1. Kanye West—Yeezus
There aren’t a lot of epithets left unturned for Kanye West at this point: genius, savant, idiot, madman, black American psycho (one West came up with himself). Whatever you think about the man, it’s hard to deny that he had 2013 wrapped around his finger. Despite sixth LP Yeezus’s inaccessibility and minimalist marketing strategy (though I suppose it now actually has singles and two terribly hilarious music videos,) the record shot straight to the forefront of the cultural conscience and carved out a comfortable little hovel for itself there.
The album isn’t just West’s strangest release yet—edging out the preposterously gigantic My Beautiful Dark Twisted Fantasy and the remarkably icy 808s and Heartbreak—but it’s also his most egotistical, a raucous gothic horror spin on the messiah myth. West lumbers over the album like Frankenstein over his monster, spouting all kinds of nonsense about being God and eating sweet and sour sauce over thundering industrial beats, proving that in even the most absurd situations, West’s musical sensibilities shine true. The record may be a breeding ground for anti-Kanye sentiment, but at the end of the day, even West’s worst idiosyncrasies can’t drag down one of the most powerful and inventive albums from one of the most forward-think- ing demiurges in pop culture today.
2. Vampire Weekend—Modern Vampires of the City
The cover to Modern Vampires of the City says it all. Gone is the bright chandelier of their vaguely Instagram filtered picture on Contra—here New York City (Vampire Weekend’s real home, outside the collegiate corona that enveloped their first albums) rises from smog—stately, monochrome; exuding elegance, grace and just a bit of terror.
The same can be said of the music. Ezra Koenig and co. stepped it up with their third release, largely shedding the afropop stylings that defined their earlier output—a loss, perhaps, were it not for the fact the music they replaced it with is just as singular.
Everything about the album is consummate: the production, the instrumentation, the sound, the lyrics, the vocals, the atmosphere. There is nothing misplaced, no misses whatsoever. At the same time, Modern Vampires isn’t wholly new. Lead single “Step,” alongside songs like “Unbelievers,” “Don’t Lie” and “Everlasting Arms,” recall songs like “M79” and “Taxi Cab”—in other words, recall the older, younger Vampire Weekend.
So no, Modern Vampires isn’t a complete reinvention. It’s better. It’s a recapitulation, a refinement of their collective skills into an album that shines across 12 brilliant tracks, pulled off with polish, panache and dignity.
3. Chance The Rapper—Acid Rap
In a hip-hop world where your typical rapper talks about drugs and women, Chance the Rapper made his name on Acid Rap by viewing this project from a brighter perspective. From his admittance of being a “Chain Smoker” to missing the days of his mother’s “Cocoa Butter Kisses,” Chancelor Bennett reveals himself to listeners and creates a likeable aura around him.
The features Bennett compiled for Acid Rap are impressive for an artist’s second mixtape, as he was a virtual unknown to the general public until this release. His talents were well-noted amongst the rap community after 10 Day, giving him the ability to create relationships with artists such as Ab-Soul, Childish Gambino and Action Bronson.
Bennett’s ability to blend the genres of hip-hop and jazz show his versatility and justifies Acid Rap being placed third on our list. He shows off his musicality through singing and rapping, putting him in the same league as other dual-threat artists such as Hoodie Allen and, his frequent collaborator, Childish Gambino.
Here’s to the future of a new musician who has the talent to top the hip-hop charts.
4. Queens of the Stone Age—...Like Clockwork
There’s no getting around it: Queens Of The Stone Age are a heavy band. Generally known as a psychedelic alt-rock group, QTSA have lived up to that reputation admirably. However, between 2007’s Era Vulgaris and 2013’s ... Like Clockwork, the band has diversified their sound. While ...Like Clockwork still features classic QTSA-like jams such as “Keep Your Eyes Peeled” and “If I Had A Tail,” some of the songs on the album are a little lighter on their feet. The upbeat tempo and quick guitar solos on “I Sat By The Ocean” sounds like something Led Zeppelin wishes they wrote for Houses of the Holy and “Smooth Sailing” is probably the funkiest song Josh Homme has ever written. The real jewel here, though, is “I Appear Missing,” the album’s second-to-last track. It’s everything there is to love about QTSA, all wrapped in a six minute package. The layered guitar, heavy chorus and Homme’s trembling vocals combine the greatness of the band’s older work with a dash of the album’s vibrant energy mixed in. In ...Like Clockwork, Queens of The Stone Age has managed to go in a new direction while not abandoning their musical roots, a commendable achievement that has resulted in what is easily one of the year’s best albums.
5. Deafheaven—Sunbather
2013 as a whole has shown us it is possible to write an album that blends multiple, seemingly contradictory genres. Deafheaven’s Sunbather is the most shockingly beautiful example of this phenomenon. Incorporating elements of metal, hardcore, screamo and post-rock, among others, Sunbather proves partitioning certain artists and albums into strict categories is a nonsensical tradition perpetuated by the close-minded.
Clocking in at just seconds under an hour in length, the seven-track album, which features three tracks over 10 minutes long, meanders along perfectly orchestrated instrumental parts before building into powerfully emotional heavy sections. It’s a method of stark juxtaposition most shy away from due to its inherent difficulty, but Deafheaven executes it with brilliance.
It’s also worth mentioning Sunbather features some of the year’s most striking, yet simple, album art.
There’s a reason this band has generated so much buzz since Sunbather’s release.
6. Los Campesinos!—No Blues
In the wake of 2011’s Hello Sadness, No Blues’ title seems like a triumphant statement of intention—until you actually listen to the album. Despite the continuous culling of their lineup, Los Campesinos! fifth album is still very much in line with their original blueprint: sugary, hyper-literate songs mostly about devastating heartbreak, full of inescapable hooks and the obligatory smattering of high-brow soccer jokes. The really amazing thing is that No Blues isn’t just another notch on the stick—funny, noisy, heartfelt and infectious, it might just be the group’s best album yet.
7. Waxahatchee—Cerulean Salt
If Cerulean Salt isn’t the most technically accomplished album of the year (most of the songs are devoid of sonic spin-shine at all,) it might just be the most affecting. Katie Crutchfield navigates the twisting rapids of youth and young adulthood with finesse and brilliant lyricism, tackling despair, alcoholism and suicidal loves with the poignancy of a million sepia-tinted photos. It’s a record for late boozy nights with people you’ve known for years, just don’t let them see your tear trails.
8. Foxygen—We Are the 21st Century Ambassadors of Peace & Magic
Foxygen’s latest release, We Are the 21st Century Ambassadors of Peace & Magic is an impeccably crafted album. If you don’t have enough time to get through this nine-song masterpiece, start with “No Destruction,” a song that would find a perfect home on the Velvet Underground’s Loaded or The RollingStones’ SomeGirls. In an era where bands often either find themselves as great live bands or great studio bands, but rarely both, Foxygen perfectly bridges the gap, as they convey the power of their live show on this fantastic record.
9. Death Grips—Government Plates
If we’re calling Yeezus experimental hip-hop, then Death Grips’ Government Plates might not even qualify as hip-hop at all. It’s just as aggressive and psychosexual and terrifying as anything the group’s put out before, but this time the songs are shorter and more abstract, a whirlpool of influences that blend together into something equal parts hideous and transcendent. Death Grips pushed the patience of their fanbase this year with a series of exponentially frustrating punker- than-thou stunts, but if it yielded an album like Government Plates then, hey, we really don’t have that much to complain about, do we?
10. Haim—Days Are Gone
In late September, an indie-pop tsunami landed in California and promptly swept the rest of us off our feet. Since the release of their debut album, the Haim sisters have quickly been stealing hearts across the music scene. Their charming sister act of impeccable ’80s-inspired pop songs was a big hit this festival season and with good reason. Days Are Gone stands unquestionably as the best pop album of the year with top hit single “The Wire” and the croony “Honey & I” as solid proof.
11. A$AP Rocky— Long.Live.A$AP
A$AP Rocky delivered a helluva debut album in January. Although, this was not a surprise, as Rocky’s Live.Love.A$AP mix- tape from Oct.. 2011 showed critics this Harlem native is capable of changing the genre of rap for a long time to come.
From hit singles like “F**kin’ Problems” and “Goldie” to lesser-known tracks “Fashion Killa” and “Angels,” Long.Live.A$AP does not contain a skipable song. A$AP worked with production legends such as Clams Casino, Drake’s producer, in order to provide us with one of the most ear-pleasing albums of 2013.
Long.Live.A$AP is an exceptional experience for your mind, and leaves you wanting more.
12. Boards of Canada— Tomorrow’s Harvest
If for nothing else, the bizarre series of events surrounding the release of Tomorrow’s Harvest—stemming from an obscure, password-secured website qualifies it as one of the top albums of 2013.
But beyond their creative antics, Boards of Canada’s first full-length release since 2005 was not only a continuation of the duo’s past mind-numbingly enjoyable esoteric electronic compositions, but it also introduced the group to a whole new audience (evident in Tomorrow’s Harvest peaking at 13 on the U.S. music charts).
13. Speedy Ortiz— Major Arcana
That’s a mite unfair. Adoration isn’t easy when you’re a musician or a band, which makes it all the more remarkable that Speedy Ortiz, of Northampton, Mass., manage to emit such patent adoration of ‘90s indie rock while simultaneously reinvigorating it. On Major Arcana, their debut album, they outstrip their torchbearer comparisons, with a suite of great tunes like “Pioneer Spine” and “No Below.”
14. Arctic Monkeys— AM
It was a great year for British Music, and whom else would you expect to be leading the way but Arctic Monkeys? AM is the Sheffield-turned-LA boys’ first record in two years, if the nearly unanimous ranting and raving from critics upon its September release is any indication, it’s one of their strongest efforts yet. Typical suave tracks like “Do I Wanna Know?” and “R U Mine?” are backed up by new sounds on songs like “Arabella,” which the group has attributed to R&B influences. Alex Turner’s superb writing paired with the band’s phenomenal composition skills are a combination that always finds a way to work.
15. Savages— Silence Yourself
After a watery, murmuring introduction, the bass comes in on “Shut Up” in ominous, throbbing tones, and you realize you’ve just wandered into a storm. Silence Yourself‘s greatness can be explained meteorologically. The guitars crash like thunder and come down like sheets of rain—all to the monotonous patter of the drums and pulsing bass. And in the center of it all is lead singer Jehnny Beth, howling in gales of doom and unrest. Remarkably consummate for a debut album, Savages’ first is a fiercely enjoyable squall, and sees Beth and co. putting their best foot forward—they let it rain.
16. Atoms for Peace— Amok
Putting Thom Yorke and Flea in the same band was bound to be interesting. However, with the release of Amok, Atoms for Peace established themselves as a superbly talented, regimented band with a devotion to structure. From the opening strains of “Before Your Very Eyes...,” Amok evokes the industrial precision of its producer/creators, but also incorporates Flea’s freewheeling bass style and the creativity Yorke brought to Kid A. The resulting product is one of the year’s most unique albums. Overall, Amok stands as a testament to the powers of its creators and modern musical engineering.
17. Tyler, the Creator— Wolf
Through reminiscing about his family on “Answer” and a bipolar relationship with a crush, he gives us much more insight into his life on Wolf than the attention-seeking Goblin LP released in 2011. By handling production almost entirely by himself, Tyler, the Creator shows his multi-faceted ability in music and the very creative side of his mind. By tackling such issues as love, homosexuality and negativity of the press in cleverly-written verses delivered over his unique production, Tyler, the Creator sets himself apart from the crowded scene of 2013 hip-hop releases.
19. David Bowie— The Next Day
After 10 years of silence probably spent floating inspace, David Bowie made his return to Earth in 2013 with his 24th studio album. It would be hard for any artist with a catalogue as large and flamboyant as Bowie’s to top past accomplishments, but The Next Day doesn’t disappoint. Nominated for the United Kingdom’s prestigious Mercury Prize, the album boasts many new Bowie gems including the title track and “Dancing Out in Space.” Ziggy, it’s so good to have you back.
20. Danny Brown—Old
It’s been a wild year for Danny Brown, but nothing tops the sheer bravado and ambition of sophomore album Old. Much like 2011’s XXX, the record is inundated with sex, drugs, partying, drugs and—most of all—drugs, all peppered over psychedelia-tinged beats that reportedly drew inspiration from Kid A. Brown isn’t as shallow as his cartoon antics belay, though.
21. Daft Punk— Random Access Memories
When Random Access Memories came out in May, I was positive I was listening to the album of the year. From “Get Lucky” to the hypnotic “Lose Yourself to Dance,” this album seemed to be headed to the top of every year-end list. Alas, the album doesn’t have the shelf life one might hope and pales in comparison to Homework or Discovery.
22. The National— Trouble Will Find Me
Tom Berninger and co. aren’t exactly known for being upbeat, and Trouble Will Find Me, the band’s sixth studio album, doesn’t deviate from that tradition. The album starts off with “Should I Live In Salt,” a mournful tune with a chorus that’s way catchier than it has any right to be. This sets the tone for the album, which may grate on some listeners after a while. However, “Sea of Love” and “Fireproof” are straight outta High Violet and the record is a worthy addition to The National’s discography.
23. The World is a Beautiful Place & I am No Longer Afraid to Die— Whenever, If Ever
By this time we’ve probably heard enough about emo revival, but that doesn’t mean Whenever, If Ever should be shunned from any best-of list. With its ability to evoke feelings of all kinds through strong lyricism and songwriting, this album is a must-listen for all. Don’t dare discount them because of their long name.
24. Janelle Monáe— The Electric Lady
With the release of her second album, The Electric Lady, R&B artist Janelle Monáe proved she is immune to the sophomore slump. The album rides the line between being serious and totally danceable, exploring maturity and empowerment in a utopian universe. In this strange futuristic world, Monae poses as her alter-ego Cindi Mayweather, an android who has fallen in love with a human. On the 19 tracks, Monae proves herself as an innovative producer as well as a dynamic vocalist.
25. Fuck Buttons— Slow Focus
Fuck Buttons’ third album, Slow Focus, is loud. It’s grating. It drones. But there’s a method to the madness. Wading through long swaths of noise—across suites like “Brainfreeze” and “Stalker”—you realize that the music isn’t random and chaotic. It’s noise and drone, sure, but it’s a combination that contemplates.
