2013 was another really good year for new music. I listened to a
lot of really good records this year, and there were loads of things on my
"must hear" list that I just couldn't get to. An over-abundance of
good albums is always a problem worth having. I'll still be catching up 2013 albums I didn;t get a chance to hear well into next year.
This isn't any kind of crictical analysis of what the best albums of the year were. These are my personal faves - the albums I played the most and thought about the most during the year. Two of them I even admit might not actually be very good, but they struck a chord with me. Your mileage may vary.
Although it was a year of really
good albums, I don’t think there were many great albums – the kind that end up
on a list of all-time favorites down the road. The number rankings were a bit
more fluid this year, with records shifting position up until the very last
second. That said, I enjoyed so many albums this year that I’ll put 2013 in the
win column.
1.
JOHNNY MARR - the Messenger - After more than two
decades of side projects and hired gun sessions Johnny Marr finally steps into
the front-man role with a diverse collection of songs that wonderfully showcase
his guitar and songwriting chops. Hearing how effortless his first official
solo album feels, it seems odd to that it took him twenty five years after the
Smiths break-up to get around to making it. It has a youthful energy, but is
crafted in a way that only a skilled veteran could pull off. If you're looking
for bright jangly Britpop loaded with infectious melodies, the Messenger is the
place to start. This is the record that Smiths fans have been waiting for for
many years. But it's so much more than that.
2.
WAVVES - Afraid of Heights - The San Diego band's fourth album
is an adrenaline rush of angsty guitar charged pop fun and hyper melodies.
Their supercharged slacker punk pop sounds like a more reckless version of
Weezer.
3.
SUPERCHUNK - I Hate Music - Superchunk's 10th album is a fine
follow-up to 2010's Majesty Shredding (my favorite album of that year). The
band return again armed with the exuberant melodies and oversized hooks that
have made them one of my favorite bands of the past 25 years, but with just
enough maturity and growth to not make them sound like just another band trying
to cling to past glories.
4.
EDWYN COLLINS - Understated - Edwyn's eighth solo album is a
joyous occasion, filled with bright melodies and toe-tapping rhythms. His sweet
spot has always been the intersection of post-punk indie pop and Northern Soul,
and that's exactly where Understated hits. The spirit and vintage sounds of
Motown and Stax are deep in the grooves, but he never actually copies any
specific reference point, so it sounds fresh and natural.
5.
DAVID BOWIE - the Next Day - This is David Bowie playing to all
of his strengths and ending up with one of his most urgent and consistent
albums in decades. He's not so much innovating this go around as he is
revisiting sonic elements and styles from his whole career and effortless
combining them into something new that's right in his comfort zone. There's
everything a Bowie fan could hope for: some arty weirdness, a bit of glam
rocking, some slow burners, brilliant production (thanks Tony Visconti!), and a
bunch of fantastic pop hooks.
6.
NEKO CASE - The Worse Things Get, the Harder I Fight, the Harder
I Fight, the More I Love You - One of my favorite things about Neko Case
is how hard it is for me to describe her sound or why her records are so damn
special. The last two Neko albums both came in at #1 on my year end lists (Fox
Confessor has become one of my all-time favorite albums) that stuck with me the
way a great book does. She creates a world that is curious and otherworldly,
full of vague imagery that I don't always fully understand but find utterly
captivating. Add to that her remarkable voice and arrangements and delivery
that are so unique that they could only work on Neko Case records (in the same
way only Tom Waits can make a Tom Waits sounding record). This record is wonderful,
but just slightly misses the mark of the previous two.
7.
BAD RELIGION - True North - On album number 16 Bad Religion
proves to still be one of the most vital and engaging punk bands making
records, with more power and relevance than band's half their age. True North
is the strongest album from Bad Religion in almost 20 years (1994's Stranger
than Fiction being the last Bad Religion album I've loved start-to-finish).
Everything I love about the band is represented here in force: giant melodies,
relentless energy, aggressive guitars, a pummeling rhythm section,
hyper-intelligent lyrics, and those well placed backing "oooh-oh"
vocals (Bad Religion are second only to Naked Raygun in harnessing the power of
"whoah-oh" harmonies).
8.
the DIRTBOMBS - Ooey Gooey Chewy Ka-Blooey! - This is straight
out dumb fun that works against all odds. A bubble gum pop album from a Detroit
garage band could easily have ended up being a kitschy one-joke affair, but
Mick Collins took the task seriously and obviously has a genuine love for the
genre. He incorporates just the right balance of bubblegum staples like
handclaps, "oooh oooh oooh"s, deceptively simple hooks, and
references to sugar and candy with garage rock sensibility, some killer guitar
riffs, and great use of the band's duel drummers.
9.
JACCO GARDNER - Cabinet of Curiosities - Baroque pop debut
from a Dutch multi-instrumentalist and home studio wizard that conjures up
spirit and sound of the Zombies, Left Banke, and Sagittarius. He has so
perfectly captured the sounds and spirit of the era that it could easily be
mistaken for the genuine article. Jacco deals in lush Baroque pop and pastoral
psychedelia filled with Mellotrons, harpsichords, organs, and other gentle
period embellishments throughout.
10.
PALMA VIOLETS - 180 - On their debut album, London foursome
Palma Violets tread where many bands have gone before, playing punchy rock with
a little sleaze and a lot of laddish energy. They play a no-frills brand of
garagey indie rock with a simple (and a bit sloppy) drum/bass/guitar attack.
But what really separates them from the pack is the fuzzy psychedelic organ
that fills out the sound and takes them from being just another Libertines to
bringing in bits of Modern Lovers, Stranglers, and Caesars.
11.
FRANZ FERDINAND - Right Thoughts, Right Words, Right Action - If there weren't
already three other FF albums, this would have ranked higher. The main fault of
RT,RW,RA is that it sounds so much like their previous albums. The rhythms are
ramped up to an even more danceable level this round, but the individual songs
aren't quite as distinctive as previous FF songs. The band pretty much sticks
to their well proven template. It's a great template that still results in
highly likable songs, but it feels a bit less urgent at this stage. Although
seeing them live on this tour, the new songs fit in seamlessly with rest of
their catalog.
12.
TRAAMS - Grin - Armed with some twisted Krautrock grooves
and distorted indie-pop melodies, this West Sussex trio combines Television
influenced guitar, aggressive sonic experimentation, and Swervedriver's massive
driving rhythms.
13.
OMD - English Electric - For their second album since reuniting the
classic line-up, OMD deliver a "give the fans what they want" album,
featuring songs that highlight the strengths of their glory days while still
sounding fresh. There's a nice balance of deceptively simple electropop,
moodier downbeat melancholia, and big mainstream pop numbers with instantly
catchy melodies. It's a very familiar sounding album with at least a few songs
that would right at home on that first Best of OMD singles collection. Or on
the soundtrack to an imaginary John Hughes movie.
14.
the RESONARS - Crummy Desert Sound - Swinging
Merseybeat influenced power pop with loads of harmonies, ringing guitars,
pounding drums, and an abundance of infectious melodies. Matt Rendon (the
driving force behind this Tucson band) expertly crafts 3 minute guitar pop
songs with the energy of the first few Who albums.
15.
the SADIES - Internal Sounds - My favorite Americana band actually
comes from Toronto. The Sadies play psychedelic alt-country with bits of power
pop, garage, and smatterings of surf guitar thrown in for good measure. They
really don't sound like anyone else, although I hear elements of Gene Clark,
the Meat Puppets, Roky Erickson, Wilco, Mike Nesmith, and Steve Wynn. This is a
distinctly original band that's tight enough to take chances and make it sound
effortless.
16.
KARL BARTOS - Off the Record - Karl Bartos was one-fourth of the
classic 1975-90 Kraftwerk lineup (Radio-Activity through Electric Cafe),
contributing writing, electronic percussion, and the occasional vocal. This
album, Bartos' second solo, started as a collection of unused ideas from the
Kraftwerk days updated for 2013. The sound and feel of the entire album is
Kraftwerk circa 1980, but there's just enough modern production to keep it from
sounding like a collection of Kraftwerk outtakes. It’s probably more style over
substance, but this is one of the architects of that style and it feels like a
bit like having a few new Kraftwerk songs.
17.
BLEACHED - Ride Your Heart - With a base of punk attitude and
girl group melodies, LA's Bleached mix high energy fuzzed up rockers with jangly
summer pop. Along with some surfy guitar lines and sugary choruses I hear bits
of the Ramones, the Donnas, Tuscadaro, and a California take on the Shop
Assistants.
18.
HOUSE OF LOVE - She Paints Words In Red - House of Love
deliver beautiful jangly psychedelia with rich pastoral melodies and their best
album since the 1990 self-titled album (aka Fonatana/Butterfly). Middle aged
House of Love are mellower. Acoustic guitars play a larger role now than ever
before. But that only adds to the elegant pastoral sound that hits right in Guy
Chadwick's sweet spot. There are still plenty of shimmering guitars, but
they're more relaxed and organic. I hear bits of Rain Parade and the Church on
much of the album, with a few songs dipping into the same terrain as Robyn
Hitchcock or mid 80's REM.
19.
TOMMY KEENE - Excitement at Your Feet - Tommy Keene is a
power pop institution and one of the most reliable songwriters around. But he's
also had impeccable taste in covers, so it shouldn't be a total surprise that
he'd eventually release a covers album. And it should also be no surprise that
his choice of covers would be eclectic - including lesser known Who and Stones
songs, Guided by Voices, Television, Donovan, Mink DeVille, Roxy Music, and
Randy Newman. Tommy pays loving tribute to his favorite songs, but he also
takes ownership of them and makes just about everything sound like one of his
own. My two personal faves are his versions of the Bee Gee's "I Laugh in
Your Face" and a faithful version of Echo & the Bunnymen's "the
Puppet".
20.
WIRE - Change Becomes Us - Using unfinished 30 year old snippets as
the starting point, the post-punk legends make a very current sounding album
that seems to have recharged their batteries. As with the other post 2000 Wire
releases, my early faves are the ones where they rock the fuck out. And they do
that quite a bit this time round. But ultimately it's the slow burn of the more
atmospheric pieces that showcase what Colin Newman, Robert Grey, and Graham
Lewis (along with new guitarist Matt Simms) do better than anyone else.
21.
DISAPPEARS - Era - The 4th album from Chicago's Disappears is
stark and less immediate than last year's fabulous Pre Language, but the icy
minimalistic textures they weave are captivating. This is an album that is
sequenced perfectly for maximum effectiveness and works better as a whole
rather than having any dominant single song. It's even better with headphones
on, the volume cranked, and the lights out.
22.
SAVAGES - Silence Yourself - London's Savages are an intense
post-punk assault of Bauhaus-esque guitars and sonics, powerful Killing
Joke-like rhythms, and vocals that sound like an edgier Siouxsie Sioux. Yet
they don’t sound like a rehash of early 80's bands. Savages meld those
influences into something totally new. The record sounds absolutely mammoth - a
huge wall of sound built around dark atmospherics and relentless energy.
23.
BEACH FOSSILS - Clash the Truth - For the second
Beach Fossils album Dustin Payseur combines melancholy dream pop with jangly
guitars and a generous amount of reverb. Heavy on mood and atmosphere, they
take a hook and ride it into a groove that's almost shoe-gazer. The band is
from Brooklyn, but they remind me of British bands of the late 80's and early
90's that put out records on Creation and Sarah Records. But with an American
indie rock twist.
24.
LEE RANALDO and the DUST - Last Night on Earth - Last year's
Between The Times & The Tides might have been my most played album of the
year and that continued into 2013, so I've become very comfortable with Lee's
voice and approach. Enough so that I keep playing this follow-up, even though
I'm pretty sure it's not really that great of an album. There's less focus this
time and the songs are a bit trippier and go on longer (7 of 9 songs are over
six minutes long). But I love Lee's relaxed, almost hippyish songs combined
with his weird arrangements and sonic flourishes. I can't confidently recommend
this album to others, but damn I really enjoy it.
25. PHOENIX - Bankrupt! - Like their 2009 album, Wolfgang Amadeus
Phoenix, Bankrupt! is full of slickly produced synth pop. But rather than try
to ramp up the accessibility of that surprise hit album, Phoenix have opted to ease
up on the radio-friendly gas pedal and experiment a bit more They don't deviate
that far in sound, and this record is just as likeable as the last, but there
are more subtle pleasures to be discovered with multiple listens.
26.
KINGSBURY MANX - Bronze Age - Album number six from the Chapel
Hill folk pop group turns up the psychedelia as they evolve into a more upbeat
version of their earlier records. At times Kingsbury Manx remind me an American
take on Belle and Sebastian, exceling at folk rooted songs built up with intricate
pop hooks and an eclectic palette of flourishes.
27.
SUEDE - Bloodsports - Brett Anderson and company are stunningly
strong on their first album in over a decade. I love a lot of Suede songs, but
this is the first time I've loved an entire album from them.
28.
WILD BILLY CHILDISH and CTMF -
All Our Forts Are With You - With well over a hundred albums released
under various names over the past 35 years it's easy to lose track of Billy
Childish and quit trying to keep up. But if you're looking for the right spot
to jump back onto the Childish bus, this is it. As with most things Billy, the
facts are a bit vague, but these songs were allegedly written in 1977 for one
of his first bands, CTMF, and abandoned when that band broke up. He's reformed
that group (I think?). This is classic Billy Childish - minimally produced
one-take (my guess) primitive garage rockers with simple but solid stop-and-go
riffs and the distinctive Childish vocals. I think it's fun as hell, but if
you're not already comfortable with some of his previous work, it might give
you a headache.
29.
the WOGGLES - Big Beat - Supercharged party rock from one of the
most reliable garage revival bands working today. The Woggles capture the
spirit of the first garage bands playing frat parties and teen dances when the
main objective was making the kids dance and to have a good time. Few bands
seem as committed to keeping that spirit alive as the Woggles are.
30.
CHELSEA LIGHT MOVING - Chelsea Light Moving - With his new band
Thurston Moore delivers a sludgier and much looser back-to-basics take on the
Sonic Youth template. My original complaint with the album was that there was
too much dicking around, but I've warmed up to free-from casualness that makes
it feel a bit like a noisy post-punk prog album. Occasionally they edge close to
self-indulgent jamming, like one of Greg Ginn's many SST projects, but they
never actually cross that line. Much of the album is heavier than anything
Moore has tackled in the past, at times veering into the sludgy territory of
Mudhoney or Melvins. Chelsea Light Moving isn't a great album, but it's solid
enough to merit repeated listens and could be the start of a great new chapter
in Moore's career.
