Last week I unveiled my Top Songs of 2013, and this week will be focused on my Top Albums. To get this week started off, here are Numbers 50 through 41.
50.
Esben & The Witch -
Wash The Sins Not Only The Face
On their second release,
Wash The Sins Not Only The Face, UK trio Esben and the Witch continue their reverential exploration of moody, gothic inspired art rock. In revisiting their debut album
Violet Cries (which I gave a very favorable review to
here), I was still struck how dynamic their music was, but also how formal and rather stiff it could be. Expecting a similar palate of music and themes this go around, I was astonished from the open notes of "Iceland Spar" how more expansive and open their sound had gotten. It is still unmistakably Esben and the Witch, but where on
Violet Cries they almost sought to be obtuse and off putting, here there is a warmth that was missing earlier, where now the songs tend to stick more to more standard song structures rather than meandering, but still allowing moments of experimentation and stark beauty.
49.
Lorde -
Pure Heroine
Although she is only 16, New Zealand singer Lorde (nee Ella Maria Lani Yelich-O'Connor) projects an image of a world-weary soul bored with all the trappings of our Internet age. While this could snarkily come across as the usual "teenagers think they know everything" cliche, Lorde is smart enough not to head down this path, choosing, for the most part, to use her critiques more towards expressing dissatisfaction, seeking more from life. Teaming up with writer/producer Joel Little for her debut
Pure Heroine, Lorde works within a tightly controlled sound, however, these tracks, while thematically and musically linked, work together without sounding too monochromatic. While most people flocked to the record for her hit single "Royals," it was deeper cuts like "Ribs" and "400 Lux" that pull you in deeper and show the depth of her talent.
48.
Gesaffelstein -
Aleph
Probably best known at the moment for producing "Black Skinhead" and "Send It Up" on Kanye West's industrial leaning record
Yeezus, French techno producer Mike Levy's debut record
Aleph is a dense, foreboding set of dark techno. On listening to these tracks, one immediately sees what drew West to use the producer, as every square inch of each track is polished to a superhuman sheen, dripping with menace and darkness, even on the handful of more atmospheric numbers. Drawing from traditional techno to more intense genres like industrial and EBM, with even a slight touchdown in hip-hop, Levy has constructed an immaculately produced set of tracks. At over an hour, it is not an easy listen, with several of the tracks pummeling you with over-the-top aggression. The pacing, however, breaks up these intense assaults with carefully placed moments that pull you back into this sleek world.
47.
David Bowie -
The Next Day
From its defacing of the iconic album cover for
"Heroes," The Next Day, David Bowie's 24th studio album and first record in 10 years, immediately announces itself as presenting the modern age Bowie through the refracted lens of his past work, specifically his storied Berlin trilogy. At 66, Bowie is no longer the restless chameleon who changed his persona and musical direction with each record; no longer does Bowie set trends or even attempt to stay in touch with current trends.
The Next Day finally shows Bowie being comfortable with being Bowie, able to make music on his own terms without great expectations. Though this is Bowie's most relaxed set of music in years, perhaps decades, thematically it is one of his most introspective and melancholic, with these 14 tracks contemplating the past and the affects of age and memory, an album haunted by the ghosts.
46.
When Saints Go Machine -
Infinity Pool
Danish electro outfit When Saints Go Machine will likely never be accused of going mainstream; they are much too enamored of bending machine made sounds into the most twisted shapes imaginable. Over the course of two albums they have jumped back and forth from somewhat more traditional synthpop tracks (with a much needed edge) and extremely challenging soundscapes and musical experiments. I keep waiting for that one album from them that balances these two forces equally, creating that perfect blend of pop savvy and sonic exploration. Their last record
Konkylie was about as close as they could get for me so far, with just a few too many tracks that skirted too close over the line at times into too experimental. The first two teaser singles for new record
Infinity Pool immediately got my attention. "Love and Respect" featured a more hip-hop leaning bent, with boom bap programming and a guest turn from Atlanta rapper Killer Mike, showing a new edge previously missing from their records. While "Iodine," a more traditionally WSGM synthpop track, initially didn't make as stunning impression, its all-enveloping warmth and humanity washed over you so easily, taking you into its considerable spell. So with trepidation I received the full length album, really wanting every track to strike me the way these two did. While none of the remaining tracks hit the highs set by these two tracks, ultimately
Infinity Pool works as a yang to
Konkylie's yin, providing a similar experience, albeit one that is darker and more challenging, but yet still admirable.
45.
Young Galaxy -
Ultramarine
Montreal quintet Young Galaxy's first records went practically unnoticed by me, their Broken Social Scene/Arcade Fire-lite alternative rock was workman like and pleasant but lacked any type of individual spark that would make them transcend the comparisons with their countrymen. It wasn't until 2011's
Shapeshifting that something interesting happened. The band, feeling a bizarre need to shake things up, sent the tapes for
Shapeshifting over to Dan Lissik, former member of Swedish pop act Studio, who spread his Balearic magic over the album's 11 tracks. There was something fortuitous in this partnership as the resulting album gave the band much needed spark and buzz. It was an album of elegantly gorgeous synth pop that just got better and better with each listen. Wanting to keep their forward momentum going, Young Galaxy once again enlisted the production duties of Dan Lissik, and have come up with another insanely catchy collection of tracks that builds upon the foundation set by
Shapeshifting.
44.
Savages -
Silence Yourself
We live in an age where there is so much technological overkill it is a wonder we can ever find peace and quiet these days, our senses overwhelmed to the point of exhaustion. London quartet Savages appear to be railing against this turn of events, proclaiming in their manifesto that "”The world used to be silent. Now it has too many voices. The noise is a constant distraction." They have even gone so far as to try and, while not outright ban use of cell phones at concerts, at least make the audience aware that they are missing out on the connection between the band and audience by focusing too much on technology. While their music might add to said noise, it it is definitely going to grab and hold your attention. Although I have yet to see Savages live, it has been reported (which wasn't word of mouth the best way to hear of a band in the first place?) that their live shows are a revelation, and if the music on their assured debut
Silence Yourself is any indication, I can definitely see why. Missing the post-punk revival by at least 10 years, Savages don't wallow in the mire of Joy Division, but align themselves more with the economy of sound of early Wire coupled with the brash feminism of Siouxsie and the Banshees while still allowing more modern influences seep in here and there, be it PJ Harvey's commanding way with a riff, or Karen O's astonishing lead vocal presence.
43.
ON AN ON -
Give In
Rising from the ashes of indie stalwarts Scattered Trees, Nate Eiesland, Alissa Ricci, and Ryne Estwing decided to continue on under a the new name ON AN ON, and worked with Broken Social Scene producer Dave Newfeld for their debut record
Give In. Despite only having two weeks to regroup and plan their new approach, ON AN ON have crafted a remarkably assured debut record which builds from the influences of acts like BSS, Arcade Fire, and Radiohead.
Give In creates a nice tension between acoustic and electronic elements that seldom feels forced or rushed, while chief songwriter Eisland finds interesting turns of phrase that linger long in the memory. From opening track and first single "Ghosts" you know you are in for something special. Minimal drum programming and subtle atmospherics lead into booming drums and chugging guitar riffs that slowly gestates into something more epic yet still intimate. Eisland's haunting words "I was on the verge to scream/When you wouldn't scream about anything" pushing his friend to keep alive, and pushes the track into immortality.
42.
Banks -
London EP
LA singer BANKS releases her second EP of the year, the 4 track stunner
London, showcasing her sultry delivery and immaculate taste in collaborators, aligning herself with up and comers SOHN, Totally Enormous Extinct Dinosaurs, Lil Silva, and Jamie Woon. BANKS hangs in a sort of netherworld between pop, R&B, electronic, and indie-alternative, never really putting her foot firmly into any one camp, choosing to float loosely over them all, taking what works best to suit her sexy voice.
41.
Drake -
Nothing Was The Same
For arguably the most popular rapper at the moment, Drake sure puts out some strange albums, full of inward looking lyrics and some of the most atmospheric and texturally interesting backing tracks. Most of his records ping pong back and forth between straight up rap tracks and R&B crooners, sometimes blurring the lines between both. I find him more interesting when he sticks to one over the other, his raps being more of his hyper-id personality, full of broad boasts and some of his most chillingly harsh attacks on women, friends, and family, while his more vocal focused tracks find him in a more contemplative mood, looking deep inside himself, being his most harsh critic. His last record,
Take Care, is, for me, the most representative and best of his records, finding the right balance between his two personas. That is not to say that his latest record,
Nothing Was The Same, is a less impressive release. It is still one of, if not the best hip-hop records of the year, but for me it is Drake really trying to find himself, and with that stretch, the record is a bold experiment that works almost all the time. But when you stretch this hard, it is bound to be a mess at points, and there is a lot to criticize here, but overall, these mistakes somehow make him more human.
