It’s that time of year again! And for the first time in a long time, I can actually say that this year there was some pretty stiff competition to make the list. 2013 was the best year for albums in quite a while, particularly compared with the rather weak and/or disappointing offerings of the past few years (I could only find 9 decent albums last year, for example).
As always, these selections are not supposed to be “the” top albums of the year. These are simply the ones that I enjoyed the most.
Also, a special thanks to everyone who recommended various albums to me earlier this year when I asked for recommendations! I really did listen to at least a few tracks off of all of them.
10. The Civil Wars – The Civil Wars
By far the most country album to ever make my top albums list, The Civil Wars’ self-titled sophomore release is worth listening to even if, like me, you normally despise country music. I made an exception to my no-country-ever rule and checked this album out after reading a few articles about the intriguing backstory to this album. After captivating audiences for years with their intense on-stage chemistry (though they are both married to other people) The Civil Wars’ Joy Williams and John Paul White abruptly canceled all remaining tour dates and announced an indefinite hiatus following the recording of this album in late 2012, cryptically citing “internal discord and irreconcilable differences of ambition.” Williams described the split as “a hard, painful season of my life,” and John Paul Williams declined to do any press in support of the album this year. Williams has stated that the story of what went wrong in their relationship can be found within the album — and the raw, tragic power of this record is undeniable (even without knowing the backstory). Also, they do a pretty killer cover of The Smashing Pumpkins’ “Disarm.”
Standout tracks: “The One That Got Away,” “I Had Me A Girl,” “Dust to Dust,” “Eavesdrop,” “Sacred Heart”
9. Random Access Memories – Daft Punk
Probably one of the most highly-anticipated albums (by me) in years, Daft Punk’s first studio album in eight years was one of the most refreshing albums of the year. Abandoning the heavier house/trance feel of 2005’s Human After All, the French robot duo revolutionized the electronic music scene (again) with a retro disco-funk vibe on Random Access Memories. This approach is readily apparent from the moment you hear the guitar loops on the opening track “Give Life Back To Music,” and most successful on the smash hit single “Get Lucky,” perhaps the most perfect pop song in years. Daft Punk also brilliantly utilizes an impressive array of collaborations with other artists on the album — from Pharrell Williams’ memorable vocals on “Get Lucky” and “Lose Yourself To Dance” (my personal favorite track) to falsetto autotuned/vocoded vocals from The Strokes’ lead singer Julian Casablancas’ on “Instant Crush,” which also boasts an awesome synth line. One of the more experimental tracks on the record is “Giorgio By Moroder,” which opens with German-Italian electronic music legend Giorgio Moroder narrating his life story in broken English for 2 minutes over a funk beat before exploding into arpeggiated synth glory. Another thing I loved about this album — also well-showcased on that track — was the way Daft Punk incorporated live rhythm and instrumentals along with their standard drum machines and computer-generated loops. Random Access Memories is by far Daft Punk’s most complex, ambitious album to date (see: “Touch”), and although not every track is a success (some of the slower ballads are pretty mediocre), they should be applauded for the effort.
Standout Tracks: “Get Lucky,” “Lose Yourself to Dance,” “Instant Crush,” “Giorgio By Moroder,” “Contact”
8. Inland – Jars of Clay
I’ve been a Jars fan since their self-titled debut album came out in 1995. I was 8 years old. It was one of the first CDs I can remember buying. My longest-running musical love affair (I’ve followed them throughout their 18-year career), they are one of the most consistently impressive bands I’ve ever seen. This may have something to do with the fact that their 4-man lineup has been unchanged since 1994 — virtually unheard-of. They have also managed another nearly impossible thing in the music world — every single one of their 8 full-length solo studio albums to date has been (arguably) as good or better than their previous album. Inland is no exception. Jars has run the gamut musically, shifting over the years from acoustic folk to indie rock, bluegrass/country to electro-pop. The latter was evidenced on their brilliant 2009 album The Long Fall Back To Earth, but they took a turn back towards their acoustic/folk roots on Inland, bringing in successful indie producer Tucker Martine (The Decembrists, My Morning Jacket, Sufjan Stevens, Spoon). Dan Haseltine’s trademark vocals are as strong as ever, and the stellar caliber of the songwriting and musicianship is a testament to this band’s maturity and talent.
Standout Tracks: “Age of Immature Mistakes,” “Human Race,” “Loneliness & Alcohol,” “Fall Asleep,” “Inland”
7. Kveikur – Sigur Ros
I’ve been a fan of this Icelandic post-rock band since around 2006, but I was pretty much over Sigur Ros as of last year. I loved their earlier stuff, and even moderately enjoyed 2008’s poppy Með suð í eyrum við spilum endalaust. But then they released a dud of an album in early 2012, the extremely forgettable Valtari, (mostly) a boring mess of minimalist ambient mediocrity. Shame, I thought. But bands do run out of steam eventually. Then, in late 2012, Sigur Ros announced they were releasing a new album in 2013, which was apparently going to be, in the band’s own words, “the anti-Valtari.” This sounded promising, so I decided to check it out. Both the description and the promise proved spot-on: Kveikur (translated as “fuse” or “candlewick” in English), the band’s 7th studio album, is a stunning course correction. Sporting a much darker and far more aggressive sound, Kveikur explodes out of the gate with the metal-tinged and aptly-titled “Brennisteinn” (Eng. tr: “brimstone”) Throughout the album, frontman Jónsi Birgisson’s unmistakeable falsetto is thankfully re-emphasized, putting vocals front-and-center, and supported by noticably more driving, prominent drumming/percussion from Orri Páll Dýrason. The catchy single “Ísjaki” (Eng. tr: “iceberg”) is also a highlight, sporting eerie wolf-howl background vocals. The metal influence is again felt on the title track, a pulsating anthem of guitar & bass distortion that showcases some brilliant drumming from Dýrason. I also loved the sunny, upbeat “Rafstraumur,” (Eng. tr: “electric current”) a highlight and a refreshing change of pace on an otherwise very dark album.
Standout Tracks: “Brennisteinn,” “Hrafntinna,” “Ísjaki,” “Kveikur,” “Rafstraumur”
6. AM – Arctic Monkeys
Another band I was even more certain I was done following (I loved their first two albums, hated their last two), this English rock band has won me back over with 2013’s AM. The album opens with one of its best tracks, the slow-burning, after-midnight groove of “Do I Wanna Know?” The diverse sound of this album is quite a departure from any of their previous work, but that’s a very good thing. Disco, blues, funk, metal, R&B, and hip-hop influences can all be heard throughout the record. Frontman Alex Turner admitted that they listened to a lot of Dr. Dre while writing and recording, and two tracks in particular — “One For The Road,” and “Why’d You Only Call Me When You’re High?”, both highlights — are so hip-hop-influenced they almost sound like Arctic Monkey covers of long-lost Dre B-sides. The trademark guitars are still there, of course — see the ridiculously over-the-top (and awesome) guitar riffs on “R U Mine?” (Yes, a lot of these track titles are questions.) The first four tracks, in fact, are stellar, concluding with “Arabella,” a classic rock tribute. After drifting through a bit of mid-tempo filler during the middle of the album, AM gets back on track with “Fireside,” and continues to impress through the penultimate track, the disco-funk groove “Knee Socks” (which also features a devilishly clever Dr. Dre-inspired vocal riff in the bridge). Also +10 points for the cheekiest double entendre album cover of the year.
Standout Tracks: “Do I Wanna Know?,” “R U Mine?” “One For The Road,” “Why’d You Only Call Me When You’re High?,” “Knee Socks”
5. Trouble Will Find Me – The National
The title is pretty representative — this is a moody, somber and phenomenal effort from the Brooklyn-based indie rockers. The National has always been kind of a “sad songs” kind of band (they even once released an album with that exact phrase in the title), but on none of their albums is that more true than this one. “I stay down with my demons,” Matt Berninger croons. “Do not know what’s wrong with me, sours in the cup / When I walk into a room, I do not light it up.” You get the idea. But despite the depressing (and brilliant) lyrics, this record is actually a very enjoyable listen. My personal favorite is the (relatively) upbeat and extremely catchy second single, “Don’t Swallow The Cap,” which showcases Berninger’s trademark low-mumble vocals perfectly and also contains my favorite lyric: “When they ask what do I see / I say a bright white beautiful heaven hangin’ over me.” “Fireproof,” a powerful, bitter breakup song, is also a highlight. The rhythmic, repeated vocal hooks and deliberate drumming on “Sea of Love” (which contains the lines from which the album title are drawn) also stand out. The best slower track is undoubtedly the heartbreaking ballad “I Need My Girl,” featuring Justin Vernon of Bon Iver, a twinkling electric guitar, and oddly entrancing percussion, overlaid with Berninger’s yearning, emotional vocals.
Standout Tracks: “Don’t Swallow The Cap,” “Fireproof,” “Sea of Love,” “Graceless,” “I Need My Girl”
4. The Greatest Generation – The Wonder Years
While this band’s success still befuddles those who were certain that pop-punk was dead, The Wonder Years’ most recent effort is probably one of the most underrated albums of the year (though it did hit #20 on Billboard, so…I guess it’s not that underrated). While musically The Greatest Generation doesn’t break much new ground and is fairly consistent with the band’s previous two albums, the growth in songwriting and lyricism on this record is nothing short of breathtaking. With a title borrowed sarcastically from Tom Brokaw’s book of the same name about the generation that fought WWII, this album is a near-perfect summation of all the anxiety, worry, fear, and depression that virtually everyone experiences at some point during their mid-to-late 20s. The lyrics are searing, raw, and incredibly personal. “I’m twenty-six / All the people I’ve graduated with all have kids / All have wives / All have people who care if they come home at night…” Campbell sings on the album’s thematic centerpiece, “Passing Through A Screen Door.” It’s not just the brilliant lyrics though — the hooks, choruses, and melodies throughout the album are also extremely catchy. The epic closing track, which weaves in lines from the preceding tracks, concludes the album: “So bury me in the memories of my friends and family / I just need to know that they were proud of me.” The final lines:
There’s no triumph waiting / There’s no sunset to ride off in
We all want to be great men / And there’s nothing romantic about it
I just want to know that I did all I could with what I was given
Trust me, if you’re aged 22-30…this one will get to you.
Standout Tracks: “Passing Through A Screen Door,” “We Could Die Like This,” “Teenage Parents,” “A Raindance In Traffic,” “Cul-de-sac”
3. Pure Heroine – Lorde
I know, I know. It’s Top 40. She’s pretty weird. It’s the most over-hyped album of 2013. Or at least that’s what I thought until I listened to it and realized that all of the hype and global stardom is actually pretty well-deserved. In fact, this album is crazy addictive, and an absolutely brilliant debut pop album. Lorde, the stage name of 16-year-old New Zealand native Ella Yelich-O’Connor, has put the music world on notice. Musically, her style is sparse, minimalist, and heavily hip-hop influenced. Her lyrics (actually 100% written by Yelich-O’Connor) cleverly skewer today’s pop culture obsession with materialism and wealth, and teenage society’s shallowness and superficiality. Combined with her impressive vocal ability, they showcase a maturity that is way beyond her years. But she wouldn’t say so if you asked her. Regarding the anti-materalist message of her smash single “Royals,” for example, she told one interviewer that “all these people started telling me that what I’m saying is, like, profound. Are you serious? No, it’s not. That’s hugely concerning for me.” Lyrical strength aside, Pure Heroine features the most superb production of any album I’ve heard this year. The loops, beats, samples, and pads are always tastefully minimalist and always in the background, never getting in the way of Yelich-O’Connor’s vocals, which are always front-and-center. “I promise I can stay good,” Lorde sings on “Still Sane,” a song about her newfound fame. “Only bad people live to see their likeness set in stone / What does that make me?” Not sure, but I have a feeling she’s just getting started.
Standout Tracks: “400 Lux,” “Royals,” “Buzzcut Season,” “Team,” “Still Sane”
2. What You’re Running From – Audiostrobelight
It’s been an amazing experience watching this band grow and evolve over the past eight years from an up close and personal perspective (their violinist/mandolinist is one of my closest friends), and What You’re Running From should remove any doubts still remaining in anyone’s mind: these guys have arrived. This album, which was produced by Will Pugh of Cartel, is a stellar showcase of this band’s maturity, songwriting ability, and musicianship. WYRF is a maelstrom of crunching guitars, infectious hooks, some killer piano/synth (courtesy of new keyboardist/guitarist Edwin Camacho), and deeply personal lyrics that explore the anxiety and challenges of living in a small town and dealing with close friends and loved ones growing up and moving away and on to the next chapters of their lives. Unlike previous ASL albums, which have launched straight into all-out high-energy audio assaults, WYRF opens with a soft, piano-driven intro, “Last Summer,” which features the sounds of the band’s hometown — waves crashing on the shore in Virginia Beach, VA — in the background. The pace picks up with the phenomenal title track, which features crunching guitars, rhythm breaks, and a very introspective glimpse into the band’s struggles and challenges over the past few years. The highlight of the album is undoubtedly “California Gold Rush,” an insanely catchy single about trying to convince a close female friend not to pack up and move across the country. “California’s got werewolves and zombies,” Kris Lynch sings in the memorable chorus. “I’ll fill in the blanks with anything, anything to keep you here.” The high-energy “It’s About To Get Real” is the most quintessentially “Audiostrobelight-y” track on the record, with rapid-fire lyrics and gang vocals galore. The real gem on this record, however, is the mid-tempo “Divisions,” which features phenomenal riffs, a strong chorus, a key change, and some of the most brilliantly witty lyrics Audiostrobelight has ever written: “She doesn’t want the ‘boy’ in boyfriend / Just the ‘man’ in romance / I start to think that I’ll never grow up and I missed another chance”. The album closer, “We’ll Never Make It Out Alive,” features guest vocals from Will Pugh, an epic build and outro, and is without a doubt one of the most complex, ambitious tracks ASL has ever written. Put simply, this album is just straight-up fun to listen to on the first spin, yet deep enough to warrant many, many subsequent listens to fully appreciate — a fact that should come as no surprise to anyone who has been paying attention to what these guys have been doing.
Standout Tracks: “What You’re Running From,” “California Gold Rush,” “Divisions,” “We’ll Never Make It Out Alive”
1. Save Rock and Roll– Fall Out Boy
Haters gonna hate. But FOB took the music world by storm and pretty much made my year musically with their surprise comeback and album release announcement in early 2013, following a 4-year hiatus that most people figured was permanent. I personally really appreciated 2008’s Folie A Deux, but most fans hated it, and the band members have admitted that they felt miserable and burned out at the time. After announcing their hiatus in 2009, Pete Wentz, Patrick Stump, and co. reportedly fell into severe depression. But then Patrick and Pete started writing some songs. And then they decided to reunite the band and secretly record an album. And what a comeback it was. Saves Rock and Roll is a nearly complete reinvention –the pop-punk/emo/whatever-label-you-want sound from FOB’s previous records has been completely abandoned in favor of a genre-busting album that refuses to be put in a box. The only thing that really remains recognizable are Patrick Stump’s unmistakable vocals, which are more impressive than ever, and, of course, Pete Wentz’s lyrical style. FOB took big risks on Save Rock and Roll, and it paid off. The album is full of infectious hooks, insanely catchy choruses, brilliant production, boasts an impressive diversity of sounds/styles, and features a panoply of guest appearances from artists across the musical spectrum, including Foxes, Big Sean, Courtney Love, and even Elton John. “The Phoenix” is a near-perfect opener and one of the best songs of the year (and, of course, symbolically appropriate). “My Songs Know What You Did In The Dark” nabbed Fall Out Boy a huge Top 40 hit. “Alone Together” is one of the catchiest songs on the record. I could go on, but you get the idea. This album rocks. Even if you *think* you hate Fall Out Boy, you should give Save Rock and Roll a shot.
Standout Tracks: “The Phoenix”, “My Songs Know…”, “Alone Together”, “Just One Yesterday”, “Young Volcanoes”, “Rat A Tat”, “Save Rock and Roll”
Honorable Mention:
Golden Record – The Dangerous Summer
Modern Vampires of The City – Vampire Weekend
Devotion – Anberlin
(yes, it’s technically an expanded edition release of 2012’s #1 album, Vital, but the 4 new songs are stellar! Plus, I make the rules here, so I can bend them if I want.)
The Hunger Games: Catching Fire Soundtrack – Various Artists
(Yeah, I know…but seriously, it’s awesome.)
Collider – Cartel
Top 10 Songs of 2013
1. “The Phoenix” – Fall Out Boy
2. “California Gold Rush” – Audiostrobelight
3. “Lose Yourself To Dance” – Daft Punk feat. Pharrell Williams
5. “Do I Wanna Know?” – Arctic Monkeys
6. “Passing Through A Screen Door” – The Wonder Years
7. “Don’t Swallow The Cap” – The National
8. “Fall Asleep” – Jars of Clay
Alex's Top Albums 