Listed below are the best albums of 2013 as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 2 hours ago).
"Strong psychedelic album. Usually not a fan of the sitar sound but they put it to good use here. Head On/Pill is a phenomenal opener, and I also really liked 30 Past 7 and the title track."Reply
"Many artists have refashioned themselves under a pop-dance music mold. The stylistic shift has worked or not to varying degrees. Speaking of just the last 20 years, the first example that comes to mind is the dizzying plummet of liz phair from indie rock grace to major label puppet. That also bri...""Many artists have refashioned themselves under a pop-dance music mold. The stylistic shift has worked or not to varying degrees. Speaking of just the last 20 years, the first example that comes to mind is the dizzying plummet of liz phair from indie rock grace to major label puppet. That also brings to mind jewel's transformation from folk poet to her blatantly saccharine "0304". When it comes to rock music, U2's "pop" succeeded in places of blending the techno sound of the time with their patented stadium rock. The biggest success story in dance pop transformations is ben gibbard joining forces with dntel for the superb Postal Service album. But of course, others like Bright Eyes ("digital ash..") have attempted the same to a far less successful degree. For the most part, the dance infusion is problematic for an artist who already has an established pop/rock sound. It sounds forced and/or phony.
I discovered tegan and sara opening for ryan adams circa 2000. I loved their upbeat acoustic tales of love's complications and scorns in support of their "if it was you" album. That was the first (and only) time i exited a concert wanting to immediately purchase the album of the opening act. It was sold out at the venue but i picked it up the next day and wasn't disappointed in the least. "monday monday monday" and "underwater" were/are my favorites on an album replete with catchy upbeat pop/rock songs bouncing atop the twins' personalities. They make simple music based upon not-so-simple relationships and the emotions involved.
They've transformed their sound in small increments over time, from the acoustic pop/rock "if it was you" to a more "new wavey" pop/rock sound infused with more electric guitars and aggressive musical approach. Those increments left me unprepared for what i heard on "heartthrob", a full indoctrination to today's dance music. On first listen, the album immediately made me think of "pink meets robyn" but with a hollow liz phair center. Any actual instruments used are buried under a drum machine and (at times, wall of) synthesizer. The charm of a tegan and sara album is derived from what feels like their authentic tales of relationship trials and woes. On "heartthrob", these woes sound artificial, concocted for a quick, freeze-dried plastic packaging to mass market to teenagers and your mom alike. I can't hear their personalities well, if at all on some songs. ("drove me wild" is one of the exceptions.) Most of these songs could be sung by anyone. And that's the danger of converting to dance music (and auto-tune, for that matter) -- your sound is instantly synthesized into a form where the performers and personalities don't matter as much as simply feeling good, having a good time and dancing. Without the organic feel of HUMANS making music and a proper palette for expressing human concerns, heartbreak and other subjects of the human heart, then such emotive topics, even if they're still being expressed, are lost.
That's the main problem i have with "heartthrob". Instead of hearing the heart throbbing and aching for men in their lives, i instead imagine a poster of a male heartthrob on tegan and sara's wall and they're singing to a dance soundtrack songs they think that hunky paper doll might want to hear. It's that detachment from real emotions that keeps me from liking this album as much as their others. It's that reality of life and love that i hope they bring back on their next album, while abandoning the artificial sound which subtracts from a warmth of personality that i know they have, which i've seen first-hand nearly 13 years ago."[+]Reply
"I think there needs to be a subgenre of indie folk called sylvan folk. It would encompass all those artists whose music evokes dense old growth forests, undulating earth covered in moss and wildflowers, and places populated by woodland sprites and ancient spirits. It's music that conjures up a ro...""I think there needs to be a subgenre of indie folk called sylvan folk. It would encompass all those artists whose music evokes dense old growth forests, undulating earth covered in moss and wildflowers, and places populated by woodland sprites and ancient spirits. It's music that conjures up a romantic mythical past that probably never really existed, or was wiped out by Black Plague. The Decemberists would fit into this genre, as would Fleet Foxes, and Midlake, and Florence + the Machine. I'm not sure about Sylvan Esso, though their name certainly would. And Daughter. Check out "Youth" from this album to get a sense of what I mean. It's not so much about the lyrical content--best summed up by the line "Most of us are bitter over someone"--but more about the nostalgic, wistful, dreamy, romantic feeling created by the swirls of guitar reverb and Elena Tonra's haunting vocals."[+]Reply
"Footwork-related electronic music was a relatively new phenomenon for me when I first heard Double Cup in 2013, and this album's contribution to my musical universe was only made more poignant by the untimely death of Rashad Harden the following year from an accidental drug overdose. At least we ...""Footwork-related electronic music was a relatively new phenomenon for me when I first heard Double Cup in 2013, and this album's contribution to my musical universe was only made more poignant by the untimely death of Rashad Harden the following year from an accidental drug overdose. At least we can say he left behind a small but important body of work. For me the strongest moment on this album is the smothering sensuality of "Let U No," where the bass lines smack as hard as ever, but they're placed low in the mix rather than serving as the track's central axis, creating a varied sonic topography that's smooth and easy on the ears. "[+]Reply
"Death Grips continues to not disappoint. I have a hard time even picking a least or most favorite track because I think they are all really good. The opener is just so heavy and that scream is wicked. Birds is wonderfully/weirdly abstract even for Death Grips. This is Violence and Feels Like a Wh...""Death Grips continues to not disappoint. I have a hard time even picking a least or most favorite track because I think they are all really good. The opener is just so heavy and that scream is wicked. Birds is wonderfully/weirdly abstract even for Death Grips. This is Violence and Feels Like a Wheel are pretty catchy and the closer's upbeat section mixed with the darker section's blinding synth bursts closes out the album in a really intense way.
My only complaint is that I feel about it the way I feel about Flying Lotus's Cosmogramma, which is that while I do really love the tracks I just wish they were more fleshed out. Still, I can't really complain since I'm loving what I'm hearing. Death Grips is one of the more innovative groups of today and I will continue to look forward to more material."[+]Reply
"It’s an awfully bold statement, “Save Rock And Roll", especially coming from Fall Out Boy. If I had to pick a band to “save rock and roll", it most likely would not be Fall Out Boy, a band that has been the absolute definition of mediocrity, a band that hasn’t been able to stop writing the same s...""It’s an awfully bold statement, “Save Rock And Roll", especially coming from Fall Out Boy. If I had to pick a band to “save rock and roll", it most likely would not be Fall Out Boy, a band that has been the absolute definition of mediocrity, a band that hasn’t been able to stop writing the same song over and over again for years.
So, naturally, I approached this album with some slight bias. Then I heard the opening track, “The Phoenix" and I was like “Holy crap, this is good, and it’s different for Fall Out Boy." Then I heard the next track, and lead single, “My Songs Know What You Did In The Dark (Light ‘Em Up)" and I thought “Wow, this is really good too, has Fall Out Boy changed into a band that can create a really good album like this is shaping up to be?" And then the rest of the album happened, and it was slightly different, but still same old Fall Out Boy. The rest of it is fairly uninteresting. “The Mighty Fall" which features Big Sean is pretty decent, but the rest of it is very forgettable, which is a shame, because it was shaping up to really be a good album, which would’ve been a really pleasant surprise."[+]Reply