Hello all, here's my breakdown of music in 2013. Obviously I haven't heard all of the music in 2013, so I can't really give a full analysis of music. I probably don't know .01% of all the new music released, but here are some of my favorites and some of my not-so-favorites.
HONORABLE MENTIONS:
"Changing of the Seasons": Two Door Cinema Club
Our Irish friends did not release an LP this year, but they are in the midst of producing their third album. In the meantime we've been given a few songs to tide us over, and "Changing of the Seasons" is a classic TDCC song to do that. Upbeat and empowering, I had this song on repeat through large chunks of charrette.
"Holding on for Life": Broken Bells
James Mercer and Brian Burton's side project Broken Bells steps into the scene after the release of Port of Morrow, getting fans ready for their much anticipated sophomore album. "Holding on for Life" returns with the familiar and comfortable Broken Bells feel, so we can anticipate a similar sounding album sometime in 2014.
"Love is Lost": David Bowie: James Murphy Remix
To be honest, I didn't completely listen to the David Bowie's much anticipated rerelease, but this song was recommended to me and it's quite good. Not much to say about, just give it a ten minute listen or watch a pretty weird video.
WHAT ALBUM?:
Artists with new stuff that I know nothing about:
Kurt Vile, The National, Justin Timberlake, Kanye West, One Direction, Miley Cyrus, Arctic Monkeys, Frightened Rabbit, Jay-Z, OneRepublic, Katy Perry, Lana del Ray, Ellie Goulding, Sara Barielles, Mackelmore, Beyonce . . . there are a lot more
Tape Deck Heart: Frank Turner
This album was alright. I didn't give it enough attention, but I can say it provides some very pleasant background music.
Not Enough Information/10
Days Are Gone: Haim
I only listened to this album a couple of times, but I found the music to be a bit stale and repetitive. Again, not bad, but not as good as everyone thought.
Not Enough Information/10
Nothing Was the Same: Drake
I'm not really a fan of rap, so I don't want to rate this album. I listened to it and didn't love it. Lots of people do, though, so give it a listen.
Not Enough Information/10
Doris: Earl Sweatshirt
Pretty much the same as Drake's album, although I did listen to Doris a few times. Nothing really stood out to me as outstanding, but people seem to think this is the best thing to happen to rap in a while, so again, if you like rap, listen to it.
Not Enough Information/10
Overgrown: James Blake
I haven't listened to this album in a while, but it's definitely solid. I recall it being a seductive mix between his normal electronica and a new folksy ballad sound. Retrograde stands out, but probably because of the hype around it.
Not Enough Information/10
PRETTY GOOD:
Bankrupt!: Phoenix
I know this is under the "pretty good" category, but quite frankly Phoenix disappointed with "Bankrupt!" The boys from Versailles threw together a stunningly boring and safe album, particularly given the success of "Wolfgang Amadeus." If this were a debut album, it may have been received a bit better, but I know that they can produce quality music.
Score: 4/10
Random Access Memories: Daft Punk
I don't get this album. First of all, it doesn't really sound like classic Daft Punk. I appreciate the great collaborations on this album, though, but they did not pan out like I expected. I'm pretty alone on this opinion, and it seems to be a relatively universally liked album. Listen to it. It's sacrilegious for me to dislike this album, but I thought it was just alright, especially given the massive amounts of musical talent this album complied.
Score: 5.5/10
Reflektor: Arcade Fire
Arcade Fire has produced some quality music over the years, but I think they're past their prime. Granted I didn't find Reflektor to be a bad album, I just don't understand the hype. Overall, I found the music to be less refined than their previous work. Instrumentally, the album was weaker on the strings, which is most likely due to lack of popularity in such sections.
Score: 6/10
In Rolling Waves: The Naked and Famous
Offering stripped down synth and an overall calmer feel, TNAF's sophomore album is exactly what most artists fall into. Their second album is not great, but it's not terrible; it's an average second album. What I liked about "Passive Me, Aggressive You" was a combination of the hype behind synth-post-punk-a-rock and the soothing interlude songs. "In Rolling Waves" is a standard and continuous step for the band that follows the precedent they set up. "Hearts Like Ours" and "Waltz" are high points for me.
Score: 6/10
Bitter Rivals: Sleigh Bells
Alexis Krauss and Derek Miller fell into a sophomore slump with the release of "Reign of Terror" and their third album Bitter Rivals pales in comparison to "Treats." The synth pop duo has lost their initial upfront heavy guitar riffs from Straight As and Rill and Rill. Bitter Rivals offers little in terms of musical variation; the synth rhythms are similar to their traditional style, which is not necessarily a bad things, it's just not as exciting as their debut.
Score: 6.25/10
Cerulean Salt: Waxahatchee
A Kate Nash sound with a bit more rock, this album is pretty good. I listened to it once and liked it, so I probably can't make a complete assessment.
Score: 6.5/10
Cerulean Salt: Waxahatchee
A Kate Nash sound with a bit more rock, this album is pretty good. I listened to it once and liked it, so I probably can't make a complete assessment.
Score: 6.5/10
Beta Love: Ra Ra Riot
With the departure of cellist Alexandra Lawn, Ra Ra Riot was left with a hole in the band, and I was left with a hole in my heart. From a baroque rock pop foundation, Ra Ra Riot has moved towards a new auto tuned synth pop. "What I Do For U" and "Is It Too Much" leave listeners wondering when Discovery took over the band. The album is not all bad, however. "When I Dream" and "Angel Please" offer glimpses of the old band, with a balance of synth, Wes Miles' falsetto, and string rock.
Score: 6.5/10
GOOD:
Obsidian: Baths
So I'm pretty sure the lead singer almost died of E. Coli, but all that aside Obsidian is a pretty good album. Personal lyrics and a slightly darker Baths emerges in this album and I'd say it's definitely worth a listen.
Score: 7/10
Hummingbird: Local Natives
Peaceful melodies and the upbeat soothing tones of Taylor Rice and Kelcey Ayer, along with the fun nature of the glockenspiel tie this album together. If you listen to it, grab a hold of the deluxe edition, as the final track "Ingrid" is a personal favorite.
Score: 7/10
Fade Away: Best Coast
L.A. duo Bethany Cosentino and Bobb Bruno released another solid album. I find Best Coast is best in a certain upbeat mood. Short songs and bursts of sound frame their music and the lyrics are generally quick tidbit stories of romance that fit well with the music.
Score: 7/10
Wondrous Bughouse: Youth Lagoon
It's been awhile since I listened to this album, but I recall it being a gentle mix of vocals and soft instrumentals. Youth Lagoon in general is pretty solid and this album is pretty solid, but this review of the album is not.
Score: 7.25/10
GREAT:
Major Arcana: Speedy Ortiz
Northhampton native's sophomore release does not disappoint. With muted tones and noise pop, Sadie Dupuis leads the charge away from sports and further towards a louder, more in your face tone. If you're one for lyrics, have a read and a listen to "Major Arcana," since their lyrics are truly worth reading.
Score: 8/10
Give Up Deluxe 10th Anniversary: The Postal Service
This is a re-release, so I won't really review it. Ben Gibbard, Jenny Lewis, and Jimmy Tamborello gave the people what they wanted with a reunion. They were great live. The album was great 10 years ago and it's great now. Electro indie pop meets Death Cab for Cutie.
San Fermin: San Fermin
A potential breakout band of the year, San Fermin's first self-titled album offers easy listening tunes reminiscent of Beirut, interspersing traditional rock with strings and brass. For me, the vocals are what truly makes this a compelling album and I look forward to listening to them more in the future. San Fermin male and female vocals, which I am particularly partial to, making it even better. I think it would be higher if I had more time to listen to it. "Oh, Darling" is a beautiful song.
8/10
It's tough to follow up The Head and the Heart's incredible debut album. "Let's Be Still" is a pretty good follow up, particularly because they stay true to their nature. Charity Rose Thielen and Jonathan Russell combine for some of the prettiest vocal harmonies, paired beautifully with strings and piano. One of my favorite indie-folk bands for sure.
Score: 8/10
Endless Fantasy: Anamanaguchi
Chiptune rock. New York video games meets electronica. Anamanaguchi is a great 8 bit style music group and "Endless Fantasy" is a great album full of upbeat tunes to keep you pumped. Japan Air is a personal favorite tracks, which I played on repeat for quite some time.
Score: 8.25/10
White Lighter: Typhoon
Typhoon is like a good Mumford and Sons. Instead of a bland formulaic folk rock, Typhoon combines well written vocals with guitar and violin instrumentals to create a calming style of music. Young Fathers is an incredible song that transitions between modes of music flawlessly, tying together the whole ensemble with a wonderful harmonic conclusion. Post Script has arguably one of the best exitludes to an album with gentle leading vocals and a gorgeous violin solo to complete the album.
Score: 8.5/10
TOP 3 ALBUMS OF 2013:
Number 3:
Dreaming EP: Smallpools
Technically it's an EP, I know, but still. Smallpools shows the world that New Jersey and New York can be friends and make beautiful things. "Dreaming" kicks off the EP with an upbeat power guitar single that opens with a lyrical breakup and ends with a carpe diem attitude. "Mason Jar" is the most musically interesting, with vocal layering and repetition, something I'm a big fan of, when done well. It secures their musical style and consistent sounds. Their third song "Over and Over" mixes it up musically towards the end with their hook. They finish strong with "No Story Time".
Though a bit repetitious lyrically, it's definitely a fun
and upbeat song, and it's certainly catchy. I do not doubt that they will have commercial success if more people start listening to them, since they have the pop formula down with better music, in my opinion. It seems they've already started getting their music out there in commercials and movies, which is a good start. I look forward to an LP in the future.Score: 8.75/10
Number 2:
Modern Vampires of the City: Vampire Weekend
Anyway, Modern Vampires of the City is a daring redirection of classic Vampire Weekend. Those familiar tropical sounding guitar riffs, afro-beats, and undulating vocal patterns of Koenig are masked by a new piano and string heavy lineup, and the lyrics deviate from the imaginative and idiosyncratic college English classes of Columbia.
The album opens with a slow and beautiful piano interlude of "Obvious Bicycle" before amping it up with my personal favorite track, "Unbelievers." By track two we are introduced to the underlying theme of the album: religion. Surprised that VW have left the familiar territory of love? So am I, but the change is refreshing and far more poignant, and love is certainly not ignored. "We know the fire awaits unbelievers, all of the sinners the same. Girl you and I will die unbelievers, bound to the tracks of the train" Koenig chants in the songs pre-chorus, setting up the rest of the album. The muted tones match the first track and transition well into "Step," a wonderful critique of modern music. With a gentle harpsichord background, Koenig subtly hints at self-imporvement: "Wisdom's a gif, but you'd trade it for you; age is an honor it's still not the truth." The song will have you searching for the jam packed historical references and allusions most are sure to miss.
"Diane Young" is the outlier, with a clear harkening back to their past while still maintaining lyrical subtly. The albums core of "Don't Lie," "Hannah Hunt," and "Everlasting Arms" are grounded with soft strings and piano, dealing with love, death, and religious skepticism. "Hannah Hunt" contains the critical moment of the album with a powerful shift as Koenig declares, "If I can't trust you then damn it Hannah, there's not future, there's no answer." This moment is the culmination of an underlying theme of time, where progression stops, or maybe more accurately, crystalizes into a defining conscious moment.
Yet where Modern Vampires of the City truly shines is when it taps into the core of what makes Vampire Weekend great: the combination of lyrical depth and the musical mastery of Rostdam Batmanglij. In "Finger Back" we hear the traditional hype music of Vampire Weekend, sounds that mask the lyrics about the terrors of the world, followed later by the melancholic "Hudson," an apocalyptic and gritty outlook on a dying New York city where Johanna will find the Hudson river filled with death and decay rather than snow. Futura is not the only thing to be blown up. "Worship You" and "Ya Hey" bring the album full circle with the cynical religious outlook, criticizing the current paradigm of religious thought. From clever word play referencing ancient Jewish scripts to the not-so-subtle homage to the 90s' Outkast, Ya Hey encompasses the major themes of the album: love, death, religion, and time.
Concluding with "Young Lion," Modern Vampires of the City ends with a chorale of hymnal voices and a lone piano solo. The religious undertones are brought back in full force with a confusing reference to religious music, and a bleak but wonderful album conclusion. This album solidifies Koenig as a fantastic lyricist where he showcases the English and historical wit he refined at Columbia while maintaining an emotionally charged and introspective series of songs. Though it took me some time to warm up to the new sound, Modern Vampires of the City could possibly be Vampire Weekend's best album, as its combination of all the best qualities of the band coalesce into a fantastically formed album that I have enjoyed hundreds of times.
Give it a chance, appreciate the lyrics, fall in love with the musical precision, or stick to your guns about your old opinion. Or not.
Score: 9.5/10
Number 1:
The Bones of What You Believe: CHVRCHES
The album greets you with one of the strongest openers, "The Mother We Share", a brief look at what's to come in the rest of the album. With vocal layering and and an exciting structure, "The Mother We Share" is considered to be one of the best tracks, and I do not disagree. Mayberry's extreme control of her voice adds depth to the album, and tracks like "We Sink," "Gun," and "Lies" demonstrate her range and ability to for strong, changing, and emotive vocals. Her voice, along with non-traditional musical hooks, provides the attention-grabbing foundation leading up the "Recover," another personal favorite, followed quickly by the deceptively slow "Night Sky." I almost have nothing bad to say about this album, I admit the songs at the end seem to trail off a bit, but they are by no means weak songs. The deluxe album provides more songs, and for those curious it contains "Strong Hand," containing lyrics of the album title.
Lyrically, the songs are are reminiscent
of an emotionally fragile person or an angst ridden cynic (see Gun). Normally, I would find this style to be off putting and cliche, but the emotional vulnerability in the vocals in tandem with misleading synth removes all these hesitations. The basis of the album narrative is how strong she is, bordering emotional manipulation. Mayberry proves this by telling listeners:
"I can sell you lies
You can't get enough
Make a true believer of
Anyone, anyone anyone"
Yes, Lauren, yes you can.
Score: 9.75/10
Almost perfect, best of 2013
No comments:
Post a Comment