The Alternative Album Chart: The best new indie albums this week
That came around quickly. December is now here, and what were once the faint jingle bells of Christmas are now looming ever louder on the horizon. Before we get to the festive season, though, 2023 continues to deliver a remarkably extensive volume of fresh music, which this week even involves a new studio-length album from Peter Gabriel.
This year for new albums has been one of the best in a long time, even topping the previous two years, both of which were brilliant. From legacy acts to newcomers rising out of the grassroots circuit, 2023 has delivered many competent records that have soundtracked every facet of life, from morning commutes to sweating it out in the gym.
From an album of the year contender by Mitski to the return of the Drop Nineteens after all these years, there’s been so much going on that there is simply no way I can recount it off the top of my head. Alongside Peter Gabriel this week, there are the latest bodies of work from The Goa Express and Foxygen member Johnathan Rado, which outline just how varied the year continues to be in terms of genre.
So, without further ado, please find this week’s Alternative Album Chart below.
The best new indie and alternative albums this week:
i/o – Peter Gabriel – 4
Since his chrysalis years founding the prog-rock project Genesis, Peter Gabriel has been anything but conventional. Like his friend and frequent collaborator Brian Eno, Gabriel straddles the fine line between accessibility and experimentalism, forging a legacy of global acclaim and seminal artistry. In his new album, Gabriel consolidates five decades of education into not one but two absorbing avant-pop products.
Whatever mix we begin with, we’re met with a compelling distillation of not just the last two decades of work but Gabriel’s story of over half a century. This music is by no means revolutionary, but even in its darkest moments, i/o imbues rays of hope at a time when the world needs them more than ever. Once again, Gabriel has proven that pop can delve far beneath the skin. [Words: Jordan Potter]
For Who the Bell Tolls For – Jonathan Rado – 3.5
Ever since their debut, Foxygen has continually twisted their sound towards an explorative end. Whereas most artists might find the right sound and stick with it until the end, the baroque pop collective has often used the studio as a sonic canvas, usually using any instrument to suit their needs. While many of the band’s albums have the potential to bend a listener’s ear towards something new, Jonathan Rado helps open his listener’s hearts with his latest solo album.
While For Who the Bell Tolls For is rarely an uplifting experience, every track is a unique insight into Rado’s state of mind as he comes to terms with the concept of loss in his life. It might not be easy addressing the heartache, but sometimes emotions this strong demand to be felt. They mightn’t roar their way off the album consistently, but it is an honourable exorcism with flashes of class. [Words: Tim Coffman]
Slumped Up – Oya Paya – 2.5
If you told me Oya Paya were American, I’d believe you. In fact, even after a few tries of their debut album, I’m still having a hard time believing the Liverpool-originating band are anything other than old Midwest emos. The conflict comes when deciding whether that’s a good thing or not.
As a debut album, Slumped Up is naturally going to be a gathering of work that’s come before. But with five out of 12 tracks having already been out in the world for a while – taking two tracks from a previous EP three years ago – I wonder if the tracklist could quickly become stale even for old, loyal fans? And I wonder how the band might fare from hereon when they can no longer rely on old, beloved cuts?
The major worry is the faltering originality, highlighted by the band themselves failing to cut enough new tracks to render this record a remotely enticing option. What’s there is steady, but most of their fanciest flashes we’ve heard before. [Words: Lucy Harbron]
The Goa Express – The Goa Express – 2
In The Goa Express’ self-titled debut album, the promise shines through with uncompromising intent, occasionally bright enough to ignite intrigue. However, rather than plunging into the profound possibilities of reviving the 2000s indie that clearly inspired it, there’s a lingering sense throughout the record that it persists as a wistful reflection of precisely what it is: echoes of a bygone era.
Lyrically and musically, the album reflects nostalgia, often finding Clarke reminiscing about days gone by. Contemplating the necessity of closure, the album unfolds amid soft, unassuming guitars before ascending into a synth-soaked reverie, serving as the pinnacle of contemporary indie-rock. While it grasps at unexpected moments, with the band showing great promise of strong, dynamic follow-ups, much of this album’s sounds drift away, like aspirations to pursue the distant horizon. [Words: Kelly Scanlon]
The Hate – Zac Lawrence – 2
Zac Lawrence, the frontman of London-via-Yorkshire post-punks Deadletter, has arrived with his debut solo album, The Hate. A collection of ten tracks greatly indebted to the great North American troubadours Bob Dylan, Townes Van Zandt and Leonard Cohen, creating a palliative listening experience. But, on a more forensic level, it fails to really penetrate the soul à la the figures above, leading to more questions than answers. It lacks that good ol’ bite of those it takes so much from.
All in all, it’s a case of ideas contrasting execution. The album’s called The Hate, so where is it? Presently, the world is on a precipice peering down, but this record does little to either lift you up or examine the pitfall with potency. Perhaps it should have been an EP. [Words: Arun Starkey]
