We are a mere 10 days away from a whole new year – so let’s take a second to reflect on what remains of this one. It’s hard to understate the sheer amount of incredible music that we were blessed with in 2023 – a fraction of which is represented here in our list of the best albums and EPs that came out of Asia this year.
Whether it’s shimmery alt-R&B that feels like a warm hug, sweet yet unpredictable K-pop or questing, curious indie rock, there’s something on this list for all to enjoy. Dive in with us…
Karen Gwee, Regional Editor (APAC)
Words by: Tássia Assis, Rhian Daly, Karen Gwee, Azzief Khaliq, Felix Martua, Khyne Palumar, Ziwei Puah, Aldus Santos, Surej Singh, JX Soo and Adrian Yap.
25. Shazza, ‘Chapter One’
From releasing her debut album to headlining her first live showcase, Shazza has worked hard to make a strong impression in 2023. Aptly titled ‘Chapter One’, the Singaporean’s debut offers a promising first look at a budding singer-songwriter eager to hone her craft.
Despite the occasional nod to her influences like Norah Jones, ‘Chapter One’ sounds unique to Shazza as she develops her own flavour of breakup ballads (‘Right Person, Wrong Time’) and pop anthems (‘Be Kind’) while retaining universal relatability through themes of failed romances, getting over break-ups and sparks of new love (‘Build A Home’). If this is just the beginning, it’s going to be fun seeing what chapter two brings. SS
Key track: ‘None Of My Business’
24. Soft Soft Pillow, ‘Soft Soft Pillow’
Soft Soft Pillow may very well have one of the most accurate monikers out there. The Malaysian band’s gentle, woozy sound is perfect for lulling you into a cozy nap – a dreamy feeling they capture this perfectly on their self-titled debut.
Over the course of the record, Soft Soft Pillow weave a gamut of different moods into their warm, cloudlike tapestry – from opening track ‘Pillowsophy’’s bright and carefree vibe to the more solemn and somber tone of ‘Plastic Empire’. We suggest getting comfy: you’re going to be here a while. SS
Key track: ‘Pillowsophy’
23. A Kid Named Rufus, ‘Whatever Works’
To listen to A Kid Named Rufus’ debut album ‘Whatever Works’ is to do two things: take a time machine back to the Malaysian artist’s freshman year of college in the US and plunge into the depths of their psyche. First love, fear of failure, loneliness and yearning – as a songwriter, Rufus Sivaroshan renders these universal themes with a startling specificity and deceptively chirpy disposition.
Come for the pop ditties that relish the contrast between sound and subject (the knowingly titled ‘How Sweet Does This Sound?’ is about the thrills – and disappointments – of kinky sex) but stay for the bitter, self-aware confessionals. ‘Whatever Works’? This album certainly does. KG
Key track: ‘Everybody Hates Me’
22. Mong Tong, ‘Tao Fire’
Let’s not beat around the bush: ‘Tao Fire’ is Mong Tong’s best release to date. The Taiwanese duo Mong Tong open up their sonic palette with faster tempos, denser production and a brasher sensibility far removed from the dreamlike and inward-looking atmospheres of prior full-lengths ‘Mysteries’ and ‘Orientations’.
‘Tao Fire’ sees the duo expanding geographically, too, integrating gamelan, Thai folk music, and even the voice of Vietnam War-era radio personality Hanoi Hannah into their inimitable blend of Sinospheric occultism and groovy digital psychedelia. The result? An intoxicating, hyper-saturated romp through the humid jungles – urban or otherwise – of Southeast Asia that gets better with every listen. AK
Key track: ‘Thung Beat’
21. Phum Viphurit, ‘The Greng Jai Piece’
Being born Thai and growing up Kiwi taught Phum Viphurit to keep it chill and “flow along with things” – the complete antithesis of his second album ‘The Greng Jai Piece’. The record is named after a social nicety – that last helping of food politely left uneaten on the table – but the songwriter embraces being an outsider, rethinking social norms (‘Greng Jai Please’) and telling vulnerable stories on substance abuse and recovery (‘Healing House’).
Viphurit still plays up his pop-funk rhythms and grooves but swaps lovesick tunes for frisky double-entendres (‘Lady Papaya’) and makes room for dour tracks that mark the end of a relationship – or an era (Welcome Change’). It’s his strongest record yet. KP
Key track: ‘Healing House’
20. Kin Leonn, ‘Mirror In The Gleam’
In its own oblique way, the title ‘Mirror In The Gleam’ says it all. Much of the second solo album by Singaporean ambient artist Kin Leonn is deliberately ambiguous about what’s real and what’s not: is it image or reflection, organic sound or synthetic creation? Things don’t behave the way they should (‘Flowers… Dripping’); we slide from the micro into the macro (‘A Moment, A Life’), from the nostalgic piano to the unplaceable synth and back again.
Kin Leonn has described his practice as “world-building”. Here, he draws back the curtains on a beautiful plane of some strange reality – one cool and still, a little alien, but altogether fascinating. KG
Key track: ‘Your Spectrum’
19. Kiss Of Life, ‘Kiss Of Life’
There’s no grand concept or big idea behind Kiss of Life’s self-titled debut mini-album. Instead, what the quartet present us are their terrific voices, strong songwriting and great music, all set to the sounds of ’90s R&B. The result? Perhaps the most notable new K-pop group to come out of 2023.
‘Kiss Of Life’ is less a sucker punch than a gorgeous slow burn. Between the quietly cool confidence of ‘Shhh’, Belle’s anthemic ‘Countdown’ and Natty’s lush, melodic ‘Sugarcoat’, the quartet know exactly what they bring to the table – they’re just waiting for the rest of us to realise it. ZP
Key track: ‘Sugarcoat’
18. Pas Tasta, ‘Good Pop’
Genre-agnosticism might have always defined J-pop, but over the past decade, it was in the online sanctuaries of netlabel communities where its most exciting representatives took off. Enter Pas Tasta, a superteam of six netlabel alumni at the forefront of Japan’s emerging strains of hyperpop.
Their debut album ‘Good Pop’ is, at times, nuts: ‘Peanut Phenomenon’, for example, features a peanut-bodied virtual YouTuber on vocals, while jumping between screamo, shibuya kei and UK drill. But their thrilling mishmashes transcend internet novelty by pulling from across indie scenes for melodic moments amid the mayhem (hear folk singer-songwriters jumping on drum-n’-bass highlights on ‘River Relief’). The spirit of Pas Tasta defines Japan’s most exciting music today: ebullient, rebellious and increasingly boundless. JXS
Key track: ‘River Relief’ (feat. Soushi Sakiyama)
17. Tzusing, ‘绿帽 Green Hat’
Seven long years after his first album, Tzusing returned in March with another tense, thrilling full-length statement: ‘绿帽 Green Hat’. Heart-pounding intensity is the name of the game, the techno producer and DJ architecting paranoiac workouts with a steely, militaristic edge.
Naming the record after an enduring Chinese symbol of infidelity, Tzusing – who was born in Malaysia, is based in Taipei and has lived in Singapore, China and the US – foregrounds his continuing interrogations of gender norms and masculine mythos. But little escapes his gaze: the human, animal and robotic clash merrily and maniacally in this clubby, chaotic world. You’re not on stable ground here. Beware. KG
Key track: ‘偶像包袱 (Idol Baggage)’
16. Unique Salonga, ‘Daisy’
If you’re a musician that goes by the name Unique, you can’t be sipping margaritas and routinely churning out normie bangers. His 2018 album ‘Grandma’ was OK, while 2020’s ‘Pangalan’ approached David Byrne-level dopey danceability, but ‘Daisy’ proved the former IV of Spades frontman can set fire to the playbook anew on melody and melody alone.
It’s his ‘Revolver,’ not his ‘Pepper’: it’s strange, it’s warm, it’s Harry Nilsson ushered into the bedroom-producer age. ‘Panahon’ is particularly enthralling. AS
Key track: ‘Panahon’
15. Tlinh, ‘Ái’
Emerging as a standout on televised reality competition Rap Viet, Tlinh first came to prominence in Vietnam’s music scene as an MC – but this year made her full-length debut with a record of gorgeous alt-R&B, ‘Ái’.
An assured statement of artistic self-determination, ‘Ái’ is already plenty head-turning on its own. As a singer, Tlinh’s breathy voice evokes silk and satin. She takes us through a multi-angled exploration of that knotty thing called love and its different stations: hurt, healing, forgiveness and more. She’s coy and carnal, too, especially on the playful ‘ghệ iu dấu của em ơi’ (‘My Dearest Boo’). KG
Key track: ‘ghệ iu dấu của em ơi’
14. Babymetal, ‘The Other One’
Japan’s premiere kawaii-metal exports have returned rejuvenated after a three-year hiatus and a brand-new attitude. While still retaining the cheery demeanor that won them a legion of fans, here Babymetal take an angstier and more direct approach to the music. The last Babymetal record before the addition of new third member Momometal, it feels like a milestone before a new era.
‘The Other One’ breathes new life into the band, who now show a level of maturity previously unseen in Babymetal. It shows a greater focus on the metal part of their potent kawaii-metal blend, especially on cuts like ‘Maya’ and ‘Monochrome’. If you were previously unsure of Babymetal’s kawaii-leaning sound, ‘The Other One’ might just be the record that makes you a fan. SS
Key track: ‘Maya’
13. SAC, ‘SAC4L’
This project by Malaysian rap group S.A.C. is a small but concentrated dose of adrenaline and braggadocio. Each Cina trap banger on ‘SAC4L’ is packed to the brim with gleaming, chrome-plated AutoTune, booming bass, hilarious ad libs and impossibly infectious hooks (‘MDM’ plucks the phrase “Malaysia domestic market” out of the pages of The Edge and makes a meal out it).
Throughout, the Johor Bahru crew rap in glorious, unapologetic vernacular about being go-getters, flexing on haters, securing the bag and chasing their hip-hop dreams with their bros. S.A.C.’s thrills don’t come cheap – but they’re thoroughly motivational. KG
Key track: ‘MDM’
12. tripleS LOVElution, ‘ↀ’
tripleS’ concept of constantly evolving, fan-voted sub-units might not seem the most cohesive path to success, but the K-pop collective has already carved out a recognisable identity in their releases so far. Those hallmarks, like the recurring “la, la, la” refrains and divine vocal harmonies, weave their way through LOVElution’s ‘ↀ’, which polishes them into their brightest examples yet.
The album is much more than a vessel for honing tripleS’ traits, though. Across its eight tracks, the eight members take us on a glossy thrill ride of emotions and experimentation, deftly playing with trendy sounds like UK garage and future bass, making each feel distinctly their own. RD
Key track: ‘Speed Love’
11. Oh, Flamingo!, ‘Pagtanda’
In ‘Pagtanda’ (Filipino for “growing old” and “remembering”), indie four-piece Oh, Flamingo! have crafted a debut LP that’s fluent in adult aches – creeping anxiety, anger, betrayal, existential dread – but also rumbles with joy.
- READ MORE: Oh, Flamingo! – ‘Pagtanda’ review: artfully played and deeply felt meditations on adulthood
Through soaring brass instruments and bright arrangements that melded Motown, funk, and ’70s Manila Sound, the decade-old band pose not-so-cheerful questions (“kaya ko pa ba?” – can I still hack it?) and arrive at sobering realisations (“Sa totoo lang / Hindi ko na mahanap…Buhay na sinikap” – truth be told / I can’t find the life I yearned for).
‘Pagtanda’ talks you through the inevitable pain and change, all while lifting your spirits. KP
Key track: ‘Galit’
10. Subsonic Eye, ‘All Around You’
If 2021’s ‘Nature of Things’ was Subsonic Eye’s experiment with a new organic sound, then ‘All Around You’ is the Singaporean band growing into their full potential.
- READ MORE: Subsonic Eye – ‘All Around You’ review: Singapore indie rockers fend off urban alienation
The five-piece seamlessly weave new elements into their emotionally punchy indie rock – just hear the spoken-word delivery of post-punk opener ‘Performative’ and the crawling hooks and bluesy chording on dramatic closer ‘Everything’.
The best records often aren’t easy to pigeonhole. Cherry picking from the annals of guitar-driven music, from punk to jangly college rock to Midwest emo, Subsonic Eye have delivered a record that will sound enjoyably familiar to keen students of indie music but also offers exciting potential new paths. AY
Key track: ‘Circle’
9. Balming Tiger, ‘January Never Dies’
‘Joyful delivery’. For years, Balming Tiger have adopted that M.O., and on the Seoul collective’s long-awaited full-length debut, it feels more relevant than ever.
Omega Sapien and the gang run the stylistic gamut over these 14 vibrant, mega-fun tracks. From embodying ‘Asian Sexy’ with star power (the sweaty ‘Sexy NUKIM’ features BTS’ RM) to sogumm’s sensual vocal hooks about saving precious time (‘Moving Forward’), the group dazzle at every turn, unapologetically radiating joy and charisma. No matter the sound – nu-metal (‘Sudden Attack’) or folk with cyber-scammers (‘5:5 Dharma’) – a playful positivity colours every possibility and proceeding.
This record is Balming Tiger seizing their moment in the zeitgeist, facing an ever-variant future. JXS
Key track: ‘Buriburi’
8. Death of Heather, ‘Forever’
Shoegaze has been back in a big way in the 2020s – and for Bangkok genre loyalists Death of Heather, there’s still something deeply emotional to discover in the noise. ‘Forever’ stirs up big whirlpools of sound and pummelling riffs on heavy highlights (‘Pretty Things’, ‘Head In The Sand’), while swirling over ambient drones and shuffling grooves on others.
But behind all the honey-thick textures and MBV-esque guitars, it’s lead vocalist/guitarist Tay’s lovelorn melodies, reverbed-out and regretful, that gently pierce through the noise. Cinematic and cathartic, ‘Forever’ stands as one of Southeast Asia’s finest shoegaze records this decade. JXS
Key track: ‘Pretty Things’
7. Nadin Amizah, ‘Untuk Dunia, Cinta, dan Kotornya’
With her second LP ‘Untuk Dunia, Cinta, dan Kotornya’, Nadin Amizah proves that her reputation as a folk-pop prodigy status was no fluke. Here the 23-year-old Indonesian artist articulates that love is not so much an overdue reward for enduring difficult times as it is an unexpected catalyst for existential reconfiguration.
Amizah shows her keenness to make her own mark on the contemporary pop soundscape, adding a touch of traditional Eastern Nusantara charm to bossa nova on ‘Rayuan Perempuan Gila’ and turning an ode to enduring love into a battle hymn with ‘Di Akhir Perang’. Whether in love or woe, her songcraft remains impeccable as ever. FM
Key track: ‘Di Akhir Perang’
6. White Chorus, ‘Limbo’
The prettiness of White Chorus’ music belies its unpredictability. ‘Limbo’, the second album by Bandung duo Clara Friska Adinda and Emir Agung Mahendra, is of our multi-genre moment: its crystalline electronic pop takes into its scope house, drum ’n’ bass and feather-light R&B; these tracks would fit perfectly into a DJ set alongside cuts from Yaeji (hear ‘3AM’ featuring rapper Nartok), Erika de Casier and Park Hye Jin.
The thrilling left-turns White Chorus take on ‘Limbo’ – such as the holy-shit rock moments on ‘Mystery’ and ‘HoW cOuLd U’ – are testament to their supreme confidence in their abilities as musicians and curators. A beguiling album that’s one of 2023’s best. KG
Key track: ‘Mystery’
5. Dilaw, ‘Sansinukob’
Last year, busking duo turned six-piece Dilaw flipped the Philippines’ music world on its head with the 2022 hit single, ‘Uhaw’ – this year, they had the daunting task of following it up with their debut EP, ‘Sansinukob’.
While ‘Uhaw’ is still a highlight of the project, it doesn’t overshadow other standout cuts like ‘Kaloy’ and ‘Maskara’. The EP is packed with different sounds, from the laid-back vibe of ‘Uhaw’ to the politically charged ‘3019’, offering just a small glimpse of what the band are capable of. If ‘Sansinukob’ is Dilaw just scratching the surface of their genre-blending prowess, they’re about to be unstoppable. SS
Key track: ‘Maskara’
4. Youngohm, ‘Thatthong Sound’
If you want a well-rounded rap album that serves up a balanced diet of bangers and mellow ballads, look no further than Youngohm’s sophomore outing, ‘Thatthong Sound’.
- READ MORE: Youngohm – ‘Thatthong Sound’ review: Bangkok rapper’s second album is a seamless, inventive opus
While introspective at times – ‘Thatthong Sound’ chronicles the Bangkok rapper’s childhood and formative years – Youngohm also goes hard in the paint with slick, braggadocious verses that rank among the best he’s ever recorded (check out the title track). He also mixes it up with instances of UK garage and EDM-inspired beats that fit seamlessly into the entire album’s tone.
‘Thatthong Sound’ is Youngohm at his best, and he’s nowhere near done raising the bar for Thai rap. SS
Key track: ‘Sound From Dekwat/เสียงจากเด็กวัด’
3. LE SSERAFIM, ‘Unforgiven’
Since their 2022 debut, LE SSERAFIM have refused to put limits on themselves – and their debut full-length album ‘Unforgiven’ only reinforces that ethos. The five-piece recap their story so far with “2023 version[s]” of their debut tracks plus selections from last year’s ‘Antifragile’ EP, before emerging in the present with a handful of new songs that continue to push their boundaries.
Sometimes, this manifests in language – as on the English, Korean and Japanese-featuring ‘Burn The Bridge’ – or in sound, skipping from Nile Rodgers-assisted spaghetti western riffs (‘Unforgiven’) to slick Jersey club (‘Eve, Psyche & The Bluebeard’s Wife’) with dexterous, unlimited ease. RD
Key track: ‘Eve, Psyche & The Bluebeard’s Wife’
2. Grrrl Gang, ‘Spunky!’
Grrrl Gang’s ‘Spunky!’ is the culmination of the promise shown on the Indonesian trio’s earlier EPs and singles. Their debut album oozes confidence, delivering 25 minutes of alt-rock burners that revel in infectious melodies, propulsive drums, and spiky guitars – with nary a wasted moment.
Look behind the distorted guitars and noughties cool, though, and you’ll find a startlingly vulnerable record. There’s genuine heart here, whether it’s ‘Better Than Life’’s portrayal of alienation and suicidal ideation or ‘Birthday Blues’’s sardonic celebration of being “neurotic, manic [and] borderline psychotic”. Add it all up, and you have an album that sets Grrrl Gang up for genuine “voice of a generation” status. AK
Key track: ‘Blue-Stained Lips’
1. NewJeans, ‘Get Up’
‘Get Up’, the sophomore EP from industry trailblazers NewJeans, cements them as trendsetters of an era. Clocking in at a brisk 12 minutes, its six tracks offer a way out of K-pop’s most widespread tropes – maximalism, chorus drops, drowsy ballads – and slips right into standard-bearing territory.
In whispery, airy, voices, the quintet sing-talk over beats inspired by UK garage (‘New Jeans’, ‘Cool With You’), Jersey club (‘Super Shy’), and even some baile funk (‘ETA’), crafting sonic textures that are cozy and lush at the same time. There are multiple secrets to uncover: twinkling synths here, clocks ticking there, lyrics that read like journal confessions. By the time you reach the lovely closer ‘ASAP’, a second listen is inevitable – and the album’s hooks are prone to linger long after.
How do they do so much with so little? That’s just the magic of NewJeans. TA
Key track: ‘Super Shy’