1. Foxygen — “We Are The 21st Century Ambassadors of Peace & Magic”
Listening to this album is like when Dorothy leaves sepia-toned Kansas and enters the Land of Oz: boom, Technicolor, so bright, groovy and engaging. This retro sophomore album (the first being the LP, Take The Kids Off Broadway), features ‘60s and early ‘70s dreamy psychedelic rock that sometimes becomes unhinged, and lyrics with imagery that evoke a nostalgia you can’t pinpoint. The mellow “San Francisco” makes you want to join Dorothy and cartwheel through a field of poppies.
2. Of Montreal — “Lousy With Sylvianbriar”
Lead singer and lyricist Kevin Barnes uses this album as a confessional and we listen intently, trying to unravel his poetically twisted story telling. “She Ain’t Speakin’ Now” is a return to the band’s earlier melodic sounds with a surprise explosive rock chorus, making it one of the best tracks. The album marks a return to the band’s earlier sounds, with more clearly defined verses, choruses and bridges than the recent Paralytic Stalks (2012). As always, the band offers chilling harmonies — check “Triumph of Disintegration.”
3. Palma Violets — “180”
Freshly deemed 2013’s “Best New Band” by NME, this post-punk revival band will undoubtedly be added to the list of British indie greats. Think the Vaccines meets the Ramones, with remnants of The Doors and early Smiths. A few of the tracks, such as “Last of the Summer Wine” have a jam band feeling with catchy guitar riffs. The youthful band isn’t afraid to have fun, as the clapping and cheering on the record suggests, likely reminiscent of the campfire that first brought them together.
4. Daft Punk — “Random Access Memories”
This album is not only just fucking cool, it’s also an important collaboration of a myriad of artists and styles, all weaved together to create a funky fusion homage to the past, present and future all at the same time and usually all in the same song. Something about Daft Punk being French gives them an edge, mais peut-être je ne suis pas impartiale.
5. Johnny Marr — “The Messenger”
Although he’s been in the music industry since the ‘80s, The Messenger is Marr’s debut solo album. If the name sounds familiar, it’s because he was Morrissey’s partner in The Smiths. NME also recently hailed him with the “Godlike Genius” award. As a guitarist, Marr himself has racked up an impressive list of bands on his resume, including Talking Heads, The Pretenders, Modest Mouse, and The Cribs. Marr uses this album to rock out, showcasing his songwriting abilities and the fantastically fine-tuned guitar stylist he is.
By Sophia June
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1. Boards of Canada — “Tomorrow’s Harvest”
Prior to the release of the group’s first album in eight years, Boards of Canada’s studio canon consisted of two masterpieces and a disappointing pop move. Tomorrow’s Harvest not only joins the former category but is as much a contender for the title of their best album as the group’s groundbreaking first two works. Over 63 minutes that feel substantially shorter, Boards of Canada unfurl some of the year’s bleakest yet most inviting music, evoking desolation while still throbbing with life.
2. DJ Koze — “Amygdala”
Clocking in at 83 minutes, DJ Koze’s stoner-house masterwork Amygdala seems frighteningly huge at first but plays like a pleasant drive, moving linearly through gorgeous musical landscapes. A former hip-hop DJ now immersed in dance music, Koze displays enough disparate influences to make Amygdala accessible to fans of just about any genre. Yet at the end of the day, it’s all about that four-on-the-floor thump.
3. Baths — “Obsidian”
L.A. producer Will Wiesenfeld, a.k.a. Baths, is able to inject more emotion into music made with machines than any other musician I’ve heard. While his debut Cerulean was effective for how subtly yet powerfully it expressed its underlying anguish, Obsidian is uncompromisingly dark. This is one of those albums that’s only satisfying if you mentally prepare yourself for it, but once you’re ready, it’s an intensely moving and powerful experience.
4. Kurt Vile — “Wakin’ On A Pretty Daze”
No album this year better maintains one consistent and enjoyable mood than the fifth album from Philadelphia musician/former War On Drugs member Kurt Vile. Inspired by meditative seventies Americana like the Grateful Dead and the Allman Brothers, Wakin On A Pretty Daze accomplishes the rare feat of making the vastness of the world seem non-threatening. Vile accomplishes this through a strong spiritual bent and emphasis on the (at least relative) safety of one’s own head.
5. Chance The Rapper —”Acid Rap”
Chicago MC Chancelor Bennett is as obnoxious as David Lee Roth, but he sure can rap — and he sure can assemble a killer album. The quality of the production and the guest list rivals Kanye’s recent work, but Chance’s verses are better than anything on Yeezus. He treats his words like LEGO bricks, piling them into massive and tangled yet rich and colorful structures.
By Daniel Bromfield
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1. Andrew McMahon — “The Pop Underground”
Former Jack’s Mannequin frontman Andrew McMahon has struck out on his own again, this time opting for a bit of a synth-pop endeavor that’s incredibly pleasing from start to finish. The Pop Underground may only be four songs, but every track is laced with McMahon’s signature wistful lyrics and melodic croon. The opening track, “Synesthesia,” is a particular joy, as is the EP’s closer, “After the Fire.”
2. Tegan and Sara — “Heartthrob”
Remember 2009’s Sainthood? Well, this is nothing like that. Every Tegan and Sara album released since 2004’s So Jealous has seen the Canadian pop duo experiment with a different sound, and Heartthrob is no different — just imagine Cyndi Lauper produced this time around. “Closer” is a track that will live on in the annals of pop history while “Now I’m All Messed Up” will make you feel as though you’ve just been dumped. Every. Damn. Time.
3. Saves the Day — “Saves the Day”
With Chris Conley as the only original member of the band to remain on the roster, this year’s Saves the Day is an album from the band unlike anything you’ve ever heard before. And it’s wonderful. Songs like “Ring Pop” and “Xenophobic Blind Left Hook” prove that Conley can still write beautiful lyrics and that his band’s got the chops to make them come alive. It’s also been some time since the band’s had a closer as good as “Stand in the Stars.”
4. Kings of Leon — “Mechanical Bull”
Following a short hiatus after Caleb Followill’s abandonment of a 2011 show, Kings of Leon are back with an album closer to Aha Shake Heartbreak and Youth and Young Manhood than anything in recent memory. The first two songs on the album, “Supersoaker” and “Rock City” are among the best rock songs of the year. They’re quick. They’re catchy. They’re everything you could hope for when you need a pick-me-up.
5. Paramore — “Paramore”
There’s not much that changes between Paramore efforts and there’s nothing wrong with that at all. From “Fast In My Car” to “Grow Up” and “Still Into You,” you can expect the standard arrangement of happy-go-lucky melodies and somber melodies from such tracks as “Last Hope.” This is the same Paramore you’ve known and loved and, guilty pleasure or not, it never gets old.
By Eder Campuzano
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1. Nick Cave & the Bad Seeds — “Push the Sky Away”
Nick Cave & The Bad Seeds celebrated thirty years as a band this year by releasing the best album of their career. Push the Sky Away is grounded with subtle brilliance, and the album becomes weirder, louder and better after every repeat listen. Push the Sky Away finds beauty in simplicity while at the same time keeping you in awe.
2. The National — “Trouble Will Find Me”
For a band that sees consistent praise from their fans and critics, the pressure of deciding to find a new sound to avoid staleness or keeping with what works isn’t a decision to take lightly. The National’s, Trouble Will Find Me capitalizes on its heavy lyrics and its distinctively indie rock sound, all while making it sound fresh by finding new inventive things to do within what they know. Even after six albums, The National still know how to tug the right emotions with its deep and resonating lyrics.
3. The Wonder Years — “The Greatest Generation”
The melodic six-piece punk band, The Wonder Years exceptionally articulate the confusion and frustration of the everyday twentysomething that’s suffering from a midlife crisis thirty years premature. The band stands out with The Greatest Generation by having the album serve as a story of meeting someone at their lowest point and seeing them through and coming out the other end stronger and wiser. From beginning to end, The Greatest Generation gives fresh air to a genre that’s been past its prime.
4. Queens of the Stone Age — “…Like Clockwork”
After taking five years off, the expectations for Queens of the Stone Age were set unfairly high. But even with that precedent, the Queens were still able to surpass most, if not all expectations. The magic of …Like Clockwork is that the band is as relentless and tough as ever, except now they sound focused, but never formulaic. Having a plethora of guest appearances from everyone from Dave Grohl to Elton John helps keep the band sounding fresh throughout.
5. John Mayer — ”Paradise Valley”
If John Mayer’s previous effort, Born and Raised was him looking for redemption, then Paradise Valley is him finding it and celebrating forgiveness. Paradise Valley shows Mayer’s best effort of sincerity, without losing the qualities that make him a standout. What makes Mayer’s newest album so great is that he’s ditched his pop leanings for the sake of a stronger Americana sound, and the outcome is a more mature and honest Mayer that doesn’t forget to have fun.
By Craig Garcia
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1. Parquet Courts — ”Light Up Gold”
Google search the lyrics to “Stoned and Starving” and while reading over the words, play the song. What I mean to say is that lyrics such as, “Socrates died in the fucking gutter” off of “Mastered my Craft” and “I was reading ingredients, asking myself ‘should I eat this?’” posed on “Stoned and Starving” are incredible. The punks have already taken acid and they have already answered questions with a raised fist — but now they’re debating if they should eat Swedish Fish.
2. TV Colours — ”Purple Sky, Toxic River”
Fellow Emerald writer Sam Wendel showed me this band in my garage over a beer and a doobie and he said, “This is the sound of pure, teenage angst.” What he played me was album standout “Lost Highway” and instantly I knew exactly what he meant. To be young is to be sad, as well as confused, and nothing mimics that aggression quite like the drone vocals and throbbing musicianship of TV Colours.
3. Lorde — ”Pure Heroine”
During my radio show last winter, my friend Kristine Malone put on Lorde with the pretext of, “She’s going to be huge.” I disregarded her premonition and now I have to eat each one of my doubts. “Pretty soon I’ll be getting on my first plane/ I’ll see the veins of my city like they do in space,” she bluntly sings on Tennis Courts. That’s her genius — she’s never been on an airplane but already she can describe the view better than a seasoned frequent flyer.
4. Toro y Moi — “Anything in Return”
Make out to this album.
5. Blind the Thief — “Trim Jay Experiments”
Yeah, fuck me for choosing a wild card, but listen to Blind the Thief before you take to the comment section with a fake name and try to scrutinize. Blind the Thief is my favorite Eugene band. Lead singer Schuyler Durham’s lyrics remind me of Pavement and the group’s music is just the right tad of sweet melodies and DIY, garage-recorded hooliganism. This recording is the band at its tightest as well as its most well-produced and it promises more greatness to come.
By Silas Valentino