2023 and Me: Mapping the Music Genome

Welcome all to 2023 in review—the new millennium’s ‘Jordan Year.’ I’m disinclined to give an introduction with much ado, but this year I have added a little thing to the general repertoire. Assuming it doesn’t get taken down for copyright infringement, I’ve stitched together a little music video countdown montage to introduce the year in a kind of MTV or ‘Now That’s What I Call Music’ style. There’s something a little more romantic about music with a video. However, because I don’t trust my readers’ attention span, I kept it to about 10 minutes and only included songs that actually have music videos, so I only made it to the top 39 with some omissions in-between. So here is that, to get in us in the spirit:

As for the rest of the songs, linked below are my choice of a top 100 this year—100 different artists, ranked top to bottom. Thematically, it’s got some of everything: Imagining your crush masturbating (“Touching Yourself” – The Japanese House); disclaiming your behavior, not as psychosis, but just eccentric efforts to get laid (“Psychos” – Jenny Lewis); and one song that boldly asks the question that’s been on the tip of all of our tongues, “what if Jesus himself ate my fucking snatch?” (“I Got Heaven” – Mannequin Pussy).

I promise these songs aren’t all promiscuous. Unless you want them to be. Then they are.

Songs of the Year

In addition, I added a google spreadsheet that gives you capability to sort songs as you wish—by genre, artist, spotify popularity, geography, whatever.

https://docs.google.com/spreadsheets/d/1WaRA09s-bF_Tz4eaVTZYZ5N12oJiEYkuQL7GHG19aeQ/edit?usp=sharing

Some quick stats from the data sheet:

• 58% of artists have never been on a ‘Best Of’ playlist of mine until this year;
• 19% of artists have only one LP out or less;
• 24% of songs, as of now, are not attached to full length LPs;
• 13% of artists are independent;
• 50% of artists are international with 13 different nationalities represented;
• As for Spotify plays, the low is 4,320, the median and mean is 653,357 and 4,795,538 respectively, and the high is 89,372,705. The song with the most plays has more than the bottom 81% of songs combined! (Occupy Wall Stream!) .

Genre Trends

I typically just do simple genre trends that I notice each year. This year, however, I’d like to narrow in a little bit. Much has been made of the 20-25 year cyclical nature of trends in culture, and how, like in many other industries, music has seen a revival of the aughts. However, I’ve been seeing quite a bit of music that pays more homage to genres that had a zenith in the 70’s—the 50 year double cycle. Let’s have a look.

In the mid-1970’s, and primarily in London, an angstier, noisier, DIY alternative to mainstream rock n’ roll emerged and created an entire fashion scene with it. The need for a creative outlet for those who felt like misfits or didn’t have a community to share their angst with has resonated with mohawked ne’er-do-wells for years since. But before we get into the current crop, let’s start with the trailblazers.

While The Stooges came out with their self-titled debut in 1969 with it’s standout “I Wanna Be Your Dog,” they had to breakup and get back together again for Raw Power, their grittier magnum opus produced with David Bowie, in 1973.

Punk became, if not mainstream, a true cultural phenomenon with the rousing success of Sex Pistols and their acerbic social critique in 1977.

Though the Clash became their biggest success with London Calling in 1979, their self-titled debut was more emblematic of true punk also in 1977 before they starting melding reggae and disco into their music.

Finally, in 1979, Stiff Little Fingers came out with Inflammable Materials, using punk as a medium to speak to the world about the brutality of “The Troubles” in their home of Northern Ireland.

Today, artists are keeping the scene of distorted amps and raucous yelling alive, whether it’s to speak to their internal problems or issues in the world. I called this “Radio Punk” because while “pop punk” is its own genre (which this isn’t), today’s iterations of the sound have more hooks and a little more eye towards pop sensibility.

“Outlaw Country” is a subgenre that was born in the 1970’s by artists who wanted to break the mold of Nashville’s establishment sound. Inspired with influences of folk, western, and some rock elements, these cow-persons were shooting from the hip and hitting their mark.

John Prine isn’t your classic outlaw icon, but with his self-titled debut in 1971 created a staple of alternative country of humorous social critique that conservative country just wasn’t about. It’s got that upbeat, twangy sound in any case.

Speaking of classic outlaw icons, Willie Nelson is the one.

Waylon provided another voice in the scene, charming with his baritone and storytelling.

In a male-dominated field, Dolly shone as country’s brightest star with her 1974 album Jolene.

Here are today’s artists taking inspiration from the outlaw country genre, reverting to the traditional western spirit likewise in defiance of the commercial Nashville just as their influences did.

I’m sort of making this up, but it seems to me that after the folk revival of 1960’s, folk acts kind of drifted away from finger-picking melancholy to some acoustic pop-sensibility in the early 70’s. Let’s have a look-see.

Paul Simon and Art Garfunkel, in 1970, come out with their much lauded Bridge Over Troubled Water, with upbeat winners like “Ceclia” and “Baby Driver” among slower ones as well.

Also in 1970, Joni Mitchell released Ladies of the Canyon, her 3rd album with the mega-hit “Big Yellow Taxi” for it’s catchy-ness and palatable conservationist messaging. (She is protesting spotify so go elsewhere for the album version).

Jim Croce struck the elusive balance of melancholy and peppy with Operator (That’s Not the Way It Feels) in 1972.

Circa 1973, then Rod Stewart’s Band Faces made their last song of their last album “Ooh La La,” the jangly folk cautionary tale to distrust women. Who hurt you, Rod.

Here are the songs this past year that remind me of a rootsy, analog band with a knack for a hook and chorus.

Finally, below are three more trends that I have noticed that I don’t think really have much of anything to do with the seventies:

Brooklyn Americana

I call this one “Brookyln Americana” because it’s kind of wispy liberals playing cowboy. If “appropriating” is not the appropriate term here, these artists are going western not because of any personal experience, but just an admiration and love for the sound. And what’s so wrong with that? One artist here (Cut Worms) is actually coincidentally from Brooklyn. Which is fun.

Alt Vocal Pop

I don’t know if this year is the inception of this trend, as I definitely saw some turns towards this genre last year (see Father John Misty, Weyes Blood). However, this year I think we are seeing a stronger enthusiasm for 50’s, jazzy lounge singer style acts.

Synth Ballad

Finally, I’ve been seeing a lot of electronica or new wave music, but not in like the droning club way, but with swelling instrumentals and some dramatic singing to add some human, emotional heft to a more digital sound.

Albums of the Year

1. Strange Disciple – Nation of Language

I struggled with crowning this album first placement on initial construction of the list, really because I knew it would not be a popular champion. Ultimately, however, the proof was in my own personal pudding–the relentless playtime I gave this album. It’s got everything that brings me joy in music. It’s infectiously danceable, but also kind of tragic. That good old crying-in-the-club sound, if the club was in 80’s Berlin. When you google search “disciple,” it gives synonyms such as “follower,” “believer,” “admirer,” and “devotee.” It’s aptly titled, because this album is thematically about yearning, pining and perishing, as a young Joseph Gordon-Levitt would say. Frontman Ian Devaney balladeers songs about the throes and perils of love–often unrequited, at least to the extent one would want. It’s a synth/new wave record in the Depeche Mode milieu, and its a new iteration of an old genre that really doesn’t have business being this good. But in their 3rd LP, the Brookyln-based trio have made an album that has converted me into a disciple, and I’m here to spread the Good Word.
If you like: Depeche Mode, Future Islands
Favorite Song: Sole Obsession

2. The Land is Inhospitable, and So Are We – Mitski

Music, as it stands, is ascribed as a lot of things: entertainment, industry, culture, hobby. However, sometimes an album gets released that reminds us that it can too, in fact, be art. Mitski’s latest–I don’t think it is controversial to say–is one of those. It of course has the hallmark that has put Ms. Miyawaki on the indie pedestal she rightly lords from: devastating lyricism. Whether that be through brusque, self-deprecating bareness, anecdotes of little, everyday things revealing grander truths, or sometimes just comic silliness, every line is a gift of insight for us to reflect on. What’s atypical here, however, is the sonic experimentation Mitski employs. She creates diverse and novel ways to impose a grandiose sense of occasion to her songs. Examples of this are the juxtaposition of soft acoustic verse to choral chorus (intuitive) in “Bug Like an Angel,” the dirge-y march that slow builds to Gregorian chant in “I’m Your Man,” and the music theater soundtrack-sounding “I Don’t Like My Mind.” It’s diverse, but a cohesive vision of analog melodrama.
If you like: Weyes Blood, Big Thief
Favorite song: I’m Your Man

3. Little Songs – Colter Wall

Despite the self-effacing title, Little Songs is a grand achievement. The obvious attraction here is Wall’s voice. But one would be remiss to reduce his majesty as solely because of that rich baritone. Popular country music has—arguably correctly—been the recipient of much ire, from within the genre and outside. Wall has always been a return to form, so to speak, to the classical country of your peepaw and meemaw. It’s full of tropes, but instead of the maligned “cold beer, pickup truck, blue jeans” of Music Row, they’re the classic cowboy themes: isolation, hard work, and wantin’ after a good woman. This album is all that can be good about country music, with punchy diddies, charming aphorisms, and storytelling. It’s nice to see Wall in good spirits on this album, but his one properly melancholy song “Corralling the Blues” is so good, the selfish part of me wants him to have a little heartbreak before his next album. For me, Wall aptly describes his own work–if accidentally–in “For a Long While,” singing that “[s]ome old song, forgotten long ago, comes back around / Picks you up / dusts you off / In an old analog style.” Though new songs, his ‘old, forgotten’ sound that does exactly that.
If you like: Johnny Cash, Kris Kristopherson
Favorite Song: Corralling the Blues

4. Blondshell – Blondshell

Blondshell’s self-titled debut doesn’t really do anything new as much as it does it incredibly well. It’s an album that’s an intentional nod to the angst rock of the aughts, as seen by the single and lead track “Veronica Mars.” This and other songs seem to have the perfect formula concocted of soft verse and then blasting the amps at the chorus. Done this way, it delivers building tension and cathartic release. These chorus deliverances come in many thematic forms, be it romance, resentment, vindication or just plain horniness. But accompanied with sharp, evoking lyricism, one is already on emotional board by the time the decibels go up. I am, on this album more than any other this year, hooked on the hooks.
If you like: Momma, Soccer Mommy (Moms!)
Favorite song: Joiner

5. Yard – Slow Pulp

Yard is an album that’s cozy and feel-good. It’s often my (maybe hot?) take that ‘happy’ music–while it has a place–generally lacks the depth to really have any lasting power with my spirit. Ignorance is bliss, bliss is ignorance, blah blah. But here, Slow Pulp makes an album that’s not shallow good times, but, in their own words, “gratitude and reflecting on relationships and things that get you to the place you are now.” And you know, it is nice to listen to music that sounds like it goes to therapy once in awhile. What’s also great about Slow Pulp’s second album is how diverse and interesting it keeps the album within their wheelhouse of fuzzy bedroom pop. There’s the western/americana version (“Broadview”), aughts pop-punk version (“Cramps”), piano singer-songwriter a la Regina Spektor version (“Yard”), or even just the indie-veiled, radio pop song (“Slugs”). All these distinct genre influences done well elevate the album to a shoe-in for heavy rotation.
If you like: Lunar Vacation, Snail Mail
Favorite Song: Broadview

6. The Ballad of Darren – Blur

After an 8-year hiatus, the brit-pop, alt-rock institution Blur is back in the game. While frontman Damon Albarn has been occupied with his other project, Gorlliaz, we were starving for some good old Blur—and their latest hit the spot. While some songs are tried and true to form from 90’s heyday (“St. Charles Square” and “Barbaric”), there’s some new tricks for the old dogs. And I’m inclined to say that these new tricks, in fact, benefit from the product of them being old dogs. Tracks such as “The Narcissist” and “The Heights” have a air of being restrained, in the sense that they aren’t noisy in a way you’d expect from the rock stars who did “Song 2.” But instead, they’re slow-burn meditations that are like soundtracks to a movie-scene epiphany or a life flashing before one’s eyes. There’s a reflection on the past and our time left that we don’t stop for as much in our youth. In “Barbaric,” Albarn sings “we have lost the feeling that we thought we’d never lose.” While that’s an inevitable product of aging I suppose, they’ve kept the sound it seems like they’ll never lose while adding something a bit heftier. 
If you like: Oasis, Pulp
Favorite Song: The Narcissist

7. Rides on – The Nude Party

North Carolina group The Nude Party has established, by their third album, themselves to be reliably great and reliably underrated. Although in my opinion better as a live act, their recorded LP still has too much to love to stay off this list. “Rides On” is an alternative rock album with country twang and a 60’s touch, but really the reason it’s here is for it’s infectious fun, both sonically and thematically. As to the former, it’s got breathy backup vocal sighs like those of The Zombies’ “Time of the Season” (“Word Gets Around”), a song with both a jangly tavern piano solo and harmonica solo (“Polly Anne”) and a pinch of barbershop quintet baritone-ing (“Cherry Red Boots”). The lyrics in these songs are a riot to match, respectively being about both rumors and people getting around, the harsh realization of unwittingly being involved in a polyamorous relationship, and just admiring some bold, fashionable footwear. Enjoy the ride!
If you like: Houndmouth (first album), Dr. Dog
Favorite Song: Ride On

8. Bunny – Beach Fossils

Kind of fitting into what people call “dream pop” on the internet, Beach Fossil’s latest is a hazy, lush piece of escapism. “Dream pop” has a connotation to me of being a bit subdued, like soothing music for a hammock–and this album can be at times. But this is more as well. It has punchy, bright Johnny Marr-like guitar riffs that dance over the ambient production for some dancing-in-the-clouds time (see “Tough Love” and “Don’t Fade Away”). Other times, there’s tracks that start slow and swell into something like a coming-of-age movie montage soundtrack (see “Feel So High,” “Run to the Moon”). “Dare Me” is the highlight of the album, an anthemic, romantic show-stopper of a song.
If you like: Alvvays, Real Estate
Favorite Song: Dare Me

9. The Window – Ratboys

In their 5th album, Chicago indie rockers I feel have tapped into something more special than they’ve ever done before. Produced by former member of Death Cab for Cutie, Chris Walla, The Window is injected with a strong influence of americana into their typically straight-out rock. The end result is a rich but analog sound, with twangy steel guitars, fiddles, and a little bit of southern affectation by lead singer Julia Steiner. Threading these sounds with poignant anecdotes about the tried-and-true subject of romantic strife, there’s nothing not to like. In case you were worried, however, they still slipped in one, 2-minute out-and-out rocker to hold onto your hat for (“Crossed That Line”).
If you like: The Beths, Wednesday
Favorite Song: Morning Zoo

10. Glasshead- Tommy Newport

Tommy Newport’s relative anonymity in the music industry has always been something of a head scratcher for me. There’s lots of artists I love that I think deserve more publicity than they get, but Newport’s brand of slickly produced, R&B-infused pop bangers just feel so accessible and would crush on large scale. His newest is no exception. Some songs on here are just hits, plain and simple: “Nicotine” is as addictive as its title suggests, a thumping, club-ready bop; “Calabasas” is western-infused, swaggering confidence-injector; and “Sunset for the Dead” is an absolute steamy slow-cooker that you should only listen to if you’re in a safe place to get hot and bothered.
If you like: JAWNY, COIN (latest album)
Favorite Song: Sunset for the Dead

11. Tracey Denim – bar italia

London-based trio bar italia had a prolific 2023, releasing two albums in the span of 6 months, doubling their odds to get on this prestigious list (I’m assuming that was their end goal). Their hard work paid off, and here we are at number 11. I found the first of the two to be their best, producing an angsty amalgamation of post-punk, garage rock, and shoegaze. The band has two vocalists that get interchanged, sometimes even within the same song, amounting to grimy, street rat duets. The album has an appealing balance of brooding and confidence–a kind that says “I’m not great, but you’re worse”—and I’ve discovered I’m unfortunately in the mood for that pretty often. 
If you like: Dry Cleaning, Fontaines D.C.
Favorite Song: Changer

12. Crying, Laughing, Smiling, Waving – Slaughter Beach, Dog

Fronted by Jake Ewald, with the same role for emo group Modern Baseball, this album feels like a 180 into reflection and restraint rather than the uninhibited whining emo can feel like. What we have here is a folk album, through and through. That manifests a few different ways throughout the album: it gives the range of: hypnotic lo-fi (“Engine,” “Surfin’ New Jersey”), jangly americana (“Summer Windows,” “Strange Weather), or stripped down guy-and-guitar style singer-songwriter (“Henry,” “Easter”). I would never use the term “easy listening” in a positive connotation, but there’s a serene coziness about this collection of songs while still providing something to engage with, if you’re inclined to be an active listener to Ewald’s soft-spoken lyrics. 
If you like: Wilco, Townes Van Zandt
Favorite Song: Engine

13. Shelter – Alice Phoebe Lou

Everyone’s favorite twee South African artist has produced her best yet with Shelter. A slight genre turn from her often buoyant indie pop, her 5th LP is Lou at her most reflective and romantic. In my opinion, the best tracks here are full commitments to smokey jazz lounge vocal pop. It’s like a dirty martini with honey in it (see “Lately,” “Open My Door,” “Hammer”). In a Billie Holliday way, Alice Phoebe Lou put together an album of tender little songs on love that would feel fitting on a Parisian balcony under the moonlight.
If you like: Billie Holliday, Laufey
Favorite Song: Lately

14. Cut Worms – Cut Worms

Cut Worms–A.K.A. Max Clarke–provided us here with an LP of endearing vintage americana. It’s an old school western sound, but loaded with a jaunty pop sensibility that may just get your horse doing one o’ them funny equestrian competition dances. Clarke’s songwriting matches his jangly compositions, writing songs imbued with a glass half-full optimism that’ll raise even the most curmudgeonly of spirits (see “Take it and Smile” and “Let’s Go Out on the Town”). While most keep that upbeat, western zest, there’s a couple of small, welcome digressions such as “Is it Magic?,” one that has more of a swaying, Hawaiian tint to it, or “Too Bad,” a reflective song reminiscent of late-stage, “Let It Be” Beatles. 
If you like: Lord Huron, Road Stars, Hiss Golden Messenger
Favorite song: Don’t Fade Out

15. Unreal Unearth – Hozier

Hozier, you could say, dug himself in a hole by debuting “Take Me to Church” as a mega-hit catapulting him into stardom—in the sense that he himself will always be a tough act for him to follow. But because of his disinterest in appearances and dedication to craft, he’s unearthed himself again from that hole with his 3rd LP. At 16 tracks going for over an hour, the album is something of a journey. Hozier continues to show that he is something of a high-brow popstar (see “First Time” and “Anything But”) as well as an emotionally introspective bard (see “I, Carrion (Icarian)” and “To Someone From a Warm Climate (Uiscefhauraithe)”). In its wide breath, there are some songs perhaps don’t quite reach the heights of the album’s standouts. But his bread and butter has always been impassioned balladeering, and this album will not disappoint existing fans of his.
If you like: Hozier
Favorite Song: I, Carrion (Icarian)

16. Western Mystery Tradition – Moonwalks

Definitely earning the underdog award of the list, the Detroit trio have–exactly, at time of writing–2,000 monthly listeners on Spotify. I believe (obviously, due to their inclusion here) that their relative anonymity designates them as a hidden gem more than it being a reflection of their talent. Culling from the 60’s and 70’s, the album has a sound of equal parts sleazy glam rock and psychedelia–like if Iggy Pop took hallucinogens when producing Lust for Life (though bold to assume he wasn’t already). Between Jacob Dean’s vintage wail,  sitar-heavy production and unironic commitment to rock and roll, this album is a visitation from a bygone era that makes me worried we just aren’t as cool today as we used to be. But listening to this album helps me at least pretend for half an hour
If you like: Iggy Pop, The Doors
Favorite Song: Outer Limits

17. Dead Meat – The Tubs

After band members Owen Williams and George Nicholls played together in Welsh group Joanna Gruesome, they retooled and formed The Tubs in 2019. Their debut album Dead Meat is an alternative rock album that defies any easy categorization, with hooky, late 80’s college rock melodies, grungy noise accents and post-punk acerbicism. In all ways they are indebted to early alternative rock, but its done in a fresh smorgasbord that is equal parts fun and full of attitude.
If you like: R.E.M., Counting Crows
Favorite Song: Sniveller

18. Joy’all – Jenny Lewis

Jenny Lewis, former frontwoman of indie rock band Rilo Kiley, leans more into her Nashville residency than ever before. While her previous excellent album, On The Line, has hints of americana in a more heartland, arena rock way, Joy’all is a full commitment to beachy, good-vibes country music. However, don’t let the breezy arraignments and Lewis’ endearing serenading give you the mistake that it is unnuanced rejoicing. The product of post-pandemic hunkering down, the record Lewis says is “a little more existential musing,” and taking stock of what there is to be grateful for in wake of our collective traumatic era. Often times, Lewis’ introspection is directed at her (and due to the universality of her observations, our) relationships–the good, the bad, and the ugly.
If you like: CMAT, Esme Patterson
Favorite Song: Psychos

19. Pollen – Tennis

Coloradan husband and wife duo, Tennis, in their 6th LP make pop music as sleek and infectious as they’ve ever done before. It’s often in the milieu of 80’s synthesizers but also with traces of romantic, retro analog pop via The Carpenters and Carole King. However, it’s most interesting in the percussion, as songs are always prone to tempo changes and switching up the beat. Overall, it’s a charismatic and distinct album full of love songs and a danceability that will sneak up on you.
If you like: Molly Burch, TOPS
Favorite Song: Let’s Make a Mistake Tonight

20. Lucky For You – Bully 

This album kind of feels like the rare and elusive genre of “pop punk for adults.” Nashville native Alicia Bognanno really commits here, wielding some impassioned, chain-smoker shout-singing (complimentary). It’s a noisy, garage aesthetic with pop sensibility. It’s got sing-along choruses that make it easy to imagine her pointing the microphone so a pit full of crowd-surfers can join in.
If you like: Beach Bunny, Illuminati Hotties
Favorite Song: Days Move Slow

Honorable Mentions (in no particular order)

• Get Real – CVC
• Nothing for Me, Please – Dean Johnson
• Prestige – Girl Ray
• Endless Pursuit – Temple of Angels
• everything is alive – Slowdive
• All Her Plans – Cable Ties
• Several Songs About Fire – A. Savage
• Dream Big – Soda Blonde
• Bewitched – Laufey
• The Record – boygenius

Polling the Crowd

Below are other music publications (bizarrely more popular than this one) who created year end lists with at least an iota of credibility. The chart shows where the albums I picked appeared on their lists, if at all.

Publication	Far out	KEXP	NME	Norhtern Transmission	NPR	Paste	Pitchfork	Rolling Stone	Rough Trade*	Slant	Stereogum	WNXP
# Of Entries	50	91	50	50	50	50	50	100	100	50	50	30
Nation of Language		2		41		35			1
Mitski	2	13	9	6		8	23	7	UNK	7	4	4
Colter Wall
Blondshell		32	22	11				11	18			1
Slow Pulp	46	91		43		47					17
Blur		39	10					70
The Nude Party	33								UNK
Beach Fossils		78		1					UNK
Ratboys		64		12		5				6
Tommy Newport
bar italia	44	54		8
Slaughter Beach, Dog
Alice Phoebe Lou
Cut Worms						40
Hozier								60
Moonwalks
The Tubs									18
Jenny Lewis		45						44
Tennis
Bully		10		34		11		89	13

To editorialize the data, I see 4 categories here:

Mitski

• 2. Mitski (11 of 12 publications put on their list)

Moderate Acclaim

• 20. Bully (6 of 12)
• 4. Blondshell (5 of 12)
• 5. Slow Pulp (5 of 12)
• 6. Blur (5 of 12)
• 9. Ratboys (5 of 12)
• 1. Nation of Language (4 of 12)

Minority Acclaim

• 8. Beach Fossils (3 of 12)
• 11. Bar Italia (3 of 12)
• 7. The Nude Party (2 of 12)
• 18. Jenny Lewis (2 of 12)
• 14. Cut Worms (1 of 12)
• 15. Hozier (1 of 12)
• 17. The Tubs (1 of 12)

Wallowing in Obscurity (no list appearances)

• 3. Colter Wall
• 10. Tommy Newport
• 12. Slaughter Beach, Dog
• 13. Alice Phoebe Lou
• 16. Moonwalks
• 19. Tennis

Obviously, I am not the surefire source for what has unanimous critical claim, as this year I’ve only selected one album that was on more than half of the lists, and included 6 albums that have not been considered at all. If you’re looking for what everyone agrees on (besides Mitski), it seems that the big hitters of ranking season are Lana Del Ray, boygenius, and Olivia Rodrigo. They seemed to appear on every list. But that’s why you come here, for the deep cuts? …right?

The Schaefies™

The moment you’ve all been waiting for! Welcome all to the second inaugural year of the Schaefies™, music’s least prestigious but most important award endowment. Fans have been eagerly anticipating the announcement all year to found out which artists will be deemed best by one, single, hobbyist blogger. Well your patience is being rewarded, here are the venerated winner’s of the most handsome trophy in circulation, the Schaefy™.

Album of the Year

Debut Album of the Year

New Artist of the Year

Artists yet to have released a full length album and have not been previously featured in a year recap

Record Label of the Year

Record Label with the most songs in the top 100

Song of the Year

Alternative Rock Song of the Year

Americana Song of the Year

Country Song of the Year

Disco Song of the Year

Electronic Song of the Year

Folk Song of the Year

Hip-Hop/Rap Song of the Year

Pop Song of the Year

Post-Punk Song of the Year

Punk/Garage Song of the Year

Rock Song of the Year

Singer/Songwriter Song of the Year

Vocal Pop Song of the Year