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I think we're the only two people who still look at this blog. But after I saw your top 10 list for '94, I had to say "nah son, that's whack." So here's my list, the right list.
First up: Honorable Mention:
Elliot Smith- Roman Candle: so it begins Mr. Smith, so it begins.
Portishead - Dummy: their best album, also their first, bummer.
Angelfish - Angelfish: As a 13 year old, I really wanted to. . .err. . . have some time, with Shirley Manson. Pre garbage, very Scottish, this album is actually really good.
OK NOW #10:
How do you do pictures again? ah screw it.
Dave Mathews Band: Under the table and blah blah blah.
I do not like the DMB, but this album was something. It changed shit, and its their best one, also their first, bummer.
#9:
The Cranberries: No Need to Argue
Zombie, I mean c'mon. so dope. Other songs are good too.
#8:
Bush: Sixteen Stone
This is how we grew up DYLAN! Gavin Rossdale raised us! their best album, also their first, bummer. hmm I'm seeing a pattern here.
#7
Live: Throwing Copper
Best Live Album. All over dat radio. I saw them at Northern Lights, like sort of recently. haha.
#6
Weezer: the blue album
What you said. Wait, this isn't on your list. WTF?
#5
Tom Petty: Wildflowers
What you said. As dope as it is, it's not challenging, can't advance past #5
#4
Blur: Parklife
Graham Coxon: #3 on my guitar influence list. He crushes it. And Albarn is Albarn. This introduced me to "britpop" and that changed everything for me, and probably why we never made it to the big times, or any times.
#3
REM: MONSTER
You ignant. This album is dope. Sooooo Dope. #4 on my guitar influence list, Peter Buck. I'm still trying to figure out the delay/distortion pedals he uses on every song on this album. Listen to it again, I'll give it to you. So many singles, definitely not just a collection of songs. Growing up my room was small, poster space was limited and dedicated to: Star Wars (3 posters) X-Files, map of the world, and an REM monster poster.
#2
Nirvana: Unplugged
What you said. I put it at #2 because this changed everything. Hands down the best Unplugged that's ever happened. I think Cobain knew what he was going to do. . .to. . .himself, a few months later. I think when you think of that and listen its hard not to tear up a bit. I was 10, and did not like Nirvana, I didn't get it, too loud, bad singing. but I knew this was important when my older siblings dedicated a VHS tape to record the performance. A VHS tape that shall never be used again. And then I got it. I had to hear it unplugged first to open the flood gates into grunge.
#1
Jeff Buckley: Grace
This is all of your favorite bands favorite record. Well, maybe not all of them, you do listen to some weird shit. But all the good bands anyway. Guitar influence #5.
beastie boys - ill communication - describing it abstractly might make it come across like a schizophrenic mixtape: some moments are wholly hardcore punk, funk jams, or hip hop. but the mixed media don’t make for the meandering mess you might imagine. not only do all of those...
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As my colleague, Dylan DePice Is Right, mentioned in his previous post, there was a lot of adaptation to the current affair of the record industry this year. Spontaneous releases. Free releases. Over-hyped and under performed releases. But since Dylan already touched on that, I'll take a little more of a personal approach to the year.
The end of twenty-twelve and all of twenty-thirteen was a strange span of time for me. In addition to losing one of my closest family members to cancer, a series of traumatic events from Hurricane Sandy to Newtown, among others, really had a profound effect on me. And I'm sure I'm not alone in that.
On the flip side, I fell in love for the first time. Yes, at 27. And on top of that, new relationships lead to new projects which, in turn, lead to a lot of self-fulfillment and happiness. But for the longest time I couldn't shake the feeling that I didn't deserve it. Some tossed it off as unnecessary insecurity. I called it survivors guilt. Either way, it brought out a slew of emotions that I didn't have a lot of experience with. Among the most prevalent being empathy. And with that empathy came an ever deepening sense of my aforementioned guilt. So on and so forth. It was that spiral, I am convinced, that eventually lead to the end of the most significant relationship of my life.
Needless to say, that wasn't an easy few months. The way I looked at it, at the time, was that I had fallen in love, given my life to someone, and all I had to show for it was 20 extra pounds and a drinking problem. (Give me a break, I was depressed). What followed was months of self-reflection as well as self-improvement. I won't go into details because this story is long as it is, but let's just say that it eventually culminated in the biggest turning point of my life to this point.
Just a couple weeks ago, my band played what might possibly be our last show. 3 days later I landed an my first full-time job. This may seem like old-hat to some, but for a kid who has been rolling like a tumbleweed through life-paths for the past 10 years, it's relatively significant.
What this boring story is attempting to do is set up the lists that follow. Throughout my roller-coaster year, I used music less as cerebral stimulation and more as a form of catharsis. That's not to say that I completely disregarded good form and unadulterated talent. But, instead, the construction of each song or album was viewed more as a vehicle for the overarching emotional directive they were putting forth. So, in other words, what you are about to read may just be a bit more personal of a list, as opposed to what the "best" of the year might be.
But, really, isn't that what music is supposed to be? Personal?
So here we go!
Matt's 2013 Year in Review!
SONG OF THE YEAR:
"We Sink" - CHVRCHES
"Mirrors" - Justin Timberlake
"Change" - Mikal Cronin
"Don't Swallow the Cap" - The National
"Diane Young" - Vampire Weekend
[WINNER]
"The Wire" - Haim
Forgiving the silly video, this sophisticatedly simple, Rock & Roll tribute to cold feet compliments arena mentality with deeply personal confessions, making this a song that you will want to scream at the top of your lungs again and again and again. And with each sister stepping in and out of the forefront, it's also a choose your own adventure.
Honorable Mentions:
"Dance Apocalyptic" - Janelle Monáe
"Young Legends" - Sleigh Bells
"25 Bucks" (ft. Purity Ring) - Danny Brown
"She Will" - Savages
"Team" - Lorde
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BEST THING EVER (of the year):
This Digital Short about YOLOing
Kendrick Lamar's Verse on This Big Sean Track
This Parody of the Video for "Bound 2"
This Doo Wop Version of "We Can't Stop"
?uest Love at the End of This Sketch About Hashtags
[WINNER]
Oscar Isaac in Inside Llewin Davis
Let me be clear right from the beginning, Inside Llewin Davis is a movie that I'm sort of predestined to love, so maybe I'm a bit biased. But what I wasn't expecting was a beyond breakout performance by a guy who up until now was best known for Sucker Punch. Isaac isn't just amazing as the jaded folk singer slowly descending into madness, he also breathes fresh new life into countless classic folk tunes, as well as some new ones. I can count on one hand the times I felt chills down my spine in a movie theater, and Isaac performing "Fare Thee Well" is one of them.
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SUPERLATIVES:
Biggest Disappointment: Jay-Z - Magna Carta Holy Grail
Guilty Pleasure That I'm Not Actually Guilty About: "Wrecking Ball" - Miley Cyrus
Best Show: Run The Jewels - Music Hall of Williamsburg
Somehow I'm Not Sick Of: Lorde
I really thought that hearing "Royals" 32,834,732 times (I counted) would elevate this beautiful New Zealander to the same status as her overseas neighbor, resident "Oh god, this song again"er, Gotye. But she rose above onederdom with a strong second single ("Team") which happens to be my favorite song on the album and one of my favorites of the year as well.
Kill Me Now: "Blurred Lines" - That Dude Who Humped Miley Cyrus ft. That Guy From That Daft Punk Song
---
ALBUMS OF THE YEAR
Honorable Mentions:
Kanye West - Yeezus
Almost had me, Kanye.
Samantha Crain - Kid Face
Heartbreakingly beautiful solo folk. Feel ALL of the feelings.
Savages - Silence Yourself
Angsty Female post-punk. Get your ya-yas out.
Run The Jewels - Run The Jewels
El-P and Killer Mike fuck shit up. Just got this album. Talk to me in a few months. It'll probably be higher.
Arctic Monkeys - AM
Best since their debut. A band that continues to age alongside me.
TOP TEN:
10. Sleigh Bells - Bitter Rivals
"Young legends die all the time, but I don't mind, don't close your eyes"
This is an album that all at once is about battling with your enemy but also battling yourself. Alexis Kraus is one of my favorite vocalists because she can go from a sexy whisper to a melodic intone to all out shouting at the snap of a finger. Her pop vocal style is the oil to Derek Miller's metal guitar vinegar. Plus they give one hell of a live show.
9. Justin Timberlake - 20/20 Experience (Part 1)
"Cause with your hand in my hand and a pocket full of soul I can tell you there's no place we couldn't go"
When I first heard this album I was on cloud 9 in relationshipland. And that's exactly what this album feels like. It's a confessional about being in love and being unabashedly happy about it. But beyond that, JT just knows how to write a fuckin' love song. Let's just forget that part 2 ever happened.
8. Danny Brown - Old
"In a system with that vision only thing I add up
Fucked up cause a nigga tryna get a couple bucks"
My lone Hip-Hop album in the top 10. Probably since I was still listening to good kid, m.A.A.d. City all year and comparing a lot of current Hip-Hop to that is like comparing a "pizza" in Chicago to a slice of Famous Original Rays. But what makes Old stand out is Brown's versatility, unique voice, and ability to talk about his upbringing in an informed and personal way instead of simply romanticizing it. Oh, and he loves cats.
7. Vampire Weekend - Modern Vampires of the City
"If Diane Young won't change your mind
baby baby baby baby right on time"
Having always had respect for but not been a fan of Vampire Weekend, this album made me a fan. With brilliantly constructed pop-rock songs about spirituality, relationships and "dying young" (Diane Young), I read Modern Vampires as the juxtaposition of growing a more active conscious while simultaneously growing a less active self and the ensuing internal conflict. Not to mention the production on this album is fantastic.
6. Queens of the Stone Age - ...Like Clockwork
"Does anyone ever get this right?"
This album is awesome in that it's a head banging thrash through the psyche of an aging, lonely and confused man. But it also accomplishes something that I wasn't aware QOTSA could muster, producing a myriad of well thought out, soulful rock songs that don't need to go a mile a minute to convey their intent. Homme really bears his heart on this one and you can feel the authenticity.
5. Janelle Monáe - Electric Lady
"Asking why the pain is always equal
but the joy just never spreads around"
Wow. Just wow. This one came out of nowhere for me. I mean, I was always a white boy that could get down with some R&B. But... wow. Every song on Electric Lady is a gut punching masterpiece of original soul-power. And Monáe nails every note. From the tenacious confidence that serve up "Give Em What They Love" and "Q.U.E.E.N." to the vulnerable sensitivity rampant through "Primetime" and "We Were Rock & Roll" to the socially conscious "get up and get down" of the album's shining star, "Dance Apocalyptic", every song has a specific purpose and Monáe sees each one through to it's dynamic eruption. And on top of that, Electric Lady is peppered with [actually] funny satirical radio-interludes as well as cameos from Prince, Erykah Badu, Solange AND Miguel. Do yourself a favor and put this album on next time you want to feel empowered.
4. Mikal Cronin - MCII
"I’ve been starting over for a long time
I’m not ready for another day I fail at feeling new"
That's the first line of MCII, and it basically encapsulates the entire album. In his sophomore endeavor, Cronin pens an opus for anyone who has no fucking clue who they are or what they are doing. On "Shout It Out", Cronin anxiously sings of his crippling apprehensiveness through the form of a song that feels like a man about to explode. "Am I Wrong?" brings to the forefront a guy who jumps head first into a relationship, only to look back for the girl and realize she's not there to catch him, and he's left to question his conviction. And On "Change" he begs both his lover and himself to give in. But after singing "Just a little bit goes a long way," a stressfully held back instrumental, seemingly representing Cronin at odds with himself, eventually explodes into a cacophony that can only be described as the end of a relationship. These examples speak very clearly to the year that I had but, overall, MCII is a very personal Fuzz Folk Rock album. Kudos Mikal Cronin, you have a new fan.
3. Haim - Days Are Gone
"But I just couldn't take it
I tried hard not to fake it
But I fumbled it when I came down to the wire"
Here is the thing about this album. I'm not even really sure why I love it so much. I can't exactly put it into words. Maybe it's because the first time That I heard the melancholy catchiness of "Falling" and "Forever" I was in the middle of recovering from getting my heart thrown in the trash (see graphic above). Maybe it's the half 70's, half 80's half 90's, half 00's, and half 10's production that make for 250% indescribable sonic awesomeness. Maybe it's the first ringing guitar hit on "The Wire" that still gives me chills and gets me ready for a rumble with my self-doubt. Or maybe it's that at the end of Days Are Gone, an album that goes from regretful to reflective to "I'm not afraid no more!" and back again, the Haim sisters boldly claim "I'll Come Running If You Call My Name", an almost painfully self-aware sentiment that rings true for anyone who thought they may have ever been over something. All I can really say is that every single song on this album plucks a different heart string and then subsequently taps my feet as I close my eyes and mouth "Forgive my lying eyes!" towards whatever invisible presence might actually think I'm being sincere.
2. CHVRCHES - The Bones of What You Believe
"I can hear you in the overtones
Just an echo of the promise we made
Change the future, we can travel time
Or make us blind so we can never look back"
If you asked 23 year old me if he would ever like a Scottish Synth-Pop band who can't spell their name right, he would have laughed in your face. But this album transcends everything silly about that last sentence. The sheer poetry of every lyric on this album is only enhanced by the electronic beats and synthesized instrumentation. The ebbs and flows of each movement backed with varying sonic tones make each song feel like a new dream. Or nightmare. And each fantasy comes complete with grandiose ideals. Epic love songs like "The Mother We Share", "Under the Tide" and "Night Sky" relay how perfect an imperfect relationship can be when you play it out in your head. On the flip side, "Gun" and "By the Throat" use the opposite sentiment, grossly romanticizing violence with the image of a spurned lover. But CHVRCHES' bombastic imagination resonates best on "Tether", "Recover" and, my personal favorite, "We Sink", where reflection of past mistakes and ghosts of past lovers promise to haunt well beyond their occurrence. These fantastical concepts, paired with the colossal movements of synthesized melodies that accompany them, give The Bones Of What Your Believe the convincing feeling of a jaunt through the cerebral inventions of a certified romantic.
1. The National - Trouble Will Find Me
"I have only two emotions,
careful fear and dead devotion
I can't get the balance right"
Hi. My name is Matt Hamilton. I'm White. I live in New York City. And I love The National. Okay, now that that's out of the way. This might be my favorite of their albums to date. I know I keep harping on the timing of all of these records, and this one is no different. But more than that, From the minimal production to the deeply poetic confessions, this really is an acutely dramatic record. "I Should Live In Salt" and "Demons", an austere opening 1-2 punch about a horrible decision and it's subsequent mental and emotional consequences, tenderize you and at the same time settle you in for what might be one of the most achingly cognizant albums I've heard since I was knee deep in Bright Eyes (oh college). Track 3, "Don't Swallow The Cap" is a drunken rant disguised as a plea for help (or is it the other way around?) that references "Let It Be" and "Nevermind", the former, a false assertion of everything being fine and the latter a blatant affirmation of the exact opposite.
And the rest of the songs are no less compelling. Throughout this album The National tackles an innumerable amount of somber topics including, but not limited to, toxic love ("Fireproof", "I Need My Girl"), drug addiction ("This Is The Last Time", "Graceless") losing friends ("Sea Of Love") and humliation ("Humiliation"), but before you toss Trouble Will Find Me off as too depressing, instead of looking at this album as "emotion porn" I urge you to get out of it what I have, a deep sense of validation. The confirmation that it's okay to feel worthless sometimes, and that sometimes you just need some time to get through it. And I could break down every single song on this album, but for the sake of time I will leave it with a lyric from the defiantly apologetic track "Slipped" that I feel sums up not only Trouble Will Find Me but also my entire year in general:
"I don't need any help to be breakable, believe me. I know nobody else who can laugh along to any kind of joke."
2013 was weird. thanks to a new generation of adults used to downloading music and a new generation of kids used to streaming it, artists released albums and stayed relevant in weird ways.
A sampling of strategic spontaneity:
Kanye West announces an album by projecting videos onto buildings and dropping a pretty un-PC lead single (that ends up in a smartphone ad by the end of the year)
Jay-Z partners with a smartphone company to announce his album via an epic and deceptive* commercial, makes fans accept shady digital paperwork, and then releases the whole thing a few days later to everyone else anyway
Beyonce drops hers with absolutely no notice or specific lead single
Drake releases several lead singles over the course of the whole year
Justin Timberlake sort of goes the Beyonce route for one record and sort of goes the Drake route for a second one
Daft Punk hints at an album with a ridiculously short/vague commercial on SNL
Arcade Fire introduces us to their new material with a ridiculously long/ridiculous special after SNL
Run the Jewels releases their just-for-fun album for free online and it turns out to be one of the best duo rap records ever
Kendrick Lamar releases nothing of his own but stays in every conversation with a few clutch guest verses
weird year. blah blah blah, miley sirus, robin thicke, obamacare, etc…
*Rick Rubin in commercial but not on record
TOP 15 SONGS OF 2013:
The intro to "Holy Grail" - Jay-Z ft. Justin Timberlake
"Instant Crush" - Daft Punk ft. Julian Casablancas
"Royals" - Lorde
"The Count" - San Fermin
"Fine China" - Chris Brown
"Sea Legs" into "Job Well Done" - Run the Jewels
"God Is the Sun" - Queens of the Stone Age
"Recover" - Chvrches
"Home on the Range" - Cass McCombs
"On Site" - Kanye West
"Power Trip" - J. Cole ft. Miguel
"Get Lucky" - Daft Punk ft. Pharrell
"Hold On, We're Going Home" - Drake
"Chum" - Earl Sweatshirt
"Dip" - Danny Brown
TOP 15 ALBUMS OF 2013
...Like Clockwork - Queens of the Stone Age
You'd think that if Josh Homme put all his musical personalities in the same place you'd get a disjointed and unfocussed effort but its exactly the opposite.
Run the Jewels - Run the Jewels
Two semi-underground vets go into the studio, smoke a lot of weed, tweet constantly, and combine several styles of awesome into a cohesive and well-rounded rap record.
Old - Danny Brown
The production mashes danceability, pop sensibility, and tongue-in-cheekiness as skillfully as anyone since OutKast; his flow ranges from raucous cracked-out ODB to pensive chess-scientist GZA and every wu-tanger in between; overall, the record proves that rap can be simultaneously personal, stereotypically simple-minded, and real good music.
On Oni Pond - Man Man
Somehow a dude who's wild enough to not think twice about wielding a 10-year-old fan in the air—and using the kid’s body to play the keyboard—is coy enough to came up with a few of the catchiest hooks of the year.
Marshall Mathers LP 2 - Eminem
i was pretty sure i was never going to like anything eminem ever did again after i heard recovery. but this album’s actually awesome—minus a few recovery-esque moments—now that he’s back to just reminding us he’s the best emcee ever.
Lanterns - Son Lux
Colorful. Imagine if an awesome cinematically-minded avant-electro-indie producer took all his tricks for catchy hooks and riffs, epic arrangements and unorthodox song-structures, dynamic tones and instrumentation, and…well anyway…that’s this record.
Thr!!!er - !!!
The band mostly known for being first on your iTunes music library in high school dropped a dance record that actually stands out for the songwriting.
Wondrous Bughouse - Youth Lagoon
As far as quasi-ambient-post-electro-experimental-psych-indie-folk goes, this is some pretty captivating shit.
Sunbather - Deafheaven
The first awesome hardcore record in years to come from a band with no nostalgia points.
Bitter Rivals - Sleigh Bells
Even though we're cluttered with guy+girl duos and novelty genre mash-ups, this particular manifestation keeps maturing just enough to stay ahead of the curve.
Untogether - Blue Hawaii
Thom Bjork
Modern Vampires of the City - Vampire Weekend
It's almost the opposite of endearing. I don't want to but I love it. I wouldn't quite call it addicting. But addicts never do.
TIE: Reflektor - Arcade Fire and Magna Carta...Holy Grail - Jay-Z
see below
It’s telling that both these big records--from industry giants who retain enormous street-cred--have similar album covers (invoking epicness, erosion, namelessness, and a permanent failure to see eye-to-eye). Both are out-of-touch echo-chamber-of-approval albums that at first seem lyrically superficial and uninspired but remain initially relistenable because of the impressive production and suddenly click-in as clever comments on celebrity and spectacle, despite embodying a culture of exploitation (from invasive smart-phone app downloads to astroturf social-media campaigns and pseudo-secret shows). It’s easy to write both off as disappointing self-indulgent half-assed attempts at artistry but as soon as you realize that—like most things in 2013—they’re both just designed to make you want to dress up and dance, they’re pretty awesome.
LINE OF THE YEAR: “And even a satellite sees at one angle” -El-P
I would say it’s hard to believe that 1993 was 20 years ago but buzzfeed wouldn't shut up about it.
But it is hard to remember music being made for the radio. Like, good music. (Now music's mostly made for clubs, commercials, or youtube--not commutes.) Around that time I remember thinking I was cool for saying "cool." Anyway, after a lingering hair-metal hangover, most mainstream music was trying to be cool, clean, and crisp. But the punkier path--purposefully unpolished and gritty--worked even better.
1993 can basically be broken up into two factions: clean and dirty. or crisp and grimy. or pure and raw. tight and gnarly. polished and guttural. For the most part, the best singles were from the crisp/clean camp and the best albums were from the gnarly/grimy group.
And the paths daftly clashed in “Creep." Even though Radiohead has spent most of the rest of their careers running away from the song, they've stayed remarkably true to the synthesis of the pretty and the anti-social that they first enunciated when that distortion kicked in. Kids could relate to the near-sighted narcissistic insecurity that came with a booming economy (and apparently also doesn't totally go away with a recessed one.)
Everyone had that ‘90s superficiality/apathy in common. And only the artists who have tried to transcend that complacency by constant reinvention—musically and conceptually—have managed to stick around since (like Radiohead, Pearl Jam, and Beck.) It wasn’t exactly a carefree attitude but the shit that most artists could complain about for the most part were, well, 90s problems.
TOP 10 ALBUMS OF 1993:
Nirvana - In Utero
Counting Crows – August and Everything After
The Breeders – Last Splash
Cypress Hill – Black Sunday
A Tribe Called Quest - Midnight Marauders
Medeski Martin & Wood - Its a Jungle in Here
The Cranberries – Everybody Else is Doing It, So Why Can’t We?
Pearl Jam – Vs.
Snoop Dogg - Doggystyle
VERY CLOSE:
Tool - Undertow
KRS-ONE - Return of the Boom Bap
Digable Planets - Reachin' (A New Refutation of Time and Space)
But, since most mainstream music was made for radio, this list might be the more important part of the post...
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