For a second year in a row, the ladies are leading the charge in K-pop. It didn’t matter if their songs were vulnerable confessions of love or empowering, tongue-in-cheek anthems, whether the groups were rookies itching for their first hit or seasoned veterans showing everyone how it’s done, they were all one simple thing: inescapable.

• READ MORE: The 50 best songs of 2023

Beyond their popularity and catchiness, these girl groups also managed to capture the essence of pure joy in their songs. While music can teach important life lessons or impart sage advice – and these tunes accomplish those as well – who’s to say they can’t do all that while having us, say, twerking on the runway?

While the boys did try to put up a fight – special shout out to the likes of Key, SEVENTEEN, Kai and more – 2023 was a girl’s world, and we were all just living in it. From hypnotic Jersey club bangers to macabre love stories, here are the 25 best K-pop songs of the year.

Puah ZiWei, Commissioning Editor (K-pop)

Words by: Daniel Anderson, Tássia Assis, Sarina Bhutani, Carmen Chin, Sara Delgado, Rhian Daly, Lucy Ford, Tamar Herman, Joey Levenson, Ivana E. Morales, Puah ZiWei, Tanu I. Raj, Abby Webster, Gladys Yeo

25. RIIZE, ‘Memories’

In many ways, RIIZE’s ‘Memories’ is less one song than three – which makes sense as a boyband under SM Entertainment, whose groups have made a trademark of whiplash-speed tempo and melodic breaks in their tracks. ‘Memories’ builds on that legacy, with distinct verses, pre-choruses and rap breaks all building towards one of the most euphoric choruses of the year.

• READ MORE: RIIZE carve out a refreshing, distinct sound for themselves on ‘Get A Guitar’
  

If the start of this year was all about Y2K, we’re rounding it out with a move slightly into the future. The song’s stellar chorus screams 2010s pop euphoria, all sun-drenched key changes that sound like the promise of a never-ending summer. LF

Best bit: The joyful crash of the very first chorus. It makes way for one of the finest, bounciest, most ‘ain’t life grand’ choruses of the year that will have you punching the air.

24. IVE, ‘I AM’

The soaring sound of a jet plane doesn’t typically open up glittery dance tracks promoting self-love and discovering one’s best life, but IVE leaned into the high-flying journey towards finding one’s own way in ‘I AM’.

Built on thumping beats and shimmering synths, ‘I AM’ spends its time pushing and pulling between back-and-forth harmonising and building high notes. It’s as if the song is pacing itself with moments of melodious contemplation and bursts of dynamism, before ultimately deciding that it wants to surge forward once and for all, declaring itself a high-octane pop declaration to find out who ‘I AM’. TH

Best bit: The phrasing of lines like “Life is a beautiful galaxy” and “Be a writer, the genre is fantasy” bring a sense of wonder to the intimate journey towards self-discovery and self-love.

23. Jeon Somi, ‘Fast Forward’

Who said K-pop has left house music behind? Jeon Somi’s ‘Fast Forward’ kept the beat pumping and our heads banging. The singer quite literally cycled through aesthetics and eras in the search for true love – going from anime-core barbie to futuristic fantasia.

Ironically, it seems this search would also be an endless loop much like the progression of the song – keeping us trapped in a melodic prison of longing and loneliness. Ridiculously catchy, fast-paced – ‘Fast Forward’ was a much-welcomed throwback to the era of crying in the club. TR

Best bit: Somebody crown Somi as the queen of the catchy chorus, because it took us a while to get this one out of our heads.

22. NMIXX, ‘Roller Coaster’

NMIXX may have fallen off the radar for many K-pop fans, but not us – and so the underrated ‘Roller Coaster’ has not gone unrecognised. The song evokes the tropical house mastery of classic K-pop bangers – think SHINee’s ‘View’ and f(x)’s ‘4 Walls’ – but lends it a tinge of innocence and girlhood that makes it feel like a spritz of cool water in the hot summer.

NMIXX’s roster of gifted vocalists are given plenty of space to prove their mettle and absolutely do; Lily and Sullyoon in particular lift this song to breathtaking heights. Some may argue that ‘Roller Coaster’ doesn’t exactly fall under NMIXX’s brand of experimental music, but it’s hard to fight against a feel-good tune evoking the inherent romance of summer. CC

Best bit: The song could not have ended on a better note than the outro performed by Kyujin and Jiwoo.

21. Jungkook, ‘Standing Next to You’

Few times has a song hit the bullseye of “K-pop with a Western focus” like Jungkook’s ‘Standing Next to You’. In fact, this might be the best example that K-pop can export uniqueness without losing itself in the process – even when sung entirely in English.

• READ MORE: Jungkook – ‘Golden’ review: a new pop king prepares to take his throne
  

It envelopes the listener in brass, bass and glitter, and the BTS maknae has never sounded so confident. Although largely inspired by Michael Jackson – complete with falsettos and dance moves – it’s Jungkook’s star power that shines through, and ultimately asserts him as a global pop prince in the making. TA

Best bit: The second part of the chorus, where Jungkook is passionately proclaiming the deepness of his love (“You know it’s deeper than the rain / It’s deeper than the pain”), yet finds the time to cram in a BTS reference (“When it’s deep like DNA”) into the mix.

20. IVE, ‘Blue Blood’

Pulsating percussion forms a steely spine throughout this number, elevating the frosty anthem into a marching battle hymn. Each member’s husky voices adds delicious layers to their sibilant siren song, crescendoing with piercing strings that are as every bit as haunting as the resolute declarations of “I’m blue”.

• READ MORE: IVE: “We’re going to shine at the top, we belong at the top”
  

While ‘Blue Blood’ had the unenvious responsibility of kicking off IVE’s much-anticipated debut studio album, ‘I’VE IVE’, it delivered aloof seduction as the girls wrap South Korea’s curiosity about blood types around their manicured fingers. DA

Best bit: Each time they ask, “What’s your blood type”, but you know it’s rhetorical because they are too cool to ever be a match with you.

19. NewJeans, ‘ETA’

There’s an inherent paradox in ‘ETA’. The poppy, uplifting beat belongs right at the heart of a Brazilian baile funk, mixed with influences from Baltimore club classic ‘Samir’s Theme’ and a deconstructed ‘Think’ break sample. It’s a pocket-size dancefloor hit meant to be played on loop.

But then, the lyrics coax the listener to break up with a cheating boyfriend, all in intimate, journal-like anecdotes. “The day you couldn’t come to my birthday party / The day Hyejin got in so much trouble,” the quintet whisper in angelic voices, as if we were just there, living through these moments with them. It’s that relatability that makes ‘ETA’ another instant classic by industry-igniters NewJeans. TA

Best bit: The addictive “What’s your ETA? What’s your ETA? (Mm-mhm-mm)” chorus. Good luck not getting it stuck in your mind for months.

18. KISS OF LIFE, ‘Sugarcoat’

There have been many attempts by K-pop acts to recapture the magic of ’90s R&B, but Natty’s ‘Sugarcoat’, which served as a precursor to KISS OF LIFE’s banger debut, hit the nail right on the head. The groove of ‘Sugarcoat’ hinges almost entirely on Natty’s smooth but powerful vocal delivery, of which she offers up plenty.

She fully leans into the sound and takes control of the music, letting her voice come to the forefront. Not only does it highlight how adept Natty has become as a singer, but KISS OF LIFE’s general musicality as a four-piece that’s unafraid to steep themselves into nostalgic genres and reinvent them for new and old audiences alike. CC

Best bit: Natty hitting every single note of that beautiful rapid-fire, falsetto pre-chorus with razor sharp accuracy.

17. BIBI, ‘Hongdae R&B’

In this moody R&B number dedicated to Seoul’s famed Hongdae street, BIBI peels back the vibrant exterior of its bustling nightlife and promise-filled music scene, diving into its gritty underbelly.

The song takes us on a journey through the “toothless, needlessly pricey” neighbourhood, introducing the motley cast of characters lurking in its background: the half-hearted indie guitarist and his intoxicated girlfriend, “gangster” underground rappers and celebrity oppas notorious for seducing young women. A tragically astute exploration of youthful aspiration and where it goes to die, BIBI’s soulful, vulnerable pen and voice are the perfect instruments for bringing that image to life. GY

Best bit: The languid, seamlessly fluid sing-rap delivery in the second verse.

16. fromis_9, ‘Attitude’

Born of humble beginnings, fromis_9 have truly come into their own, and ‘Attitude’ is an emblem of their newfound carefree confidence. The song feels like a spell wrapped in a satin veil that unfolds into a risk-taking adventure for the ages – those that go into the unknown but linger forever in the memory.

• READ MORE: fromis_9 – ‘Unlock My World’ review: a treasure trove of pop gems
  

Vivid yet seductive, with an air of burning desire, fromis_9 declare their intent to take on the liberation that’s just within reach: “Don’t stop me now / Watch me / My flame that explodes silently.” IM

Best bit: The delightful pre-choruses where Jiwon and Hayoung give us the track’s most unabashed declaration: “Waiting for the show / now count to three and throw me all.”

15. ATEEZ, ‘Bouncy (K-Hot Chilli Peppers)’

What would K-pop be without a little earworm? Whether you love it or hate it (or Stockholm-syndromed yourself into liking it), there’s no denying that ATEEZ’s ‘Bouncy (K-Hot Chilli Peppers)’ will leave an impression that won’t be easy to forget after just one listen.

ATEEZ have always trafficked in extremes, with a penchant for irreverence and sonic noise, but ‘Bouncy’ takes it a step further. Undoubtedly their most playful and successful title track to date, ‘Bouncy’ revels in chaos, mixing distorted arrangements with aggressive autotune and, somehow, it pays off. SD

Best bit: The infectious trifecta of pre-chorus, Hongjoong-led chorus and post-chorus.

14. aespa, ‘Drama’

The K-pop canon has no shortage of badass anthems but, in November, aespa offered up one of 2023’s strongest, most intriguing additions to the collection. ‘Drama’ put the girl group in the driver’s seat, confidently taking the wheel as they warned the world of what to expect from them. “I bring all the drama-ma-ma-ma,” they cautioned over a metallic, ominous instrumental that was both experimental and accessible.

In case you didn’t get the message the first time, Winter made it crystal clear in the outro, with a declaration that could double as a comment on aespa’s trajectory this year delivered in deceptively sweet tones: “You know, I’m savage / Unstoppable, baddest.” RD

Best bit: The whole first verse is packed with lines that scratch your brain exactly the right way, from Karina’s “Ziggy, ziggy, zag, I’m new” to Ningning’s infectious “I li-li-like me when I roll / Li-li-like me when I’m savage”.

13. NCT Dream, ‘Broken Melodies’

Leave it to NCT Dream, the cheeriest of the NCT units, to gift us with an unexpected glam rock-leaning gem. ‘Broken Melodies’ is NCT Dream at their most anthemic, showing a sonic side of the septet we’d never quite seen before.

Soft-strummed guitar riffs lead the arrangement, intermixing with skittering drum beats and honeyed harmonies. Though the bridge might seem slightly out of place with the guitar-drum patterns upon first listen, the impossible-to-resist melody of the staccato chorus fully seals the deal. SD

Best bit: Chenle’s final high note.

12. VIVIZ, ‘Untie’

Remember when GFRIEND dropped the magnificent ‘Mago’ and (sadly) dipped? It’s taken VIVIZ a moment, but Eunha, SinB and Umji have finally picked up where their original group left off, and the result is a provocative, bewitching runway banger that feels like a natural evolution for the beloved trio.

While you’re hypnotised by the four-on-the-floor beat, VIVIZ cast a spell with their raspy, whispered vocals, compelling you to keep the song on repeat – not that we’d have refused – all while commenting on the hollowness of social media. No notes. PZW

Best bit: Try to resist the urge to go “Ta-ta-ta-ta-ta-ta, all tied” randomly after listening to this masterpiece.

11. tripleS, ‘Speed Love’

In tripleS sub-unit LOVElution’s B-side ‘Speed Love’, crush-induced nerves verge on panic, as sparse piano chords capsize into flighty woodwinds and slick drum ‘n’ bass. Stumbling through a romantic confession, the girl group seem impatient to get it all out of their system: “I just want to rush this,” they sing, and the giddy production is all too happy to oblige.

• READ MORE: tripleS LOVELution – ‘ↀ’ review: a dizzying, enthralling kaleidoscope
  

Clocking in well under three minutes, ‘Speed Love’ extends the experimental rookies’ run of short bops with real staying power. (Even sans their usual ‘la-la-la’s, this chorus is guaranteed to race through your head for days.) The group’s breadth of releases this year have ranged from good to great – and if K-pop is an endurance sport, surely that qualifies them for both marathon and sprint. AW

Best bit: The mercurial flute that quite simply runs laps around the already impressive instrumentation.

10. Kai, ‘Rover’

‘Rover’, a remake of Bulgarian singer Dara’s song ‘Mr. Rover’, is, to put it bluntly, a song to shake ass to. Kai has an airy, husky timbre that pairs beautifully with the stripped-back nature of his previous releases, but, with ‘Rover’, the incubator of this year’s most infectious hook and dance challenge, he shows how addicting it can be while floating above something more thunderous and demanding.

• READ MORE: Kai talks NME through his ‘Firsts’
  

The song, dripping with confidence and sex appeal, is a showcase of how well his voice can meld to what’s beneath it, as it bobs and weaves between sultry R&B verses, Reggaeton-thumping choruses and a spine-tingling bridge that gives his stunning lower register a moment to shine. LF

Best bit: The final chorus and outro that is a feastful tour of what Kai can do with his voice, as it blends from a rapturous riff over the song’s main hook into some ASMR-adjacent speak-singing straight from his lower register.

9. Red Velvet, ‘Knock Knock (Who’s There?)’

One thing about Red Velvet? Every one of their songs takes you into a world of its own, whether it’s a jungle safari bursting with life or a violently kaleidoscopic theme park.

• READ MORE: Red Velvet – ‘Chill Kill’ review: deliciously dark, delightfully macabre
  

With ‘Knock Knock (Who’s There?)’, the quintet combine an eerie sample of ‘Dance of the Sugar Plum Fairy’ with the sophisticated harmonies often associated with their sensual “velvet” side, lulling listeners into a fantastical yet desolate supernatural realm where Halloween is forever. Musically and lyrically, ‘Knock Knock (Who’s There?)’ is an atmospheric track overflowing with artfully constructed imagery, making it one of their strongest offerings to date. GY

Best bit: The angelic harmonies towards the end of each chorus as they sing: “Got a devil, on my shoulder / A gently whispered voice.”

8. NewJeans, ‘OMG’

NewJeans’ deeply-infectious ‘OMG’ perfectly encapsulates the group’s spirit. With a touch of sass, the song’s prominent bassline and funky drumbeat do all the moving while their vocals take on a more laid-back, effortless approach.

• READ MORE: NewJeans: “We want to show the industry that music shouldn’t be divided by language”
  

Their perennial cheeky lyricism is also on full display here, as the girls pine hopelessly: “Oh my, oh my God! 예상했어 나 (I knew this would happen) / I was really hoping that he will come through.” When you inevitably catch yourself singing along, you can’t help but feel as though you’re in a back-and-forth with all five members. It’s a masterclass of immersive world-building in a simple, short-and-sweet track. JL

Best bit: The surreal, yet somewhat beautiful music video that accompanied the release of the song.

7. SEVENTEEN, ‘Super’

“Feels like I turned into Son O-gong,” SEVENTEEN shared on ‘Super’, a statement that, by the end of 2023, became something of a self-fulfilling prophecy. The mythical Chinese character is known for his colossal strength and ability to defeat the best warriors and, while the boyband might not have gone into battle, this year they dominated K-pop, racking up record-breaking sales and their first Album Of The Year award at MAMA 2023.

• READ MORE: Exhausted by the grind? ‘Second Wind’ by SEVENTEEN trio BSS is a perfect pick-me-up
  

Is it any wonder when the music was as good as this blistering single – a high octane ode to the group’s resilience and determination whose power never weakens, no matter how many times you listen to it. RD

Best bit: It’s a toss up between every gleeful “Da-rum da-rim-da” and Woozi’s ending moment full of “ener-energy”.

6. FIFTY FIFTY, ‘Cupid’

FIFTY FIFTY’s meteoric rise in the K-pop scene was marked by both triumph and adversity. Their retro-pop breakout hit, ‘Cupid’, took the entire world by storm with its infectious bubblegum vibes and disco-inspired synths. An equally catchy (if not better) English version catapulted the song to even greater success, thanks in-part to a reworked bridge and the quartet’s flawless English pronunciation.

• READ MORE: FIFTY FIFTY on joining K-pop’s new wave of powerhouse girl groups: “We wanted to show ourselves and stand out”
  

However, behind the scenes, the group faced challenges with their agency ATTRAKT, with three members – Sio, Aran and Saena – now no longer part of the group. Despite these setbacks, FIFTY FIFTY’s musical impact with ‘Cupid’ remains undeniable, proving that their talent and resilience shine through even in the face of adversity. JL

Best bit: (Former) Lead singers Sio and Aran flexing their talent with powerful vocals across the song’s bridge.

5. Key, ‘CoolAs’

From its sparkly opening notes to the a capella final seconds, ‘CoolAs’ is one of 2023’s masterpieces. It grabs you with a slinky bassline, reminiscent of Beyoncé’s ‘Virgo’s Groove’ and Moloko’s ‘Sing It Back’, and grounds the boat while Key is, well, being Key. By that, we mean to repeat his own lyrics: “I’m impeccable, I’m exceptional.”

• READ MORE: Key – ‘Good & Great’ review: exactly what it says on the tin
  

Thankfully he knows, because this B-side (that should very well have been a single) captures his versatility, sass and panache like few others. And his confidence is contagious – once it’s over, you may not be “dripping ice” or hearing a “choir full of angels”, but you’ll feel at least a little bit as cool as one of K-pop’s best soloists. TA

Best bit: The conviction with which he delivers lines like “Turning these heads like spectacle / Green with envy like vegetable”, making them iconic instead of ludicrous.

4. NCT DoJaeJung, ‘Perfume’

Though NCT’s sound is typically that of sensory overload, sub-unit DoJaeJung find their calm in the chaos with ‘Perfume’, the group’s sweet, yet sultry debut single.

The track’s top notes are the trio’s honeyed harmonies, with each member’s vocals perfectly complimenting that of the others, while the base note, the soul of the track, is its musky, R&B melody that can’t help but linger in your mind. Together, Doyoung, Jaehyun and Jungwoo create impact through surprising softness, uncovering new layers to the beloved veteran boyband. SB

Best bit: Jaehyun’s silky smooth solo during the interlude hits all the right nerves (and is even better when accompanied by its equally satisfying choreography).

3. LE SSERAFIM, ‘Eve, Psyche, and the Bluebeard’s Wife’

What’s so great about ‘Eve, Psyche, and the Bluebeard’s Wife’ is how understated it is. The Jersey club-inspired, uptempo track rests on a consistent electro progression, rarely deviating from a beat that’s nothing short of addictive. To this, LE SSERAFIM add almost laid-back vocals, weaving a story of power that fosters and simmers in silence rather than break down the door with a bang.

• READ MORE: LE SSERAFIM: “Walk your own path, even if you might become the villain”
  

The steadiness is a spell meant to keep us bound; the lyrics, our call to wake from the slumber of submission. But what’s more devastatingly beautiful are moments building up to it – the “boom, boom, boom” of your heart when you go from wishing for “what’s forbidden” to actually breaking the rules. TR

Best bit: Yunjin’s deep vocals kicking off the song with “I’m a mess, mess, mess – safe to say, we were left “mess-merised”.

2. (G)I-DLE, ‘Queencard’

After last year’s ‘Nxde’ and ‘Tomboy’, (G)I-DLE returned in May with yet-another tongue-in-cheek take on bold femininity, challenging the status quo with confidence-booster ‘Queencard’. A sassy, campy ode to loving oneself and being the queen bee of your own life, this tune masquerades as hot girl shit while letting listeners in on the joke regarding double-standards about women, especially those living in the spotlight.

• READ MORE: (G)I-DLE – ‘I Feel’ review: destined to be their most divisive release yet
  

Quirky, tempo-shifting pop-rock drives the push-and-pull of the melody, as the members drop deadpan, sassy one-liners, conversationally driving the song towards the rousing chorus that celebrates twerking on the runway. TH

Best bit: “Queencard, I’m hot / My boob and booty’s hot” – but I’m still wondering… Which boob?

1. NewJeans, ‘Super Shy’

When NewJeans arrived in 2022, it was both swift and surprising – without any lead-up, Minji, Hanni, Danielle, Haerin and Hyein entered into our lives and held us rapt with lowkey, ’90s-inspired R&B singles, a shock to the K-pop ecosystem. Their sophomore EP, ‘Get Up’, is likewise understated: NewJeans moon over boys and catch all the feels to minimal club beats. Each offering is chock full of that girlish magic, but the soft, dreamlike drum ‘n’ bass of ‘Super Shy’ has its own special way of worming into hearts (and minds).

• READ MORE: NewJeans – ‘Get Up’ review: no one can hold a candle to K-pop’s rising wonder girls
  

In their quest to court a crush, the quintet serve up schoolgirl doubts with a quiet confidence: “I’m super shy, super shy / But wait a minute while I make you mine, make you mine”. Their hushed talk-singing charms the most, and that’s part and parcel of NewJeans’ success – they’re able to make themselves heard with only a whisper because everything from the marketing to the music itself beckons you to lean in and listen. ‘Super Shy’ comes together as the perfect K-pop package, solidifying NewJeans’ status as the girl group we’re sure to be talking about for years to come. AW

Best bit: Hyein and Minji’s staccato ask-out: “Find a lil’ spot, just sit and talk.” Name the time and place.

The post The 25 best K-pop songs of 2023 appeared first on NME.

Intensity, that’s the underlying thread that ties together all the best Korean dramas of 2023. Whether it was an allegory of how society turns its back on those most in need or a revenge-driven journey of terrible people getting their just deserts, this year, 10 powerful K-dramas turned the mirror on ourselves and made us reflect on the dark, unspoken fringes of human nature.

• READ MORE: The 20 best TV shows of 2023
  

Yet, it’s not all doom and gloom. Even in shows with the most morally questionable protagonists – looking at you, Mask Girl – they take the time to slow things down with tender moments of respite, showing how joy and love can be found in the strangest of places. Join NME as we recap the 10 best Korean dramas of 2023, and their impact on a fantastic year of television.

Puah ZiWei, Commissioning Editor (K-pop)

Words by: Daniel Anderson, Carmen Chin, Rhian Daly, Sara Delgado, Hidzir Junaini, Tani I. Raj

10. Crash Course in Romance

Season: limited series

Crash Course in Romance does exactly what it says on the tin but with an extra twist: a fully fledged romance story with a murder-mystery sub-plot. With the acting chops of Jeon Do-yeon and Jung Kyung-ho – both of whom have the ability to imbue any character they portray with life – Crash Course in Romance is a masterfully executed romcom sure to make you giggle and kick your feet, all while interweaving the murder well enough to have you on the edge of your seat too. The series balances the warm and fuzzy with the eerie and gory with mastery – there is no doubt that this K-drama has something for everyone to enjoy. CC

Biggest fans: Huge romance buffs who are still waiting for their Y/N moment.

9. A Time Called You

Season: limited series

A remake of the Taiwanese series Someday Or One Day, K-drama A Time Called You took us on a rollercoaster journey across decades as the lives of modern-day Han Jun-hee (Jeon Yeo-been) and ’90s schoolgirl Kwon Min-ju become entangled. When we meet Jun-hee, she’s mourning her fiancé, Koo Yeon-jun (Ahn Hyo-seop), who’s been presumed dead following a plane crash a year prior.

• READ MORE: ‘A Time Called You’ review: a body swapping, time loopy romance

Soon, though, she begins to receive strange packages – a photo of two people resembling the couple, and a Walkman with a cassette of Seo Ji-won’s ‘Gather My Tears’. As Jun-hee travels back in time, things get complicated, deadly and incredibly heart-breaking, marking this out as one of 2023’s biggest tearjerkers. RD

Biggest fan: The hopeless romantic who can’t let go of past loves.

8. Celebrity

Season: limited series

While we won’t fault K-dramas for playing things up, we’re all perhaps too intimate with influencer culture to really be shocked at how certain events in the show played out. Outrageous, scandalous, scintillating and even disturbing at times, Celebrity worked because it spoke to the basic instinct in all of us – the same one that, at times, ignores all common sense for wealth and status.

• READ MORE: ‘Celebrity’ review: a scathing Instagram story about the vapidity of influencer culture

As audiences, it stretched us to emotional extremes – celebrating Seo Ah-ri’s rise to fame and thriving on schadenfreude when it came to her enemies. We were appalled, disgusted and perhaps even a little bit curious about our own selves – after all, would fame have driven us down the same path? TR

Biggest fan: People who prefer scandal for dinner with a side of shock value.

7. Doona!

Season: limited series

There’s not a shortage of romance when it comes to K-dramas, but the way Doona! tackles the tried-and-true trope is not for the faint of heart. Based on the Naver webtoon of the same name and starring Bae Suzy as former K-pop idol Doona and Yang Se-jong as her fated neighbour Lee Won-jun, the show portrays love in the most carnal sense of the word.

• READ MORE: ‘Doona!’ review: an emotionally visceral, refreshingly grounded love story

Though Bae and Yang’s fiery chemistry undeniably takes centre stage, the show also poignantly depicts the trials and tribulations idols and celebs alike face while balancing their stage personas and private relationships. SD

Biggest fan: Those who need an extra dose of steaminess and reality in their K-dramas.

6. Revenant

Season: limited series

Following the death of her father, Gu San-yeong’s (Kim Tae-ri) body becomes host to an evil spirit – something she didn’t believe at first, but is slowly convinced of by more and more supernatural, murderous occurrences. Coloured with shades of The Ring and The Host, on the surface, Revenant is just another scare-filled spooky series.

• READ MORE: ‘Revenant’ review – a thrilling, immersive horror K-drama

But, if you dare to look beneath, you’ll find critiques of wealth inequality, child abuse and more. As San-yeong assessed early on in the series, it laid bare the truth that “humans are more terrifying than ghosts”. RD

Biggest fan: The horror junkie always searching for new scares.

5. Daily Dose of Sunshine

Season: one

Daily Dose of Sunshine is director Lee Jae-kyu’s olive branch to South Korean society, which has an infamous history of its struggles with understanding and accepting the realities of mental illness. Armed with the emotive and nuanced performance of lead actress Park Bo-young, this K-drama is an informative, heartfelt and layered story set in a psychiatric ward.

• READ MORE: ‘Daily Dose of Sunshine’ review: an earnest, destigmatising portrayal of mental health

Nurse Jung Da-eun learns to adapt to the less physical treatments of the patients under her care and faces the odds as someone who has been in her patients’ shoes herself. Daily Dose of Sunshine is one of the most poignant, worthwhile K-dramas released this year – the tears you shed after each episode is proof. CC

Biggest fan: If you need a reminder that there’s good in the world after all.

4. The Good Bad Mother

Season: limited series

If there were a ranking of K-dramas that should come with a side of tissues, The Good Bad Mother would take the top spot. What starts as the story of an estranged, strict mother and her son, who’s forced to return home after a tragic accident leaves him with the mind of a child, soon turns into a more complex web of intertwined fates and ploys.

• READ MORE: ‘The Good Bad Mother’ review: authentic and unapologetically raw

The show features stellar performances by veteran actress Ra Mi-ran and breakout star Lee Do-hyun as mother-son duo Young-soon and Kang-ho that will crash and mend your heart multiple times throughout its run. SD

Biggest fan: Plot-twist lovers looking for an emotional rollercoaster.

3. Moving

Season: one

Based on Kang Full’s webtoon of the same name, Moving intricately weaves a soulful web of family drama, espionage and superpowers across three decades. The series, featuring clever flight sequences and monstrous strength, remains grounded through its impressive ensemble cast, while tenderly exploring the bountifulness of love and the sacrificial consequences that come with it.

• READ MORE: Zo In-sung on ‘Moving’: “All that drives me is that I wanted to do it”

Every performer excels, but the heartwarming love stories between the adorkable pair of Bong-seok (Lee Jung-ha) and Hui-soo (Go Youn-jung) mirroring that of the composed Mi-hyun (Han Hyo-joo) and Doo Sik (Zo In-sung) was resplendently inimitable. DA

Biggest fan: The jaded Marvel Cinematic Universe enthusiast experiencing superhero fatigue, in need of a comforting, character-driven pick-me-up.

2. Mask Girl

Season: limited series

From its opening scenes, it was obvious Mask Girl was going to give us a commentary on beauty standards, but it quickly turned into so much more. Office worker Kim Mo-mi dreamed of being on stage all her life but, cruelly, society deemed her too “ugly” for a place in the spotlight. Instead, she turned to livestreaming – with a rose pink mask covering her face – and found a legion of adoring fans.

• READ MORE: ‘Mask Girl’ review: a captivating tale of murder and vengeance

But when one became a little too obsessed, things took a dark turn and the show dove into themes of misogyny, sexual and domestic violence, and more via sharp character studies and a three-act story that was gripping – if extreme – to the last moment. RD

Biggest fan: The extremely online person who’s on top of everything, from current trends to true crime horror stories.

1. The Glory

Season: one, part two

Not since Park Chan-wook’s acclaimed Vengeance Trilogy has a South Korean revenge narrative been so satisfying, or deeply disturbing. Brutally bullied when she was in high school, Moon Dong-eun (Song Hye-kyo) has been planning her retribution for the better part of two decades. In part one, we witnessed the trauma and consequences of her psychological and physical scars, as she laid her Machiavellian groundwork. In part two, her schemes bear fruit in twisted fashion when she ruins her perpetrators’ lives in cunningly sadistic ways.

While seeing these privileged bullies finally get their just desserts did taste sweet, Dong-eun’s methods often cross the line in uncomfortable ways, forcing the audience to grapple with the moral justification of her elaborate reprisals. There’s nothing subtle about The Glory – everything from its shock-filled plotting to its irredeemable villains are heightened. But it’s that maximalism that makes this show the most gripping K-drama of 2023. HJ

Biggest fan: Anyone who thought Edmond Dantès didn’t go quite far enough in The Count of Monte Cristo.

The post The 10 best Korean dramas of 2023 appeared first on NME.

All emerging musicians know that when you want to make a major statement, you make your debut album. The past 12 months have seen a wealth of talent tick off this achievement: Hak Baker, who has been putting out music since 2017, capped off a long but remarkable creative process with ‘World’s End FM’. Blondshell, meanwhile, decided to strike while the iron is hot, unveiling her self-titled debut a mere nine months after the release of her first-ever single.

Each and every artist below has been on their own unique journey, but what unites them all is a collective determination to go all-in on what matters: speaking to the moment. Across these 10 albums, you will find different perspectives on ambition and political rebellion, as well as calls for revolution via a range of sounds from buoyant, scrappy indie to pristine electronica.

Throughout 2023, these essential artists made themselves known at new music showcases across the world, and set high expectations for the debut albums that followed. As the year reaches a close, here’s the very best of the bunch.

– Sophie Williams, Associate Commissioning Editor (New Music)

Blondshell – ‘Blondshell’

Who: An uncompromising star for a new generation of rock fans

What NME said: “‘Blondshell’ is a complete triumph in several ways. Rarely do emerging artists recalibrate their sound and allow their lived experiences to develop and find their way into the music.”

Key track: ‘Salad’

Hak Baker – ‘World’s End FM’

Who: Underdog anthems leaving a bold impression on UK indie music

What NME said: “‘World’s End FM’ successfully introduces Hak Baker as a 21st Century troubadour speaking to modern problems with empathy and requisite anger.”

Key track: ‘Windrush Baby’

Holly Humberstone – ‘Paint My Bedroom Black’

Who: Next-generation indie star newly invigorated by pop experimentation

What NME said: “‘Paint My Bedroom Black’ finds an artist trying to do right by her loved ones and make sense of her own turbulent world, but it’s also a cue to listeners that things could go anywhere from here.”

Key track: ‘Into Your Room’

Grrrl Gang – ‘Spunky!’

Who: Uber-charismatic trio manifesting their rockstar dreams in real-time

What NME said: “If a debut album is supposed to capture the youthful zeal and urgent, electric energy of a band in the early throes of their creativity, then Grrrl Gang’s ‘Spunky!’ is very successful indeed.”

Key track: ‘Blue Stained Lips’

Leith Ross – ‘To Learn’

Who: Canadian songwriter with a powerful vision of what indie music can encompass

What NME said: “Fans see their own heartache in Ross’ thoughtful, if anguished storytelling, which serves as a reminder that the most striking perspectives often come from those who are underestimated.”

Key track: ‘Guts’

Militarie Gun – ‘Life Under The Gun’

Who: Melodic hardcore scene-leaders with a killer debut LP to their name

What NME said: “‘Life Under The Gun’ transcends the limits of what hardcore can be in 2023, leading with a melodic approach that can open the wider scene up to a whole new audience.”

Key track: ‘Do It Faster’

Paris Texas – ‘Mid Air’

Who: Innovative duo whose debut combines the rhythmic energy of hardcore with the grittiness of underground rap

What NME said: “As a record, ‘Mid Air’ feels truly – and brilliantly – emblematic of the sharp, controlled chaos that Paris Texas have honed over a handful of previous EPs.”

Key track: ‘Everybody’s Safe Until…’

PinkPantheress – ‘Heaven Knows’

Who: Modern British pop’s eclectic it-girl

What NME said: “What makes ‘Heaven Knows’ such a compelling debut is its ability to create British wistfulness. The emotions and sounds are familiar enough to pull you in, and peculiar enough to make you stay.”

Key track: ‘Capable Of Love’

Sofia Kourtesis – ‘Madres’

Who: Peruvian-born artist’s emotional, otherworldly songs are a beacon of hope

What NME said: “This debut album cements Kourtesis’ position as a bold and crafty producer of house-infused dancefloor heaters.”

Key track: ‘Habla Con Ella’

Yaeji – ‘With A Hammer’

Who: Korean-American artist whose firecracker energy has made her a notable name in dance music

What NME said: “Thorny and tangled, this is dance music for drifting home from the club on deserted pavements; the moment of reflection after the euphoria fades.”

Key track: ‘Done (Let’s Get It)’

The post The 10 best debut albums of 2023 appeared first on NME.

Phoebe Bridgers is driving “through the canyon” on the way to meet her Boygenius bandmates when NME calls the trio in early December. Lucy Dacus and Julien Baker are already together, waiting for her arrival and to celebrate yet more good news together. After a year of big feats, the boys are ending 2023 with their debut album, ‘The Record’, being crowned NME’s Album Of The Year.

• READ MORE: The Best Albums of 2023

Despite all the highs this year has brought them, Dacus had some trepidation going into it. “I was afraid of the vibes being off,” she shares. “We’re all so important to each other that I worried working so much together would become work, and we’re all prone to overworking ourselves, and I just didn’t want to symbolise exhaustion to each other.” Thankfully, that hasn’t been the case – “We all got tired, but we’re not tired of each other,” she confirms – and, together, the band came out of the studio with an album that turned their immense individual talents into one electrifying force.

The stakes weren’t exactly low for ‘The Record’, either. Five years ago, the trio released their self-titled debut EP and elicited almost universal praise, while each member has carved out their own space in the pantheon of indie heroes for their own sound and style of songwriting. The album, though, didn’t buckle to the weight of the anticipation around it and instead shone as an album with huge emotional depth and beautifully enthralling storytelling. Wherever the boys go next – whether solo or together – ‘The Record’ stands as a testament both to what you can make when you allow yourself to be your most ambitious, most honest self and to the creative power of great friends.

When you were sat in Shangri-La making this album, you probably weren’t thinking about end of year lists or what other people would think of it. What does it mean to you to have seen ‘The Record’ resonate so strongly with so many people this year?

Phoebe: “It rocks. I’ve never put something out so early in the year, for one, and then been reminded that people like it after the tour’s after. I think if we’d done it a little differently, it would have timed out weirder. So much has changed since the beginning of the year, and it’s been our whole lives, so it’s nice to be reminded that people loved it.”

Lucy: “It’s nice to be validated that we made something to our taste and that other people also liked it. It helps us to be able to relate to our own fans because we actually like it. One thing about end-of-year lists that I like is that I’ll go back to, like, Best of 2017, or I’ll look up an end-of-year list randomly for a year that I am feeling nostalgic for and listen to stuff that I missed or stuff that I liked at that time. I know people have gripes about lists, but I think I’m a big list-maker myself, so I’m into it.”

Who would be on your personal albums of the year list?

Lucy: “Billy Woods and Kenny Segal, Mitski, Palehound, Charlotte Cornfield…”

Julien: “That Allegra Krieger record, SZA…”

Phoebe: “Arlo [Parks].”

Lucy: “Yves Tumor!”

Phoebe, you just said so much has changed for you this year. What have been the biggest changes?

Phoebe: “To do business jargon, I think it’s like proof of concept. We were actually thinking about how we were going to feel at the end of this project or the end of the year. I started a notebook on January 1, 2022, and now the album’s out, people have been listening to it all year and I’m almost done with that journal. I don’t know, I just like a cycle. It just feels nice, and I’ve certainly changed a lot, but I don’t know what the fuck the biggest change is!”

Lucy: “Julien definitely has [changed], and I definitely have [changed] separately as people, but then also, of course, as Boygenius, everything has changed for us as a unit. In our own lives, I just feel like we are growing a lot.”

How did you expect to feel at the end of this year compared to how you actually feel?

Phoebe: “In my wildest dreams, I was going to feel this way – and that’s cool. I don’t think we went into the project with any fear, but it’s just nice now, being in the middle of it and looking back on this year being like, ‘We did everything we said, we feel as good as we ever hoped to feel, and better’.”

One of the main narratives that has been picked up around ‘The Record’ has been centred around your relationship with each other – it feels like you’ve almost become ambassadors for this kind of very close friendship in a way.

Julien: “I love it! I think it’s great if that’s the thesis statement that people are taking away from this band. Representing the validity of making something with your friends for your own fulfilment is a great thing for people to take away from this. That’s why I also felt a little apprehension of, ‘What if it flops?’. Then I was like, ‘If we play a tour where people are stoked at the shows and no one’s throwing tomatoes, and beer bottles at us and kids are remembering lyrics, we already accomplished what I would have wanted to accomplish in my purest idealisation of a band’. So I’m happy with it.”

Phoebe: “I like that the concerts ended up being like a Rocky Horror Picture Show type experience, where you go with a bunch of people, and you dress weird. I like that it was interactive. It represents friendship in that way too, which I love – the friendship that is completely outside of us.”

Right, it feels like your shows have been really safe spaces for your audiences this year. When I was watching you on stage in London this summer, it also felt like perhaps they’ve become that for you as well. Is that accurate for you?

Lucy: “For sure, you can tell by how unhinged we’ve gotten over the course of touring.”

Julien: “Phoebe and Lucy talk about this a lot, and I feel it, but when your persona or your identity as a human being gets wrapped up in your job, there’s some cognitive dissonance there with the rest of the life you lead. Personally, going home and visiting my family for Thanksgiving is kind of jarring cos I’ve been out on the road and in one mode, and then I’m just someone’s weird cousin at the family function. But for that hour and a half [on stage], we get complete agency over how people perceive us. We built the show, we wrote the songs, we’ve constructed the lyrics and the execution and the performance to represent who we are to people. So, in a sense, it’s like a performance that feels more authentic than just the performance you put on at the office. I get to totally embody something of my choosing; I’m in a costume that tells you about myself.”

Let’s talk about some of the huge shows you’ve played this year, like Madison Square Garden recently. Phoebe, before you’d even finished making the record, you were convinced the band would play there. What made you so sure?

Phoebe: [laughs] “Well, I’ve been on tour for a long time already and watching that grow, watching Julien and Lucy grow in the same way post-COVID, and the lore around Boygenius – I couldn’t do an interview without being asked about it. I was doing interviews knowing we were making a record the entire time I was promoting my last album. So I was just aware of the excitement, I was stoked, and I was like, especially with Julien’s sensibilities, ‘I think we’re gonna make a heavier album than I would make my own’. So it was just a thing that felt tangible.”

What was it like actually stepping out on stage when that show did come around?

Lucy: “It was dreamlike.”

Julien: “When I was a kid, I used to play [Fall Out Boy’s] ‘From Under The Cork Tree’ top to bottom and teach myself chords, and imagine I was in a stadium in front of a bunch of people. Then I started playing solo shows, and I would close my eyes and just imagine I was in my bedroom because I was so nervous. I feel like on this tour, especially big meaningful shows like Madison Square Garden, I was in the experience that felt dreamlike, feeling really present. Also, I’ve been thinking a lot about Phoebe recognising the excitement or lore around the band, and I was like, ‘Yeah, we live up to it’. Because we really fully dedicated ourselves to something that’s been vital to us since childhood and that is the crux of our friendship. It felt really… empowering is cheesy, but it did feel powerful. Like, ‘This is awesome, these kids are freaking stoked!’ Giving that [joy] to people, I was like, ‘Oh, my life means something’.”

You also played Hollywood Bowl on Halloween, where you went through what feels like a rite of passage for modern rock bands and had Dave Grohl come out and drum on ‘Satanist’. How did that come about?

Phoebe: “I made friends with Dave backstage at a Billie Eilish show. He’s the coolest guy ever. I was texting the boys, being like, ‘I met Dave Grohl, and he exceeds every expectation of how a rock star can be in the world’. I think we, as a group, look for that a lot – like, who is living their life the way that we want to get old and live our lives?”

Lucy: “He’s so game. I just want to stay game the way that he is.”

Phoebe: “Yeah, exactly. He’s the best. He was like, ‘I’m gonna be a priest, by the way’, when I told him what we were gonna be for Halloween.”

Who suggested which song he would come on for? Was it him or you guys?

Lucy: “I think it was us?”

Phoebe: “Yeah, well, we also have a friend who knows him and toured with Foo Fighters, and there was this missed connection where Dave was actually going to come to the studio and play on [‘The Record’]. Then he slept through it or whatever, and we didn’t end up meeting. So it was actually kind of a perfect full circle moment of having him play on that song because we knew we wanted the drums to be crazy on that.”

As well as being NME’s Album Of The Year, ‘The Record’ has earned you a bunch of Grammy nominations. Lucy and Julien, this is your first time being nominated – what was that moment of getting the news like for you?

Lucy: “I think for a band that over-intellectualise a lot, I was surprised by how simple my excitement was. I was just like, ‘Wait… this rocks, and I don’t really need to think about it or theorise or make it any deeper than that – it’s just kind of sick’. If you know us personally, that is a huge thing – not having to write a whole thesis statement about something. So it feels really pure.”

Phoebe: “Like, Julien thinks that birthdays are a capitalist construct.”

Julien: “It was also crazy – I have aversions to any institutionalised thing where it’s sometimes a little bit funny when, like, The Ramones are in the Rock And Roll Hall Of Fame, or Sid Vicious’ fucking tie is on display at the British Library in a punk exhibition. It’s weird to see institutions recognise historically anti-establishment art-makers. But then, I don’t know, I also have to be like, ‘Dude, the institution is recognising you – you did something, you waved your weird flag high enough that someone had to recognise it’. With any progressive ideology, with queerness, with anti-nationalism, with anti-establishment, being so dedicated to something and pulling it off well enough to be recognised for it is validating no matter what. So all that went out of the window when they were like, ‘You got nominated for six Grammys!’ I was like, ‘Hell yeah!’”

You’ve spoken recently about not knowing where Boygenius goes from here or whether you’re going to be separating back off to solo projects next. Whether the band does keep moving forward next year or whenever you reconvene, what are your hopes for your future together?

Julien: “I like it being a surprise. I like having this band be something that, because it’s more ephemeral or whatever, it’s not concretely tied to one of us or a person we have to live in every day. It’s something we can revisit when we feel motivated to, or it’s a place we can retreat to. I like saving it as something sacred instead of feeling like I have to constantly grind on it.”

Read the full Albums Of The Year list here

The post Boygenius on the enduring power of ‘The Record’: “We feel as good as we ever hoped to” appeared first on NME.

There was nary a moment in 2023 where music fans were left wanting for long-form greatness. At every turn, a record harnessed the pain, hurt, love, joy and everything in between felt all year long. Perhaps it was loss (Sufjan Stevens’ ‘Javelin’, Depeche Mode’s ‘Memento Mori’), reckless abandon (Militarie Gun’s ‘Life Under The Gun’, Grrrl Gang’s ‘Spunky!’) or inquisitive experimentation (Amaarae’s ‘Fountain Baby’). These 50 records – as selected by NME’s global team of writers – encapsulated the full human experience and are worth treasuring and holding tightly.

Thomas Smith, Commissioning Editor (Music)

Contributors: Alex Rigotti, Anagricel Duran, Andrew Trendell, Andy Brown, Ben Jolley, Emma Wilkes, Hannah Mylrea, Hollie Geraghty, Jenessa Williams, Jordan Bassett, Karen Gwee, Kyann-Sian Williams, Liberty Dunworth, Mia Hughes, Rhian Daly, Sophie Williams, Surej Singh, Thomas Smith, Will Richards and Ziwei Puah.

50. Lil Yachty – ‘Let’s Start Here’

Where do you stand on 2023’s most divisive record? The rap superstar took an about-turn on ‘Let’s Start Here’, embracing psych-rock for a rebirth that was only gazumped by André 3000’s flute-heavy adventure. Lil Yachty got there first, though, on this mesmerising journey down the creative rabbit hole. TS

49. Depeche Mode – ‘Memento Mori’

The synth-goths’ best album this side of the millennium was already underway before the tragic death of founding member Andy Fletcher, but this jet-black meditation on mortality took on an even darker hue in the context of that terrible news. Though its Latin title translates to “remember you must die”, the shell-shocked duo’s collection of stadium-sized electro anthems offered catharsis and creative uplift in equal measure. JB

48. Grrrl Gang – ‘Spunky!’

Listening to Grrrl Gang’s debut album felt like an instant ticket to the sort of basement show where sweat rolls down the walls. With an energetic, youthful scrappiness, guts to spill, and truckloads of personality (not to mention some fantastic one-liners), the Indonesian punk trio were unafraid to embrace their riot grrrl influences, and had a hell of a time doing it. EW

47. Ive – ‘I’ve Ive’

After introducing themselves as contenders for K-pop’s crown in 2022, the group solidified their excellence with their debut album, ‘I’ve Ive’ in April. The record showed off Ive’s full spectrum of strengths, going on a thrilling journey from the bratty, brash pop of ‘Kitsch’ to the soft resilience of ‘Heroine’ and the upbeat rush of ‘Not Your Girl’. It fully justified the buzz around them, shining from beginning to end with fresh ideas and immaculate energy. RD

46. Karol G – ‘Mañana Será Bonito’

Colombian singer Karol G continued to pave the way as a history-maker with her fourth studio album, which earned the Number One spot on the Billboard 200 chart upon its release. She swung big by bringing in legends such as Romeo Santos, Shakira and Sean Paul to feature on a few tracks, creating a heavyweight reggaeton LP bound to withstand the test of time. AD

45. Olivia Dean – ‘Messy’

Brimming with hope and promise, Olivia Dean’s sublime debut reshaped the early ‘00s neo soul-inspired sounds of her earlier material into something newly exhilarating. ‘Messy’ addressed Dean’s family history and her own romantic failings – these topics led to a creative revitalisation, not only in her forthright lyrics but also in a more rhythmic sonic palette. It felt like watching an ascendant star lean into a bolder, braver version of herself. SW

44. CMAT – ‘Crazymad, For Me’

CMAT possesses an uncanny talent for making songs that sound as much like country ballads as they are chaotic voice note exchanges with friends. Described as an “abstract break-up album”, the Irish artist’s second record captured the ache and denial of heartbreak in a way that was both beautifully impactful and totally wacky, whether she was making silly pop culture references or hollering gut-wrenching lyrics like “Good enough to know you / Was all I wished to be”. HG

43. The Rolling Stones – ‘Hackney Diamonds’

61 years, 24 albums and one member down (RIP Charlie Watts), you’d have been forgiven for thinking the world’s greatest rock’n’roll band had come to the end of their journey. You’d have been wrong, of course. This long-gestating new record from The Rolling Stones arrived courtesy of producer Andrew Watt, who recently coaxed rowdy albums out of Iggy Pop and Ozzy Osbourne, and helped the Dartford rockers knock up some of their best tunes since the ‘70s. Cameos from Paul McCartney, Lady Gaga, Stevie Wonder and Elton John didn’t hurt, either. AF

42. Geese – ‘3D Country’

Though this was just the second album from Brooklyn five-piece Geese, ‘3D Country’ played with a sound far more expansive than most bands at this stage of their career. Overwhelming instrumentals and half-wailed vocals from singer Cameron Winter meant that ‘3D Country’ courted all-out chaos on this rambling, proggy epic. AB

41. Benefits – ‘Nails’

In the midst of the Tory mission to Make Britain Grey Again, what can you do? When punk proves futile and there are no answers, all you’re left with is noise, bile, and a glimmer of empathy. This towering debut from Teesside’s Benefits proved a monument to standing up for yourself when no one else will. As Kingsley Hall barked on ‘Flag’: “Privilege won’t save you / Eton won’t save you / People who speak Latin will not save you.” AT

40. James Blake – ‘Playing Robots Into Heaven’

A decade before he was in studios producing for Travis Scott and Beyoncé, James Blake was making some of the most innovative electronic music of his generation. On the London-born post-dubstep pioneer’s sixth album, he went back to his club roots to deliver a record that was consistently inventive and hard-hitting – even in its quieter moments. BJ

39. Holly Humberstone – ‘Paint My Bedroom Black’

Grantham-born singer-songwriter Holly Humberstone’s candid debut was filled with everything that she does best: diaristic confessions on friendships, crushes and heartbreaks; softly-sung lyrics; brooding melodies for fans to escape within. But her first album was also more than that, serving as a hopeful portrait of an artist outgrowing the 20-year-old who first broke out during lockdown, instead looking ahead to a future that could take her – and her sound – anywhere. HG

38. Agust D – ‘D Day’

“Future’s gonna be OK,” Agust D – aka BTS rapper Suga – declared in the opening line of ‘D-Day’. The fiery album wrapped up his trilogy of solo releases with more sharp, thought-provoking societal observations and reflections on his own life, but with room for a new sense of peace, acceptance and hope. That it was all set to hard-hitting hip-hop and featured starry collabs with BTS’ J-Hope, late Japanese composer Ryuichi Sakamoto and more only made ‘D-Day’ more spectacular. RD

37. Paris Texas – ‘Mid Air’

The electrifying debut from Californian duo Paris Texas mixed up its vibe with every track: punk, rap, rock and pop would all feature. Whether it was the lyrical wit of ‘tenTHIRTYseven’, scuzzy aggression of ‘Bullet Man’, or poignancy of ‘…We Fall’, ‘Mid Air’ was impossible to predict – and even harder to stop listening to. AB

36. Corinne Bailey Rae – ‘Black Rainbows’

Low-key opener ‘A Spell, A Prayer’ acted as an incantation that elevated listeners to the singer-songwriter’s new spiritual plane: wonky nu-jazz, woozy alt-pop and loud-as-fuck grunge guitars. No, do not adjust your sets – we are thinking of the same Corinne Bailey Rae, she of tasteful neo-soul that was once big in the ‘burbs. Inspired by a visit to Chicago’s Stony Island Arts Bank centre of Black culture, Rae exploded expectations with this thrilling, genre-busting revelation. JB

35. Hak Baker – World’s End FM’

With ‘World’s End FM’, east London’s Hak Baker may have restored your faith in contemporary protest music. An interplay between indie and scruffy-edged pop, the LP concerned itself with a central theme of perseverance in the face of endless turmoil. Whether condemning music industry leeches, or decrying working-class appropriation, the record exuded an infectious and topical energy – and, arguably, was unfairly snubbed from this year’s Mercury Prize nominations. SW

34. Wednesday – ‘Rat Saw God’

This year saw Wednesday become the hottest band in the indie-rock underground, and for good reason. ‘Rat Saw God’ was an album on which they solidified their potential, making a truly great collection that could only be theirs. They combined dirtbag country with slacker rock and crushing shoegaze, and told stories of suburban Americana that were both desperately sad and darkly funny. It was gnarly, scuzzy and full of heart. MH

33. Laufey – ‘Bewitched’

Laufey pulled off a subtle conjuring trick on her sumptuously detailed second album. The record’s songs, which elevated her modern jazz sound with elements of pop and bossa nova, all felt effortless despite being so tightly constructed – it made for a triumph of introspection and restraint. If 2022’s ‘Everything I Know About Love’ was the introduction to this prodigious talent, ‘Bewitched’ offered proof that she’s arrived. SW

32. The National – ‘Laugh Track’

2023 was a creative rebirth for a band stuck in a rut. Despite meeting bigger audiences during the pandemic through their work with Taylor Swift, frontman Matt Berninger told NME that The National were struggling to connect with each other amidst his writer’s block. They released two albums, the sensitive ‘First Two Pages Of Frankenstein’ to break the ice, and then September’s ‘Laugh Track’, a gnarlier, brighter companion record that was rapidly completed once their mojo had been reignited. Had they combined the two collections, their placing may have been much, much higher. TS

31. Kaytraminé – ‘Kaytraminé’

In a sweaty summer dripping with seasonal bops, no one brought the heat quite like producer-rapper duo Aminé and Kaytranada. From Pharrell-assisted dance banger ‘4EVA’ to the smooth, lazy river vibes of R&B chillaxer ‘Rebuke’, there was no better album to crack open a cold one to or, if you were feeling more energetic, soundtrack a sticky night out in the clubs. AF

30. Le Sserafim – ‘Unforgiven’

For a group whose name unscrambles to form the phrase “I’m Fearless”, K-pop rookies Le Sserafim certainly put their money where their mouth is on this ambitious debut. ‘Flash Forward’ nailed sugary pop as readily as ‘Impurities’ did glacial R&B, while the touching ballad ‘FEARNOT’ found strength in shades of twinkling emo-rock. It was the triple threat of ‘UNFORGIVEN’, ‘ANTIFRAGILE’ and ‘Eve, Psyche & The Bluebeard’s Wife’ which really coined their signature style though – rebellious, bassy anthems that put the empowerment in the party. JW

29. PinkPantheress – ‘Heaven Knows’

Who else would reinterpret Shakespeare’s King Lear on a pop record in 2023? Her commitment to her vision is impressive and pays dividends on debut ‘Heaven Knows’. The ability to write hooks goes unmatched – see the insanely catchy ‘Nice To Meet You’ – and there’s plenty of sonic experimentation that challenges the PinkPantheress sound whilst extending it into exciting new territory. The Grammys ought to be kicking themselves for snubbing this star. AR

28. Water From Your Eyes – ‘Everyone’s Crushed’

Has there been a more joyful success story this year than that of Water From Your Eyes? The duo released four albums before they hit their breakthrough moment with ‘Everyone’s Crushed’: a record of invigorating pop songs, given greater heft thanks to a much-talked about festival run over the summer. Here, they made music to reflect their own core idiosyncrasies, and were embraced with open arms by a whole new audience. SW

27. Killer Mike – ‘Michael’

Race, inequality and masculinity: Killer Mike tackled it all on this sprawling opus. Yet the Run The Jewels rapper’s first solo record in over a decade was also an intimate affair (the clue’s in the title!), as Michael Render shared his honest, unvarnished worldview. Hooky, heart-breaking and, sometimes, humorous too. JB

26. Earl Sweatshirt & The Alchemist – ‘Voir Dire’

‘Voir Dire’ had a curious beginning. Producer The Alchemist claimed in 2021 that the pair had released a ‘secret’ album on YouTube under an undiscovered pseudonym. Cryptic clues eventually led to this, a sharp fusion of both of their finest skills when it was formally released in August 2023: ‘Vin Skully’ and ‘Heat Check’ were delightfully slinky and flashy. TS

25. Loraine James – ‘Gentle Confrontation’

Listening to Loraine James is an act of reverence, and ‘Gentle Confrontation’ is astonishing in its ability to capture compassion. It was equal parts lush, layered, and fragmented, but hearing James interpret vulnerability in so many creative ways – from incorporating personal genre influences to the voices of her family – made for an exciting, tender listen from the underground club scene. AR

24. Yaeji – ‘With A Hammer’

Yaeji’s long-awaited debut album found the Korean-American artist at her most ambitious. While ‘With A Hammer’ was undoubtedly fuelled by rage, the record’s sonic contrasts – veering between electronic frenzies and moments of calm – proved there are many different ways to channel such emotions. BJ

23. Lana Del Rey – ‘Did You Know That There’s A Tunnel Under Ocean Blvd’

‘…Ocean Blvd’, which starred Father John Misty and Tommy Genesis, might have been Lana Del Rey’s most collaborative album to date but it also felt like her most personal. Over 16 tracks that flew through hushed experimentalism, intricate folk and arresting instrumentals, she explored the idea of family – the one we were born into, might conceive in the future, or might find in a partner. A record of great depth, it further confirmed Del Rey’s position as a master of her craft. RD

22. Blondshell – ‘Blondshell’

Blondshell’s self-titled album distilled her most personal and intense emotions into a triumphant alt-rock smasher. From the sensual rawness seen on ‘Kiss City’ (“Just look me in the eye when I’m about to finish / I think my kink is when you tell me that you think I’m pretty”) to the fierce ‘Salad’ (“Look what you did, you made a killer of a pacifist”), each song spotlighted a special rising talent. AD

21. Sleep Token – ‘Take Me Back To Eden’

After finding their footing over recent years, on ‘Take Me Back To Eden’ Sleep Token established themselves as arguably the most important metal band of 2023. On paper, the album’s genre-defying, experimental approach could have been contrived, yet with tracks like ‘The Summoning’ and ‘Granite’, the end result was one refined enough to establish the band as arena headliners and a breath of fresh air for today’s rock scene. LD

20. Jessie Ware – ‘That! Feels Good’

“I think I finally know the artist I’m meant to be now,” Jessie Ware told NME ahead of the release of her ‘70s disco-inspired fifth album. Across 10 shimmering tracks, the singer embraced her sensuality and indulged in excess, oozing with a new-found artistic confidence that just felt so damn good. She said it best herself on the slinky, seductive title track: “Pleasure is a right.” HM

19. Militarie Gun – ‘Life Under The Gun’

On their debut full-length, Militarie Gun’s approach to hardcore reflected the genre’s mainstream boom. As frontman Ian Shelton spat and snarled his way through these tracks, the band behind him was playing big, hooky, polished rock that looked more towards the airwaves than the basement. It played not as a cash grab, but as an attempt to write a timeless, undeniable record unbeholden to punk snobbery. Mission accomplished. MH

18. Genesis Owusu – ‘Struggler’

On Genesis Owusu’s second album, his star was glowing ever brighter. A concept album centering around a character called The Roach, Owusu’s output was an assured thrill, weaving rippling basslines, bursts of disco and funky riffs into a vibrant patchwork. In both its story and sound, ‘Struggler’ was brimming with bright ideas. EW

17. Yves Tumor – ‘Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)’

Yves Tumor’s transformation into a glam rock star became complete this year on their fifth album. It swung for the fences with unashamedly huge melodies, but managed to not sacrifice their inherent urge for experimentation. ‘Meteora Blues’ had huge ‘90s alt-rock guitars, but ‘In Spite Of War’ lent itself closer to 21st century indie. It’s almost no surprise, then, to learn that Tumor’s birth surname is Bowie – they both appear to have the same iconic look and restless nature. WR

16. Foo Fighters – ‘But Here We Are’

Given that Foo Fighters’ origins were born out of Dave Grohl’s grief for Nirvana frontman Kurt Cobain, it added another bleak layer to the tragic death of drummer Taylor Hawkins in March 2022. ‘But Here We Are’, their first album since his passing, exceeded expectations: from the serene ‘Show Me How’, a gorgeous duet with Grohl’s daughter Violet, to the emotionally vulnerable ‘Hearing Voices’, the record brought fans closer to the band than ever before. LD

15. JPEGMafia and Danny Brown – ‘Scaring The Hoes’

US alt-rap titans JPEGMafia and Danny Brown teamed up in March for this explosive collaborative album which was a chaotic playground where both of their respective crafts were showcased, respected and pushed. Produced by JPEGMafia in its entirety, there was scarcely a dull moment. TS

14. 100 Gecs – ‘10,000 Gecs’

Emotional depth wasn’t the strength – or the point – of 100 Gecs’ second album, but if you bought into the hilarity of ska songs about sad frogs at parties and gruesome dental procedures, it was in the running for 2023’s wildest listening experience. It avoided novelty through the sheer excellence of its pop melodies; Laura Les and Dylan Brady were having a laugh, while remaining deadly serious about the quality. WR

13. Romy – ‘Mid Air’

After more than a decade as lead vocalist of The xx, Romy Madley Croft stepped out of the shadows and into the light with her euphoric debut album. Showcasing a new, vibrant side to her artistry, the 11-track record soared thanks to life-affirming pop-house bangers like ‘Enjoy Your Life’, ‘Strong’ and ‘Loveher’. BJ

12. Queens of The Stone Age – ‘In Times New Roman…’

A half-decade of turmoil (a messy and highly-publicised divorce from the Distillers’ Brody Dalle; a cancer diagnosis; the loss of friends including Foo Fighters’ Taylor Hawkins and former bandmate Mark Lanegan), left Josh Homme ambivalent about making another record. Yet the veteran rocker found himself, as he put it to NME, “walking deeper into the darkness”. The result was QOTSA’s most bludgeoning sonic assault yet – and that’s saying something. JB

11. Sufjan Stevens – ‘Javelin’

Amidst a serious health episode, and the loss of his partner in April, Sufjan turned to “full singer-songwriter mode” for the first time since 2015’s ‘Carrie & Lowell’. A collection of intimate indie-folk, layered vocals and lush instrumental arrangements accompanied Stevens’ devastating lyrics: another triumph from the prolific cult hero. HM

10. Blur – ‘The Ballad of Darren’

When Britpop heroes Blur announced their reunion in late 2022, ‘The Ballad Of Darren’ was barely a kernel of an idea; Damon Albarn later credited the impending Wembley Stadium shows in the diary – initially booked to celebrate ‘Modern Life Is Rubbish’’s 30th anniversary – as creative momentum to get the whole band back in the studio. Following disparate recording sessions (2015’s ‘The Magic Whip’) and an absent Graham Coxon (2003’s ‘Think Tank’), ‘The Ballad Of Darren’ would prove their best album since the ‘90s, a reckoning of lost relationships and middle-aged malaise. TS

9. Mitski – ‘The Land Is Inhospitable and So Are We’

Mitski writes about heartbreak like no one else, but on her last few albums she’s coated it in glossy synths and upside-down pop songs. Not here. Acoustic guitar, slide guitar and strings reigned on Mitski’s seventh album, giving it a mournful country feel. When the instrumentation was rich it was like she was building a whole universe, and when it was sparse, it was like devastating desolation. Mitski’s stunning voice was the centrepiece, smokey and plaintive as her melodies jerked in unexpected directions like on marionette strings. By now, there’s little denying that she’s one of the best songwriters of this generation. MH

8. Amaarae – ‘Fountain Baby’

A record that redefined the boundaries of alt-Afropop. Ghanaian-American Amaarae demonstrated her ability to craft a luxurious sound all the while steering the album with direct storytelling. Her second album drew from a myriad of global influences – including the awe-inspiring Arabic scales and the brash, rebellious nature of punk rock – and these diverse elements, paired with Amaarae’s signature syrupy register, made for a memorable experience. KSW

7. Sofia Kourtesis – ‘Madres’

The debut album from Peru-born, Berlin-based DJ and producer Sofia Kourtesis was dedicated to neurosurgeon Dr Peter Vajkoczy, who saved her mother’s life after a 2021 cancer diagnosis. “He really makes me brave and makes me take more risks,” Kourtesis told NME, and this gratitude and strength shone through on an album bursting with joy and healing. Kourtesis’ beats are filled with sunshine and jubilation: “Come on, let’s move forward,” she sang on highlight ‘Si Te Portas Bonito’, one of countless moments of emotional breakthrough on this special album. WR

6. Caroline Polachek – ‘Desire, I Want To Turn Into You’

The expansive ‘Desire, I Want To Turn Into You’ saw Caroline Polachek blast open her sonic world. Following on from ‘Pang’’s avant-pop, here the innovative artist fearlessly played with genre, instrumentation and arrangement. Throughout the record you heard Spanish guitar and bagpipes; trip-hop and UK garage; even Grimes and Dido, who appear on the same track. But despite the far-reaching sonics, on ‘Desire…’ she managed to mould these disparate sounds into something that’s distinctly unique. HM

5. Paramore – ‘This Is Why’

Bringing their love of British indie to the fore, ‘This Is Why’ saw US stalwarts Paramore hone in on the spiky, claustrophobic emotions of trying to be the best human, bandmate, lover and social advocate you can without losing yourself in the process. With a quirky pop-rock flourish, the danceable moments went hard (‘Running Out Of Time’, ‘C’est Comme Ça’), but so did the more intimate ones, with epic Pixies-on-piano closer ‘Thick Skull’ making thrilling use of the subtleties and strength of Hayley Williams’ vocals. With all three members clearly pulling in the same direction, the group’s collective future has never looked brighter. JW

4. Troye Sivan – ‘Something To Give Each Other’

Beneath the many, many moments of ecstasy on ‘Something To Give Each Other’ – the hot, dripping lust that defined ‘Honey’! The perfectly-timed Bag Raiders sample on ‘Got Me Started’! – there was also a deep sense of grace. Between a breakup and acclimating to his adopted home of Melbourne, Troye Sivan has had a tricky few years: he put it all into this career-best effort, which saw him abandon regret and hollow out any feelings of shame.

These songs cut to the core of why pop music can be a guiding light during heartache. The possibilities of desire and a brighter, sexier future intensified in tandem with the BPMs (‘Rush’, ‘Silly’); an act of assertion that cemented Sivan as a newly emergent icon. SW

3. Young Fathers – ‘Heavy Heavy’

With their fourth album ‘Heavy Heavy’, Scottish trio Young Fathers affirmed their creative power. It’s a record so joyously executed, so steeped in humanity and creativity, that putting your finger on why a single song or moment is so affecting feels fruitless. ‘I Saw’ is one of the year’s finest rock belters, both direct and explorative; ‘Rice’, meanwhile, touched on the plundering of Africa’s natural resources.

“It’s a mark of the band’s strong songwriting nous that such politicised lyrics are subtly imbued across a project that still manages to be equal parts anthemic and infectious,” NME’s five-star review swooned. Masterful work. TS

2. Olivia Rodrigo – ‘Guts’

No one does fun, unabashed theatre kid maximalism like Olivia Rodrigo. These 12 biting and often feverish songs were stuffed with admissions that others would find too embarrassing to share with a friend, let alone broadcast to a global audience of millions. “Every guy I like is gay!,” the 20-year-old cried on ‘Ballad Of A Homeschooled Girl’, her exaggerated matter-of-factness underscoring the album’s main takeaway: ‘Guts’ was born from fresh pain.

Here, Rodrigo often wondered if she’s ever going to figure life out now that she’s entered young adulthood. This outlook was wrought through adrenaline-pumping guitar passes and the occasional screamed vocal; she righteously chose to indulge in her own intensity, and celebrated herself for doing so. SW

1. Boygenius – ‘The Record’

Few bands dominated 2023 like Boygenius did. Phoebe Bridgers, Lucy Dacus and Julien Baker might have been the focus of intense fandom before, but this year saw them reach new levels of cult worship, largely thanks to ‘The Record’, their long-awaited debut album.

Although the album covered the ground of relationships of many different forms, at its core it centred on the friendship between three of this generation’s most incisive songwriters – both lyrically and the performances captured on it. It took what might seem like mundane anecdotes about driving in the wrong direction with your mates and turned them into touching odes to connection and what it means to really be known by someone (‘Leonard Cohen’). It asked questions about how far friendship could go – even through satanism? – and found strength in getting vulnerable on one of many highlights, ‘Not Strong Enough’. That song might have positioned Boygenius as “always an angel, never a god”, but ‘The Record’ deservingly vaulted them much closer to musical deity status. RD

The post The best albums of 2023 appeared first on NME.

It’s been a tricky year for film lovers – striking actors and writers meant some of the tentpole releases got kicked down the road – but there was still a lot to get excited about. From Barbenheimer to Taylor Swift’s pop-tastic tour of the multiplex, plus plenty of under-the-radar indie gems, we were always spoiled for choice at the box office – even if Hollywood was busy picketing it.

As a result, compiling this list was really tough. So tough, in fact, that we’ve had to make the actors promise to strike again in 2024 so we can revisit those that didn’t make it this time around. You’re welcome.

Alex Flood, Commissioning Editor (Film + TV)

Contributors: Paul Bradshaw, Rhian Daly, Liberty Dunworth, Alex Flood, Jesse Hassenger, Victoria Luxford, James Mottram, Kevin EG Perry, Gary Ryan, Lou Thomas, Andrew Trendell, Kyann-Sian Williams, Sophie Williams.

*All release dates are for the UK

20 ‘The Fabelmans’

Director: Steven Spielberg

This stylishly shot period drama was semi-autobiographical and loosely based on the monolith of modern cinema Steven Spielberg’s own coming of age as young Sammy Fabelman battled the challenges of adolescence, a less than typical family life, anti-Semitism and bullying, using his love of film as a tool to make sense of the world around him.

Gabriel LaBelle made a career-making star-turn as Sammy, brimming with all the nervous energy and endless nerdy ambition of the young Spielberg, with the movie truly made by a devastating portrayal of his eccentric but tempestuous mother and Paul Dano as the doting but pragmatic dad and the tensions between them.

You’d expect nothing less than a visual cinematic feast from the man who invented the blockbuster showing you what first inspired him – including his DIY attempts at a Western and war epic as a teen – and The Fabelmans practically came with the smell of popcorn. Another one for the ages.

Did you know? David Lynch took a lot of convincing for his cameo portrayal of the cantankerous Western director John Ford, but mutual pal and Twin Peaks icon Laura Dern talked him round. One of his conditions on appearing in the movie was to have Cheetos in his dressing room.

Like this? Try this: Saving Mr Banks (2013), Catch Me If You Can (2002). AT

19 ‘Bottoms’

Director: Emma Seligman

In her follow up to 2018’s excellent Shiva Baby, director Emma Seligman showed why queer cinema is currently in its boom era. Rachel Sennott and Ayo Edebiri played PJ and Josie, two gay BFF high-schoolers desperate to lose their virginity before college. Their solution? Start an all-female fight club and meet the girls of their dreams. The club brought more attention than they bargained for though, and set up an energetic comedy that refreshed teen movie tropes with a modern perspective. Edebiri and Sennott were the types of best friends we all wish we had in high school, while Havana Rose Liu and Kaia Gerber were excellent as the popular girls with more going on than people expected. Influenced by popular queer classic But I’m A Cheerleader, Bottoms achieved the delicate balance of having characters that feel empowering while also displaying endearing humanity.

Did You Know? Retired NFL player Marshawn Lynch, who plays teacher Mr G, took on the role because he regretted his reaction to his own sister coming out.

Like this? Try this: But I’m a Cheerleader (1998), Whip It (2009). VL

18 ‘Return To Seoul’

Director: Davy Chou

In his 2016 debut feature-length film Diamond Island, Davy Chou used unknown actors to build out his cast. In his latest movie, Return To Seoul, he used the same tactic for lead character Freddie – and struck gold with Park Ji-min. The visual artist-turned-actor provided the beating heart for the film, delivering a phenomenal performance as a French-Korean adoptee returning to her homeland for the first time.

Deeply affecting and emotional, Return To Seoul grappled with ideas of identity and family, using Freddie as its vessel. It found her, despite feigning indifference, in search mode – for her birth parents and, as it revisited her over the course of eight years, for her true identity. Each time the movie met up with her, she was in a new phase of reinvention, chaotically racing through life as she tried to find answers that felt heartbreakingly just out of reach.

Did you know? Newcomer Park Ji-min didn’t want to be in the film originally – until Chou agreed to let her work on the script with him.

Like this? Try this: Tigertail (2020), Aftersun (2022). RD

17 ‘Scrapper’

Director: Charlotte Regan

You could feel a whirlwind of emotions thunder out of Charlotte Regan’s debut feature film Scrapper: rage, loss, and untameable, sherbet-bright youthful joy – all at once. Yet despite all this, it remained direct and concise in its message. The film followed the story of the headstrong Georgie (Lola Campbell) whose mum recently died; the 12-year-old is soon living alone in a council flat and keeping up appearances in front of her school friends.

Mirroring fragments of Regan’s own experience of growing up on an estate alongside other working-class families, Scrapper distilled years of both pain and wonder into something truly touching. The push-and-pull tension between Georgie and her neighbour Ali (Alin Uzun) felt genuinely reflective of formative childhood friendships, and introduced us to two brilliant rising comedy stars. Crucially, to have these characters say wild and wickedly funny things you can absolutely imagine people their age saying felt like a real joy.

Did you know? In an interview with The Guardian, Regan revealed that leading lady Campbell shunned on-set catering and would only eat Greggs or McDonald’s while filming. Fair enough, we say.

Like this? Try this: Rocks (2019), The Florida Project (2017). SW

16 ‘Taylor Swift: The Eras Tour’

Director: Sam Wrench

Filmed over three nights at the Sofi Stadium in Los Angeles, The Eras Tour is much more than just a concert movie – it’s a towering testament to all that Taylor Swift has achieved in her singular journey to the very summit of modern pop. Featuring music from nine different albums, three hours of non-stop choreography and no less than 16 costume changes, the gorgeously-shot film eloquently captured just what made The Eras Tour itself such a record-breaking success – from the epic, constantly-mutating production design to the spine-tingling power of all 10 minutes of ‘All Too Well’. Not only that, but Swift’s decision to do a deal directly with cinema chain AMC and release the film while still on tour may just have revolutionised the way musicians do concert films and single-handedly saved theatres facing a threadbare, strike-hit release schedule. Taylor Swift – is there anything she can’t do?

Did you know? In its opening weekend, the film accounted for 70 per cent of North American box office grosses.

Like this? Try this: Renaissance: A Film by Beyoncé (2023), Talking Heads – Stop Making Sense (2023). KEGP

15 ‘Meet Me In The Bathroom’

Directors: Will Lovelace and Dylan Southern

Based on former NME journalist Lizzy Goodman’s epic mega-tome of the same name telling the oral history of “Rebirth and Rock and Roll in New York City 2001–2011”, this big-screen companion came along with help from directors Will Lovelace and Dylan Southern (who also helmed the magnificent documentary and concert movie Shut Up And Play The Hits about that not-so-final LCD Soundsystem gig) Meet Me In The Bathroom is 107 minutes of pure indie nostalgia.

With previously-unseen footage – including some moving clips of Interpol’s Paul Banks quietly walking through the debris of 9/11 – MMITB found the real meat of the book and snapped, crackled, and popped with all the piss, vinegar and ripped jeans of the Stateside wake-up call brought to the world by way of The Strokes, LCD, Yeah Yeah Yeahs, TV On The Radio and more. It was a thrilling snapshot of an era that was pre-broadband and before smartphones took hold. An ode to living in and for the music as much as possible.

Did you know? Goodman’s original book came about from six years, 200 interviews and thousands of hours of chatter.

Like this? Try this: Shut Up And Play The Hits (2012), Live Forever – The Rise And Fall Of Brit Pop (2003). AT

14 ‘Talk To Me’

Directors: Danny Philippou, Michael Philippou

It’s quite hard to come up with an original horror concept these days. From psychotic dolls to murderous aliens with supersonic hearing, we’ve pretty much seen it all at this point. So when the Philippou Brothers ditched their lucrative YouTube career to bring us Talk To Me, a genuinely fresh and vibrant scary movie, it was all the more impressive. Starring Sophie Wilde as an anxious teen who gets possessed when she overdoes it during a party game involving an embalmed hand, this creepy stomach-churner from Down Under had less in common with the modern, quiet-quiet-bang blockbusters and more to do with Jordan Peele’s new school of spine-tingling chillers. Think Insidious, if it was directed by Ari Aster. We can’t wait to see what the Philippous do next.

Did you know? As a child, Wilde was so afraid of the dark that she made her mum put salt rings around her bedroom door to ward off demons.

Like this? Try this: It Follows (2014), Hereditary (2018). AF

13 ‘John Wick: Chapter 4’

Director: Chad Stahelski

Following a strong three outings already, John Wick: Chapter 4 had a lot to live up to – and fortunately for fans, the final result was even more epic than expected. Centred around the iconic hitman’s continuing quest to defeat The High Table of elite assassins, this fourth instalment took the franchise to new heights with its stunning visuals and mind-bending stunt choreography.

While still a traditional action movie at its core, Wick’s ability to effortlessly transition between sub-divisions of the genre – from spaghetti Western to samurai flick, throwing in a nod to 1970s gang classic The Warriors – allowed it to transcend its medium. That said, it never lost its identity by straying too far from the series’ original charm – retaining the same quiet coolness and witty one-liners that made us first root for Keanu Reeves’ slick operator nearly a decade ago.

Did you know? Following edits to the script by Reeves, Wick says only 380 words throughout the entire film. His longest line of dialogue is: “You and I left a good life behind a long time ago, my friend.”

Like this? Try this: The Equalizer 3 (2023), Drive (2011). LD

12 ‘Passages’

Director: Ira Sachs

When married gay German director Tomas (Franz Rogowski) had sex with young teacher Agathe (Adèle Exarchopoulos) after the wrap party of his latest film, it began a complex, devastating chain of events. Tomas’ innate selfishness and monstrous ego eventually ruined his marriage to Martin (Ben Whishaw) and caused great upset in Agathe’s life, while wreaking havoc on those close to them, such as Agathe’s parents. In intelligent and sympathetic scenes of agonisingly frank and honest relationship drama, we were left in no doubt about how brutal the realities of love, sex and desire can be, especially if caught in a love triangle in which one party is a deeply unpleasant arch-manipulator. Passages made for a knotty, challenging drama with strong sex scenes and much emotional devastation, superbly acted by its three stars and expertly crafted by director Ira Sachs, perhaps otherwise best known for his bittersweet NYC love story Love Is Strange.

Did you know? There are several biographical similarities between Tomas and the late German film director R.W Fassbinder, an extraordinary talent who lived an emotionally turbulent life before his death in 1982 aged 37.

Like this? Try this: Blue Is The Warmest Colour (2013), Love Is Strange (2014). LT

11 ‘Spider-Man: Across The Spider-Verse’

Directors: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson

In a time of supes fatigue, the second Spider-Verse film set itself (spandex-clad) head and shoulders above the rest as 2023’s most inventive and visually-dazzling blockbuster, mashing up different animation styles with ease. Spider-Man Miles Morales (voiced by Shameik Moore) teamed up with Spider-Woman Gwen Stacy (Hailee Steinfeld) to vanquish portal-opening villain the Spot (Jason Schwartzman), and prevent him from tearing worlds apart. Along the way, he encountered a Spider-Society featuring over 200 variants of web-slingers, including a pregnant Spidey (Issa Rae) and Daniel Kaluuya’s scene-stealing turn as a Sex Pistol-esque Spider-Punk (‘Arachny/ Araneae in the U.K.’ anyone? Yes, that joke came from the Dad-Verse). Apart from the eye-candy and relentless creativity, it was funny, touching, and crammed with so many details that it rewarded multiple viewings. Despite clocking in at 140 minutes, making it the longest animated movie ever, it ended on a very human cliffhanger dilemma that left us craving more.

Did you know? The film’s detour into the Lego Universe was animated by a 14-year-old, who was headhunted after impressing producers when he re-created the movie’s trailer in the aesthetic of the beloved bricks.

Like this? Try this: The Mitchells vs. The Machines (2021), The Lego Movie (2014). GR

10 ‘Asteroid City’

Director: Wes Anderson

Wes Anderson has a reputation for producing glassed-in dollhouse replicas of human drama, but his recent films have grown ever more expansive – to the point where Asteroid City, in its handmade way, wound up taking on life, the universe, and everything. A story of familial grief, set in a tiny desert town hosting a science convention for bright young minds, pulled back the curtain on its own creation; it turned out what we were watching was a TV show of a theatrical production about the making of the play that forms the actual plot of the movie. This might sound clinically meta. But beneath the stunning technical triumphs of ensemble-packed camera pans and impeccable set design that Anderson and his crew continually achieve, was a nagging question of whether the characters (or Anderson himself) could actually fulfill any of their hopes, dreams, or visions. Blessedly, the phrasing of this question was often very funny. Ultimately, Anderson was reflecting, with true grace, on the cosmic smallness and uncertainty that surrounds us.

Did you know? Though the movie was steeped in mid-century Americana, the Arizona desert town was built from scratch in Chinchón, Spain, outside of Madrid.

Like this? Try this: Bad Day At Black Rock (1955), The Misfits (1961). JH

9 ‘How To Have Sex’

Director: Molly Manning Walker

Watching Molly Manning Walker’s debut How To Have Sex, you could practically feel frissions of anxiety vibrate through the screen. Having scooped the Un Certain Regard award at Cannes Festival in May, the British indie film generated buzz for its bitingly assured and complex depictions of consent, teenage friendship and sexual pressures. It offered a form of voyeurism – the adrenaline-pumping simulation of peeking behind the curtain of a familiar story: a messy, post-GCSE holiday framed largely around drinking and partying.

Led by a remarkable and empathetic Mia McKenna-Bruce, How To Have Sex excelled in how it tackled uncomfortable questions and complicated emotions head-on. It managed to hold several themes in its hands and examine each one with equal, unflinching consideration, adding up to a gripping and weighty watch. A carefully told story, delivered by an excellent young cast.

Did you know? For the film’s nightclub scenes, the speakers were shut down entirely as the cameras rolled. This meant that the main cast were asked to “shout as if there was loud music playing, which sounded absolutely ridiculous,” McKenna-Bruce told NME earlier this year.

Like this? Try this: Waves (2019), Eighth Grade (2018). SW

8 ‘Rye Lane’

Director: Raine Allen Miller

Rye Lane wasn’t your average studio romcom. It wasn’t flashy. It wasn’t unrealistic or sensationalised. It didn’t boast an all-star Hollywood cast. But it was great anyway. Following two London strangers in Dom and Yas (played by David Jonsson and Vivian Oparah) who, over the course of 82 charming minutes, realised they were perfect for each other, director Raine-Allen Miller’s lo-fi gem reworked a tired format into a visually inventive and engaging treat. Quirky camera angles and lurid splashes of colour exaggerated the ill-fitting pair’s early courting – and the hilarious flashback scenes made for a few satisfying chuckles. Elsewhere, Nathan Bryon and Tom Melia’s brilliant writing brought the two very-different character’s interesting traits to the fore in a relatable way – and created a story that could make anyone believe love is waiting right around the street corner.

Did you know? Colin Firth, Michael ‘Big Shaq’ Dapaah and Munya Chawawa all have hilarious cameos.

Like this? Try this: Love Beats Rhymes (2017), Yesterday (2019). KSW

7 ‘Barbie’

Director: Greta Gerwig

When future historians look back at 2023, the pages of their books are all going to be pink. Greta Gerwig made a box-fresh musical comedy about a toy finding her place in the real world – sharply written, perfectly played by Margot Robbie and Ryan Gosling, and polished to a bubble-gum shine – but that’s not really the point. For one whole summer, cinemas across the world were sold-out by fans wearing DIY Barbiecore. Chain stores ran out of pink T-shirts. Arguments about feminism and the patriarchy found their way into primary school classroom conversations. Barbenheimer turned the weirdest double-feature ever planned into a cultural phenomenon. A quick vault over the billion-dollar box-office mark saw Gerwig break records for a female director. Nobody could stop singing ‘I’m Just Ken’… Wherever you were in 2023, and whatever you were doing, we were all just living in a Barbie world.

Did you know? The Barbies originally all had rigid “paddle hands”, that they weren’t allowed to bend. The idea was scrapped after a few terrible camera tests.

Like this? Try this: Francis Ha (2012), Little Women (2019). PB

6 ‘Evil Dead Rise’

Director: Lee Cronin

In the seemingly bottomless pit of potential franchise reboots, Sam Raimi’s much-loved zombie series was an obvious candidate. The latest movie, 2013’s Evil Dead, had been a box office success – and fans were already petitioning for the return of undeniably dodgy TV series Ash vs Evil Dead since its cancellation in 2018. Ready to plunge a rotting fist through this already fertile ground was filmmaker Lee Cronin, an avid follower of Raimi’s originals. And, surprisingly, his ultra-gory first-rate shocker was just as good. Fast-paced and funny, the new film followed two estranged sisters whose reunion was cut short by the rise of flesh-possessing demons who slowly picked off them and their surrounding family in a Los Angeles tower block. Not a cabin-in-the-woods chiller like its forebears, then, but this novel twist on a much-loved format still proved one of the year’s best horror films.

Did you know? The practical effects team used a whopping six and a half thousand litres of blood throughout the movie.

Like this? Try this: Barbarian (2002), Terrifier 2 (2022). AF

5 ‘Pearl’

Director: Ti West

The middle chapter of Ti West’s soon-to-be-finished horror trilogy cut through expectations like a freshly sharpened axe. Where 2022’s X raked ‘70s porn tropes, the prequel took several steps back to the early days of cinema – with a gorgeous grindhouse ode to The Wizard Of Oz that played more like flipping through a family photo album with the cast of Psycho. However great Mia Goth was the first time around (playing two characters at once, one buried under a layer of OAP latex), she eclipsed it here in one of horror’s greatest ever performances as the star-eyed, occasionally-sadistic younger version of X’s geriatric killer. Several scenes found their way into 2023’s finest; the local audition, the scarecrow dance… but it was Goth’s unbroken six-minute monologue, and her frozen face in that final shot, that made sure Pearl really buried itself somewhere deep and disturbing.

Did you know? West wanted to shoot in black and white before A24 execs told him they had too many monochrome movies on the books already.

Like this? Try this: X (2022), The House Of The Devil (2009). PB

4 ‘Killers Of The Flower Moon’

Director: Martin Scorsese

Based on real events, Martin Scorsese’s latest movie was a true masterpiece. Lily Gladstone and Leonardo DiCaprio shone in a tale of the Osage Nation in 1920s Oklahoma, who were manipulated and murdered by White opportunists seeking to gain mineral rights. Simmering with tension, a bloody chapter in America’s history was portrayed with unflinching honesty by all involved. Robert DeNiro captivated as the despicable William ‘King’ Hale, the mastermind behind the murders, while Gladstone astonished as Mollie Kyle, an Osage woman who showed both grace and grit as she fought her oppressors. In the middle of it all was DiCaprio as Mollie’s husband Ernest, an ex-soldier who suspected his Uncle William wasn’t working in his best interests bit failed to do anything about it. This epic film filled with rage and intrigue proved Scorsese shows no signs of slowing down in his seventh decade of filmmaking, remaining as relevant now as he always was.

Did You Know? Star Lily Gladstone was about to leave acting, applying for a data analytics course at the moment Scorsese requested a meeting with her.

Like This? Try This: The Irishman (2019), There Will Be Blood (2007). VL

3 ‘Tár’

Director: Todd Field

Talk about passing the baton. Awards magnet Cate Blanchett shone as troubled composer Lydia Tár in Todd Field’s complex, challenging look at creativity and ‘cancel culture’. Playing the ‘maestro’ for the Berlin Philharmonic, it was a volcanic performance from the elegant Australian as she expertly essayed her character’s slide towards a full-on meltdown. As for Field, who hadn’t made a film since 2006’s Little Children, he plunged us into the high-stakes world of classical music with such detail, we came out feeling like we’d studied at Julliard for four years. From Tár’s brilliant take down of a woke student – all shot in one take – to the horror-like vibes that flow across one scene set in a dilapidated tower block to the surreal, ambiguous finale, it was a dense, delicious ride that dealt with power, sexuality and control. A true portrait of the artist, warts and all, this was truly one of the greats of 2023.

Did you know? Cate Blanchett took piano lessons and studied online masterclasses by Soviet conductor Ilya Mussin to prepare.

Like this? Try this: Maestro (2023), Blue Jasmine (2013). JM

2 ‘Oppenheimer’

Director: Christopher Nolan

Sure, Barbie might have won the Barbenheimer battle at the box office – $1.44billion to Oppenheimer’s measly $950m – but Christopher Nolan’s atom bomb epic triumphed where it truly matters: on this list. Telling the story of America’s physics genius who kicked off the Cold War when he unwisely invented nuclear weapons before trying to put Schrödinger’s cat back in its box, this intense biopic got us all thinking about the world’s fragile political situation – and how it could disintegrate at any moment. Thanks to Cillian Murphy’s awards-worthy performance – and some very fun supporting turns from Matt Damon and Tom Conti, alongside the less-fun but equally impressive Emily Blunt – the film told a compellingly human story too. Margot Robbie’s fantastic plastic dream dominated summer, but Oppie’s impact will undoubtedly last far longer than a season.

Did you know? Murphy huffed so many fake cigarettes on set – Oppenheimer chained them his entire life – that he said his next role definitely won’t be a smoker.

Like this? Try this: Dunkirk (2017), The Imitation Game (2014). AF

1 ‘Past Lives’

Director: Celine Song

Past Lives, the directorial debut from playwright Celine Song, asked: “What if?” What if you reconnected with your school crush after not seeing them for 12 years? What if, another 12 years later, they came to see you for the first time since you were kids? What if things didn’t end with a big Hollywood romance ending?

Where other filmmakers would’ve been tempted to use Nora (Greta Lee) and Hae Sung’s (Teo Yoo) story as a template for big drama and grand gestures, Song took a quieter approach. It’s part of what made Past Lives so enthralling – its soft way of moving forward mirroring the lingering feelings between its two central figures. There might have been few dramatic peaks here, but it still hooked you in entirely, the awkward tension between the reunited pair simmering at just the right level as Song’s story unfolded with masterful, subtle precision.

Did you know? Actors Teo Yoo and John Magaro only met for the first time when they filmed the first scene they share in the movie – making Hae Sung and Arthur’s first meeting their own too.

Like this? Try this: Soulmate (2023), The Farewell (2019). RD

The post The 20 best films of 2023 appeared first on NME.

From Succession’s mind-scrambling, last-minute twist to that sad-as-fuck episode of The Last Of Us, 2023 has brought some unforgettable telly moments. With the help of a slightly smaller pool than usual (thank you, writers strike) and after a lot of intense debate (shouting) in the office, we’ve whittled down our list of the year’s must-watch shows to a lean 20.

Comprising starry sci-fi epics, rude cartoons, awesome anime, gripping restaurant dramas, laugh-out-loud comedy classics and loads more, the below ranking is definitely enough to get you through the festive season. In fact, you might as well tuck in now!

Alex Flood, Interim Commissioning Editor (Entertainment)

Words: Nikita Achanta, Elizabeth Aubrey, Paul Bradshaw, Liberty Dunworth, Alex Flood, Nick Levine, James Mottram, Kevin EG Perry, Gary Ryan, Ali Shutler, Andrew Trendell, Sophie Williams

20 ‘Ahsoka’

Season: one

A fan favourite, after her appearance in Star Wars animations The Clone Wars and Rebels, alien warrior Ahsoka Tano – played by Rosario Dawson – finally got her own live-action series after being introduced in The Mandalorian.

Developed by Star Wars regular Dave Filoni, pleasingly, this female-driven, eight-episode show didn’t just rely on Ahsoka, but other characters from the Rebels series including Ahsoka’s former apprentice Sabine Wren (Natasha Liu Bordizzo) and the New Republic general Hera Syndulla (Mary Elizabeth Winstead).

The big moment of the series was seeing Ahsoka’s deceased master Anakin Skywalker (Hayden Christensen) back in the World Between Worlds, as well as flashes of the monster he became, Darth Vader. But he wasn’t the only villain on call: the blue-faced Grand Admiral Thrawn (Lars Mikkelsen) made for an admirable adversary. Filled with grab-your-seat action and some beguilingly beautiful moments (the space whales!), this was one of the best Star Wars shows since early episodes of The Mandalorian.

Best episode: ‘Shadow Warrior’

Watercooler moment: The epic lightsaber duel between Ahsoka and Anakin Skywalker. JM

19 ‘Loki’

Season: two

Season two of this time-travelling superhero adventure picked up right where the first left off: with the killing of big bad He Who Remains (Jonathan Majors) by Sylvie (Sophia Di Martino), pushing Norse God Of Mischief Loki (Tom Hiddleston) into an alternate timeline where no one recognises him.

In the new episodes, we followed Loki as he teamed up with his pals at the more-fun-that-it-sounds regulatory body the TVA (Time Variance Authority) to prevent the fabric of the universe from disintegrating further. Funny, visually stunning and surprisingly akin to a buddy cop movie thanks to Loki and Mobius’ fizzing chemistry, it also had us reaching for the tissues with some of Marvel’s most moving moments yet.

Hopefully this isn’t the last time we see Tom Hiddleston don the green cape – and can the other MCU shows please take note? They could learn a thing or two from creator Michael Waldron’s impeccable writers room.

Best episode: ‘Glorious Purpose’

Watercooler moment: That heartbreaking throwback to 2011’s Thor when Loki said: “For you, for all of us”. Only this time, the words came with a sad smile. NA

18 ‘Big Mouth’

Season: seven

Nick Kroll’s animated exploration of puberty has been TV’s funniest and filthiest show since it first aired in 2017, mixing expertly written dirty jokes with surprisingly insightful analysis of what it’s like to be a teenager in the TikTok age.

This new season, however, had the gang beginning to grow up. Horny Andrew seemed determined to ditch his “perverted” ways before he enters high school, but accidentally groped an older jock’s girlfriend and immediately became an outcast. Meanwhile, little Nick got some attention from a cool girl and quickly abandoned his mates. Then there was bookish Missy, whose growing sexual urges got impossible to ignore; and rebellious Jessi, unconsciously attracted to the weed-smoking, combat-jacketed outsider group.

Sadly, Netflix has announced season eight will be the series’ last – so we won’t witness too much of what happens next. Let’s hope they go out with an, er, bang.

Best episode: ‘The International Show’

Watercooler moment: In the above episode, hormone monsters Maurice and Connie went on a semen-stained world tour, stopping off to meet masturbation-mad youngsters in South Korea, India, Kenya and more. AF

17 ‘Heartstopper’

Season: two

Alice Oseman’s queer coming-of-age series continued to be a sweet, sweet fantasy (baby), but it was a gorgeously warm and important one. The central relationship between rugby-loving Nick (Kit Connor) and self-effacing Charlie (Joe Locke) developed with the same tenderness that made season one such a delight, especially in its sensitive portrayal of Charlie’s eating disorder. But this time around, Oseman placed more focus on their wider friendship group: we saw Tao (William Gao) and Elle (Yasmin Finney) grappling with their feelings for one another and Isaac (Tobie Donovan) embracing his asexuality.

Once again, every touching moment unfolded to a pitch-perfect indie-pop soundtrack featuring Beabadoobee, Baby Queen and Gao’s band Wasia Project. At a time when trans people in particular are being used as a political football by the Tory government, Heartstopper’s empathetic and fundamentally hopeful vision of LGBTQ+ adolescence was more of a tonic than ever.

Best episode: ‘Perfect’

Watercooler moment: Nick coming out to his dad at the dinner table, and calling out his homophobic brother in the process. NL

16 ‘Only Murders In The Building’

Season: three

Season three of the much-loved whodunnit was its best offering yet: a gripping murder-mystery centred around the death of leading actor Ben Glenroy (Paul Rudd) in Oliver’s (Martin Short) Broadway return

The show cleverly kept audiences guessing to the very end thanks to its meticulously plotted list of suspects – not least Glenroy’s co-star Loretta Durkin, played by the brilliant Meryl Streep. The unlikely true crime podcasting team of neighbours Charles (Steve Martin), Mabel (Selena Gomez) and Oliver once again sleuthed their way to the truth in a show full of humour, character and heart. But the real scene-stealers this time around were Short and Streep, whose romance side-story proved just as gripping as the main mystery itself.

The season’s shocking ending – and the death of a beloved recurring character – proved no one’s ready to hang up their deerstalker just yet though, setting up a thrilling opening to season four.

Best episode: ‘Ah, Love!’

Watercooler moment: The jaw-dropping moment Glenroy sprang back to life… only to die (again) a short time later! EA

15 ‘Attack On Titan’

Season: four (final episodes)

Dragging out an ending is an artform, and the Japanese seem to have perfected it. Not content with splitting the fourth and final season of this hit anime into two parts, producers decided to tack on an extra couple of supersized episodes this year. We’re not complaining, of course, who wouldn’t want more of mankind’s thrilling fight against the giant bloodthirsty titans?

These final adventures proved to be some of the best yet too – with young warrior Eren Yeager’s epic journey coming to an exciting and emotional close. The show’s unusual release schedule has tested even the most diehard fans’ patience, but for those who stayed the course it was well worth the wait. And who knows, we may yet be talking about another set of final, final instalments this time next year. You wouldn’t bet against it…

Best episode: ‘The Final Chapters (Part 2)’

Watercooler moment: Mikasa’s impossible choice makes for one of anime’s most breathtaking moments ever. AF

14 ‘Gen V’

Season: one

This spin-off from the brutal, brilliant world of The Boys might take place in a university for superheroes but that doesn’t mean Gen V dialed down the chaos to make it more kid-friendly. It started with a gang of teenage supes desperately trying to improve their rankings so they could land a high-profile job when they graduate but things quickly spiralled.

Throughout the series, our scrappy, complicated gang of heroes uncovered mysteries and quickly learned that The Boys’ universe was full of betrayal. Oh, and the occasional exploding of a body part. The action was smart, but never convoluted. Gory, but self-aware. There are plenty of ties to the main series, with an impressive range of cameos and a few universe-altering plot points, but Gen V’s frantic first season confidently stood as its own glorious thing. Plus, we’ll never be able to watch a Marvel movie in the same way again.

Best episode: ‘God U’

Watercooler moment: Sam (Asa Germann)’s Muppet-mangling rampage. AS

13 ‘Bargain’

Season: one

Squid Game might have shocked the world in 2021, but this year, Bargain upped the stakes even more. In a commentary on the horrors of capitalism, director Jeon Woo-sung unravelled a twisting tale that began with a school girl attempting to sell her virginity to a seedy man but quickly shifted into said creep having his organs auctioned off to the highest bidder by the girl’s trafficking ring. When an earthquake hit in the middle of the auction, it brought even more unscrupulous characters out of the woodwork to hammer home the show’s points in ever wilder ways.

Bargain excelled not just in its jaw-dropping storyline but the way it was presented on screen too. Filmed in one-take shots, it made the rubble of the hotel it was largely set in feel claustrophobically real, every dark, dingy and crumbling corner closing in on you as the characters moved through the building towards their goal.

Best episode: six

Watercooler moment: When the true intentions of Joo-young were revealed and Hyung-soo became the centre of a bidding war over his organs. RD

12 ‘Sex Education’

Season: four

The show that revolutionised the way sex is portrayed on screen was slightly less explicit in its final season, but no less warm and witty.

It began with Otis (Asa Butterfield), Eric (Ncuti Gatwa) and the gang transferring to Cavendish, a sixth form college so levelled-up it looked like a wellness retreat for tech bros. With Jean (Gillian Anderson) adapting to parenthood and Maeve (Emma Mackey) studying in the US, it felt less focused to begin with, but soon found its feet.

In fact, it remains the rare TV show that can tackle everything from a testicular cancer scare to the side effects of testosterone treatment with heart and laughs. And surely the only one with the twisted genius to show a character being wanked off to the sound of T’Pau’s ‘China In Your Hand’.

So long, Sex Education, and thanks for the memories.

Best episode: seven

Watercooler moment: Otis accidentally showing his (terrible) dick pics to the entire school. NL

11 ‘Ghosts’

Season: five

Regardless of whether you grew up with Horrible Histories or not, if you sat down to watch the cast making new mischief on this lovable BBC sitcom, you’d found a new comfort show. Kicking off in 2019, the series maintained its peak season upon season – and this year’s finale was no exception. Not only did it deliver the same tongue-in-cheek humour as was expected after four seasons, but the final chapter also saw writers unveil new sides to the series even as the characters said goodbye. From seeing the Captain (Ben Willbond) finally share his story of forbidden love, to the plot twist that none of the remaining ghosts would move into the next stage of the afterlife (or, as Mary (Katy Wix) would prefer, “get sucked off”), the last season wasn’t a traditional ending, but it definitely left us wanting more.

Best episode: ‘Carpe Diem’

Watercooler moment: Kitty (Lolly Adefope) wasn’t murdered by her jealous sister… she died because she picked up a pineapple? LD

10 ‘Jury Duty’

Season: one

There’s never been a show quite like Jury Duty before. An audacious blend of The Truman Show and The Office, this documentary-style comedy series took unsuspecting civilian Ronald Gladden and surrounded him with a cast of improv actors to form the jury in an increasingly absurd (and entirely fabricated) court case. Gladden, a solar panel contractor from San Diego, was the only one who didn’t know the case was real. Thrown into a string of bizarre scenarios, both in the jury’s hotel and the courtroom itself, he still somehow emerged victorious as a big-hearted hero. The lengths the show’s producers had to go to in order to keep up their ruse seem mind-boggling, but it’s all worth it when the result was this jaw-droppingly hilarious. The presence of Hollywood star James Marsden, meanwhile, simply acted to ramp up the ‘this-can’t-be-happening’ factor still further. Had to be seen to be believed.

Best episode: ‘The Verdict’

Watercooler moment: Marsden learns about the sexual act of ‘soaking’ – then gets involved. KEGP

9 ‘Barry’

Season: four

Of those who tuned into Barry back in 2018, intrigued by the wholly-bizarre yet wholly-original concept of an expert assassin on a quest to become an amateur actor, few could have predicted the emotional rollercoaster they were about to get swept up by.

While earlier episodes established the series as an outlandish comedy-drama, in its final chapter, Barry became a series that refused to be confined. Characters like Hank (Anthony Carrigan), initially developed as comedic relief, were effortlessly transformed into delivering the most heartbreaking scenes, while once-innocent bystanders like acting coach Gene Cousineau (Henry Winkler) were led onto a darker path – finding themselves capable of the same merciless violence associated with the eponymous lead. By the jaw-dropping final episode, there were no longer any simply ‘good’ or simply ‘bad’ characters, bringing the story to its perfect conclusion.

Best episode: ‘Wow’

Watercooler moment: The heart-stopping final moments between Hank and Fuches (Stephen Root). LD

8 ‘Colin From Accounts’

Season: one

Over the spring, this compelling, lightly chaotic Australian sitcom became something of a sleeper hit. For months, Colin From Accounts was a major talking point among TV fans across social media thanks to its balance of slapstick with pathos-laden observations about growth and ambition. It was the tenderness of the show that took many by surprise: the flawed and funny Ashley and Gordon – played by real-life couple Harriet Dyer and Patrick Brammall – provided laughs a-plenty while also mining the challenges of a blossoming relationship.

As Ashley and Gordon navigated the day-to-day disgruntlement that accompanied their unconventional living arrangement – which included looking after an injured dog together – the show movingly illustrated how difficult it can be to let your guard down after getting hurt in previous situationships. For every spiky gag there was an emotional gut-punch – a truly moving viewing experience.

Best episode: ‘Flash’

Watercooler moment: The awkward first encounter between Ashley and Gordon, following a nudity-based car accident. If you know, you know. SW

7 ‘Top Boy’

Season: five

For 12 years, Top Boy followed the highs and lows of drug dealers Dushane (Ashley Walters) and Sully (Kane Robinson) as they built an empire in east London, with season five bringing everything to a brutal, bittersweet close. Following on from the events of the previous season, which saw Sully take his revenge on Jamie (Michael Ward) and end Dushane’s plans for retirement in the process, these episodes were all about their bruised brotherhood.

The arrival of a new gang from Ireland provided a chance for some more outlandish violence but Top Boy has always been about more than bloody confrontations. The ensemble cast allows the show to explore grief, community, gentrification and addiction with surprising tenderness, while the overarching story of season five was about breaking the cycles that have driven the story for over a decade. It was a gloriously ambitious ending to a show that’s always made big swings.

Best episode: ‘If We Are Not Monsters’’

Watercooler moment: The final few minutes of the series still has people talking, for all the right reasons. AS

6 ‘Boiling Point’

Season: one

A rollicking, high-energy spinoff of the 2021 film of the same name, Boiling Point felt as though it was rocket-fuelled by fear and paranoia. Set in Point North, a new, uber-trendy east London restaurant serving Northern-inspired dishes, the four-part series continued the story of head chef Andy (Stephen Graham) in the aftermath of his heart attack, leaving protégé Carly (Vinette Robinson) on leadership duties.

Where the film was shot in a single take, the camera swooping around the kitchen each time a new drama arose, this series possessed a more frenetic energy via rapid cuts between scene and location. It made for a tense and occasionally tough watch, as arguments played out over smashed glasses and flame-engulfed pans. What is truly remarkable about Boiling Point, however, is each and every character felt truly human, regardless of their many ego clashes. Who wouldn’t want to root for a team with big dreams?

Best episode: ‘Menu Day’

Watercooler moment: The introduction of new boy Johnny, who fails to tell the difference between beef jus and a chocolate sauce during his first shift. Honestly. SW

5 ‘Poker Face’

Season: one

What set Poker Face apart in the age of streaming was its embrace of old-school episodic storytelling. In Knives Out creator Rian Johnson’s ingenious ode to case-of-the-week dramas like Colombo, the always-enthralling Natasha Lyonne starred as human lie-detector waitress Charlie Cale, who was forced to go on the lam when her casino-owning mobster boss attempted to exploit her skill in a scam – with devastating consequences.

In each destination she stopped off in, she became embroiled in a brand-new mystery, ranging from resentful reunited heavy metal bands, feuding race-car drivers, to revenge-crazed former cult members in a retirement village – before calling (literal) “bullshit!” on the murderer’s carefully-constructed house of cards. Add in a procession of high-profile guest stars – including Ellen Barkin, Nick Nolte, and Chloë Sevigny – having the time of their lives and leaving teeth-marks on the scenery, and you had 2023’s most tremendously entertaining new show. No bullshit.

Best episode: ‘Dead Man’s Hand’.

Watercooler moment: The penultimate episode, ‘Escape From Shit Mountain’, upped the ante with a shocking twisty-turny snowbound slasher instalment boasting a chaotically evil performance from Joseph Gordon-Levitt. GR

4 ‘The Last Of Us’

Season: one

The Super Mario Bros. Movie might have made a billion dollars this year but it was The Last Of Us that really laid the curse of the video game adaptation to rest – turning a game into a TV show that was worth watching even if you’d never picked up a controller.

It might have had classic zombie movie roots but Craig Mazin’s grown-up horror didn’t feel like anything that had been seen before – focusing on the living, instead of the living dead, and borrowing the best of an already impeccable story for a smart, elegant apocalypse drama that dared to take its time.

Pedro Pascal and Bella Ramsey were both perfectly cast (as were Nick Offerman and Murray Bartlett in the show’s heart-breaking standout episode), while the mossy-green production design positively dripped off the screen. Anyone who’s played the second game knows what’s coming next, and it’s not going to be an easy watch…

Best episode: ‘Long, Long Time’

Watercooler moment: The arrival of the Bloater. Mushrooms have never looked the same since. PB

3 ‘Beef’

Season: one

Danny Cho (Steven Yeun) was a down on his luck contractor, low on cash but forever dreaming and scheming. Amy Lau (Ali Wong) seemingly had it all: a good business, beautiful daughter and a loving (but dull) husband – but life among her arty set in suburbia couldn’t drown out the voices in her head screaming that something was missing.

Miles apart socially but spiritually connected in their feeling that they’re never enough, fate Danny and Amy together in a gnarly road rage incident before Danny sought revenge – big mistake. That seemingly polite rich lady was packing a whole lotta pent-up rage, sexual repression and bloodlust. One act of retribution only fuelled the next as our two protagonists became even more unwittingly entwined in another’s lives and shady goings on.

A soundtrack of late ‘90s and early ‘00s pop-rock bangers married a masterful score by Bobby Krlic (aka The Haxan Cloak) to soundtrack 10 episodes so tense we were chomping on the remote. This was squeaky bum time TV at its very best.

Best episode: ‘Just Not All At The Same Time’

Watercooler moment: Everything that happened in the Vegas episode. How unfair is life? AT

2 ‘Succession’

Season: four

Initially surprising, Jesse Armstrong’s decision to end Succession with an enthralling fourth season ultimately proved inspired. With mogul Logan (Brian Cox) finally popping his clogs – rather poetically, in the bathroom of a “PJ” – we saw his kids scrambling to inherit his power and clout before they became too toxic to care about.

At its best, Succession managed to evoke not sympathy – come on, that would be ridiculous – but at least a pang of sadness for these awful multimillionaires. The scene where Logan told his offspring that they weren’t “serious people” was utterly devastating because it was both cruel and deserved.

Never less than rambunctious and riveting, this final season also offered a welcome reminder that the 0.1% are just as messed up as the rest of us. They just behave so much worse.

Best episode: ‘With Open Eyes’

Watercooler moment: Logan meeting his maker in just the third episode – an audacious plot twist that none of us saw coming. NL

1 ‘The Bear’

Season: two

The genius of The Bear’s second season was found in the quieter moments. No other series has since proved better at showing the shit endlessly hitting the fan, but it was the flashbacks, side-steps and breath-catching across these 10 perfect episodes that charred, sliced and tenderized harder than any of the kitchen chaos. Now preparing to reopen the business as a fine-dining restaurant, Carm’s foodie family took stock.

As each character slowly redefined themselves (Sydney finding her strengths, Richie finding his weaknesses, Marcus finding a really good-looking dessert in Copenhagen…), the show started to make us believe that things might actually work out for everyone. But this is The Bear, after all, and Jeremy Allen White is too good at trauma for Carm’s ever-simmering breakdown not to spill over into an explosive final episode that we’re still scraping off the walls. It might have been hard to stomach, but this was three Michelin-starred TV.

Best episode: ‘Fishes’

Watercooler moment: It’s not a Bear family dinner until someone throws a fork. PB

The post The 20 best TV shows of 2023 appeared first on NME.

Web-slinging superheroes, enormous fighting robots, lightsabers locked in combat and rolling virtual dice across the tabletop fantasy realm, it’s been a mind-blowing 12 months in gaming. But with so much choice and an ever-lengthening ‘must-play list’, how will you choose which ones to settle down with over the festive period?

Luckily, we here at NME HQ have spent the year mouse-clicking and smashing buttons until our fingers bled – just to bring you this, the ultimate, undisputed (OK, a little bit disputed) ranking of 2023’s greatest games. We hope you enjoy.

Alex Flood, Interim Commissioning Editor (Entertainment)

Contributors: Jen Allen, Vikki Blake, Andrew Brown, Francisco Dominguez, Alex Flood, Francis Kenna, Jordan Oloman, Dominic Preston, Sarah Thwaites, Sherry Toh.

20 ‘Humanity’

Platforms: PS4/5, PC

This popular puzzle platformer put us in the paws of a canine shepherd, tasked with helping humans find their way to a luminescent cube and the mysteries that lay beyond. Directing an endless cohort of Lemmings-style knuckleheads through increasingly complex 3D puzzle boxes sounds like it could get a bit samey, but the addictive action was complemented by reactive soundscapes that created a curious sense of momentum. Your controller’s haptic feedback only deepened the immersion, with a chorus of pattering feet and the pop of confetti coursing through your fingers. As levels flowed into one another and new obstacles arose, the minimalist vistas grew in scale and scope, imbuing the adventure with consistent surprises to marvel at. Like any good puzzle game, there was plenty of frustration to be felt ahead of the eureka moments – but it just made your eventual success all the more satisfying.

Best bit: Every time you pinpoint the path to a level’s end, the disorganised chaos of the crowd turned into an almost meditative harmony.

For fans of: Rez, Superhot. SThwaites

19. ‘Lies Of P’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, PC

If the local Punch and Judy show freaked you out as a kid, then do not play Lies Of P. Set in a nightmarish fairytale world inhabited by creepy clockwork puppets that come to life and hack approaching humans to death, the Soulslike slasher made for a surprising, sinister delight when it hit shelves in September.

The game revolved around an Edwards Scissorhands-esque Stalker, half-puppet and half-real boy. Armed with an array of dismantlable weapons – giant scimitar, exploding shield, steampunk flamethrower – the pitiless Pinocchio allowed us to go on a murderous rampage and, in a crucial difference to the other robots, tell lies. This played a crucial role during important story decisions, which occurred in between the tricky but satisfying boss levels.

With a few too many similarities to its genre contemporaries – Bloodborne, Sekiro, Dark Souls – Lies Of P could have benefitted from a bit more tinkering in Geppetto’s workshop. But when there was this much fun to be had, who’s complaining?

Best bit: There is nothing more grimly satisfying than battering a few robots, and admiring your oil-drenched chemise afterwards.

For fans of: Bloodborne, Steelrising. AF

18 ‘Bayonetta Origins: Cereza And the Lost Demon’

Platforms: Nintendo Switch

Far removed from its predecessors, Bayonetta Origins: Cereza And the Lost Demon forwent chaotic character action for a more narrative-driven action-adventure title. Presented in the format of a children’s storybook, a younger, inexperienced iteration of the franchise’s leading witch Bayonetta had to rely on her disobedient Demon ally, Cheshire, when it came to battles. It was in stark contrast to the no-nonsense hack-and-slash of her later adventures, yet combat remained flexible and continued to expand throughout the duration of the game.

Even then, it took an unfamiliar form to what series veterans will be used to, while the puzzle-solving sat next to the likes of The Legend Of Zelda in its ingenuity. In addition to an exceptionally distinct artistic style, and a wistful story exploring the relations between parent and child, this prequel found arresting ways to explore sides of Bayonetta we’d never seen before.

Best bit: One of Bayonetta’s iconic abilities making its canonical debut just in time for the epic climax.

For fans of: The Legend of Zelda: Link’s Awakening (2019), Ōkami. FK

17 ‘Metroid Prime Remastered’

Platforms: Nintendo Switch

We may not have had so much as a screenshot since Metroid Prime 4 was announced six long years ago, but that at least gave Nintendo time to put together a top-to-bottom remaster of the first-person spin-off series’ debut game. A painstakingly faithful recreation of the GameCube classic, it only had two meaningful changes: updated graphics that pushed the Switch hardware to breaking point; and revamped modern controls that reflect how much the first-person shooter format has changed since 2002. While Metroid may have looked like a sci-fi shoot-em-up, in reality this was a sombre, lonely trek up, down and across a ruined planet, casting you as explorer and archeologist as much as it did bounty hunter and badass. Oddly melancholy for a game where your chief way of interacting with the world is via laser gun, and as good as it ever was 20 years ago.

Best bit: The first time the flare of weapons fire reveals Samus’ reflection in the visor, a trick few games have dared copy since.

For fans of: Metroid Dread, Prey. DP

16 ‘Amnesia: The Bunker’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, PC

Developer Frictional’s latest horror game was a triumphant return to form. Tense, tragic and terrifying in equal measure, Amnesia: The Bunker required just one thing of you: to get the hell out of there, and as quickly as possible. But what started out as such a simple pursuit became increasingly more complex the longer you crept around in its dimly lit environment – and we learned the hard way exactly what’s meant by the old adage, “necessity is the mother of invention”. Just don’t expect to ever get acclimatised to the rats, dark or endless eviscerated corpses you keep tripping over. These were once men with dreams and fears and sweethearts waiting for them back home. And this is why Frictional is the undisputed master of the macabre. Don’t miss it.

Best bit: Becoming best friends with a generator. Yes, a generator.

For fans of: SOMA, Alien: Isolation. VB

15 ‘Pikmin 4’

Platforms: Nintendo Switch

With this fourth chapter, one of Nintendo’s most misunderstood franchises finally got its well-deserved day in the sun. A real-time strategy puzzle game where you direct leafy minions to collect discarded pretzels and battle disproportionate nightmare creatures, it sat awkwardly next to its name-brand siblings, Mario and Zelda. Fortunately, Pikmin 4 saw the series escape its reputation as aesthetically endearing but mechanically off-putting, and delivered an accessible experience to be enjoyed by die-hards and newcomers alike. Previous games were cortisol cocktails, overwhelming players with time limits and difficulty spikes, dragging them away from the series’ heartwarming moral centre. While retaining a rewarding sense of challenge, Pikmin 4 avoided previous pitfalls but still compelled us to size down and reinterpret the clumsy minutiae of the world around us – to appreciate trash as treasure. A tranquil odyssey full of giggles and gambits, this underrated Nintendo curio is up there with the best and brightest adventures.

Best bit: You’ll be joined on your journey by a Pikmin-carrying puppy companion called Oatchi, who grows alongside you as you progress the adventure.

For fans of: Ape Escape 2, X-Com. JO

14 ‘Dredge’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, Nintendo Switch, PC

All aboard! In spooky fishing game Dredge, nothing is as it seems amid a sea of Lovecraftian terrors. By day, cast your net into the briny blue and make a living by selling the mutated monstrosities you catch. By night… well, you don’t want to be caught on the water when it gets dark. For many reasons, Dredge was one of the most creative and atmospheric games of 2023. You could spend long, peaceful minutes fishing to pay for a new engine – only to realise it was getting dark and you were a worryingly long way from shore.

Cleverly mixing tranquil moments with the spooky, this single-player indie didn’t waste a second of its relatively short story, while a sanity meter meant you were always left second-guessing every bump in the night. If you prefer smart horror that manipulates tension over jump scares, then consider Dredge a must-play debut from Black Salt Games.

Best bit: Your first night at sea, which proves that what you don’t know can in fact hurt you.

For fans of: Dave The Diver, Subnautica. AB

13 ‘Armored Core 6: Fires Of Rubicon’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, PC

Fresh off creating gothic fantasy Elden Ring in 2022, developer FromSoftware returned to its sci-fi roots this year with action blockbuster Armored Core 6: Fires Of Rubicon. A far cry from Elden Ring, this brutal yet rewarding thriller swapped magic for missiles as it let players take control of highly-customisable mech robots in winner-takes-all deathmatches.

The real joy was in creating a mech of your own though, before unleashing it in a believable universe filled with cutthroat corporations and legendary fighters. Whether you wanted to make a lumbering tank or flying swordsman, a flexible customisation system felt deeply rewarding to play with – doubly so when you came up with the perfect killing machine for a boss you’d spent hours unsuccessfully trying to take down. Oh, and don’t forget the explosions. So many explosions.

Best bit: Deciding where your loyalties lay in a climatic series of twists.

For fans of: Bayonetta 3, Bloodborne. AB

12 ‘Super Mario Bros. Wonder’

Platforms: Nintendo Switch

Another highlight from an already-brilliant year for Mario fans. Though the series broke new ground with a box office-busting movie and well-received remake of cult classic Super Mario RPG, Super Mario Bros. Wonder was a return to the series’ 2D roots that reminded us why we fell in love with Nintendo’s plucky plumber in the first place.

Filled with tricky platforming challenges and Goomba-stomping goodness, the game takes place in the leafy Flower Kingdom, where Mario and company are tasked with foiling yet another of Koopa Bowser’s villainous schemes. Fans left waiting years for another 2D adventure could’ve been forgiven for wondering if Mario’s side-scrolling days were over. They needn’t have worried though, this once-familiar format felt as fresh as ever.

Best bit: Hopping along with a parade of singing Petey Piranhas.

For fans of: Kirby’s Return To Dreamland, Donkey Kong Country: Tropical Freeze. AB

11 ‘Venba’

Platforms: PS4/PS5, Xbox Series X|S, Nintendo Switch, PC

It’s unusual to play a game that makes you hungry, but that’s precisely what Venba did. It told a touching story of two Tamil immigrants in Canada learning to adjust to a different culture while raising their son, and all the challenges that entails.

An incredibly touching tale even if you don’t have directly related life experience – we’ve all known what it’s like to adapt to somewhere or something new – Venba was a mixture of a visual novel and puzzle game, that proved immensely satisfying when trying to figure out how best to cook traditional food with familial love oozing from every meal.

Short but sweet, Venba also only took an hour or two to play through, meaning it was an appropriate palate cleanser for gaming’s more aggressive mainstream world. The only things you could have asked for more of were its recipes, as some of the meals were impossible not to drool over.

Best bit: Cooking a Biryani for your son before he heads to college feels like a true labour of love with multiple layers to build upon the delicious rice-based curry.

For fans of: Unpacking, Florence. JA

10 ‘Cocoon’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, Nintendo Switch, PC

This delightfully inventive puzzle platformer asked players to direct a small flying insect through various weird and wonderful worlds – all packed with tantalising challenges and bigger bugs determined to squash you. If you’d played designer Jeppe Carlsen’s other games – the quietly moving sidescrollers Limbo and Inside – you’d probably have been expecting gorgeously rendered environments and a tearjerking story. And you wouldn’t have been disappointed.

But Cocoon was a progression of Carlsen’s style too – adding 3D elements and a mechanical complexity that blew anything he’s done before out of the water. When you consider the game’s controls consist of just one button (plus directional abilities) it makes this achievement seem all the more stunning. Cocoon takes just five hours to play through, but you’ll be thinking about it for days after.

Best bit: The first time you’re sucked, Rick And Morty-style, from one psychedelic world and into another.

For fans of: Planet Of Lana, Limbo. AF

9 ‘Street Fighter 6’

Platforms: PS4/PS5, Xbox Series X|S, PC

Coming off the heels of a poorly conceived fifth entry, Capcom managed to confidently rejuvenate its seminal fighting game series with Street Fighter 6.

In an attempt to break down the infamous barrier of entry to a genre that often seems impenetrable, this latest instalment went the extra mile with an optional, simplified modern control scheme, comprehensive individual character breakdowns, a training mode that made its contemporaries seem archaic by comparison and industry-leading accessibility options. The result was the most accessible entry to date; and it achieved all of this without ever alienating veteran players.

The hardcore competitive scene is still the beating heart of Street Fighter 6, as its expertly polished mechanics (including the new Drive Meter), along with superb online infrastructure, ensures that it will continue to have a healthy player base for years to come. Another genre-defining classic from Capcom? It’s hard to argue otherwise.

Best bit: Every single time an opponent is opened up to take the brunt of a Level 3 Super Art in an online ranked match.

For fans of: Mortal Kombat 1, Tekken 7. FK

8 ‘Dead Space’

Platforms: PS5, Xbox Series X|S, PC

With several major remakes already released this year (and more on the way), you might be beginning to wonder if we’re experiencing a remake glut – and if that’s a good thing. Motive Studio’s remake of Dead Space was a persuasive argument that it is. Though sticking closely to the 2008 original, engineer Isaac Clarke’s isolated search for his girlfriend Nicole aboard the infected USG Ishimura was eerily more relevant in 2023 and the wake of COVID-19 than it was when the game was first released in 2008.

The remake’s audio and visual upgrades, along with the combat mechanic’s gory new ‘Peeling System,’ were a masterclass in terrifying immersion, and even in the bright light of day left us jumping out of our skins at the slightest sound and expecting baby-like Necromorph Crawlers at every turn. The inclusion of a content warning system that popped up mid-game, along with the option to blur distressing scenes, made this gory horror accessible to a broader audience than before.

Best bit: The satisfaction (and relief) from killing the Leviathan Necromorph still stands out.

For fans of: Alien: Isolation, Alan Wake. SToh

7. ‘Hi-Fi Rush’

Platforms: Xbox Series X|S, PC

Though musical action game Hi-Fi Rush launched back in January, it remains one of this year’s biggest surprises. When would-be rockstar Chai is mistakenly fused with his MP3 player, he sets off on a toe-tapping mission to fight the villainous Vandelay Technologies.

Off the back of lavish horror Ghostwire: Tokyo, nobody could have predicted that developer Tango Gameworks’ next title would be a colourful action-rhythm adventure with a banging soundtrack. The one thing that didn’t come as a surprise? Bashing robots to tunes from Nine Inch Nails, The Prodigy and The Black Keys was incredibly fun.

Forgiving controls meant you didn’t need a perfect inner metronome to save the world either, though it was impossible to make it through certain fights without headbanging. A short and sweet surprise, Hi-Fi Rush left us pining for an encore all year.

Best bit: Turning robots into scrap while ‘Invaders Must Die’ blared.

For fans of: Metal: Hellsinger, Devil May Cry. AB

6. ‘Resident Evil 4’

Platforms: PS4/PS5, Xbox Series X|S, PC

This long-awaited update of the 2005 classic was never going to be less than a banger. Capcom’s remake team already knocked it out of the park with Resident Evil 2 in 2019 and, to a lesser extent, Resident Evil 3 in 2020 – but this was the game it had all been building to.

With improved graphics and even more exciting action, this leaner, cleaner and downright meaner approach to the horror/action hybrid didn’t disappoint either. Knife and melee combat were brought to the fore, guns re-balanced and ammo made scarcer to put the emphasis back on desperate survival.

Throw in some structural tweaks and a whole new set of miserably bad jokes from the franchise’s ‘funniest’ protagonist – and you had the definitive take on one of gaming’s all-time greats.

Best bit: Nothing will ever top the opening village fight – as single enemies give way to an intelligent horde and you realise that none of the old Resi rules apply.

For fans of: Dead Space, Alan Wake 2. DP

5 ‘Star Wars Jedi: Survivor’

Platforms: PS4/PS5, Xbox One, Xbox Series X|S, PC

The galaxy far, far away may have become a tedious place in the diminishing returns of its many sequel films and spin-off TV series, but for gaming fans it’s never been more thrilling. Star Wars Jedi: Survivor, the long-awaited sequel to 2019’s Fallen Order, found its now-battle-scarred hero Cal Kestis on the brink of a discovery – one that could potentially turn the tide of his continued struggle against the evil Empire.

Whether he managed to get to his goal was up to you though – and the improved combat mechanics, more fleshed out side-quests and (thank god) less complicated map made this new journey even more enjoyable than the last. The genuinely moving story had us in tears at its emotional climax too. Perhaps the team behind Star Wars’ next movie should take note…

Best bit: Cere Junda’s final, epic face-off with you-know-who somehow topped every lightsaber boss battle that came before.

For fans of: Horizon Forbidden West, God Of War Ragnarök. AF

4 ‘Marvel’s Spider-Man 2’

Platforms: PlayStation 5

This year, Insomniac Games took Spiderman to bold, audacious new heights by capturing the charm, nimbleness and unstoppable velocity of Marvel’s best superhero(es) like never before.

With each tremendous swing, blocks of New York City swooshed past in the blink of an eye. You could ascend the Empire State Building quicker than Tom Holland, then divebomb down 34th Street at exhilarating speed. Web-based navigation not enough? Spidey-suit’s new wings were on offer, so you could glide through Manhattan in acrobatic style. It was an indulgent power fantasy for adrenaline junkies, taken to the max with Peter Parker’s powerful Symbiote suit and Miles Morales’ high-voltage moves.

Despite an A-list of villains, Kraven, Sandman and company never stood a chance. Without that precise moment-to-moment Spidey sensation, its thrilling, high stakes character drama, memorable set pieces and fine tag-team action would have hardly mattered.

Best bit: Miles Morales’ pursuit of Black Cat through a chain of portals is both a thrilling chase through NYC and audacious technological showcase – and it gets even better with that exciting backs-to-the-wall finale.

For fans of: Batman: Arkham Knight, Sunset Overdrive. FD

3 ‘The Legend Of Zelda: Tears Of The Kingdom’

Platforms: Nintendo Switch

The Legend Of Zelda: Tears Of The Kingdom didn’t just live up to its critically acclaimed predecessor, Breath Of The Wild, it exceeded it in every way imaginable. With series antagonist Ganondorf returning to wreak havoc and Princess Zelda cast back in time, it was once again up to plucky hero Link to save Hyrule.

However, it wasn’t the same kingdom we’d grown accustomed to: the addition of massive floating islands and vast underground caverns make this Link’s biggest adventure yet, while his old powers had been replaced with new reality-bending abilities.

Flying through ceilings, rewinding time and even building an assortment of hodge-podge vehicles meant players found they could tackle Nintendo’s devious puzzles with untold creativity. Throw in one of this year’s prettiest scores and the return of series-staple dungeons, and we were left with an adventure that was nothing short of magical for both new and returning Zelda fans.

Best bit: When Link finally got his hands on the Master Sword – we’re not crying, you are!

For fans of: Elden Ring, Minecraft. AB

2 ‘Baldur’s Gate 3’

Platforms: PS5, Xbox Series X|S, PC

Over the summer, role-playing game Baldur’s Gate 3 gripped fantasy fans like nothing else – and it still hasn’t let them go. The action begins with players getting infected by Mindflayer Tadpoles, which will turn them into tentacled terrors if not treated. But the true majesty of Baldur’s Gate 3 was in the freedom you had to make that adventure your own. Want to test your sword and bow against one of the world’s strongest necromancers? You can do just that – or just turn him into a sheep and punt him off a cliff.

Months later, we’re still discovering new ways to complete quests in this open-world epic, and the hold that its charismatic party members have on us shows no signs of letting up. Still not sold? A picture says a thousand words – just look at Larian founder Swen Vinke struggling to hold Baldur’s Gate 3’s many awards trophies… from one ceremony.

Best bit: Entering the city of Baldur’s Gate for the first time and feeling like, tens of hours in, your adventure had just begun.

For fans of: Dungeons & Dragons, Divinity: Original Sin 2. AB

1 ‘Alan Wake 2’

Platforms: PS5, Xbox Series X|S, PC

Remedy’s Alan Wake 2 – an atmospheric, supernatural chiller stuffed full of deliciously cruel jump scares and tortuous twists – was a sequel that was oh-so-worth waiting for. Masterfully balancing third-person action with detective mini-games and one of the most engrossing stories we’ve played in years, it blended full-motion video with in-game graphics to craft a world that feels as real as you and me, making it one of the most astonishing-looking games ever made.

It didn’t matter where you went; whether you were picking through the detritus of an abandoned theme park or just trying to escape a subway station with your sanity intact, Alan Wake 2’s world was rich, detailed, ripe for exploration, and desperately good fun. Yes, we wanted all the Cult Stashes. Yes, we wanted to solve all the Nursery Rhyme puzzles. Not because we’re completionists, but because we never wanted the ride to end.

Best bit: Rock Opera. ‘Nuff said.

For fans of: Control, BioShock. VB

The post The 20 best games of 2023 appeared first on NME.

If you were to whizz all of the following songs into a playlist – which we’ve handily done so below – you’d be in for quite the sonic journey. Between the dancefloor heaters, Barbie’s bangers, the return of old faces and the emergence of new ones, at any given moment this year, there was a scene, artist or song to hold tightly and treasure.

Perhaps it was the continued global ascent of amapiano; the technological advancements that allowed the Fab Four to perform together again; or, maybe, the countless collaborations between both nascent and established talents for the greater musical good. As these 50 songs – selected by NME’s global team of music writers – will prove, 2023’s output was anything but dull.

Thomas Smith, Commissioning Editor (Music)

Contributors: Alex Flood, Anagricel Duran, Andrew Trendell, Andy Brown, Ben Jolley, Emma Wilkes, Hannah Mylrea, Hollie Geraghty, Jenessa Williams, Jordan Bassett, Karen Gwee, Kyann-Sian Williams, Mia Hughes, Rhian Daly, Sophie Williams, Surej Singh, Thomas Smith, Will Richards, Zi Wei Puah

50. Ryan Gosling – ‘I’m Just Ken’

It wasn’t kenough for Barbie soundtrack producer Mark Ronson to make an ‘80s-style rock ballad complete with a Slash guitar solo. He had to add in a dancefloor-filling disco breakdown that kicks in about half-way through, prompting Ryan Gosling and his all-singing, all-dancing gang of real-life dolls to launch into the year’s most thrilling movie music moment. Given the stiff competition, Barbie’s perma-tanned boyf will have to make do with Number 50. Being spurned suits him, mind… AF

49. Idles – ‘Dancer’

“I want people to feel the love that I need in my life,” IDLES’ Joe Talbot told NME of their return earlier this year. Moving on from the transformative rebirth of 2021’s ‘Crawler’, the band needed more than punk to lift themselves higher from the doldrums towards eclectic and expansive full-colour spectrum of upcoming fifth album ‘Tangk’. What better way to fight the misery than to hit the dancefloor with a little help from LCD Soundsystem on backing vocals? AT

48. AntsLive – ‘Number One Candidate’

Even in a genre that encourages bravado, north London rapper AntsLive’s confidence feels deliciously outsized. In the music video for his breakthrough single ‘Number One Candidate’, Ants galloped uphill on a horse and dangled from a fire truck before – phew! – enjoying a picnic in the Dolomite Alps. All thumping bass and trumpets, the track itself still feels equally as fresh, having introduced us to a distinctive new talent. SW

47. Chappell Roan – ‘Red Wine Supernova’

Chappell Roan’s debut album ‘The Rise And Fall Of A Midwest Princess’ was stuffed full of brilliant pop tunes, but it was ‘Red Wine Supernova’ that truly stood out. Three minutes of unadulterated joy, it came with killer hooks and lyrics ready-made for mass singalongs. Proof: did any pop song this year arrive with a better couplet than: “I heard you like magic / I got a wand and a rabbit”? HM

46. Flo – ‘Fly Girl’

The British trio paid homage to the R&B girl groups who owned the early ‘00s by modernising the past with their own flair. Featuring crisp harmonies and a reworked refrain from Missy Elliott’s 2002 hit ‘Work It’, the vibes were so strong that the legendary rapper stuck around for a brand new verse. AD

45. NCT DoJaeJung – ‘Perfume’

K-pop’s NCT collective might be more readily associated with an experimental, all-but-the-kitchen-sink sound but, on ‘Perfume’, sub-unit DoJaeJung went down a far smoother route. Composed of three of the group’s strongest singers, Doyoung, Jaehyun and Jungwoo, the trio shared a tale of pure devotion over electro-tinged R&B grooves. “Putting the traces / Leaving ‘em on your wrist / On your collar / Gonna let ‘em hover,” they cooed of their love, echoing the song’s lingering power. RD

44. SIPHO. – ‘Sober’

More than any other track on ‘Prayers & Paranoia’, SIPHO.’s stellar debut album, ‘Sober’ embodied this boundary-pushing artist’s clear sense of adventure. Buoyed by a beat that throws back to the pure, unhinged energy of late ‘90s speed garage, the chorus evoked simpler times and pleasures: sweat, togetherness and dancing into oblivion. Close your eyes and be free, the Brummie musician told us with this thoroughly joyful number. SW

43. Omar Apollo – ‘3 Boys’

Lyrically, ‘3 Boys’ pushed Omar Apollo to put everything on the table. Showcasing hushed conversations and unspoken thoughts, he detailed a situationship that sat between flaring into full-blown passion and asphyxiating into total dust. The track echoed the potency and wistfulness of Grease’s ‘Hopelessly Devoted To You’, while maintaining the confrontation that has continued to make Apollo’s music so arresting. SW

42. Cautious Clay – ‘The Tide Is My Witness’

This track from the jazz multi-instrumentalist’s second LP ‘Karpeh’ wasn’t the most streamed or the most talked-about, but it was the most indicative of his style. Diving into his family’s heritage the track burst into the kind of fiery saxophone that fellow Blue Note alumni John Coltrane would’ve been proud of. Complex storytelling paired with ferocious musical ability. AF

41. Madison Beer – ‘Home To Another One’

The highlight of Madison Beer’s new album ‘Silence Between Songs’ pushed the singer into intriguing new directions. In its verses, the track was a gently propulsive alt-pop song, bridging the gap between Lana Del Rey and Billie Eilish. Its chorus, though, burst out in psychedelic joy with a distinctly Tame Impala flavour, further proving Kevin Parker’s continued influence on the pop mainstream. More of that in a moment… WR

40. Scowl – ‘Psychic Dance Routine’

Earlier in the year, Scowl vocalist Kat Moss told NME there was something for everyone in California’s thriving hardcore punk scene. The proof of that lies in ‘Psychic Dance Routine’, which combines brain-bursting guitar riffs with relentlessly catchy hooks. The result is one of Scowl’s most radio-friendly tracks to date, and perhaps even their best. AB

39. Sexyy Red – ‘Pound Town 2’

Red’s explosive breakthrough track defied expectations, transcending the meme status its infamous opening lyrics conjured: “I’m outta town, thuggin’ with my rounds / My coochie pink, my bootyhole brown”. The club banger fused Tay Keith’s legendary trap beats with Red’s cool delivery to revel in debauched joy, and the Nicki Minaj-featuring sequel only upped the ante. KSW

38. Kelela – ‘Contact’

This heady highlight from Kelela’s luminous second album ‘Raven’ shimmered with intent. “You tryna stall and delay, but I wanna play,” she sang on the chorus. Set to a drum’n’bass beat, it’s the sound of making a move on the dancefloor with the knowledge that music will bring you together. Music that’s hopefully as transcendent as ‘Contact’. NL

37. Aphex Twin – ‘Blackbox Life Recorder 21f’

Predicting when, and indeed how, Richard D James will arrive with new music is a pointless endeavour. Even so, the legendary producer’s latest EP was something of a shocker: his most accessible material in almost a decade. Even the track title – conservative for him – would fit the creation: a bouncy, melodic slice of breakbeat-heavy electronica that commanded attention. TS

36. J Hus – ‘Who Told You’

From its opening gambit, J Hus’ ‘Who Told You’ is as vibrant and knowing as they come: “Who told you bad man don’t dance? / Who told you gangsters don’t dance?” the London-based rapper and singer crooned amidst a hypnotic beat. It’s as irresistible as anything on his 2017 debut ‘Common Sense’ and even managed to put Drake to good use on his feature. TS

35. (G)I-DLE – ‘Queencard’

If there was one song this year that should have been on the Barbie soundtrack, it was ‘Queencard’. On the surface, it was a silly, frivolous mood-lifter that found (G)I-DLE complimenting themselves and “twerking on the runway”. If you dug deeper, though, you unearthed a celebration of self-empowerment that celebrated other women and delivered a tongue-in-cheek and powerful new affirmation to repeat in the mirror: “Queencard, I’m hot / My boob and booty is hot.” RD

34. Mannequin Pussy – ‘I Got Heaven’

If you’d been waiting for a song that asks the question, “What if Jesus himself ate my fucking snatch?”, well… the wait is over! But that’s not all this track, the lead single from Mannequin Pussy’s upcoming new album of the same name, had to offer. The verses were delivered with MP’s familiar punk fire, while the choruses delved into blissful dream-pop – a juxtaposition that made clear the connection between righteous anger and hard-won hope. MH

33. Fat Dog – ‘King Of The Slugs’

When this band played Reading Festival in August, in the crowd stood a teenager with a sign that read ‘Fat Dog are for the kids’. ‘King Of The Slugs’ spoke to that sentiment: this pummelling, seven minute-long debut single was ​​passionate and unselfconscious, dumb and clever all at once. It may sound like a glorious mess, but it captured the singular energy of an act responsible for a whole new underground youth movement. SW

32. LE SSERAFIM – ‘Eve, Psyche & The Bluebeard’s Wife’

Loosely inspired by the defiant folklore of three badass women, ‘Eve, Psyche and The Bluebeard’s Wife’ is the sound of a girl group throwing caution to the wind, and challenging cultural taboos via pulsing, futuristic EDM. Sleek and brash in equal measure, it also boasts one of the best pop lyrics of the year; “I’m a mess / mess / mess / in distress / but we’re still the best dressed”. With swag and synergy, we say they’re holding up pretty well. JW

31. Dua Lipa – ‘Houdini’

The first glimpse of Dua Lipa’s upcoming third album arrived this year in the form of ‘Houdini’. With Danny L Harle and Kevin Parker on production duties, this floor-filler stepped away from the shimmering disco of 2020 record ‘Future Nostalgia’, instead opting for slinky, psychedelia-indebted sonics. The results are a more subdued – yet no less brilliant – earworm. HM

30. Peggy Gou – ‘(It Goes Like) Nanana’

‘(It Goes Like) Nanana’ packed so much sunny energy into its retro rave and Eurodance stylings, it could serve as a Vitamin D supplement. Peggy Gou’s biggest hit so far was inspired by the indescribable feeling of love and warmth that comes when you’re with those most special to you, and every layer of the track – from bubbling synths to its “nanananana” chorus – coursed with that magical euphoria. RD

29. Skrillex, Fred Again, Flowdan – ‘Rumble’

Skrillex’s comeback year kicked off with ‘Rumble’, the dubstep pioneer’s first major single since 2021. And what a return: you’d be hard pressed to find a bassline more earth-shattering than the one that judders at the core of this hypnotic jungle banger. Created with producer-du-jour Fred Again and grime MC Flowdan (the latter’s deep vocal added an ominous yet distinctive layer), it morphed into an unstoppable force. BJ

28. Dave & Central Cee – ‘Sprinter’

Well, of course it was going to be a hit. Dave and Central Cee’s summer smasher ‘Sprinter’ would rule the charts for a whopping 10 weeks in the UK, taking the record as the longest-running rap Number One single. It showcased the duo at their best: sharp wordplay, a bright beat and a blockbuster creative partnership. TS

27. Everything But The Girl – ‘Nothing Left To Lose’

“We wanted to come back with something modern-sounding,” Everything But The Girl’s Ben Watt told NME of the art-pop duo’s first new music in 24 years. With Tracey Thorn’s piercing vocals and a sophisticated trip-hop soundscape, it’s the band you remember but reimagined perfectly for 2023: “Kiss me while the world decays, kiss me while the music plays”, Thorn urged. AT

26. Confidence Man & DJ Seinfeld – ‘Now U Do’

There was no fat to be trimmed on Confidence Man’s ecstatic team-up with DJ Seinfeld, and it was another sign of the Aussie duo’s gradual ascent from festival favourites towards the mainstream. Released in July, it became a staple of DJ sets, spawned its own dance (try it at home!) and still sounds as vital as ever now winter has set in. Fun, frivolous and with an endlessly catchy hook, this is pop as it should be done. WR

25. Militarie Gun – ‘Do It Faster’

More melodic than many of their hardcore peers, Militarie Gun leaned into their strengths with this from-the-heart salvo. When the band tore up venues on their first UK tour, they proved that ‘Do It Faster’ is more than just a snappy title – it’s a call to action. AB

24. Nia Archives – ‘Bad Gyalz’

Nia Archives has become a bright voice in making the rave a more inclusive space for all, and on this banger she celebrated the raving femmes. A fun, free-flowing track to show “big love to all the rude gyalz” out there, Nia blended ‘00s nostalgia and her Jamaican heritage on this skankers’ anthem. KSW

23. Young Fathers – ‘I Saw’

Though first released as a single in October last year, ‘I Saw’ took on new life as the Scottish group brought their career-high record ‘Heavy Heavy’ to the festival fields this summer. This version recorded at Glastonbury in June 2023 leaps out of the screen: just look at the beaming faces in the crowd uniformly realising that they are witnessing a group of musicians at their very, very best. TS

22. Thundercat & Tame Impala – ‘No More Lies’

Sometimes a team-up is such a good idea – and proves so fruitful – it’s unsettling to wonder why it hadn’t happened sooner. As Tame Impala’s Kevin Parker embraces the LA music scene, who better to get the lay of the land from than West Coast jazz-funk stalwart Thundercat? This standalone triumph realised the song’s potential, proving to be both hypnotic and strikingly silly. TS

21. Caroline Polachek – ‘Welcome To My Island (Charli XCX & George Daniel remix)’

As two near-overwhelmingly productive pop powerhouses, Caroline Polachek and Charli XCX already made an iconic duo – but it was this glorious remix of the former’s ‘Welcome To My Island’ that proved to be their finest team-up yet. Their chemistry could be felt in the interplay between Charli’s sing-speak cadence and Polachek’s warped, hyper-speed vocal, both surrounded by a club-pop groove muscular enough to tear down a dancefloor. SW

20. Raye – ‘Ice Cream Man’

Raye had to fight hard to create her own space to be vulnerable, and ‘Ice Cream Man’ only underlined why releasing debut album ‘My 21st Century Blues’ independently was so vital. The track – an honest account of sexual assault – found the artist opening up with devastating specificity. “I’m a very fucking brave, strong woman,” she declared, her voice rising up to reclaim her agency as the sombre instrumentals fell away and left only her powerful words lingering. HG

19. The Rolling Stones – ‘Sweet Sounds of Heaven’

They took their flippin’ time about it, but when Mick, Keith and Ronnie finally got around to recording a first album of original songs since 2005’s ‘A Bigger Bang’, it came stuffed with late-career gems. The best of the lot was this slowly unspooling gospel jam, featuring Stevie Wonder on jazz organ and the church-ready pipes of Lady Gaga. AF

18. Sleep Token – ‘The Summoning’

On paper, the sounds of gnashing black metal and caramel-smooth funk seem like they’d go together about as well as anchovies and ice cream, but on ‘The Summoning’ mysterious masked metallers Sleep Token did the unthinkable – and it was inspired. The quartet broke new ground for themselves and created a viral storm in the process, and with its lascivious lyrics, it boasted a sexiness that would make Deftones sound positively chaste in comparison. EW

17. Jorja Smith – ‘Little Things’

It’s telling that the homegrown R&B star introduced this UK funky indebted floor-filler via an unannounced appearance in a Birmingham club. Ahead of second studio album ‘Falling or Flying’, Smith shrugged off the signifiers of pop stardom, quit London and returned to her native Midlands. The result: an uncompromising, eclectic collection that peaked with ‘Little Things’, a retro-futuristic party tune that was, as she vamped in its lyrics, “such a sweet escape”. JB

16. Troye Sivan – ‘Rush’

It’s no accident that Troye Sivan’s comeback single shares its name with a popular brand of poppers. ‘Rush’ was an exhilarating anthem that sounded like being caught between two rooms in a gay club: one spinning slinky ’90s house, the other blasting Village People deep cuts. NL

15. Boygenius – ‘Not Strong Enough’

It’s hard to pick a favourite from Julien Baker, Phoebe Bridgers and Lucy Dacus’ faultless debut album, but we’ll plump for this gorgeous singalong. Tinged with quiet sadness on record, the song’s soaring chorus (and punky outro) gets an extra zip of energy when played live – as anyone who was at their monster Gunnersbury Park gig in August can tell you. AF

14. Mitski – ‘My Love Mine All Mine’

‘My Love Mine All Mine’ – a slow and swaying track – topping the Billboard TikTok chart this year was another sign of the continued unknowability of internet virality. The strength of Mitski’s song was never in question though; swapping the ’80s synths of 2022’s ‘Laurel Hell’ for a sophisticated and classic slow dance, Mitski added another string to her impressive bow, and moved towards becoming a generational artist. WR

13. Depeche Mode – ‘Ghosts Again’

While Depeche Mode’s 15th album ‘Memento Mori’ was written prior to the death of bandmate Andy Fletcher, it proved profound as a reflection on mortality and connection – none-more-so than this existential anthem staring death in the face. Revisiting the melancholy-meets-euphoria lineage of ‘Enjoy The Silence’ and ‘Personal Jesus’, the electro legends honoured their late pal with another noir-pop classic. AT

12. Olivia Rodrigo – ‘Bad Idea, Right?’

No stranger to using her songs as a hilarious and spiky diary entry, the release of ‘Bad Idea, Right?’ in August only heightened the hype for Rodrigo’s second album ‘Guts’. Stuffed with a groovy bass line and the realisation that, even though being hung up on an ex will induce lapses in judgements, it can also be seriously dumb fun. AD

11. Tyla – ‘Water’

In October, rising star Tyla became the first South African solo artist in 55 years to crack the Billboard Hot 100. It’s easy to see why ‘Water’ crashed into the mainstream after making waves on TikTok: it was refreshing, suggestive and the latest celebration of amapiano’s burgeoning global success. NL

10. The Beatles – ‘Now and Then’

What a thrill to be writing about a new Beatles song in 2023. The band’s ‘final’ single, worked up from a demo John Lennon recorded in the late ‘70s, was originally planned for release in the ‘90s. Unfortunately, the heart-wrenching ballad seemed unworkable due to its murky sound – until AI wizard Peter Jackson galloped in with the tech to clean it up. With a little help from producer Giles Martin (son of the Beatles’ production guru George), this meant Paul and Ringo could blend in George Harrison’s guitar and finish the track. A gorgeous swansong for the Fab Four’s world-shaping friendship and creative genius. JB

9. English Teacher – ‘The World’s Biggest Paving Slab’

It’s not unusual for an artist to rework or re-record material that hadn’t quite reached its potential, but few have mastered it quite like English Teacher. First penned by the Leeds group in 2018, and then released initially during the pandemic in woozy, lo-fi form, three years later, ‘The World’s Biggest Paving Slab’ totally levelled-up: the drivingguitar riff was sharpened, and Lily Fontaine’s vocals now flit between sprechgesang and that of a soaring rock hero with deftness. Released amidst a flurry of activity – huge festival slots, signing to Island Records and an appearance on NME’s The Cover – it only further affirmed their place as one of Britain’s most promising and entertaining young bands. TS

8. PinkPantheress – ‘Boy’s A Liar Pt.2’

Two of this generation’s biggest viral sensations – PinkPantheress and Ice Spice – delivered the ultimate transatlantic link-up in January. Clocking in at a spritely two minutes, the Mura Masa-produced hit was inescapable; in July, their surprise live performance at Wireless was met with deafening screams. It’s easy to see how the infectious bop has since racked up more than 723 million streams on Spotify alone. BJ

7. Billie Eilish – ‘What Was I Made For?’

Amidst the retina-burning pink and the glitzy dancefloor-directed bangers, Barbie’s most memorable musical offering was of a softer shade. Arriving at the film’s ‘a-ha’ moment, Eilish’s ruminations on self-worth, purpose and body image would prove potent both for its subject and creator. Eventually, they would prove one and the same: “When did it end? All the enjoyment / I’m sad again, don’t tell my boyfriend” she wondered atop a minimal melody. It proved so arresting that, by the time it hit the festival circuit and Reading & Leeds in late August, it was a mass whisper-along from all ages. TS

6. Blur – ‘The Narcissist’

With its introspective lyrics and call-and-response style harmonies, you can see why ‘The Narcissist’ became a standout moment at Blur’s huge festival shows over the summer. The band’s first song in eight years felt emblematic of how raw feeling can overwhelm the senses: it was designed to be sung as loud as possible, eyes closed, from the heart of a massive crowd.

This heartfelt number revealed itself with unpacking Damon Albarn’s increasingly fractured relationship with fame: an examination of the way that global attention can breed isolation. “I looked in the mirror, so many people standing there,” he sang, allowing bleakness and euphoria to collide. SW

5. The Last Dinner Party – ‘Nothing Matters’

The replay power of ‘Nothing Matters’ can perhaps be drawn from how The Last Dinner Party managed to balance a big, swashbuckling melody with devastating realism. On their phenomenal debut single, the band sang of tortured relationships over a guitar arrangement that sounded as bright as a night sky full of fireflies – the juxtaposition felt almost comical.

And maybe that was the intention all along. Bedecked in Renaissance-period gowns, the five-piece proved themselves as a dynamic and often humorous live act at festivals over the summer: laughing as they played, suggesting almost anything could happen. SW

4. Olivia Rodrigo – ‘Vampire’

Has the f-word ever been enunciated so satisfyingly in a pop song? Songs like ‘Driver’s License’ and ‘Good 4 U’ already showed us that Olivia Rodrigo was capable of writing big, bitter breakup songs, but she was out for blood with her comeback single ‘Vampire’, which she described as a “heartbreak song you can dance to”. The quietly devious track seethed with stinging lyrics (“How’s the castle built off people you pretend to care about?”) but her simmering resentment reached fever pitch with the sensationally savage deathblow: “Bloodsucker, famefucker / Bleedin’ me dry, like a goddamn vampire.” HG

3. Kylie – ‘Padam Padam’

‘Padam’ (singular, as it became known) wasn’t just a song of the summer, but a cultural moment embraced by everyone from Kylie’s loyal gay fans to the staff at Hobbycraft Wimbledon. Because it’s so familiar now, it’s easy to overlook just what a unique pop confection it is: hypnotic electro crossed with a hint of Eastern European folk. Its globe-conquering success is also a welcome reminder that, 16 albums into her career, Minogue remains one of music’s most enduringly effervescent figures. It even returned her to the UK Top 10 for the first time in 12 years – would you Padam and Eve it? NL

2. NewJeans – ‘Super Shy’

With a near flawless run of singles (and iconic dance routines) to their name, picking a favourite NewJeans song of 2023 is akin to picking a favourite superhero, each possessing its own potent gift. Nonetheless, there’s a strong argument that Jersey Club-inspired ‘Super Shy’ is the most immediate of the bunch, a bouncy, longing look at a crush which feels light as air under the hyperpop tutelage of co-writer Erika de Casier.

Equal parts confident and self-effacing, it’s the perfect encapsulation of their sweet female attitude, making two and a half minutes feel like the giddiest pop ride of your life. JW

1. Lana Del Rey – ‘A&W’

Each Lana Del Rey album has deepened the singer’s own cultish personal mythology. Having released music online as Lizzy Grant before adopting her stage name in the early 2010s, Del Rey’s artistry has unfurled itself through a series of nascent personas, beginning with the Hollywood-infatuated romantic of ‘Born To Die’ in 2012. She has continuously elevated this image cultivation with depth and tantalising mystique; the throughline here is that the lines between fantasy, truth and tragedy in her music are still almost nonexistent.

The seven-minute ‘A&W’ made for a masterful, devastatingly gorgeous summation of her career: it plumbed the loss of innocence and youth, while also speaking to societal expectations of what womanhood should look like. Elastic trap beats and quickening piano keys compounded a crackling, persistence of dread as Del Rey’s performance grew steadily in intensity. “I’m a princess / I’m divisive / Ask me why I’m like this,” she sang, drawing us close and holding us rapt. SW

Listen to the full list of our top 50 songs of 2023 below on Spotify, as well as Apple Music

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