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Sputnikmusic Staff’s Q1 Playlist 2023

Welcome to the first installment for our 2023 quarterly playlist! Feel free to jam the playlist below while reading what our writers had to say about each selection. Tell us what your favorites are in the comments, any new artists you may have discovered here, or let us know what we missed!

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Tracklist:

Acid Arab – “Habaytak”
٣ (Trois)

Acid Arab continue to infuse techno with Arabian music to great effect, with “Habaytak” offering a more aggressive groove sprinkled with catchy vocals and hypnotic keyboard leads. It might seem like an absurd mix at first, but the song (and the entire album) becomes addictive. –Raul Stanciu

Algiers – “A Good Man”
Shook

I like Algiers when they let loose and let that bit of Bad Brains take over. This is where this band shines. Their latest record Shook is an impressive display of experimental post punk — sometimes hard to follow, sometimes hard to let go — but it’s in short bursts like “A Good Man” where this band really proves there’s a wildfire still burning inside of them. –Dewinged

Asian Glow & sonhos tomam conta – “hangthemall”
dreamglow

While Asian Glow and sonhos tomam conta’s hyper-reverberated screamo experiment wasn’t exactly the start-to-finish triumph many of us were hoping for, there’s no getting around the fact that album highlight “hangthemall” goes hard as all hell. It’s a welcome dose of propulsion for the 5th wave emo digiscene, whose image has long been coloured in unfairly large part on Parannoul’s MIDI-driven post-rock — anyone who felt the movement was missing out on chaos, violence and (yes honey) real instruments, get this down you and sort yourselves out. This pair wallop and holler over the whole auditory spectrum, and — ! –Johnny

The Beths – “Watching The Credits”
Watching The Credits

Even the b-sides from Expert in a Dying Field demonstrate The Beths are straight up built different than almost every other band of their ilk. “Watching the Credits” is yet another sharply observed, self-deprecatingly funny and catchy-as-fuck jam from the mind of Elizabeth Stokes, making excellent use of the only accent in the world where “innards” rhymes with “credits.” The band truly have nothing left to prove at this point, but keep proving it nonetheless, dropping perfect pop gem after perfect pop gem. –Rowan

Between You & Me – “Nevermind”
Nevermind

Okay, look, this song is dumb as hell: it isn’t even particularly good. But hey, it’s fun pop punk (rare), complements its stupidity with a stupidly catchy chorus, and makes me feel like I could have had a fun childhood (rare). Should we get into that? Oh, this is a blurb, nvm. –Jesper

Black Country, New Road – “Turbines/Pigs – Live at Bush Hall”
Live at Bush Hall

It would’ve been totally fair for Black Country, New Road to take a year off and lick their wounds after the devastating departure of Isaac Wood, days before they released what in hindsight is holding up as an instant classic. Instead, they moved on, and “Turbines/Pigs” is proof positive that there’s a future for this band as bright as their past. Building from a gentle first half with May Kershaw’s slightly quaking timbre and Joanna Newsom-esque lyrical fable, to a thundering climax that feels built to demonstrate that the band who made “Basketball Shoes” is still alive and well. It’s perhaps the most beautiful song Black Country, New Road have ever created, and the kind of restrained and thoughtful opus that they couldn’t have created even a year ago. –Rowan

Caroline Polachek – “Blood and Butter”
Desire, I Want to Turn Into You

You have never loved anything as much as Caroline Polachek loves Mixolydian scales. “Blood and Butter” is just one of 12 shining examples on Desire, I Want To Turn Into You of how absurd this woman’s vocal talent is, but it’s also an even shinier example of the burgeoning genre known as “Crash Bandicoot-Core”. You could put this song in the soundtrack of It’s About Time (probably somewhere in the prehistoric dimension) and it wouldn’t even be weird. –YoYo

Closure in Moscow – “Better Way”
Soft Hell

It doesn’t matter where you want to put this lead single on the “banger-bop” x “groove-jam” matrix: the instrumentation rips for days. Hard to believe it’s been nine years since Pink Lemonade, but it’s a delight to hear shades of that record blended with First Temple flourishes. –-Jom

Echosoft – “Duo”
Weight of Your Own

This winter, I escaped to the southernmost point of Portugal and rented a bike. While cycling through the sunny mountains littered with lemon trees, foxes and beautiful views in order to find an abandoned village, Echosoft’s “Duo” perfectly encapsulated both my experience and surrounding nature. Lush, soothing, and almost entirely detached from reality — it is a perfect little synthwave tune. –Jesper

Enslaved – “Heimdal”
Heimdal

The latest stretch of Enslaved’s illustrious discography, while great, has often felt like something is missing. With Heimdal, that something is found, revealing a new album full of passion and fire. It’s hard to pick a best song, but the title track will have to do, a behemoth which authoritatively closes out their finest record in a while with a grandeur worthy of the group’s towering legacy. –Sunnyvale

Fall Out Boy – “Heaven, Iowa”
So Much (For) Stardust

Honestly, I just wanted to add this because I’m just blown away by how good this album is. After several duds in their post-hiatus era, Fall Out Boy finally got it together and released So Much (For) Stardust — genuinely a fantastic record — and “Heaven, Iowa” is one of the many highlights. With a beautiful vocal melody atop atmospheric synths that slowly builds, the eruption at the end of the track is an astounding payoff. –Tyman

Fever Ray – “Carbon Dioxide”
Radical Romantics

As effortless as their stint with The Knife, Sweden’s Karin Dreijer manages one more time to craft a no-nonsense pop album that brims with caustic lyricism and effervescent beats with the same unique feel that made The Knife an enrapturing band to dance to. You’ll think you can simply “listen” to this, but once you snap out of the trance, you’ll find your pelvis in the next room. –Dewinged

Flyying Colors – “Bright Lights”
You Never Know

Shoegaze is the best genre — this is not up for debate. That being said, shoegaze rarely feels fresh: like it or not, the bloody valentines did approximately everything that can be done in/with/to the genre some 30 years ago. “Bright Lights” doesn’t do anything new, but that’s okay: it’s comfortgaze™ of the highest caliber. All I need is a sparkly brain-tickling riff, some lyrics about being tired or whatever, a splash of distortion and I’m good to go. No need for Mike Portnoy. –Jesper

GEZAN with Million Wish Collective – “INTERSECTION”
ANOCHI

I could try to talk about why GEZAN’s latest record is the most vitalising and adventurous rock album I’ve heard in years, but that will take us into a troublesome ballpark of personal declaratives, unpackings of emotionally superlative conventions lost to many in translation, and anticipative but-the-vocals? apologism warranted with such hypocritically lesser frequency for vocalists our side of the language barrier (if Manchester Orchestra or the reedy tosser from Foxing had made this, you all would have shat your pants on the spot). We won’t go there; I bailed out on reviewing this record simply because I couldn’t think of the words to contain it, but the centrepiece “萃点 / INTERSECTION” is a passionate hymnal mess that could only have been voiced by those whose rampaging life- and death- instincts somehow align and conflict in just the right way to scream out th
bracing vitality with utmost sincerity. I could never in a million years write a song like this and believe in singing it with this much conviction. –Johnny

GoGo Penguin – “Parasite”
Everything is Going to Be OK

GoGo Penguin’s forthcoming record is one of my most anticipated in Q2, so it’s been rather kind that the group have been generous enough to share four singles ahead of its release. “Parasite” has been my favorite from the set, with the kinetic energy in the song’s second half illuminating new drummer Jon Scott’s dexterity and creativity. The Manchester trio are certainly inventive with their electronic flourishes, but “Parasite”‘s return to form with the core piano, double bass, and percussion has been a real treat in sustaining my excitement for Everything‘s April unveiling. –Jom

Gorillaz f/ Adeleye Omotayo – “Silent Running”
Cracker Island

One of those lovely, bittersweet tracks Damon Albarn makes sure to include on each record he crafts. A definite standout from the first listen. –Raul Stanciu

hamza – “Codéine 19”
Sincèrement

The fresh prince of Brussels rap’n’b keeps on delivering earworms that proves he’s the one who understood Young Thug’s musicality the best. When coupled with delicious strings such as the ones on “Codéine 19”, he could sing about his tax that you’d still want to live his life. –dedex

Hellripper – “The Cursed Carrion Crown”
Warlocks Grim & Withered Hags

“Pain” McBain, the man whose wrist shakes harder than Shakira’s hips on the North Pole, is back with his most refined album so far. Conflict brewed inside me the first time I traversed the riff fest that is Hellripper’s fourth full length, as part of the nasty immediacy of his first releases has evolved into a greater and more ambitious approach that felt quite exhausting. “The Cursed Carrion Crown” has probably the hardest and fastest shredding on the album, and it successfully preserves that old feel while incorporating McBain’s new tricks. An absolute axe to the skull. –Dewinged

JPEGMAFIA and Danny Brown – “Fentanyl Tester”
SCARING THE HOES

There’s an unpredictable shock value in JPEGMAFIA’s production style which Matt Berninger once aptly described as (unverified paraphrasing inbound) an eagerness to touch the forbidden fruit; faders that are usually left unfucked with are expertly manipulated, and samples are as likely to come from retro Japanese TV commercials as from Kelis’ “Milkshake”. The shock that these decisions elicit are then enhanced when you reach for your device to see what on earth this wild track is called and read the words “Fentanyl Tester”. Sweet Jesus, I love this guy. –MiloRuggles

Katatonia – “Colossal Shade”
Sky Void of Stars

A highlight from the latest Katatonia album, blending familiar yet sturdy riffs with electronic elements. The vocals, however, take the track to another level. –Raul Stanciu

Klone – “Bystander”
Meanwhile

While I’m partial to the swirling vortex that is Meanwhile‘s title track, “Bystander” represents some of Klone’s strongest songwriting across their discography. Yann Ligner is a vocal powerhouse throughout “Bystander”‘s thunderous bridge. Despite the song’s seemingly straightforward arrangement, it’s no surprise that the French sextet have toured with Leprous and Pain of Salvation. Listeners who enjoyed (or were perhaps not as enthused by) Riverside’s latest would do well in giving Meanwhile a spin. –-Jom

Liturgy – “93696”
93696

Okay guys so who is up for some Symphonic-Post-Transcendental-Operatic-Black-Metal? Wait, no, stop, where are you going, don’t go, but I love you, wahhhhh. –Asleep

M83 – “Amnesia”
Fantasy

Fantasy is a massive return-to-form for M83, and one needs to look no further than “Amnesia” to see why. The swelling synths, gorgeous ambiance, and effortlessly catchy melodies make it a piece that is instantly memorable and engaging in a way we haven’t heard since 2011’s Hurry Up, We’re Dreaming. “Amnesia”, and really the whole of Fantasy, feels like a soundtrack to a summer night drive — it’s a vibe that continues to suit M83 perfectly. –Sowing

Manchester Orchestra – “Rear View”
The Valley of Vision

Although Manchester Orchestra is my favorite active band, I still had some reservations about this EP, The Valley of Vision, when it was announced as something of a quiet coda to 2021’s The Million Masks of God. “Rear View”, while elegant in its own right, features the album’s biggest curveball — an absolute flourish of raw energy that feels earned after several minutes of Hull’s eerie, quiet laments and call-backs to “The Internet”. It’s a strangely brilliant combination of dark lyrical overtones and uplifting instrumental atmospheres that feels new but also distinctly Manchester Orchestra. It’s the kind of song capable of erasing any doubt that these guys always, unequivocally, know exactly what the fuck they’re doing. –Sowing

Margo Price f/ Mike Campbell – “Light Me Up”
Strays

Strays is Margo Price’s best and most adventurous album yet, and sitting atop its incredibly consistent tracklist is “Light Me Up” — a track that winds, twists, and builds to a perfectly-timed guitar solo. It’s equal parts country and rock n’ roll, with Price’s vocals accelerating to the energetic highs and slowing to the effortlessly graceful lows with astonishing clarity and versatility. If you think country has had a slow start to 2023, think again. –Sowing

MSPAINT – “Titan of Hope”
Post-American

Synth punk is back, bitch. Four dudes from Mississippi, one of the most conservative states in the US (apparently??? dunno, too busy fighting Macron for my pension), decide to form a band to vent the frustrations of being a 21st-century American. The result is Post-American, punky shit full of retro atmospheres that borrow as much from hardcore energy as synthwave aesthetics. No guitar here, but eh you guys listen to too much guitar music anyway. –dedex

The Murder Capital – “Return My Head”
Gigi’s Recovery

We’re awash with more thoughtful, well-produced post-punk from across the pond than we know what to do with these days. The Murder Capital is another drop in the bucket, an Irish band with a more gothic, Joy Division-y tint than their brethren Fontaines DC. But “Return My Head” is a different beast, a furiously catchy single with a skyscraper chorus that shows The Murder Capital can rock out with the best of this new wave when the mood strikes them. –Rowan

Nothingness – “Horrendous Incantation”
Supraliminal

That bleak-groovy filthy-catchy fast-slow good-fun Floridian-dm for the masses: get yours today! –Asleep

Otay:onii – “Light Burst”
Dream Hacker

A rather direct cut from an artist who’s not afraid of the scenic route. As I’ve said elsewhere, I’d like to hear this track during the closing credits of Dune: Part Villedeux. While that joke probably doesn’t bear repeating, “Light Burst 光裂” most certainly does. –MiloRuggles

Overmono – “Is U”
Good Lies

Fred Again.. is all the rage in dance music right now, but don’t you dare skip Overmono. The British brotherly duo has slowly but firmly moved towards the dancefloor with each release, and the upcoming Good Lies (May 12th) will more than likely be the record propelling them towards the “south-of-mainstream” popularity that they’ve been deserving — their blend of pop, house, and UK garage is way too irresistible to be confined to Internet nerds’ territories. –dedex

Pile – “Link Arms”
All Fiction

The onion-like nature of the sprawling mindfuck that is All Fiction would make the elevator pitch a rather challenging endeavor, were it not for the impeccable “Link Arms”: a low-key masterpiece containing all the patient, characterful post-punk and/or hardcore chewy goodness that a growing boy needs. –Asleep

Slow Fiction – “Top 10 Movie Scenes”
Top 10 Movie Scenes

There’s so much absolute top tier content in this song that I could highlight, from the lilting vocal melody to the crushing distortion, but what I always return to with this track is the absolutely stank face-inducing tom groove that kicks in at 4:33. I still find myself vocalizing it like an idiot sometimes, usually in a public place where little kids will point at me and say something like, “Mommy, why is that man with the disproportionately long arms going doo di-duh-duh BAH doo?” –YoYo

slowthai – “Falling”
UGLY

UGLY’s resonance will differ violently from listener to listener, and the sticking point is whether or not you buy into slowthai’s narrative. “Falling” is the most unusual performance on a record that’s already burgeoning with oddball ambition, and, for me, the most visceral moment in his career to date. –MiloRuggles

Thomas Azier – “Slow Revolution”
The Inventory of Our Desire

Though most of The Inventory of Our Desire shows a softer, jazzy side of Thomas Azier’s songwriting, “Slow Revolution” brings back the mix of melody and chaos of Love, Disorderly in a grand way. The slow burn progression from mellow piano and guitar chemistry to the explosion of horns, intensity, and Azier’s shouts provides a climatic release of tension that is truly exceptional. –Tyman

Tigers on Trains  – “Plane Song”
Antiquities

As much as I’d love to talk about the equally stunning “Underneath the Ivy Fields”, it’s one of the oldest songs on Tigers on Trains’ new retrospective compilation, dating back to the days before their first full-length album. However, the album opens with two brand new cuts, and “Plane Song” stands out as the more poised and well-put-together of them. Mason Maggio’s lyricism is absolutely unmatched, and the gently thrumming electric instrumentation underneath him helps this song live up to its name and feel like a heavenly ascension to cruising altitude. –YoYo

Tujiko Noriko – “A Meeting at the Space Station”
Crépuscule I & II

“A Meeting At The Space Station” is almost twelve minutes of absolutely perfect ambient (think Grouper with her aura of listless permasulk traded for actual bliss) and anything you can do to its accompaniment will immediately become better. You are welcome. –Johnny

The Veils – “Rings of Saturn”
… and out of the Void Came Love

The Veils are a new discovery of mine. Their music and lyrics are serious and somber, and delivered in the kind of earnest way which should come across as mockably self-important, but rarely do. The more I listen to new album …and out of the Void Came Love, the more I’m convinced the mid-tracklist stunner “Rings Of Saturn” is its most dazzling gem. It’s about as profound of a tune as I’ve found so far this year. Not much else to say, give it a listen and find out. –Sunnyvale

Yo La Tengo – “Aselestine”
This Stupid World

Indie veterans Yo La Tengo struck gold this year with new record This Stupid World, which kicks their ever-increasing tendency towards sleepiness to the curb in favor of their most complete effort in (probably) decades. It’s fitting that the most classic song on the band’s latest is, as so many of the band’s most affecting tracks have been, guided by a vocal performance from Georgia Hubley. “Aselestine” is simply gorgeous, blissful and sad, all at once. Hard to ask for more from an indie tune. –Sunnyvale

Young Fathers – “I Saw”
Heavy Heavy

The flow, the groove, the ambience, the vocal melodies — I could keep going — are just absolutely astounding on this track. Young Fathers’ Heavy Heavy fuse their hip-hop elements with influences from spirituals and African rhythms seamlessly, and “I Saw” perfectly embodies this sound. With such a beautiful progression from the pulsating bass to the immersive chorus of voices and loud atmosphere, this track is a true standout early on in the year. –Tyman

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Participating staff writers:

AsleepInTheBack | dedex | Dewinged | insomniac15 | JesperL | JohnnyoftheWell | Jom | MiloRuggles | Rowan5215 | Sowing | Sunnyvale | tyman128 | YoYoMancuso