2013 in music. • Page 3

Well damn, Jamie Lenman’s Muscle Memory doesn’t seem to be on streaming. Your description is very intriguing.

 

Oh I guess that's the territory split - it's on streaming over here but I guess not in the US.

Here's a split single, for a little flavour of both halves

 

Top 3 of 2013
1. Fall Out Boy – Save Rock and Roll
2. The 1975 – S/T
3. Panic! At the Disco – Too Weird to Live, To Rare to Die!


Everything else I listened to:
John Mayer – Paradise Valley
Eminem – The Marshall Mathers LP 2
Cold War Kids - Dear Miss Lonelyhearts
The Head and The Heart - Let's be still
ASAP Rocky – Long. Live. ASAP
Tegan and Sara – Heartthrob
Justin Timberlake – The 20/20 Experience
Cartel – Collider
Blake Shelton – Based on a True Story
The Band Perry – Pioneer
Paramore – S/T
The Maine – Forever Halloween
The Lonely Island – The Wack Album
Jimmy Eat World – Damage
Kanye West – Yeezus
Mac Miller – Watching Movies with the Sound Off
Parachute – Overnight
Ariana Grande – Yours Truly
Zendaya – S/T
Drake – Nothing Was the Same
Miley Cyrus – Bangerz
St. Lucia – When the Night
Paul McCartney – New
Katy Perry – Prism
One Direction – Midnight Memories
Beyonce – S/T
Haim - Days are gone

 

It always surprises me when my favorite stuff only makes it on to one or two other lists lol

 

wasn’t top 3 for me but definitely one of the best of the year

 

Infinity Crush would probably be 4

 

1. Balance And Composure - The Things We Think We're Missing
2. Moving Mountains - Moving Mountains
3. The Wonder Years - The Greatest Generation

Bring Me The Horizon - Sempiternal
Citizen - Youth
Childish Gambino - Because the Internet
A Day To Remember - Common Courtesy
The Dangerous Summer - Golden Record
The Dillinger Escape Plan - One of Us is the Killer
Defeater - Letters Home
The Front Bottoms - Talon Of The Hawk
Have Mercy - The Earth Pushed Back
How to Destroy Angels - Welcome Oblivion
Jon Hopkins - Immunity
Kanye West - Yeezus
Kevin Devine - Bubblegum
letlive. - The Blackest Beautiful
The National - Trouble Will Find Me
Nine Inch Nails - Hesitation Marks
Senses Fail - Renancer
Silverstein - This is How the Wind Shifts
Sturgill Simpson - High Top Mountain
The Story So Far - What You Don't See
Touche Amore - Is Survived By
Twenty One Pilots - Vessel

 

Just wanted to note that I saw PJ on this tour at the Barclays Center and they finally played "Sleigh Of Hand" live, which is one of my favorite songs by them.

 

That PJ album rules. One of their most consistent since Yield, IMO

 

We've reached the years where I stopped consuming as much music as possible and just kinda fell into mostly "Listening to my favorites" and "catching random new songs on the radio or elsewhere", so with that said I only have one rank...

1. Alkaline Trio-My Shame Is True

After This Addiction, which I was pretty disappointed in, I was eager for a new Trio album to see what they would do. This was a great return IMO. Matt was much stronger on here, and Dan's songs were great too. Warhol was a fun and catchy single, She Lied To the FBI, The Temptation of St. Anthony, The Torture Doctor....Matt was writing some good bops on here man. All of Dan's songs are strong too, I loved Only Love when it first came out, and the back and forth with him and Tim on I, Pessimist is a lot of fun. It's not as strong as the pre-This Addiction albums for me, but it was a good one to get back into the band after I was a little "meh" on This Addiction. OH and the Broken Wing EP is amazing. Like, holy crap, how did those not make the album. They might be my 4 favorite songs from the album actually and they weren't even on it haha. But Dan REALLY crushed it here, Broken Wing is such a good song, Sun Burns is great, Balanced on a Shelf is great, and Pocket Knife felt like a mixture of Crimson and MICF/FHTI Skiba somehow haha

I don't have time to look for other songs, but I will add that I too love "Catholic Girls" by Dangerous Summer. I never got into them as a band, but the lyrics to that song really hit a lot of nostalgia feels for me, including the fact that my first love/serious GF was indeed a catholic school attendee from a catholic family haha

 

I honestly need to revisit it. Listened SO much in 2013 I had to leave it alone for a while.

@Phil507 that setlist from your Barclays show looks epic. Will have to play that bootleg today or tomorrow. I was at both Philly shows a few days after the Barclays shows, as well as the Baltimore show. I do recall being a bit letdown by the Baltimore setlist, given what I got in Philly - but it was still a blast. My seats were shittier for that too, that often has an impact on enjoyment level.

I miss seeing them so much .... Those were my most recent PJ shows - think I've been to ....13 (?) total. Looking at this years setlists' I think their days of playing 30+ songs are over, however, which is a shame.

 

1. Paramore: Paramore
2. Lorde: Pure Heroine
3. Miley Cyrus: Bangerz

4. Kacey Musgraves: Same Trailer, Different Park
5. The Front Bottoms: Talon of the Hawk
6. Lady Gaga: Artpop
7. Janelle Monae: The Electric Lady
8. The Wonder Years: Greatest Generation
9. Kanye West: Yeezus
10. The Maine: Forever Halloween

Others:
Ariana Grande: Yours Truly
Beyonce: Beyonce
Disclosure: Settle
Chance the Rapper: Acid Rap
Danny Brown: Old
Arctic Monkeys: AM
Justin Timberlake: The 20/20 Experience
J. Cole: Born Sinner
The Story So Far: What You Don’t See
Citizen: Youth
Paul McCartney: New
Fall Out Boy: Save Rock and Roll
The Flaming Lips: The Terror
Cage the Elephant: Melophobia
Jay-Z: Magna Carta Holy Grail
Grouplove: Spreading Rumours
Bring Me the Horizon: Sempiternal
Turnstile: Step to Rhythm
Panic! At the Disco: Too Weird to Live, Too Rare to Die!
Silverstein: This Is How the Wind Shifts
twenty one pilots: Vessel

This is the year everything kind of unlocked for me.

 

@Surfwax What's your opinion on Tomorrow Harvest by BoC? I think I've only listened to it twice before and it never really grabbed me.

 

@Phil507 Where's your list for this year?!

 

embarrassing with how hard I’ve campaigned for the others in these threads, but I’ve yet to give it a good full listen. Its release is kind of what prompted my deep dive on the catalog beyond ROYGBIV and somehow I never got around to it. Gonna fix that this week and will report back

 

I gotta put it together still! Probably tomorrow as I have the rankings, just need to write my little blurbs.

 

It really was incredible and I am so bummed that I likely won't be able to see them at MSG this fall (ticket prices are astronomical).

 

I just put on the bootleg, crazy enough! LOVED that opening combo of Pendulum > Release that they were doing fairly regularly on that tour.

It's been a while since I've listened to a full boot, and I didn't look closely at the setlist, just glanced to make sure it was the one with Sleight of Hand, so this should be fun!

 

I feel Binaural is one the Pearl Jam "truther" albums that a portion of their fanbase absolutely lovels (No Code and Yield) are the other two. I think a lot of it is built around Eddie's divorce at the time as well as the general difficulties the band was going through at the time which made for a really interesting introspective record. "Thin Air" is another song that totally creeps up on you.

 

Agreed completely. I even throw Riot Act in with that era. "I Am Mine" is still an all-time fave for me. And it always sounds GREAT live - like on this Brooklyn boot.

 

So I dug through the archives and found my original best of 2013 ranking (written at the end of 2013). I am mostly still aligned:

40) LESS THAN JAKE - See TheLight



Time has notbeen kind to those who achieved some success during the ska revival of the late90’s. Less Than Jake are time-testedroad warriors whose honest take on suburban life kept them a step ahead oftheir peers, even when they attempted to streamline their sound on a majorlabel. Settling into their middle-age,the band still is able to deliver a refreshing set of ska-tinged punk rock allwhile not taking themselves too seriously.



39) HOW TO DESTROY ANGELS - Welcome Oblivion


Trent Reznor sure had a busy year. While he was in the process of reviving NineInch Nails he also finally unleashed a full length record from his otherproject. Incorporating results from thesoundtracks he helped score, How To Destroy Angels is not a Reznor-led projectbut more of an equal democracy between all members (which includes Reznor’swife on vocals as well as his longtime collaborator Atticus Ross). Nothing here is immediately accessible buteach track creates an impressive ambience and atmosphere which provides forexcellent headphone listening.



38) BIFFY CLYRO – Opposites


Being big inEurope does still not guarantee success in America. While many people currently reading thismight be scratching their heads, anyone across the Atlantic will be surprisedto know that these European arena-fillers merely play small clubs in theStates. Opposites is a big grand statement that all big stadium-fillingrock bands attempt at one point. Afterstreamlining their sound a bit too much in 2009’s Only Revolutions, the band is able to balance their prog-rockinfluences with their newfound radio-ready pop. The record is surprisingly dense soundingfor a three piece with additional keyboards, choir vocals and big guitar butthankfully does not get bogged down by its own ambition. Of course, it helps that the bandconsistently writes good songs which, with any luck, will keep building theiraudience in the U.S.



37) PLACEBO - Loud Like Love


U.K. glam-poppers Placebo returned after a lengthhiatus with their most straightforward release in years. After the long break, the band soundsrefreshed and focused as ever. Theystill wear their David Bowie influences proudly and singer Brian Molko’scombination of a wine and snarl will likely not win over new fans. This is a for-the-fans album that deliverswhat we want out of Placebo will not sounding like a complete rehash.



36) JAGWAR MA – Howlin



With 90’snostalgia at its peak these days, Jagwar Ma takes listeners back to the alternative to alternative rock in the90’s Hazy psychedelic beats and memorieswrap themselves drum and bass patterns, haunting vocals that somehow soundbreezy and welcoming as opposed to a lot of the cold and distant 90’selectronic-based recordings. As mostyoung bands do, Jagwar Ma tries on a variety of styles throughout and make it work with impressive songwritingchops.



35) CAGE THE ELEPHANT- Melophobia


The term “Melophobia” means “fear of music” which isnot entirely what Cage The Elephant went through in recording their thirdrecord. The band members all wroteseparately in an effort to present as many different ideas as possible. The result is a rather schizophrenic butintoxicating update to their blues-grunge inspired take on classic rock. The best track is obviously the killer duetwith Allison Mosshart of The Kills, “It’s Just Forever”. With so many successful young bands playingit safe, it’s great to see others taking risks.



34) DAUGHTER - If You Leave


Daughter is the female companion to any Nationalrecord. Sad, morose, minimal andcold-sounding, Elena Torona’s cold but beautiful voice yearns for a lost loverbut in some of the saddest and self-loathing ways (sample lyric: “I’ve lost itall, I’m just a silhouette, a lifeless face that you’ll soon forget”). While those lyrics might seem like theywere lifted from a long lost live journal empty from 2005, the tender andhushed music Daughter produces breathes a new life into the tried-and-truetradition of break-up records.



33) ST. LUCIA – When The Night


This recordbarely made it to this list, not due to its own merit, but because I wasn’table to get around to it until near the end of the year. St. Lucia is the project of SouthAfrican-born Brooklyn resident Jean-Philip Grobler. He initially worked at a company whichfocuses on licensing music for films which likely explains his focus on joyfulatmospheres on When The Night. This 11-track collection incorporates avariety of world music influences and combines it with modern electro-pop. Each song shimmers with large synths and dance-orientedbeats which puts St. Lucia above the crowded pool of young bands aiming for thesame results.



32) CAPITAL CITIES - In A TidalWave Of Mystery


Hard tobelieve that Capital Cities started via a Craigslist ad put out by one memberbut stranger things have happened. Onpaper, the band would likely inspire a vicious amount of eye-rolls with heavysax solos, goofball songs about Farah Fawcett and a singer with a hugedisgusting beard. Musically, it allworks and, while the band doesn’t seem to be taking any of this seriously,there’s enough depth to allow for repeated fun upon multiple listens. There’s’ a reason “Safe and Sound” wasinescapable all year and the high-energy synth-driven dance songs here willlikely continue that trend in 2014.



31) ARCADE FIRE – Reflektor



I didn’t getthe Arcade Fire when they first came out. I was still young and in the emo/rock/alternative-whatever years ofcollege. Upon first listening to Funeral, I enjoyed the large sweetingbombast of their music but couldn’t get past what I deemed to be a sense of“fake earnestness.” However, with eachrecord and finally with 2010’s TheSuburbs, I was finally convinced to drink the koolaid. Reflektormarks the first time that I’ve included an Arcade Fire record on thislist. After tackling love and death,corporations, and suburban life, it now seems like the band is turning inwardand inspecting their own personal dreams, demons and fears. James Murphy producing gives their insularstadium sound a more beat-driven approach which allows Reflektor to be their most listenable and accessible release todate.


30) CITY AND COLOUR - The Hurryand the Harm



Dallas Greenis the lone man behind City and Colour. Not much has changed with this release but not much needs to. Green’s songwriting is still in top-form ashe offers up breezy somber acoustic based numbers reflecting on his past. As opposed to previous releases, The Hurry and the Harm sounds a bit morejoyful and bright compared to some of the darker compositions of his earlierwork. Either way, as long as DallasGreen keeps writing these wonderful gems, I’ll keep listening.



29) BASTILLE - Bad Blood



Named afterthe Bastille Day which is English name given for the French National Day,Bastille initially started as a solo project from British musician/songwriterDan Smith. Recruiting additional bandmembers, Bastille’s debut is a fresh take on the tired reaching-for-the-starsstadium light rock that we’ve been bombarded with. The infectious chant of “Pompelli” will bedrilled into your skull for days. Theadditional 11 tracks continue with the modern trend of synth-driven pop/rockthat provide a needed relief from the likes of OneRepublic and Maroon 5.



28) PHOENIX – Bankrupt



Rather thanbursting out of the door with success, Phoenix had a rather slow build inAmerica. They finally achieved successwith their best record, Wolfgang AmadeusPhoenix. Upon first listen, Bankrupt feels a lot like a victory lapof sorts but upon further inspection the band has added a few new tricks totheir slick layer of stylish synths and guitars. Think of this as Wolfgang on steroids which means that, while it may be overstuffedin some areas, it still offers a great collection of flashy gems from ourfavorite French indie-poppers.



27) THE 1975 - The 1975


The 1975 operate on the exactopposite end of the UK rock scene than Arctic Monkeys or Biffy Clyro. They’re essentially all fluff and surfacewhich, at first, might seem like an insult. It’s actually impressive how effectively the bands calculated take onBritish guitar pop is executed. Similarto many other new bands on this list, they garnered attention by releasing someexcellent sugary driving singles (“Sex”, “Chocolate”). Their self-title debut makes good on theinitial promise by offering similar-sounding but equally satisfyingresults.



26) DEPECHE MODE - Delta Machine



Not enough credit it evergiven to Depeche mode post-Alan Wilder leaving. After stumbling a bit with the murk of Ultra and the bloat of Excited, Martin Gore finally allowedsinger Dave Gahan in on the songwriting. Perhaps the new competition has caused both parties to step up theirgame as the ‘Mode released yet another late-career excellent record. All the usual Depeche Mode themes are stillthere: sin, redemption, angst, forgiveness, etc. Gore’s use of modern technology along with anewfound blues influence assures the band never sounds dated and the dark hooksallow them to stay at the top of their game.



25) PANIC AT THE DISCO - TooWeird To Live, To Rare To Die


Panic is oneof those bands that should have imploded long ago. They had all the right ingredients fordisintegrating: huge debut, left field sophomore release, two key membersleaving and inner turmoil. However,with singer Brendan Urie taking over songwriting duties they were somehow able to not only survive but also releaserecords that all sound nothing like the previous one. TooWeird To Live continues their trend where they, like their friends in Fall OutBoy, throw away emo bombast/narcissism for a big pop statement. Front-loaded with two incredible powerhousesingles (co-written by pop’s go-to guy, Butch Walker) they deliver a tight,compact collection of songs that aren’t afraid to be ridiculous as well aparody of their former selves. Sidenote: “Girls/Girls/Boys”could have totally been a Depeche Mode song in the 80’s.


24) ATOMS FOR PEACE – Amok


Thom Yorkeisn’t known for having fun. The sullenfrontman of Radiohead’s first breakthrough had him announcing that he was a“creep”. Further releases didn’t domuch to give any indication that this dude was capable of having a good timebut Amok finally accomplishes thatgoal. While Yorke’s previous solorecord was dark and murphy, Amok addsmuch needed sonic flourishes, colors and warm grooves to the usualblip-infected trans/trip-hop Yorke loves. Of course, much of that can be attributed to the band he put together(which includes Flea on bass) who give Yorke’s songs additional life and alsohumanize his music in a way that wasn’t possible before.


23) CHRVHES - The Bones Of WhatYou Believe



The recenttrend for new bands seems to be debuting a few tracks to spread across thevarious tastemaker music sites (whatever those are nowadays) in order to buildhype for a full length or EP. Moreoften than not, bands often shoot themselves in a foot by releasing their best(and maybe only good) track which leads to a huge letdown. This was not the case with these Scottsynth-poppers. CHRVHES has crafted arecord that’s easy to listen to yet showcases depth in drama in ways that mostbubblegum synth-pop avoids. The hookshave some huge teeth and vocalist Lauren Mayberry remains charming throughout,even when she’s seething with rage (“Gun”). The band also isn’t tooself-conscious about being accessible and, as such, doesn’t layer their soundwith all sorts of unnecessary blips and ticks. These are the types of songs that Katy Perry and Britney Spears handlers wish they could come up with.



22) SIGUR ROS – Kveikur



Most SigurRos records provide a soundtrack of per raw beauty (even in their darkestmoments). Their 2012 release, Valtari, while excellent suffered a bitdue to it being labeled as “just another Sigur Ros” record. Kveikurattempts and succeeds at cleaning that up. It’s front-loaded with some of the ugliest, strangest and heavy songs oftheir catalog. The songs crackle, cryand yelp as the band continues to build throughout. When digested as a whole, the album takes youon a journey and showcases how Sigur Ros gets to their end product. By the final track, which is by far the mostbeautiful song on this collection, the band provides the listener with anewfound look at why they are one of the most important and refreshing bands intoday’s music climate.



21) FRANZ FERDINAND - RightThoughts, Right Words, Right Actions


The long period between Franz Ferdinand offerings canbe somewhat confusing considering how easy and seamless they make itsound. After the dub-influenced Tonight in 2009, our favorite dancerockers return with another batch of infection, dance-rock tunes. After some criticized the bloat of Tonight the band has trimmed the fat andthe tempo up. While they may neverachieve the type of crossover success “Take Me Out” provided them, this recordis no different from any other Franz release in that it is immediatelyfulfilling and enjoyable.





20) FITZ & THE TANTRUMS - MoreThan Just A Dream


After a debut where Fitz applied a modern take onclassic soul, this time around they expand their reach to branch out for a morerock-oriented sound The dual male-female vocals on this band’s sophomore recordmay still be similar to their debut the tempos and beats hit harder and fasterproviding a much bigger rush. While the R&B soul of the 60’s is stillpresent, the band sprinkles in their own samplings of 80’s new wave and evendisco to accomplish a much more broad and bigger sound while still keepingtheir infection hooks intact.



19) SLEIGH BELLS - Bitter Rivals



Leading up tothe release of Bitter Rivals, the duostated that since no one was expecting them to put out a record in 2013 itallowed them additional focus. Thetension between the two is more evident than ever on Bitter Rivals. GuitaristDerek Miller throws dirty, distorted guitar lines all over Alexis Krauss’ssugary vocals to provide for a much more consistent, driving and aggressiverelease than 2012’s Reign Of Terror. The band shows a bit more reach when theyshow restraint in some of the acoustic-based numbers. As with all Sleigh Bells records, this oneneeds to be listened to with the volume set at 11.



18) BAD RELIGION - True North


After over 30 years in the business, Bad Religion areone of the most reliable and consistent punk bands of all time. Many reports indicated that True North would be their swan song andif that’s the case, it’s a hell of a way to go out. While it might be hard to differentiatebetween each Bad Religion records, they’re always able to somehow alter theirformula ever so slightly to provide to a fresh take. Everything one wants in a Bad Religion ishere: blazing power chords, soaring harmonies, impressive wordplay and insanelyinfection hooks are present. The trulyrewarding moments are when the band slows the tempo down a bit to allow therecord to breathe. Often taken forgranted, punks will miss Bad Religion long after their gone.



17) CUT COPY – Free Your Mind



While manyelectronic-bands usually push for a colder and more insular sound as time goeson, Cut Copy has sounded warmer and warmer with each release. FreeYour Mind is a natural progression from their previous release whichfeatures sunshine-kissed beats, keyboard lines and rhythmic bass parts. There’s a sense of joy in each song as the bandsound to be sincerely enjoying making this music and further developing theirown sound.



16) MAZZY STAR - Seasons Of YourDay


I swear thisalbum could have been recorded in 1998 and no one would know thedifference. Mazzy Star returns after 13years literally unchanged from their previous 1996 release. Don’t mistake that for phoning it in orre-hashing old ideas. Seasons Of Your Day is the naturalprogression for Mazzy Star and adds a new country-tinged Americana feel totheir slow, brooding and beautiful indie pop. Hope Sandoval’s voice continues to be as haunting and distant asever. While the songs aren’tnecessarily as inviting as previous releases, they showcase a band that makesmusic not necessarily because they want to, but because they feel they have to.



15) TWENTY ONE PILOTS – Vessel


This debutfrom this Ohio band is one of the more refreshing glimpses on what it’s like togrow up with the world’s music library at the tips of your fingers. Perhaps the most ADD-like piece of music onthis entire list, the Pilots will jump from EDM dance beats to ukulele powerballads to strange industrial/electronic beats within the same song. FrontmanTyler Joseph shows off an incredible range in both his MC skills as well as hissoulful singing. It’s impressive for ayoung band to have this much ambition right out of the door but also impressiveis how well they make it work.



14) AFI – Burials



They may havecome up in the hardcore punk circle but AFI haven’t really been interested inbeing a punk band for the last 10 years. Burials acts as AFI comingfull circle from their initial major label debut by incorporating all theelements of their catalog from the past decade. Playing like a darker companion to Sorrow, this is AFI’s harshest, ugliestand darkest record yet. While a fewsongs here and there might showcase some traces of their past, the band focusesmore on the dark atmospheres that surround vocalist Davey Havoc’s lyrics ofdespair, hurt and bleakness. This soundisn’t a complete surprise to anyone who has been following the band closely asthey have been known to cover both Nine Inch Nails and The Cure in concert(both of whom this record is clearly influenced by). While longtime fans may not appreciate it, Burials showcases how AFI refuse torehash and repeat.



13) PARAMORE – Paramore


When a bandloses two key members/songwriters, they usually and are expected to fallapart. Paramore rose to the challenge bynot only providing their most ambitious piece of work to date but also theirmost refined sounding offering. HayleyWilliams and co. go well beyond their comfort zone adding in elements ofshoe-gaze, gospel, 70’s AM-style pop all while injecting their own personalityinto each track. For the young teensthat were first exposed to the group via the Warped Tour community, Paramore is an incredibly addicting andrewarding coming-of-age record for young men and women alike reflecting on thepast, present and future. Throughout itall, even with the negative events of the previous years, the bands positiveoutlook provides a refreshing breath of fresh air and showcases why they havelong outshined their peers.



12) ARCTIC MONKEYS – AM



Most bandsdon’t survive the kind of hype Arctic Monkeys originally received. Billed as yet another one of the “OMG! Best Band Ever” types by the over-excitedBritish press, the Monkeys became superstars across the pond. On American soil they still compete withother mid-level bands filling medium-sized venues and selling a respectable(but not amazing) amount of records. Regardless, the band continues to push forward and broaden theirsound. Working with Josh Homme again, AM is their most groove-heavy andR&B-based record, light years away from the initial bratty garage-inspiredrock of their early years. Alex Turnerstill remains one of the best storytellers in rock music and with a recentbreakup to reflect on, this is his most personal and thrilling set of songs.



11) TEGAN AND SARA – Hearthrob


Like themajority of people, I had seen Tegan and Sara’s name around for years butfinally delved into their catalog this year. When a band is critically acclaimed with a cult following, they can onlygo so far before stagnating. Tegan andSara might have started as a quirky indie-folk duo but they flirted with popmore and more with each subsequent release. Hearthrob finds them embracingit full on. While not a break-up recordin the same vein as Jimmy Eat World’s Damage,all 10 tracks focus on matters of the heart, be it love or hate. The infectious rush of lead single “Closer”is still the high point for me but the additional tracks stand up just as wellwith repeated listens.



10) LORDE - Pure Heroine



Even with allthe marketing, promotional blitzes, twerking and other assorted bullshittoday’s female pop stars throw at us for attention, Lorde won in 2013. This New Zealand teenager is a breath offresh air in that she sounds like she is, you know, actually a teenager writing about actual teenage experiences. She sings about towns the world will never see, never being able toexperience the luxuries of life as well as the confusing and exhausting processof friendships and new romantic relationships. Additionally, Pure Heroine is the work of someone whogrew up in the digital age and refuses to be confined to any genre. Hip-hop, pop, indie, trip-hop are all throwninto the blender in order to give Lorde her own unique spin on today’s popmusic. “Royals” is inescapable andinfectious but the other 9 songs on the record hold up just as well.



9) THE NEIGHBOURHOOD - I Love You


I wasn’tinitially planning to place this album so far up on the list but then Irealized how much I kept going back to it. Many new bands say their sound is “hard to describe” but with TheNeighbourhood, that actually is sort of the case. They play R&B styled pop within an indierock atmosphere. Guitars never crunch oroverpower, they weave in and out of songs to provide texture. Keyboards and drum beats are sprinkled in togive power to vocalist Jesse Rutherford’s croon. Also, additional points go to the band forpaying extra attention to their aesthetics’, insisting that every photo, video,album artwork, etc. be in black and white. As one of the most intriguing new bands of 2013, their debut begs forrepeated listens. Plus, who would have thought there would be another hitalternative rock song about a sweater?



8) NINE INCH NAILS - HesitationMarks


“Restraint” usually isn’t a word that one associateswith Trent Reznor. After being a wayfor a while, scoring multiple soundtracks, getting married and becoming afather, alt-rock’s version of Jim Morrison returns with a piece of work thatcombines his early years of industrial buzzing with his most recent talent of painting different soniclandscapes. While Reznor will never bemistaken as being a happy-go-lucky guy, HesitationMarks is the most joyful (and I use that word lightly) Nine Inch Nailsrelease to date with synths, sound effects and drum beats pushed to the front andthe razor guitars taking a backseat. While most artists return with a rehashes version of their formerselves, Reznor’s work ethic and dedication to his creative process provides fora rewarding listen.



7) QUEENS OF THE STONE AGE - LikeClockwork



2013 may beremembered as the year the keyboard the lead from the guitar in terms of adriving force but Josh Homme must have missed the memo. Few frontmen in rock have as much swagger asHomme with his cryptic, stoner-made riffs and his ability to make evenlaughable lyrics not fall apart (“I blow my load on the status quo”). The band has always been aboutcollaborations and Holmes brings in a number of guests (including former memberNick Oliveri) to please the stoner rock cult following the band has. Even with the various guests, the recordstill plays as their most straightforward and to-the-point record without anylong-winded lumbering jams. Homme evenshows a somewhat sentimental side of him (perhaps because he’s a new father?)and includes two slower, piano-driven numbers, something that was nearlyunheard of on past records. If rock isgoing down, it will go down swinging with the likes of Queens Of The Stone Age.


6) PORTUGAL THE MAN - Evil Friends



This Alaskan band is one ofthe most prolific bands in rock music at the time. In 9 years this is their 6

th

record. On top of that, theirwide-ranging sound allows them to tour with both post-hardcore bands as well assofter acoustic-based acts. Building onthe Flaming Lips-inspired psychedelic pop of their previous release, the bandteamed up with producer Danger Mouse who adds a more electronica andloop-driven approach to their jangly guitar pop. With their quirks and strong musicianshipintact, the band offers yet another sonically consistent and accessible batchof songs that adds a few new tricks to their unique sound.



5) HAIM – Days Are Gone


No band was more hyped than Haim in 2013. Hand it to them and their handlers for beingable to play the game correctly by offering one incredible single afteranother. By the time Days Are Gone was released, listenershad already heard half of it. What wassurprising is that the other half stood up just as well compared to thesingles. The three sisters of Haim focuson reviving 70’s AM pop with various modern updates. The band has a knack for abuild-and-release style in each song and the record is almost unfairlycatchy. For any other band, this wouldplay as a greatest hits collection but for Haim, it’s just the beginning.



4) JIMMY EAT WORLD – Damage



Lead singer Jim Adkinsdescribes Damage as an “adult breakuprecord” and there’s no getting around it. This tight, concise 10-song collection takes one through the trials andtribulations of breaking up when you’re in your 30’s and, perhaps, your optionsaren’t as thrilling as they once were. Each song dictates a different type of pain from jealousy, nostalgia,reflection and, finally, acceptance. The band opted for a more raw sound after the slick over-the-topproduction of their previous two releases which helps drive home the emotionscommunicated. While I’m unsure howautobiographical this record truly is, if Adkins is writing from a fictionalperspective (and that may never truly be known), he’s really good at fakingit.



3) VAMPIRE WEEKEND - ModernVampires Of The City



While thefirst two Vampire Weekend records were delightful collections of PaulSimon-tinged indie pop, their third record is their most essential. Ezra Koenig’s ability to craft infectioussongs as well as his story-telling continues to push the band forward. The record is basically a soundtrack for anylate-20’s urban dweller which deals with unemployment, issues an doubts aboutfaith, crazy girlfriends who are ready to go off the rail at any minute,etc. Sonically, the band stretches outa bit more and, while the number of faster-paced numbers might be missed, theincredible songwriting and craft more than make up for it.



2) THE NATIONAL - Trouble WillFind Me


The Nationalhave had the benefit of not being an instant success which allowed for them todevelop their craft through time. Starting with 2007’s Boxer,perfecting their sound on 2010’s HighViolet and finally adding a bit more accessibility with Trouble Will Find Me, the band continuesto be the top contender for slow, brooding sad bastard music. Troublecontains everything you’d want from a National record while adding a new perspective. If HighViolet was the sad realization that adult life is just as troubling asteenage life, Trouble Will Find Me isthe acceptance that a certain melancholy will always hang over adults even withthe little joys life presents. TheNational is the soundtrack for those of us who spend our entire youth and earlyadult life hoping the saddest parts of us might change. Matt Beranger sums that up in one lyricearly on: “When I walk into a room I don’t light up. Fuck.”





1) FALL OUT BOY- Save Rock and Roll


“Comeback”albums usually don’t stand much of a chance in terms of matching former heights. Fall Out Boy might have launched from theWarped Tour emo/punk scene but after their first taste of success they startedto sound like the band they always wantedto sound like. The title Save Rock and Roll is, like everythingelse the band does, both tongue-in-cheek and sincere. Saving rock and roll with a pop record? Probably not but the band went all-in on thisrelease, delivering some of the most modern-sounding pop gems ever. Even dudes who once wore eyeliner have togrow up and flashes of Pete Wentz’s maturity are all over this record,especially his divorce from Ashley Simpson “(Miss Missing You”). Darkness over bright melodies are still whatFall Out Boy does best and a song like “Alone Together” could likely be brokeninto 4 different pop songs that would equal (or surpass) what is currentlynumber 1 in the country. Patrick Stumpcontinues to be an incredible vocalist and he is able to give new life andmeaning to Wentz’s irony-laced self-deprecating lyrics. There comes a time in every emo band’s lifewhere they have to grow up and this is Fall Out Boy’s grand, mature yet stillfun statement. Revoke whatevercredibility you may have thought I had but I stand by this band and they made themost enjoyable release of 2013.

 

SHould note that all the thoughts reflected there were my 2013-self (not 2022 self). I'd probably bump The 1975 up a bit more and remove Capital Cities altogether (seriously, what the fuck was I thinking with that one) but otherwise, still love most of these.

 

Also, I feel like 2013 was around peak time for H&M indie pop (Haim, The 1975, The Neighborhood, Capital Cities, etc)

 

give me the halcyon OC days of 2005-6 personally