all but forgotten by the time the usual end-of-the-year retrospectives comes around. Luckily, its early release made “I Want to Start a Religion With You” a staple of the “best of 2023” playlist that has been my alarm clock throughout the year, so there’s at least someone out there who can give this song the attention it deserves.

Home Front – “Nation”

Home Front’s “Nation” is a song I can only describe as a dialogue between the often slick meticulosity (definitely a word) of synthesizer-driven pop and the give-no-fucks attitude of punk. Smashing these two aesthetics together may sound like a contradiction, but it really isn’t. In essence, what I’ve just given you is little more than a definition of new wave — pretty much the quintessential music genre of the eighties. “Nation” shows that the combination still works after all this time, sounding like the missing link that could finally give rowdy football hooligans and macabre freaks of the night something they can share a pint over.

The Last Dinner Party – “Nothing Matters”

An all-female band? Signed to a major label without a shred of music recorded? A first single that went viral faster than the time it takes between opening up TikTok and finding a video that claims having songs stuck in your head makes you autistic? Why, yes, all the pieces were in place for the “industry plant” controversy to end all “industry plant” controversies. Luckily, The Last Dinner Party managed to evade most accusations by simply being undeniably talented. “Nothing Matters”, the first single in question, is exactly the kind of song any label executive would be deluded not to want to release after hearing it once. I mean, it’s Kate Bush, but without the dated production! It’s Bowie, but alive! It’s ABBA, but they get to say “fuck”! What’s not to like?

LE SSERAFIM – “Eve, Psyche and the Bluebeard’s Wife (Rina Sawayama remix)”

In Korean pop music, imitation in the sincerest form of flattery, so it was only a matter of time before the industry would latch itself onto the house music revival bandwagon that took off last year with the release of Beyoncé’s album Renaissance. Boasting minimalist beats and old-skool clubby vibes, LE SSERAFIM’s “Eve, Psyche & The Bluebeard’s Wife” serves as a neat homage both to Queen B and the producers that inspired her, but the song only truly manages to carve out an identity for itself with the addition of everyone’s favourite how-the-hell-is-this-woman-not-the-biggest-pop-star-in-the-world, Rina Sawayama, who embellishes the surprisingly skeletal original with her own signature bells and (literal!) whistles.