Music Times, like so many other music publications, was looking to publish a "Best of 2013" playlist. We met to discuss what such a playlist should include, and that's where we ran into trouble. We couldn't agree. Sometimes two of us just couldn't agree on whether the performer was amazing or terrible, and even when we agreed they were amazing, we couldn't agree on what track was most representative of their work.
Hence it was decided that rather than try to agree (a seemingly impossible endeavor), everyone would get their own "favorites of 2013" playlist. We won't argue that these are neccesarily the best tracks of the last year, but they're definitely songs that caught our respective attention and caused us to hit 'repeat" over and over and over again. Check out the rest of the staff's opinions below:
Danica Bellini, Mstars News Writer
Ryan Book, Music Times Writer
Caitlin Carter, Music Times Writer
Mereb Gebremariam, Mstars News Writer
Carolyn Menyes, Mstars News/Music Times Writer
Jon Niles, Mstars News Writer
Nicole Oran, Mstars News/Music Times Writer
15. "Holy Roller" by Thao & The Get Down Stay Down
Leave it to Thao Nguyen to hit you with some gritty truth in the opening lines, guised in playful folk. “I am a woman of leisure. I’ve been looking for the end of want. I don’t want it but I need it. Well c’mon baby won’t you give me some?” The folk itself isn’t as straightforward. Guitar plucking at the intro has an almost Asian flare. Thao’s folk unravels into an explosive, pop-driven chorus that leaves you satisfied with its eclectic mix.
14. "Fare Thee Well (Dink's Song)" by Marcus Mumford & Oscar Issac
Originally "The True Lover's Farewell,” the English tune dates back to 1710 and it has a solid backbone -- it’s been done scores of times since. Nic Jones made it popular with “Ten Thousand Miles” and folk queen Joan Baez has covered it. The track’s effortless harmonies come from actor Oscar Isaac and Mumford & Sons’ lead Marcus Mumford. If everyone can’t agree on liking the story of Inside Llewyn Davis, you’ll probably hear “but the music was so well done.” For every Best Picture award the film gets, you can give major credit to the soundtrack.
13. "Back to The Middle" by Deerhunter
This track offers something a bit lighter than the noise rock you may be used to, while keeping the signature distorted vocals and underlying grunge. Thanks to the levity of peppy keys and major key tonality, this is one of Deerhunter’s most sing-along songs. We can’t completely explain what makes it so good. Maybe the chord progression’s resemblance to The Who’s “I Can’t Explain” helps, as one fan suggested.
12. "Boy" by Ski Lodge
Contrast is at the center of “Ski Lodge.” The name itself evokes warmth when it's brutally cold out, according to Andrew Marr. Maintaining the clashing theme, the surfer-pop backbeat of “Boy” keeps the song afloat from being drowned in Morrissey-like melancholy. Marr admits his lyrics can be dreary, “but it doesn’t means I can't sing about them in a way that is musically upbeat or poppy," he says. Each strum of the guitar sets up a punchy refrain as the drum kicks back. Then it returns to its upbeat, Best Coast sound, but still entirely its own.
11. "Sunshine Fires" by Teddy Geiger
Since Geiger smashed onto the scene back when TRL was a thing, he’s produced an album that gives moments to absorb songs that unfold more slowly. The beginning of the song is barebones with some old-school keys. The falsetto is inescapably raw to the touch -- you feel every movement of the lyrics. Thing gradually pick up with light guitar, strings and drums. At a turning point he belts out: “Slowly morning feels like midnight, I’m paralyzed…it’s dark in my head, could you send sunlight my way?
10. "In A Sense" by Young Man
Before you write this off as jammy, ambient stuff akin to the young hipster nephew of Sigur Ros and Phish, take a closer listen (and look). The music video helps piece together an underlying story. As the single off the last of Young Man’s three concept albums, you see how relationships evolve, from the personal to the romantic. Spacey, detached vocals are reeled in with looping drums. This leads to a chorus that takes command, as if self-actualization just bubbled up in that moment.
09. "All Night" by Is Tropical
Two years after Is Tropical’s debut album Native To, the English trio impresses with singles “Dancing Anymore” and “Lover’s Cave.” But “All Night” stands out with its driving floor toms that make an almost tribal beat. Meanwhile, the background synth that creeps in gives an 8-bit Nintendo feel. The result is being transported to a place you don’t even know. It’s always a special thing when a song can disorient you in that way.
08. "Clear The Air" by Jacco Gardner
Hop in the time machine that is this song, back to the days of Donovan and the Zombies. Jacco Gardner has cornered the music market in neopsych pop. Using synth, harpsichords and harmonies to create a trip you can truly immerse yourself in -- complete with flowers, sunshine and love. Yes, seriously, it’s done authentically despite the stereotypes. Quite the feat to pull off.
07. "Rocket Ships" by Talib Kweli feat. Busta Rhymes
Talib and Busta don’t miss a beat, packing powerful lyrics into every verse. The song doesn’t let you relax for one second, save for a brief outburst from Busta that takes you out of the non-stop flow. “They're saying that we need a revolution, But their passion is reduced to all-caps on a computer,” Kweli raps. At the song’s end, you feel like you’ve digested something substantial that sits with you, which was Talib Kweli’s aim: "I feel like when people talk about real life emotions and real life feelings they resonate longer, longer than rappers who talk about gangsterism, sex and violence…” Kweli told Billboard.
06. "Tennis Court" by Lorde
Lorde is not a one-hit wonder, but she is seizing every minute of being the spotlight sensation of the moment. “I’m doing this for the thrill of it, killin’ it,” she sings herself into a self-fulfilling prophecy. It’s the confidence in her vocals and the backbeat, complete with a random, low-pitched “yeah” that cuts in before the chorus that makes this song so ironically bad ass, even though we’re talking about tennis courts here. Ask if Lorde cares. “It’s a new art form showing people how little we care.” Question answered.
05. "Sweetheart, What Have You Done To Us" by Keaton Henson
Patience is rewarded in this slow-starting song, with an explosive coming together more than halfway through. It’s not like you can’t guess tension is boiling beneath the surface, with passive aggressive lyrics: “And if all you wanted was songs for you. Well here goes, after all that you’ve put me through.” When the full band merges, Henson’s voice takes ahold, “And God, you were the one who told me not to be, so English.” You feel the weight of irony here and the song returns to its timid, helpless start, beautiful just the same.
04. "Bitch, Don't Kill My Vibe" by Kendrick Lamar
The lyrics are deeper than you might expect for such a guilty-pleasure song. But does it even have to be guilty, just ‘cause it’s catchy as hell? You can’t really guess where it’s going, but you know it’s from the heart and soul: “I'm trying to keep it alive and not compromise the feeling we love.You're trying to keep it deprived and only co-sign what radio does.” Lamar’s success is the offshoot of what he loves. And the bitches? The vibe-killers who try to further monetize. Isn’t it refreshing for the bitch to not always be the girl?
03. "Ethio Invention No. 1" by Andrew Bird
The ultimate way to cleanse your palette before divulging in more music: instrumentals so evocative you don’t need vocals or words. From small plucks of the violin, to sweeping, high-pitched strings, this sets you up to devour more sounds. The first time strings interject into a looping series of plucks it steals the scene and your breath for a second. But then it eases you back to an enjoyable eargasm, piquing your imagination to put you at the center of whatever story you’d like to be.
02. "Is This How You Feel?" by The Preatures
We love that we're living in an old-school infused world thanks to the likes of HAIM paying homage to the 70s/80s. The Preatures have been plodding along for some time, preaching their rock gospel from Sydney, Australia. The premiere track off their EP is as authentic as it could sound without being outdated. Tom Champion brings a fast, funked-out bassline that keeps up with Luke Davidson’s driving drums. Isabella Manfredi starts off with sweet vocals, guitarist Gideon Benson joins her at points, and she breaks away to own the chorus. There’s a remix version, but it’s the fast pace of the original that it makes it one of the most fun songs of 2013.
01. "Step" by Vampire Weekend
If Paul Simon and Wes Anderson produced musical offspring it would sound a lot like this. But really, it’s taking a direct page from Souls of Mischief “Step To My Girl,” making one of the most creative samplings of the year. Something much larger is happening aside from the borderline languid chorus and light-hearted harpsichord. You want to parse through which lyrics are the nonsense rattling off of locations and which carry a message. At this career point, they’re past the growing pains of being new artists. The song itself can be picked apart to pieces, but seems to be at peace with no longer fighting against traditional adulthood. “I’m stronger now, I’m ready for the house.” The realization is something most listeners can identify with and feel in their bones.
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