The 25 Best Australian Albums of 2023

The rap and producer duo held nothing back on the electrifying mixtape, Stressor. With innate chemistry, Teether and Kuya Neil bring all the sounds of Melbourne’s underground hip hop and electronic music scenes out to play on their nine-track album.

These songs sound somehow simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy, slinking beats, or whatever else. There weren’t many more atmospheric collections released in Australia in 2023.

An intimidatingly cool artist. Following their impressive debut EP, The Year of Century, last year, Forest Claudette enjoyed a breakout year in 2023.

Their new EP, Everything Was Green, earned the musician an ARIA Award for Best Soul/R&B Release for the EARTHGANG collaboration “Mess Around”, and the other five tracks are just as memorable, Claudette proving to be an effortless creator of sleek and spiritual R&B songs.

Australia really does have its own version of Frank Ocean in Kobe Hamilton-Reeves, but under their Forest Claudette moniker, the singer-songwriter is developing into a unique artist making music on their own terms.

Cub Sport have never sounded better or more authentic than on their fifth album.

One of Australian music’s great romances, the relationship between the band’s Tim Nelson and Sam Netterfield, gets the soundtrack it deserves in Jesus at the Gay Bar, a dazzling electropop collection made for the night.

Euphoria and melancholy do constant battle throughout the innately club-ready anthems, Nelson’s songwriting both looking back wistfully and relishing what lies ahead. Cub Sport’s album will be remembered as an Australian pop classic in years to come.

The light and fire in Robert Forster is far from extinguished just yet.

The Go-Betweens legend returned this year with his eighth solo album, The Candle and the Flame, quite possibly the most life-affirming release of 2023.

Forster touchingly contends with growing old comfortably and finding happiness in one’s twilight years in the record, one that was born out of adversity following his wife, Karin Bäumler, being diagnosed with ovarian cancer in 2021. Music became an escape, The Candle and the Flame became a protest album, and these nine songs contain some of Forster’s sharpest songwriting of his entire distinguished career.

Read Forster’s track-by-track breakdown of his album here.

If you find yourself listening to these albums in order, going from Robert Forster to daine, we don’t apologise for the sonic whiplash; just embrace it.

On their new mixtape, the future-pop purveyor secures their position as one of Australia’s most thrilling contemporary artists. daine’s mixtape lives up to its title: these songs are amorphous, jumping from different sounds and styles at breakneck speed.

The artist’s decision to embrace pop and move away from emo-trap is fully vindicated on Shapeless. A maximalist album that leaves you craving more from its creator.

Possibly the only Australian EP to gain the approval of Paris Hilton in 2023.

Peach PRC has effortlessly transition from TikTok star to proud pop star, and Manic Dream Pixie prove the trip was worth it.

Peach gleefully embraces the pop sounds of the 2000s – lots of sugary autotune – but it works because of her passion for the palette. And underneath it all Peach weaves genuinely sincere songwriting that details heartbreak and mental health with unwavering honesty. An artist quickly mastering how to harness the addictive nature of pure pop.

Perhaps the Australian band most deserving of a wider audience, and certainly one of the country’s very best active group of musicians.

“It can at times be hard to explain what exactly makes a band so special,” Post-Trash noted in reviewing EXEK’s latest album, which essentially says it all without saying anything: the Melbourne band’s sound defies categorisation, their songs bobbing and winding along their own paths.

On The Map and the Territory, post-punk and art-pop collide with sublime results, each floating note, each murmuring lyric carefully placed. If at first EXEK’s sixth album doesn’t hit, persevere: this is an album that rewards multiple listens.

A debut full-length album that was worth the wait. The Kid Laroi was patient in releasing The First Time, aiming to “release the best music possible,” and the 20-year-old First Nations rapper largely proves that his prodigious talent has staying power.

Collaborations with the likes of K-Pop favourite Jungkook and London rap sensation Central Cee satisfy more casual listening – Laroi has to chase surefire hits at the commercial level he’s operating at – but there’s plenty of deft lyricism elsewhere, the rapper getting vulnerable about life and love. The future is bright for Laroi, but we already knew that.

“This is what I’m ready to give you, and this is what you’re gonna get,” Ziggy Ramo told Rolling Stone AU/NZ about his  latest album.

The Wik and Australian South Sea Solomon Islander hip hop artist doesn’t hold back across 11 songs, navigating complex themes such as generational trauma and toxic masculinity, and more broadly reckoning with the inner conscience of our country and ourselves.

An album so elementally Australian in structure and sound that it feels futile to attempt to describe it with words. Spice World may be the scrappy underdog in this list of global successes and lauded artists, but they deserve to be here.

Featured in Rolling Stone AU/NZ‘s Up Next series earlier this year, the Fremantle band possess a style that’s so profoundly and peculiarly Australian that they couldn’t possibly hail from anywhere else. Steeped in this country’s grand tradition of dusty jangle pop, they recall the humble DIY of the wonderful Bedroom Suck Records roster.

There’s No ‘I’ in Spice World is homespun and rustic. It’s wilfully unvarnished. It’s quietly melancholic. The songs are odes to the power of friendship in an increasingly isolated time, and often it sounds like the four-piece made the music to just be played for themselves, a hang-out record for the end of the world. But Spice World’s songs are too sweet and real to be kept secret.

Charisma can get you far in music but it’s not everything, so it’s lucky that Teenage Dads have the songs to back up their pleasing personalities.

The boys from the Mornington Peninsula have been speeding to stardom over the past couple of years, and they were rewarded with the Michael Gudinski Breakthrough Artist Award at the 2023 ARIAs last month.

Their 2023 EP, Midnight Driving, showcases why such prestigious awards are coming their way. Featuring enough infectious hooks and driving guitar lines to fill several records, Teenage Dads’ latest EP is buzzy indie rock recorded and performed at the highest level. It’s impossible to listen to a song like “Teddy” and not be carried away by its gripping energy.

Rolling Stone AU/NZ cover stars for a reason. The Teskey Brothers have been shaping their blues rock sound for years now, and all the hard work and hard yards pays off on their third album in style.

The Winding Way exquisitely combines sonorous vocals and rumbling blues rhythms, brothers Josh and Sam performing at their collaborative peak. The Teskey Brothers aren’t setting out to reinvent the wheel on their third album, but when these songs sound as soulful as this, who cares?

Taylor Swift’s influence may be felt throughout Gretta Ray’s second album, but the Australian artist’s own songwriting gift is what shines brightest.

Positive Spin is catalogues the dizzying nature of one’s early 20s, Ray contending with the trials and tribulations of emerging adulthood. This isn’t new territory in pop – far from it – but it’s testament to Ray’s ability that she finds pockets of insight through her perceptive lyricism.

The songs are filled with heartache and melancholia, but resolutely upbeat melodies maintain the musician’s optimism. With a quickly growing fanbase, the direction Ray takes on her third album will be fascinating to witness.

The UK’s current favourite Australian band delivered the goods with their fourth album.

Cleverly expanding their sound by incorporating flourishes of Britpop, electronica, and more into their traditional indie rock songs, How Many Dreams? achieves exactly what a successful third album should.

Tommy O’Dell, Matt Mason, and Johnny Took have always performed tightly together, but they’ve never sounded more confident as a trio on their latest record. Worthy Best Group winners at the 2023 ARIA Awards.

It’s impossible to discuss Polaris’ excellent third album without mentioning the contribution of the band’s late Ryan Siew, whose passing just a few weeks before its release added even more weight to an album that was already shaping up to be monumentally heavy.

As the last Polaris album made with Siew in the lineup, Fatalism stands as a towering achievement, and it’s a collection of songs that furiously cements Polaris’ position as one of the most formidable metalcore bands in the world.

Rousing anger meets radical community. After their previous album, Far Enough, was somewhat waylaid by the onset of the pandemic, Cable Ties definitively made up for that with the release of their third album this year.

All Her Plans is a bruising listen for much of its run time, the Melbourne trio battering their way through songs about the woes of Australia’s healthcare system, the complexity of family relationships, the importance of mental health, and much more, but it all culminates in a moment of radiating hope: “Deep Breath Out” is the best closing song on an album this year, Jenny McKechnie unloading a deeply autobiographical tale of love overcoming adversity, of humanity rising above everything else. Cable Ties are a punk rock band to be cherished in turbulent times.

Sweet Justice is the sort of success that makes one grumble that it took Tkay Maidza seven years to release her second album. After releasing her self-titled debut album in 2016, the rapper and singer was patient, evolving at her own pace, and the decision pays dividends on her newly released second album.

Maidza’s cheekiness and confidence courses throughout Sweet Justice, as she extolls the virtues of living well as being the best revenge over misogynists, industry losers, and anyone else that gets in the way.

She flits between pop and hip hop and R&B and other genres effortlessly, keeping the energy high. Here’s hoping it’s not another seven years before we hear Maidza’s third album.

What is there to really say? Kylie has proven herself to be adept at reinvention before, but her latest return to the spotlight might be her most enjoyable yet.

Three decades into a stunning career at the pinnacle of pop, one of Rolling Stone AU/NZ‘s Icons dropped “Padam Padam” and instantly changed the world. The intoxicating anthem quickly went viral; the US, the country that had for so long reacted lukewarmly to Kylie, even finally embraced her.

The rest of Kylie’s latest album, Tension, isn’t quite as alluring as the future dancefloor favourite “Padam Padam”, but there are still moments of EDM and pop goodness peppered throughout the record. Here’s to the next reinvention, Kylie.

An album that could have also been on our list of the best New Zealand albums of the year. Jen Cloher deeply connected with their Māori heritage on their profound fifth album, one of Australia’s most consistent songwriters opening up their heart to their Aotearoa culture.

Much of I Am the River, the River Is Me is contemplative and thoughtful, to be expected given Cloher’s vision for the album, but there are also plenty of lighter moments to enjoy, particularly the wry “My Witch”, which featured Georgia Maq, Alice Skye, and more of Cloher’s contemporaries in its fun music video.

To Enjoy Is the Only Thing marked Maple Glider out as one of Australia’s most promising singer-songwriters in 2021, and its follow-up, I Get Into Trouble, equals and expands on the successes of her debut.

Operating under the Maple Glider moniker is Tori Zietsch, an artist gifted with both soothing vocals and striking storytelling. Over nine songs, she grapples with her family history, suffocating religion, and widespread sexism, finding a way through those thorny issues by reclaiming her personal agency.

Zietsch’s second album, though, doesn’t wallow in self-seriousness: it’s also a tonne of fun (as seen in her silly music videos made with Bridgette Winten), the sound of someone just enjoying being able to make a living out of being a music artist. A songwriter to be treasured.