THE SOUNDS OF TWO THOUSAND THIRTEEN by On the Cusp Zine

THE SOUNDS OF TWO THOUSAND AND THIRTEEN ON THE IMPORTANCE OF BEING RASH, HEART & SOUL, ET. AL

CONTENTS top jams interview w mona lisa top albums rip 2003

TOP JAMS: OTIOBR

ciara - body party The best song of 2013 came out in the early part of the year, and it’s only gotten better with time. “Body Party” is a mid-tempo R&B smash that bounces with synthy steps and seductive cooing. It’s an undeniable modern classic that has had clubs and bedrooms bumping. The Mike WiLL Made It-produced first single from Ciara’s self-titled album became an instant hit the minute it was dropped in March. Inspired heavily by the physicality between Ciara and fiancé Future, who was co-songwriter on the track, the song is a direct ode to passion: “Your body’s my party / Let’s get it started.” All in all, “Body Party” is an igniter, and its ethereal craftsmanship could make even the most fog-resistant windshields steam up with every listen.

autre ne veut - play by play

Autre Ne Veut’s “Play By Play” is something else, man. The crystal clear aesthetics of music in the digital age shine as Brooklyn’s Arthur Ashin creates one most enthralling releases of the year. Discharging dangerous levels of maximalism, “Play By Play” finds itself soaring with the help of grandiose hooks, impassioned repetition, and aggressive insistence from a drum machine. Ashin sings like this is the last song he’ll ever record, despite the fact it opens his magical 2013 album, Anxiety. He yells, “I just called you up / To get that play by play by play by play / Don’t ever leave me alone,” in a manner that can only be described as hypnotic. Luckily for listeners, the most alluring part of this song is its seemingly infinite looping chorus, which lasts the entire second half of the song. After a rousing build-up, you almost don’t expect it to take off. But it does, and the track is unbelievably rewarding because of it, as every thump of the bass and desperate bellow from Ashin dazzle with each refrain.

ariel pink and jorge elbrecht - hang on to life

Last year’s Mature Themes showcased Ariel Pink’s ability to make quirky soft-rock jams that were totally trite, but also totally great. With no new album in 2013, Ariel Pink and his band, Haunted Graffiti, took the year to themselves. Well, sorta. Pink teamed up with bandmate Jorge Elbrecht on a delectable little track called “Hang On To Life.” Though known as a cryptic songwriter, “Hang On To Life” is one Pink’s most honest and direct songs in years. It’s got everything you want: a silky groove, Pink saying “You screwed the pooch” to an ex-lover, and a deliberately masked phone conversation.

julia holter - hello stranger

In 1963, songstress Barbara Lewis created a staple in modern American R&B, “Hello Stranger.” Though upbeat in nature with its delicate doo-wop calls, and playful organ play, the lyrics present a pining sense of loss. The song has been covered endlessly by the likes of The Capitols, Yvonne Elliman, and The Supremes/Four Tops collaboration. So when pop-experimentalist Julia Holter featured her own version of the classic on this year’s Loud City Song, it seemed like a bit of an anomaly. Fortunately, Holter’s rendition, while staying true to the emotion encompassed within Lewis’ lyrics, creates its own identity. This new version is a hauntingly beautiful interpretation where cellos envelop every square inch of real estate. Holter stands alone in the middle of all this, her words like steam rising from one’s mouth on a cold night: semitransparent and hovering upward for what seems like a mighty long time.

jai paul - str8 outta mumbai

East meets West in this jewel of a track by Jai Paul. As the first proper song off the leak of his demos, it serves as an outline of Paul’s skills: an unbeatable ear for sound and the proper control in delivering it. With the pouncing of tablas and a coquettish performance by Paul, “Str8 Outta Mumbai” propels itself to the levels of joy that can only be found in a Bollywood dance scene.

SHINee - 상사병 (symptoms)

Korea’s SHINee really made one most accessible pieces of K-Pop with the release of the Everybody EP. Though chock full of marvelous moments, “상사병 (Symptoms)” takes the cake. It’s a sprawling and colorful track that culminates in one of the best pop choruses of the year. Booming drums fill the airwaves, as the boys sing their hearts out over thrilling synths and harmony.

big baby gandhi - annie hall

“Look how you runnin’ it, mami / You are the government, mami.”

drake - hold on, we’re going home

I’ll be honest; I’ve never really been a big Drake fan. But “Hold On, We’re Going Home” may be the game changer for me. The radio smash hit continues to circle the waves with its remarkable hook, but this track is more than just an eventual fleeting memory; it’s a song that will find itself in mixtapes for lovers and wedding playlists for years to come.

saint pepsi - skylar pence

Filled with obscure soul and disco samples, Saint Pepsi’s Hit Vibes is like a trip through time. But his use of Japanese musician Tatsuro Yamashita’s “Love Talkin’” might be the best thing on the album. Saint Pepsi’s take on the track is simple, yet perfect. With just the right cuts and speed, “Skylar Spence” proves to be one of the most idyllic moments of not just the album, but of the year.

lil ugly mane - on doing an evil deed blues

2013 was a bad year if you hated your favorite rappers retiring. Lil Ugly Mane nonchalantly posted his intent to retire earlier this year via a Facebook post, and it devastated kids all over the world who just wanted to see the human rap game give way to the skeletal rap game. Though he originally stated there was to be one more mixtape before his absolute retirement, Lil Ugly Mane recently alluded that may no longer be the case. If “On Doing An Evil Deed Blues” is the last piece we get from the mysterious Richmond, Virginia, rapper, then it’s a helluva way to go out. With an eight-minute running time, Ugly Mane gives us a recap of his story, as if to say goodbye: “I got some records, cut some samples, made ‘em mine / I wrote some raps, I had a couple fire lines / A couple labels asked me if I want to sign / But rapping ain’t my grind, I just used to like to rhyme.”

deafheaven - dreamhouse dean blunt - imperial gold (feat. inge copeland) migos - bando yung lean - ginseng strip 2002 the juan maclean - feel like movinâ&#x20AC;&#x2122; (feat. nancy whang) julia brown - library mutual benefit - advanced falconry future - karate chop (feat. casino) bruno mars - treasure a$ap ferg - shabba ranks [remix feat. shabba ranks, migos, and busta rhymes) iceage - youâ&#x20AC;&#x2122;re nothing nmesh - a face without eyes dj rashad - pass that shit elvis depressedly - inside you miley cyrus - wrecking ball

TOP JAMS: H&S

sea oleena – “paths (unmastered)”

While it probably isn’t the brightest move putting an unfinished version of a song at the top of your year-end best tracks list, I love this song way too much to worry about that. Sea Oleena posted an unmastered version of “Paths” (from her upcoming record Shallow) on her tumblr a little bit ago and I honestly can’t stop listening to it. Even in its unfinished state it’s the most beautiful thing I’ve heard all year. Reverb-soaked vocals and strings seem to go handin-hand when Sea Oleena combines them, and the end result is absolutely dreamy.

infinity crush – “flowers pt. 1”

This was initially released as a sam + caroline song in late 2012 but it was rereleased in 2013 as in Infinity Crush track so I’m definitely adding it to my list. This is still my absolute favorite Infinity Crush song with its jumpy guitar and synths that seem to fade in and out focus. Even further, the lyrics in this song just pack so much imagery it’s impossible not to be entranced by them. It’s also worth noting that this track came bundled with a “flowers pt. 2” which is also fantastic.

kanye west – “black skinhead”

I still remember hearing this for the first time through Kanye’s performance on SNL. While the live version was definitely more captivating, the album version still holds up. Everything about this track is honestly perfect. Kanye nails the delivery and the drums drive the song forward and contribute to the sort of sinister tone of the song. The subtle panning between the left and right channels is a fantastic production touch, and pairs well with the distorted instrumental. It’s still my favorite track on Yeezus.

joanna gruesome – “secret surprise”

This was the first track I heard from Weird Sister and it ended up being the track that got me the most excited both times I saw Joanna Gruesome. There’s something about that moment when Alanna screams “I dream of pulling out your teeth” and the song sort of shifts gears that feels unstoppable. It’s something that’s definitely present in their live show too. This song and the way they play it makes Joanna Gruesome seem invincible.

the sweater i gave you – “beth”

Ivan’s recently formed project, The Sweater I Gave You, released three EPs this year. While all three of them are fantastic, it’s “Beth” (pulled from the first EP) that feels the most special to me. The way Ivan’s vocals feel torn and broken on this song make it really emotive and when that chorus hits for the first time and I hear him singing “My friends are in my head” it just hits me really hard. There’s a simplistic beauty in this song. It’s stripped down and recorded to tape and that feels like the perfect way to do it.

a$ap ferg – “shabba (remix) [feat. shabba ranks, busta rhymes, and migos]”

This remix is honestly one of the most exciting things that’s happened throughout all of 2013. I loved the original version of “Shabba” that appeared on Trap Lord as it was, but this remix makes it a brand new beast. Ferg comes in with a new verse that makes his old one seem silly and then Shabba Ranks himself absolutely kills it. Migos deliver some verses that are good enough but then Busta Rhymes’ verse at the end really holds it together. It’s just so much fun in one track.

los campesinos! – “avocado, baby”

It seems to be the general consensus that this is the best track on No Blues and it’s hard to deny. The lyrics here are fantastic and the vocal melody is jarring. There are plenty of shifts in this song and it keeps the whole thing interesting even after repeated listens. The way Gareth nearly shrieks the lines “A heart of stone rind so tough it’s crazy // That’s why they call me the avocado, baby” is as enjoyable as it was surprising on my first listen and the way the track almost develops into a chant towards the end is really satisfying too.

shisa & choongum – “nightz feat. mona lisa”

Not to take away from how good the rest of the collab cassette between Shisa & Choongum was, but this track is probably the one I listen to the most because Mona Lisa absolutely steals the spotlight. Her flow on this track matches the cutesy production and it’s like she effortlessly drifts over the beat. Mona Lisa delivers some excellent lines about her love and pulls the track to a close with fantastic self-harmonies. It’s such a pretty track but it doesn’t feel superficial at all. There’s a genuine aspect to the way Mona Lisa approaches this and it really pulls it all together.

outer limits recordings – “julie”

I’m sort of cheating with this one because technically this track was released years ago but then OLR released a singles collection this year and included this on it so I decided to add it anyway. On “Julie” OLR puts his character on full display with a horror themed track, delivering lines like “Julie’s alone walking through the cemetery while her parents sleep tonight” and “Julie, you don’t have to kill just to be happy.” It’s just a delightfully odd lofi pop song and I can’t get over it.

mgmt – “alien days”

Serving as the opening track for MGMT’s recently released self-titled record, “Alien Days” is another fantastic weirdo pop song. It kicks off with what could either be a child’s vocals or just pitch shifted ones (it’s sort of ambiguous) but then jumps into this clunky drum beat and odd groove. It sets the tone for MGMT as a whole perfectly and proves to be one of the most enjoyable tracks on the record, even if it is one of the more straightforward ones.

Julia Brown - Library R.L. Kelly - Life’s A Bummer mormon toasterhead - life can be cutesuzing Alex G - Adam mutual benefit - Advanced Falconry Coma Cinema - White Trash VHS hola beach - don’t take it personal Someone Still Loves You Boris Yeltsin - Cover All Sides Chance The Rapper - Pusha Man (+ Paranoia) Pusha T - King Push The Coasts - Take It Easy Alphabet Witches - opiates Florist - My Bones Emily Reo - Peach Phantom Power - Umbrella

NOT HAIGH ENOUGH

H&S/OTIOBR chat with 20-year-old singer/rapper Mona Lisa.

The first song you posted on your Soundcloud was a re-work of Lil Ugly Mane’s terrific “ALONE AND SUFFERING.” We can assume Ugly Mane has had a big influence on your sound, especially when it comes to choosing production. But what were some other inspirations and influences that made you want to pick up the mic? -AR I met these local artists called Apollo Society, two guys who rapped--[their] music was pretty good--and one day they hit me up and said, “Hey, we like your look and wanted to know if you wanna be featured on a song with us?” I was like, “haha, me? What?!” I’ve sang my whole life but I’ve never rapped before but I was like eh, fuck it, sure. So they sent me the beat and told me to write a verse to it then we’d record it at their home studio. So I wrote it and it came surprisingly easy to me, we recorded it and they never did anything with it. A month or two later I was in my bedroom listening to [Lil Ugly Mane’s] Mista Thug Isolation for the millionth time and played the interlude and just sat down and wrote and recorded it in like 20 minutes, posted it online. Voila. Lil Ugly Mane and Main Attrakionz were definitely what I was riding to at the time, so I guess you could say they inspired my early sound. So, I was introduced to you through Choongum’s Seascape 64. “Nightz” is honestly one of my favorite songs on that entire tape, and probably the one I return to the most. I know that’s how Adrian was introduced to you, too, since I sent him that track and we both sort of freaked out over it. We were curious, how did you get involved with Shisa and Choongum, and how did that collab happen? -RG This really sweet guy, Taylor Eaves, messaged me on Facebook one day telling me how much he loved my music and that he was a fan, and we got to talking and quickly became friends. He was

trying to create music so he ended up talking to quite a few producers online, just establishing connects and Shisa was one of them. The details are pretty foggy, but somehow Shisa and I ended up chatting and vibed pretty well. He asked me if I was down to collaborate on Seascape 64. From there I met Choongum. Then they sent me the beat and it was pretty inspiring. They’re talented so it felt surreal they wanted to work with me, but “Nightz” is definitely one of my favorites that I’ve done; it’s nostalgic for me because I was very in love at the time so those feels are like encapsulated in it, haha. There’s for sure plans in the future to work with both of them again. Love those dudes. Damn, it’d certainly be great if you guys teamed up again. It’s really cool that you have no problem talking about your sentiments on tracks like “Nightz” and “Them Feels.” I think it takes a lot of courage to do that. Do you think it’s important, as not just an artist but as a person, to express your emotions so brazenly in your music? -AR Fuck, I feel so much that it’d be crazy for me to not express myself emotionally haha. I strongly believe that music is a powerful outlet for emotion. Not to sound cliché, but it’s a great release for me. I get to say things that not only I feel but that people tell me they relate to, too. It’s very comforting knowing that the feelings I experience other people can understand and feel themselves. Outside of music I’m a very ‘real’ person, and I have absolutely no issue telling shit like it is, or telling people how I feel, so that mindset transitions easily over into my songs. I really think that today people hide behind the internet or the persona they’ve built up for themselves online, and I can’t ever see myself doing that. If I’m not being me and expressing my true thoughts, then what’s the point really? Totally agree, and to bounce off of what Adrian (and you) were saying the whole aspect of keeping it emotional and real without it sounding trite is something that seems kinda tough to do seeing as everything has sort of been done before. So the fact that you’re approaching it in a way that sounds fresh and genuine is really cool. You mentioned how easy it is to hide behind the internet and while I’m not sure if you only mean in terms of people’s social lives, I feel the same applies to a lot of ‘webborn’ artists. What are your thoughts on this (not new, but definitely more prevalent this year) trend of musicians sort of coming out of nowhere online and having an aesthetic driven sound? Like artists that we don’t really know anything about and keep their personal lives detached from their music? -RG

Man, immediately I think of people trying to create a “personal brand.” That shit makes me laugh. It’s strange how artists build these monuments to themselves and remain detached when the internet is only bringing everything closer and more readily accessible. There’s this strange Tumblr culture (not saying it only pertains to Tumblr, it definitely transgresses all social media) where these web-born celebs, if you could even call them that, are literally living their lives online while we know absolutely nothing about them as people, their personalities, etc. I find many local Tumblr girls in my town have this big following online, whereas in person all they do is try to look cute and stare at a wall and don’t fucking socialize or add anything of value to the conversation. I can understand artists making a character for themselves to create an unbiased musical experience, but I feel like some people are in it for the aesthetics and create hollow sounding music. Like. “Oh, that’s a good look,” as opposed to being passionate about art and what they’re creating. Not saying that I’m special, or super unique, but I’m really finding myself through music. With my upcoming mixtape, Idk I’m Haigh, I want to create something I’m 100% behind artistically, and not just what sounds cool or trendy. I think it’s undeniably admirable that your next work is going to focus more on real artistic merit, rather than on unfocused facades, which you noted seem to be popping up all over the web-born artist scene. Speaking of your upcoming ‘Idk I’m Haigh’ release, what can you tell us about how it’s going to sound and who you’re working with on it? And, looking further ahead, what does the future hold for your music? -AR Thank you! I’ve been working on my tape for a while and just a couple days ago I scrapped it and started from the beginning because I felt that in no way was I conveying the sound I truly wanted to. It sounded empty, and I was having lots of trouble finding the motivation to sit down and write and record, but then I realized, “Wow. If I don’t even feel invested in this then how will listeners even remotely care about it?” I found a beat I had been sitting on by these guys from the Netherlands called 4llsouls, and I don’t even know, it just took a hold of me and I wrote it and recorded it so quickly. The song is called “Feel Me,” and I absolutely believe I found my sound with it. It’s such a nice mixture of singing and rapping with a jazz-influenced, downtempo flow. Reminds me a bit of Shigeto. Mishka is about to premiere it soon, actually, and I’m so proud of it because I feel like it’s a perfect introduction to the future of Mona Lisa.

My whole tape will definitely have that vibe to it and I couldn’t be more excited. So far I have Fifty Grand, Shisa, Yung Salad and Miles Farewell on board for producing, and possible features from ABGOHARD and Babeolf Hitler. I have no idea what the future holds, but I’ve only been making music for a year, and if I’ve already gotten this far in one year and continue to move at the momentum I am, then I think the future could be bright as fuck. I mean, this is the only thing I’m passionate about so I’m going to put everything I have into it. *drops the mic* Mona Lisa is about to put the game in a bodybag, y’all. We’re definitely excited about new work from you. You showed us a preview of that “Feel Me” track, and it sounds great. So we’ll make sure to keep our eyes out for that finished Mishka version. Big things are definitely poppin’ for you. Finally, as a sort of curtain call, we’re interested in what music you’ve been vibing to lately, new or old. Definitely been listening to a lot of Shigeto’s No Better Time Than Now. Such a well puttogether album, and--MY GOD--the guy knows what he’s doing. Been listening to a lot of Bonobo and Visioneers, too. I’ve been on straight jazz and downtempo kick lately--the Jazz Music Choice station on my TV has been playing 24/7. On a weird note, I’ve been listening to a lot of late 90’s early 00’s power jams, too. I think I’ve played “Ready For This” by 2 Unlimited like 20 times in three days. Have to counteract all the chill with some arena jams to get that happy medium. Ya feel me?

Mona Lisa (IRL GAME Morgan Haigh) is a 20-year-old singer/rapper out of Daytona, FL. While not showering, enjoying the perks of acid, or eating breakfast, she’s counting the days until she can collect Social Security checks. (And if you’re curious, her Social Security number is 666420386.) You can find her at @KarateSowers on Twitter, and at https://soundcloud.com/ karatesowers if you want to listen to her music.

WHAT A TIME TO BE ALIVE. Flying weaponized robots

soaring the skies, government agencies needlessly recording how much time I spend on Twitter, and MAN, MY iPHONE HAS A THUMBPRINT READER?! 2013 was a very strange year, indeed. Personally, it was simultaneously the worst and best year of my life. Graduating from college, I really wasn’t sure what was ahead of me (other than eating hecka hot dogs). Eventually things settled, but there was always a delicate balance of good and bad, and that theme was reflected in the sounds of 2013, as well. There was no shortage of remarkably good records, but there was also a plethora of subpar ones, too. It’s as if 2013 didn’t really know what to show us, so it kind of just threw everything at the ground and said, “Whatever, dude. You figure this shit out.” I guess you can call it a ‘transitioning’ period. Either way, the good and #based stuff that was given to music listeners definitely provided a filter of sorts in showing us what lies ahead. There were some extremely interesting sounds and artists that fully surfaced in 2013. If all goes right, the future of music--both independent and non-independent–is dazzling.”

ALBUMS: OTIOBR

Speedy Ortiz - Major Arcana Northampton, Massachusetts, natives Speedy Ortiz created one of the finest rock records of the year. Major Arcana is an anomaly in the The Great Indie Rock Depression of the last couple of years, because it never takes itself too seriously. While repurposing aesthetics from 90’s greats like Liz Phair and Pavement, Speedy Ortiz has carved themselves a nook out of which they can operate their swift and brawny tunes. Opener “Pioneer Spine” begins with tickling harmonics, and then dives into Sadie Dupuis’ threatening search for veracity: “I want the truth / Even if I’ve gotta rip it from you.” Even though Major Arcana is donned with occasional moments of quarterlife crises, Speedy Ortiz manage to bring lots of lightheartedness to the table, too. They harness their 20-somethings’ sense of humor with quips like “I was never the witch that you made me to be / Still you picked a virgin over me” on “Plough.” With strong songwriting, an underappreciated management of time (they know exactly when to bring a particular hook or guitar lick in), and wellrounded musicianship, Major Arcana is a unicorn of a record.

Chance The Rapper - Acid Rap There is no hope on the south and west sides of Chicago; it’s been sucked out through bulletholes in houses and exit wounds in teenagers. While it’s impossible to capture the dread of neighborhoods like Englewood, Auburn Gresham, Little Village, and Washington Park, Chicago-bred Chance The Rapper does his best to give listeners a glance. Though often filled with moments of child-like halcyon, Acid Rap is perpetually finding reality lurking somewhere in the shadows, creeping toward whatever teenage innocence is left to prowl upon. The end result is an album that seems dichotomous in nature, but is actually a reflection of what happens when institutions fail a population; it’s when making the best out of a shit situation doesn’t necessarily help, but it at least let’s you forget for a while. That’s the strength in Acid Rap, though: it proves to be a telling narrative of a kid who’s just trying to live for the moment, knowing full-well that many of his peers might not be around much longer. In staying true to that sentiment, Chance brings some of the most shrewd lyrics of the year to the table. Whether he’s hurling dizzying, contented descriptions of drug use (“NaNa” and “Cocoa Butter Kisses”), or trudging through the grime of disenfranchisement and violence (“Acid Rain” and the second half of “Pusha Man”), Chance is laboriously aware of his surroundings. This cognizance makes Acid Rap rare in the sense that it’s able to tackle issues as complex as structural racism, or as simple as packing a gutless White Owl in the car. In many ways this mixtape serves as a new pillar in the Chicago hip-hop scene, amalgamating the styles of its canons (The College Dropout’s playfulness, the Ghetto House/Footwork scene, and BE’s wisdom) to create an ideal synthesis of accessible locality--be it carefree or melancholic.

SHINee - Everybody EP In no way shape or form am I an authority figure on Korean pop music. However, I’ve done my fair share of dabbling of this year, enough to be a novice of sorts in the ever-expanding genre. I’ve primarily been playing catch-up, listening to older releases from superstars 2NE1, G-Dragon, Yoseob, U-Kiss, and Phantom. But in finding myself lost amongst the bottomless K-Pop forums filled with wide-ranging types of people, from 16-year-old Japanese boys to British mothers, one new release had everyone buzzing: SHINee’s fifth EP, Everybody. I’m not going to lie, if you ever been curious about K-Pop, but are intimidated by the not knowing where to start, Everybody should be your introduction. The EP is concise, filled with the approaches that make K-Pop so wildly infectious, and is straight killer, no filler. After the EDM-inspired title track, which is far less trite than its American EDM counterparts, the stunning “상사병 (Symptoms)” takes over. Modeled after late 90’s and early 2000’s R&B (I seriously can envision B2K or Jagged Edge over this beat), “상사병 (Symptoms)” is a pop tour de force. This is where Everybody hits its stride, as “ 빗 속 뉴욕 (Queen Of New York)” and the Timbaland/Missy Elliott inspired “1분만” (One Minute Back)” continue the streak of dance-worthy tracks about youth in love. But, coinciding with another common theme of young love, there is a sense of loss, as well. This feeling is best portrayed on the alluring “닫아줘 (Close The Door),” where a love interest is portrayed as being fickle on his/her commitment to the relationship. This capricious behavior eventually leads the protagonist to beg for mercy, effectively asking the love interest to just close their heart, as protection from more emotional harm. From one end of the spectrum to the other, SHINee ensures this EP is one of the more well-rounded pieces of pop out there. There’s velvety R&B, bubblegum pop, and imaginative use of emerging American and European electronic music styles. In essence, Everybody has something for, well, everybody.

Oneohtrix Point Never - R Plus Seven To express emotion exclusively through sound is still one of most challenging things to do, even in an age where electronic instruments have seemingly become all-encompassing in ability. There is a distinct difference between artists who attempt to put extreme emotion into their music, and artists who are able to actually channel that feeling to listeners. Daniel Lopatin’s Oneohtrix Point Never does the latter with R Plus Seven, a comprehensive exploration of emotion in the digital age. While Oneohtrix Point Never’s 2011 release, Replica, toyed with titillating embraces of the near-past, R Plus Seven finds itself somewhere in the not-too-distant future, where technology is approaching a tandem apex with humanity. Lopatin creates a landscape where said technology is almost religious in fervor (“Boring Angel”), and draws directly from it. He thrushes that emotive aura through a prism, and is left with wide-ranging colors and inspirations for the album’s content. Whether it’s the lush, forestlike feel of “Americans,” the album’s rare moments of danceability and joy on “Zebra,” or the cerebral coldness of “Still Life,” Oneohtrix Point Never is able to convey complex sentiments of feeling adrift, lost, and forgotten through the texture of archaic synthesizers. In no way is this something new for Lopatin, but on R Plus Seven, his manipulation of digital and electronic sound is as clean and clear as it’s ever been without compromising its sense of humanity.

suicideyear - japan

Baton Rouge, Louisiana, isn’t normally a hotbed for progressive hip-hop, but producer suicideyear (born name James Proudhomme) has a case against that preconceived belief. While he’s no stranger to putting out new music, japan is his most complete and invigorating work to date. This mixtape is what happens when hip-hop radio bangers are stripped down to their skeletons and pushed into dense fog. While obviously enigmatic and, at times, bizarre, this mixtape gives listeners a truly introspective experience, especially on tracks like “Dropp” and “Sadder.” Though perpetually finding itself exploring dark themes, Proudhomme is talented enough as a producer to not get trapped in repetitive themes, as the traditionality of “Wavriel” and brightness of “CCCXXV” dispel any inkling of that. Moreover, he stays true to the idea of stripping down the sound of hip-hop’s more ostentatious side, as noted in the massively addicting rework of Travis Porter’s “Do A Trick.” Heavily inspired by southern trap music, japan is an expedition into the possibilities of what hip-hop production is becoming: inward-looking, intuitive, yet not afraid to look outward and explore what lies beyond the mist.

Bill Callahan - Dream River The end of the band Smog left Bill Callahan to his own devices, as he’s now four albums into his solo career. Since he’s been making music for over 20 years, Callahan is no stranger to reinventing his music. His last two albums, Sometimes I Wish We Were An Eagle (2009) and Apocalypse (2011), solidified him as one the best singer/songwriters out there. With a rich, dragging (not unlike Tom Waits), and bassheavy tone, Callahan’s voice is full and rounded, which suits his dark-flavored folk perfectly on his latest LP, Dream River.

The beauty of this album, as is the case with any of Callahan’s albums, lies in the effortlessness of which words slip and fall from his mouth. But Dream River’s understated glory is the musicianship behind it. Gentle strums and an ice-like sliding of the guitar serve as the true foundation for this album, as hand drums, woodwinds, tender keys slither in to fill in the cracks. On “Javelin Unlanding,” which is one the more pop-sensible tracks on the album, Callahan shows his ability to incorporate seemingly clashing sounds (airy flutes and piercing guitar licks) to create a veritable smorgasbord of sound. That theme is continued on “Seagull,” a hazy tune with dream-like keys that float in a way that’s reminiscent of The Doors’ “Riders In The Storm.” The instrumentation on this album is strong--really strong. But it’s impossible to forget--even for a second--about Callahan’s lyricism. Using flying a plane as a metaphor for a relationship between he and someone else, “Small Plane” is as idyllic as gets in regards to Callahan’s writing skills. Though simply said and delivered with ease against a timid backdrop, the amount of joy in the lyrics in “Small Plane” is unparalleled “I never like to land / Getting back up seems impossibly grand / We do it with ease / Danger? / I never think of danger / I really am a lucky man.” Dream River is as complete of an album that Callahan has ever been a part of; it’s a trip to the Northern Woods in a small Cessna that finds some kind of calm buoyancy in the clouds.

Deafheaven - Sunbather There is simply not enough time in the day to properly disassemble the prolificness of Deafheaven’s second album, Sunbather. The San Francisco-based band has caused a stir amongst metal’s self-appointed authority figures because of the band’s willingness to incorporate non-metal ideals into full-metal sound. On the sprawling and dazzling Sunbather, black metal is melted down until it’s orange and malleable, then fused with elements of My Bloody Valentine-esque shoegaze and post-rock’s innate experimentalism. The result is an indescribable alloy that dispels traditional notions of black metal, while never veering too far off the track. At almost exactly an hour in length, it’s impossible to not feel as though Sunbather attaches itself you, drawing out every ounce of emotion from your body--and it starts as soon as you hit play.

The album opens with one of most prepossessing songs of the year in “Dream House,” a nine-minute dive into what Deafheaven’s sound is all about: titillating crescendos and a knack for for making every strum of a guitar, every hit of a crash cymbal, and every flick of the bass, a part of some grand story. But while there are certainly large aspects of the album that rely on sounding heavy, the band finds a perfect balance to let themselves float above it, too. For instance, the piano-driven ballad “Irresistible,” which serves as the finisher on the best 1-2 combo opener you’ll find on any album this year, and the ethereal “Windows,” shows Deafheaven’s ability to transcend traditional black metal. Sunbather is by far one most gorgeous albums of the year, and that might be an understatement. To create something this colorful in a genre known for its shadowy gloom is a feat that Deafheaven accomplishes through its inclination to stay ahead of the curve, never stopping unless it means picking up new things along the way. Denzel Curry - Nostalgic 64 The former Raider Klan wunderkind, Denzel Aquarius’killa Curry, dropped one of the hardest rap albums of the year in Nostalgic 64. With his AK47-like delivery, Curry mowed through thirteen tracks of streetlevel sentiments. The album’s feel is dark, and tales of murder, prison, and life on the streets are abound. On the banger “Threatz,” which features Robb Bank$ and Yung Simmie, Curry vexes, “Kill a nigga, get ghost / that Patrick Swayze, come’ equipped with a vest / I’mma point that shit to ya mothafuckin’ neck.” He gets even deeper on “Mystical Virus 3,” where he, alongside Mike G and a stunning guest verse from Lil Ugly Mane, delves into the story of a boy who grows up thinking incarceration is a viable option in life due to the unfair circumstances around him.

For only being 18-years-old, Curry seems light-years ahead of his peers. Each track on Nostalgic 64 is a first-hand view of his undeniable skill. From bangers to introspectives, this album shows just how versatile Mr. Aquarius’killa is.

Dean Blunt - The Redeemer Dean Blunt is a puzzling artist, and the fact that “Dean Blunt” isn’t his actual name is only one part of the mystery. For years, Dean Blunt’s music and performance art has only further perplexed listeners and viewers. On his latest album, The Redeemer, the shroud of enigma doesn’t completely vanish, but we finally get a glimpse into his world. It’s hard to definitively say this is a break-up album, but there are many aspects of it that hint toward that conclusion. The Redeemer is sprinkled with hollow heart-spills: “I’ll be gone before you sleep / So call me when your heart is empty” (“The Pedigree”), and voicemails of women telling Dean to stop calling them. Tracks like “Need 2 Let U Go” and the Inge Copeland-featuring “Imperial Gold” are tinged with the aches that come with looking back on fond moments, further driving the idea of The Redeemer as an album of love loss. Instrumentally, The Redeemer reflects a hodgepodge of influences like KC & JoJo-esque R&B, sample-ridden hip-hop, folk, and classical. The way these various sounds are incorporated into the album are imperfect in nature, but it’s an endearing quality. These tracks may not make much sense in it of themselves (the weird ocean noises below a string arrangement on “Walls of Jericho,” for example), but when looked at as a sum of its parts, The Redeemer is freakish in a way that’s commanding and skillful.

Marnie Stern - Chronicles of Marnia Marnie Stern may be 37-years-old, but the music she’s making on her latest album is akin to an 18-year-old looking at the real world for the first time. Chronicles of Marnia is Stern’s fourth album, and her craftsmanship on both vocals and guitar play are unmatched. She bounces from chunky strums to piercing licks--all the while howling frantically--within a span of a few seconds. Stern is in full control throughout the album, and never attempts to be too flashy. Take for example “Nothing Is Easy,” which features Stern’s fingers dancing on frets, as she shrills, “There are no coincidences!” It seems almost effortless until you start having the song on repeat, then you notice nuanced plucks of the guitar and the penetrating inflection of Stern’s voice. But Chronicles of Marnia is more than just an entertaining album; it’s diary-like with its confessional attributes. Watching things slip past her becomes a common theme throughout this album. On “You Don’t Turn Down,” Stern, as if seeing each new day as a countdown to demise, admits, “I am losing hope in my body.” And on “East Side Glory,” she alludes to the loss of friendships with the passing of time, “Too much incubation / Everyone is changin’ / I don’t know why I can barely hear.”

Chronicles of Marnia is has the content of maturity, but the sound of playfulness. It’s Stern’s most realized work to date. She’s still crafty as ever, and not just in her music. Stern repeatedly uses tricks to elude time, but on Chronicles of Marnia she concedes that time is catching up with her.

Ejecta - Dominae Ejecta is the collaborative project of Neon Indian instrumentalist Leanne Macomber, and Joel Ford (of Games, Ford & Lopatin, and Airbird). Together the duo creates dreamy electro-pop that feels like it was created in a small bedroom. Macomber’s whisper-like vocals take center stage throughout their debut album, Dominae, as Ford’s shape-shifting synth and drum machine play serves as the group’s adhesive. Take “It’s Only Love,” for example, which features a flawless hook and instrumentation that sounds like a backing track from the film Weird Science. Dominae, though not without flaws, is an engrossing debut for these seasoned musicians. The upside for Ejecta is tremendous, and if they continue with electro-pop gems like “Jeremiah” and “Silver,” a classic may be on the way.

Young Thug - 1017 Thug Being “weird” in hip-hop culture was once seen as a detriment to a rapper’s career. That, however, is no longer the case. After OutKast’s self-appointed extraterrestrial status in the 90s, the floodgates slowly opened for artists like Future (of Pluto) and Lil B (of #BASEDWORLD) to find a niche to grow out of. Add Atlanta’s Young Thug to this growing collection of rappers who use unconventional mediums to make their music something to come back to on a constant basis. On his Bricksquad-backed mixtape, 1017 Thug, Young Thug enigmatically slithers his way through grimy trap beats to create one of the most distinctive releases of the year.

Young Thug is not a great rapper, let’s make that clear. In fact, under traditional models, he may not even be remotely good rapper. But the man is immensely gifted at creating memorable verses and hooks. His flow, which is like an unyielding stream of consciousness, will burrow itself in your ears. There are moments where I’m sitting at work, and the opening lyrics to “2 Cups Stuffed,” a contagious ode to promethazine, will just loop in my head for hours: “L-E-A-N-I-N-G / LEAN, LEAN, LEAN, LEAN, LEAN-LEAN-LEAN / 500 HORSES INSIDE MY MACHINE / 500 DNA IN MY DING DING.” Young Thug’s cadence is also of note. He permanently sounds like he’s had few stuffed cups before hitting the studio, adding an element of drugged-out surrealism. The Gucci Mane-aided “Nigeria” is incredibly addicting, and shows the lean-infused genius of Young Thug on a baffling perfect hook: “Me get you in Nigeria / Take a trip to Jamaica / Smoking weed from Nigeria / Take a look in the mirror / All I see is a million / Take a trip to Siberia / It’s so cold in Siberia.” Though filled with many phenomenal moments of idiosyncrasy, the mixtape reaches its apex on “Picacho,” [sic] which may be the most daring hip-hop song of the year. With a nebulous beat by Jay Neutron, Young Thug goes unconscious on one of the most indelible hooks of all time: “My Diamonds they say Pikachu / They say Pikachu / I’m a boss I walk through the club and just peek at you / My diamonds the say Pikachu / They gon’ wink at you.” 1017 Thug juts out like a sore thumb amongst the plethora of mixtape releases this year, and it’s all the better for it. Young Thug creates a truly creative collection of weirdness and self-praise with this release, drawing listeners closer into the gravitational pull of whatever lean-soaked planet he’s from.

Elvis Depressedly - Holo Pleasures To say Mat Cothran had a big year would be an understatement. Earlier this year he dropped holo pleasures under the Elvis Depressedly pseudonym, and then released Posthumous Release through the Coma Cinema brand. While the latter was certainly a solid collection of tracks, it’s the kid-recording-in-a-closet quality of holo pleasures that proved to be the more affective of the two. The gloomy pop exercised in this album billows like any person reading into the Elvis Depressedly name would expect. However, it’s not the sort of straightforward melancholy one would anticipate, but, rather, the sort of unhappiness that comes from the absence of delight. It’s as if Cothran is thinking about joyous moments of the past, only to realize they are neither here nor there, and are slowly, painfully escaping his memory. This is best exemplified in his songwriting, most notably on the Modest Mouse-esque “thinning out,” where he registers his sentiments: “I miss you perfectly like a dream / Thinning out / It’s never as good or as bad as it seems / Thinning out.” There’s no shortage of laments like these, and though that sounds like the foundation for something unappealing and redundant, holo pleasures ensures that is not the case. Cothran’s introspections are nothing short of poetic, and each verse serves as a delicate and transient crafting of self-analysis. The brightest tack of the album, “inside you,” features Cothran expelling these inward examinations aloud when he sings, “I want to find you / A way out of my head.”

Though just a few seconds longer than 12 minutes, holo pleasures manages to feel like it’s playing in perpetuity. The album drips with the type of stagnant pleasure that comes with thinking far too long about something that no longer is--which, for its author, seems too hollow and transparent to hang joy upon. Kitty - D.A.I.S.Y. Rage Self-exiled Floridian rapper Kitty is the type of musician that garners a dichotomous form of attention, and often from the same sources. Whether it’s the spiteful detest of music blogs and Tumblr anons, or the sprawling adoration from other music blogs and Tumblr anons, Kitty is--by now--used to the seemingly bipolar perception of not only her music, but her personality. The cause for such a wide-ranging reaction to her has to do with a number of variables, much of which serve little-to-no merit in disliking her (in fact, these variables are more of a reason to like her music): 1) she’s white, 2) she’s a woman, and 3) she’s not afraid to bare all when it comes to her emotions. Unfortunately, much of the abhorrence for Kitty’s music stems from the aforementioned facts, and it seems rather petty, to be quite honest. She’s creating truly inspiring and progressive art in the often aggro, male-dominated culture of hip-hop. Understanding the context of her art’s world may have driven Kitty to prove herself to doubters, which specifically translated to her becoming a better songwriter.

On D.A.I.S.Y. Rage, her breakthrough 2013 EP, Kitty propels herself to a new echelon. While in previous efforts she was plagued by a lack of focus and a misunderstanding of her ability, she’s truly grown into her own with this release. Centered by the jawdropping “$krillionaire,” D.A.I.S.Y. Rage shows Kitty impeccably in control of her sound, as she dangles her sentiments in front the microphone with the kind ease that is nothing short of natural. And that’s the thing with Kitty on this EP: it’s her realness that shows. Whether she’s talking about her oft-crippling anxiety, dealing with rejection (from lovers, peers, and critics alike), or trying to avoid mom’s seemingly omnipotent parenting, Kitty creates something that’s just utterly sincere in D.A.I.S.Y. Rage.

Disclosure - Settle House/Synth-pop project Disclosure came out guns-a-blazin’ with their debut full-length album, Settle. Guy and Howard Lawrence make up the duo, and their music features the kind of luster you’re likely to see on palace floors. Opening with a fiery sermon from preacher Eric Thomas, Settle is jammed to the lid with dancefloor anthems--many of which feature vocals from up-and-coming UK singers. The Sam Smith-featuring “Latch” is a pop smash that teeters with house elements, “White Noise” is highlighted by AlunaGeorge’s ferociously good hook writing, and Jessie Ware’s always-stirring voice on “Confess To Me” does its magic. However, a nice little surprise on this album is that some of the best performances are from lesser-known artists like Sasha Keable on “Voices” and Eliza Doolittle on “You & Me,” who bring further titillation to the album. The Lawrence brothers shape their sleek house and pop beats around each singer’s strengths, resulting in a wondrous clash of sound and substance. Settle is no doubt a ‘summer album,’ but its playback upside is tremendous. I don’t think I’ve put this album down since its release back in June, and I don’t plan on doing it even after the year is over.

Autre Ne Veut - Anxiety It is extremely difficult to create albums with consistent content, and it’s even harder to make said content come across as something meaningful. Psychology grad student Arthur Ashin is a rare exception in that the content of his songs are often fragmented, and at times contradictory, but are subsequently pure reflections of the human psyche. Under the moniker Autre Ne Veut, which loosely translates from French to “I want no other,” Ashin delivers a near masterpiece with Anxiety. In it, Ashin explores a number of themes that are primarily trapped in our subconscious, rarely finding a way out to breathe. He approaches suppressed thoughts of sexuality in ”Ego Free Sex Free” and “Play by Play,” but in a way that’s raw and true to the human subconscious, where carnal desires float around freely. He burrows even deeper, as he confronts the finite bounds of human existence on “Gonna Die,” fashioned so that it begins in acceptance, but ends in fear: “Someday I’m gonna die / And I feel it more acutely now / Than I have for awhile.”

Anxiety is in many ways a psychological exploration on the part of Ashin. Traveling freely between the id, ego, and superego, he delivers snippets of each part, and details their subtle interactions. The album’s title best describes the feel of it, and Ashin uses it to his advantage; Anxiety is filled with moments of unease and apprehension, but a certain feeling of serenity comes from confronting them.

Migos - Y.R.N. Atlanta, Georgia, has been the birthplace of a number of rap music’s biggest trends. Though trap music’s origins can be traced back almost 20 years, but it’s had a newfound resurgence in modern rap music, which translates to more mainstream access. With lightning-quick hihats and bass that’ll change your heart rhythm, the genre has further become a reflection of abandoned houses turned into drug hubs, and the tight-knit culture that follows it. This is where Atlanta trio Migos step in, as Quavo, Offset, and Takeoff use their game-changing delivery to create infectious odes to trap culture.

I’m not going to lie, I had this whole descriptive write-up for y’all about this mixtape, but I decided to keep it short: this shit bangs, and not in the “okay, I’mma turn up the volume in my car” type of way. This is the kind of mixtape that needs to be played on something that’s louder than a 747 taking off. Tracks like “Hannah Montana,” “Bando,” “Finesser,” and “Out Da Gym” are one-way tickets to doing the money dance, and I’m ever so grateful for it.

Julia Brown - to be close to you There’s a level of intimacy reached on Julia Brown’s to be close to you that goes unparalleled when compared to other albums that came out this year. Through dreary lyricism and colorful pop, this album does more in 16 minutes than what most discographies can even dream of; it’s efficiency of the highest caliber. Led by Sam Ray (also of Ricky Eat Acid), Julia Brown grew from the ashes of Teen Suicide, but retained its drug-splattered lyricism and dewy-eyed instrumentation. The difference, however, shows in the band’s confidence. As if somehow freeing itself by leaving their former moniker, Julia Brown comes across as a fully developed output with no self-restraints. Almost unassumingly, to be close to you becomes an anthem of longing and disconnect. Ray’s lyricism, though highly personal, find itself in the category of universality, as they reach their hands out to show their relatability to listeners on issues of attachment. On “i will do this for the rest of my life,” Ray, in an admitting tone, says, “Because you’re still / In my dreams / I guess you mean / More to me.”

Instrumentally, the band achieves so much through so little means. Recording the album straight to tape, allegedly via a boombox, the instruments sound nebulous and familiar in a way that’s warm to the touch. Album standout “Library” showcases this amiable aesthetic, as Caroline White (also of Infinity Crush) plays her violin in a manner that feels sympathetic to a previously unknown pain. There’s no weak point on this album, as the band does everything perfectly on to be close to you. It’ll leave you with a lot of thoughts, but never ones that feel too far away to control. Julia Brown didn’t catch lightning in a bottle; rather, they’ve somehow caught a sense of relatable detachment through a boombox, which might be even better.

LAMPGOD x **L_RD//$M$ - **$$EXT8PE3000013 Sticky and sweaty tape crackling pours out of this mixtape’s orifices, and while that sounds straight-up nasty, it’s because it is. Not often can it be said that an instrumental mixtape has larger-than-life sexual prowess, but the collaboration between producers LAMPGOD and **Ł_RD//$M$--conveniently titled ??LAMPGOD??**Ł_RD//$M$??**$$EXT8PE??--makes a case in favor of that argument. With a whopping 33-tracks on it (I should note that most tracks hover around one-minute in length), ??LAMPGOD??**Ł_RD//$M$??**$$EXT8PE?? is what happens when a couple of R&B aficionados dig around dad’s boxes in the attic, and find a VHS porno from 1988. It’s an alluring pastiche covered in some type of Spankwire-esque timewarp goo.

The chopped and screwed qualities of this tape, which often result in pitched-down vocals, no doubt add to its lascivious overtones. But it’s the way the samples are cut that really showcase the producers ability to use miniature facets of sound to provide context for emotions (i.e., lust, desire, love, and loss) in a manner that seems superficially trite--yet completely devoid of inherent superficiality--that makes this tape a must-have. Standout track “**BABY$$ITTERGET$$CaUGHT??,” which is only a few seconds longer than a minute, features the kind of sampling methodology noted previously. As the vocals repeat an indecipherable phrase that can only be described as impassioned, another vocal sample that simply contains a soft, yet fervid, exhalation follows it. It’s carnal, cathartic, and in many ways, pleasurable. But just because sex is the basis for many of these tracks doesn’t mean it isn’t accessible, or that it’s vapid. Songs like **A$$IANMA$$TERBATTION??,” “$$eX$$WING??,” and “**FACIALCOMPILATION??” are wonderful, approachable, and emotive takes on R&B (and even a Mexican ballad) that have more feeling in them than you would think. The unabashed and ironic use of internet pornography terms in the titles, which is obviously an aesthetic these musicians thought long and hard about, might draw disdain from prospective listeners. However, the sounds these two producers create are nothing short of creative. It’s messy and sporadic, but ??LAMPGOD??**Ł_ RD//$M$??**$$EXT8PE?? is undeniably one of the most memorable creations of the year.

DJ Rashad - Double Cup/Rollin’ When Chicago Footwork champion DJ Rashad dropped his concise and cerebral Rollin’ EP earlier this year, I immediately regarded it as a contender for this year’s best album. What I didn’t know was that he’d have end-of-the-year contenders after his debut full-length with Hyperdup, Double Cup, dropped. Let’s start with the former, though. Beginning with a phenomenal take on Jagged Edge’s “Walked Outta Heaven,” the EP was like thunder rolling through an open field. Though only four-tracks long, it knocked heavy, but also showed a side of DJ Rashad that only appeared in glimpses in his wonderful 2012 effort, Teklife Vol. 2: Welcome To The Chi. His approach to footwork took a more introspective turn, and it made footwork more human than ever--despite its purely electronic creation; it’s an artificial intelligence that seemed to gain the ability to feel. “Let It Go,” with its low-hitting bass and spot-on use of Alicia Keys’ vocals from “You Don’t Know My Name,” is a gut-wrenchingly emotive track that shows Rashad’s ability to make a drum pad speak to a listener on an almost personal level. While Rollin’ really brought some pure emotion into footwork, Rashad took a more objective approach on Double Cup. On the full-length, he dug his roots further into his hometown of Chicago in order to bring the house music of Frankie Knuckles and the like further into the mix. “Show U How” and “She a Go” really exemplify Rashad’s electrified Chicago influences, as murky deep house synths provide the background to a vocal sample display. Double Cup is seeping with polarizing moments, from utter bliss to villainous tirades. When held alongside Rollin’ and DJ Rashad’s other solid 2013 EP, I Don’t Give A Fuck, Double Cup is the cherry atop footwork’s recent rise to glory.

5 Kanye West - Yeezus Kanye West withholds nothing, opting instead to air grievances and grandeur in a volcanic-like manner, on his sixth studio album,Yeezus. With the help of a large team of producers that included, but was not limited to, 88-Keys, Evian Christ, Lunice, Hudson Mohawke, Daft Punk, and No ID,Yeezus becomes the sort of anti-magnum opus that many artists are simply too afraid to think of. Each track is a look into the id of Kanye, as his frustrations and empty pleasures are spewed like venom from the mouth of a spitting cobra. The album opens with Kanye taking target practice on “On Sight,” then cathartically releases his inner Marilyn Manson on “Black Skinhead,” where he juxtaposes his carpe diem desires with his threatening impulses: “Baby, we livin’ in the moment / I’ve been a menace for the longest.” The theme is partially continued on “I Am God,” which puts a powerful focus on “Kanye, the deity”, as opposed to “Kanye, the rapper.” This is the most antagonizing song Kanye has created to date, and its focus on how commercialism is a vessel for bigotry (“What you want? / A Bentley? Fur coat? A diamond chain? / All you blacks want all the same things”) makes it the sinister sister of his earlier looks at similar topics (“All Falls Down”). Instrumentally, Yeezus is near-perfect. The drawn-out grandiosity of “Hold My Liquor” and “Blood On The Leaves” dribble with the Phil Spector-esque wall of sound that Kanye perfected on his previous album, My Beautiful Dark Twisted Fantasy. But, as if mirroring the up-and-down extremes of his music career and personal life, he’ll also drop tracks like the highlight “Bound 2” and the aforementioned “On SIght,” which are some of the most straight-forward things he’s done in a long time.Yeezus is divisive, often confusing, and sees Kanye shallow up his lyrical skills/patterns. But that sort of brazen honesty and disdain towards sugar-coating anything makes Yeezus far more genuine than some would like to think. If MBDTF was the celebration and party that followed being crowned king,Yeezus was the paranoia and ruthlessness that came after; it’s the strike of an axe on unsuspecting citizens, and a dive into the depths most pop culture icons wouldn’t even dare to attempt.

Big Baby Gandhi - D E B U T Big Baby Gandhi (government name Nafis Islam) has had a fascinating, albeit short-lived, career. Since the release of his debut mixtape, BIG FUCKING BABY, Gandhi has been slowly accruing fans across the internet world. After dropping last year’s extremely potent NO1 2 LOOK UP 2, he immediately shot up my favorite rappers list. However, this past January, Gandhi dropped big news: he was retiring. He eventually dropped a very solid mixtape with producer Yuri Beats, and teased listeners with studio updates from the final mixing of his debut full-length, D E B U T. After the release of it, he stated, he would officially hang his shoes up. Despite a number of delays, the wait was worth it. D E B U T is the best rap album of the year. What Gandhi does best is look at the world with a keen understanding of how things really work. He’s observant, but never pretentious in his critiques, as he notes societal ills, and just how ill it is to just sit around and do nothing. One of the major knocks Gandhi has gotten has been how abrasive some of his raps have sounded. While it’s certainly true that his music wasn’t necessarily the most accessible, there were moments of sheer genius. On D E B U T, however, he drops the naivete that may have plagued his earlier work in favor of a far more focused sound. He’s become a formidable producer, and his lyrical skills have skyrocketed. On “Native Sons,” one of many songs on this album to delve into racial relations, Gandhi brings his A-game. Over breezy synths, swift snares, and sporadic hi-hats, he dizzyingly spits, “What it mean to be a native? / The meaning can be debated / But, see, we cannot be played with / Highly elevated / To celebrate it / We hella faded / Relegated to the background, that’s still my favorite.” When it comes to discussing race, young Nafis isn’t afraid to get personal, even through his playful attitude. “Green Card” dives into the immigrant struggle: “This here’s a celebration / No more employment verification / Forms to renew / You know how we do.” With a hook that demands some major head bobbing, “Green Card” becomes one of the album’s many highlights. There are also some incredible sonically accessible moments on D E B U T that simply would be a crime to not mention. “Black Lipstick” is a bedroom-knocker that features Gandhi sing-rapping over an incredibly infectious beat. “Roll Call,” with its almost annoyingly catchy drill whistles and bird calls, becomes one of the more rewarding tracks on the album. And then there’s album closer “Boomerang,” with its wistful 8-bit keys that seem like the perfect ending to something that was cut short. As an artist, Gandhi has risen to higher levels with D E B U T. It’s unfortunate that he’s decided to end his career just as he was really hitting his stride, but the St. John’s University pharmaceutical student has something more important to worry about: a college degree. That means much more to not only himself, but his family (especially given the lack of job security in the rap world). In many ways this album serves as a proper goodbye, telling listeners what he does and who he does it for. At the end of “Native Sons,” Nafis wishes he was a part of the super rich/secret Illuminati, but not to gain power; rather, to provide financial security to his family: “Wish I was ‘lluminati / Wish I was ‘lluminati / My mom shouldn’t work so hard / My mom shouldn’t work so hard / My mom shouldn’t work so hard / She way too good a person.” Family or money? That’s always been the question on Gandhi’s mind ever since he started rapping, and he couldn’t have both. It seems like he’s always known the answer.

Saint Pepsi - Hit Vibes Scenes and trends amongst the music world seem to be lasting less and less as we move toward some hella weird, pluralistic, and dystopian Internet-based culture. But as ridiculous as the name sounds (and is), vaporwave rose from the ashes of its selfappointed death in 2012 to provide some insanely good albums this year. Though still based on the plunderphonics that made the scene’s first noise (Macintosh Plus, Fatima Al-Qidiri, et al.), Ryan DeRobertis’ Saint Pepsi dives into the new-disco branch of the vaporwave aesthetic, which culminates into one of the best albums of the year. Hit Vibes begins with a framing of sorts, as dialogue for Woody Allen’s 1996 film, Everyone Says I Love You, sets the scene. Joe, played by Allen, is about to (unknowingly) meet his daughter Djuna’s fiance. “I want to introduce you to someone,” she says, just before Saint Pepsi drops a wonderfully implemented sample of Coke Escovedo’s “I Wouldn’t Change A Thing.” That’s the real strength of Hit Vibes:the immaculate sample flips, which are seemingly boundless. The Whispers’ “I Can Make It Better” (on “Better”), Phil Fearon and Galaxy’s “Wait Until Tonight (My Love)” (on “Around”), and Tatsuro Yamashita’s “Love Talking” (on “Skylar Spence”) are only a handful of the tracks used by Saint Pepsi to further corral us into a place where dancefloors are illuminated in squared sections, and white, three-piece suits are mad cool. Though the mood is always lighthearted on Hit Vibes, the album’s most downcast--thought brilliant--moments come after its interlude. Tracks like “I Tried” and “Miss You” project a sense of longing that isn’t really seen elsewhere in the album. What makes this such a feat is that DeRobertis is able to denote these more dense moments through simple sample edits. (The effect on the vocal sample for “Miss You” sounds almost as if it’s slowly distancing it from someone.) What Hit Vibes provides is some of the most accessible and danceable material of not just the past year, but possibly of years before. If The Avalanches’ Since I Left You were a sentient being, its younger self would be Hit Vibes: Less complex and more direct, but with the kind of innocence in love that comes with growing up.

2 Julia Holter - Loud City Song Loud City Song is Julia Holter’s third album in as many years, and serves as proof that the Los Angeles product is one the most astute pop-experimentalists of the day. It’d be impossible for me to attempt to describe the natural elegance of Loud City Song without seeming like some sort of thesaurus thumper, but the delicately arranged songs Holter has presented us with are some of most encapturing pop melodies of the year. On paper, Holter’s music might seem like the antithesis of pop music’s innate accessibility. Holter is a modernist modeling her music after classicism, literary tropes, and the thoughts that enter your brain but rarely leave your mouth.Yet the pieces that make up Loud City Song seem so inviting, going against preconceived notions that this type of exploratory attitude could never husband pop’s simplicities. The album begins with the unclothed openness of “World,” where Holter’s airy voice floats above the gentle tremblings of strings and woodwinds. This track sets the landscape upon which she’ll build musical displays resembling forests, cities, and inhabitants. When you take a step back, Loud City Song comes across as a sort of creation narrative. Holter begins the excursion with an omnipotent perspective, then focuses inward as the album continues. “Maxim’s I,” a reference to the 1958 musical Gigi, is deliberately set as the second track, showing just how expansive Holter’s new world is. Over intricate and elegant arrangements, Holter lyrically borrows from Gigi, but it’s meaningful in a way that applies to any era: “Go! Find your feet / Drink some Blood / Say it to my face / If you want to be starting something.” She takes us on a journey, which approaches slowly into her sprawling creation, and ensures that every unseen crevice is noticed. “Horns Surrounding Me” and “In The Green Wild” further play off the wilderness motif, but she plunges further, as she begins to ascertain her world’s inhabitants. After a stunning reprisal of Barbara Lewis’ “Hello Stranger,” Holter creates the most accessible song in her catalog, “This is a True Heart.” Loud City Song might be the most affecting album of the year, and it achieves that feat in such a way that portrays Holter as a much more pragmatic musician than one would think. With the world around her coursing through her veins, she pumps everything she’s gathered along her journey into this album.

Jai Paul - DEMOS There’s still so much mystery surrounding Jai Paul’s first real collection of tracks, which were uploaded--and immediately removed--back in April. XL, his label, has consistently said the tracks were unfinished demos that were unknowingly uploaded by someone, or something. A statement from Paul (his only ever tweet) seemed to coincide with this claim, but it also seemed almost forced. Paul has only had two official releases: “BTSTU (Edit)” in 2011, and “Jasmine (Demo)” in 2012. Many believe there is some level of frustration from Paul, as a result from continued postponement of his debut album. There may be ‘clues’ of sorts found throughout the album, which may lead one to believe Paul may have released these demos (or not demos) out of anger. There is some tangible evidence for this, as the songs were uploaded to Bandcamp through an email address that is affiliated with Paul’s personal account, according to many publications. We may never actually know who or what was truly behind the leak/release of these tracks, but the most important thing is that they exist. A London-born native of Indian descent, Paul is a musical chameleon that merges Eastern thoughts and sounds with Western pop and R&B. Each track on this release is absolute killer. “Str8 Outta Mumbai,” one of best tracks of year, serves as the proper opening, as it springs upward with unabashed delight. There are so many impeccable moments on this thing, each one as good as the last. “Genevieve,” with it’s simple and addicting hook (“Genevieve / Why don’t you come back to me?”) glistens, as do tracks like the R&B-infused “All Night,” the already-released “Jasmine,” and the Jennifer Paige cover, “Crush.” On the revealing “100,000,” which blares with playful resonance, Paul seems to predict the confusion and mystery surrounding this collection’s release: “You don’t really know what it is / 100,000 light years away / I’ll be a 100,000 light years away.” Paul really does master the art of creating insatiable tracks with practically unlimited playback value. (Even “Chix,” with it’s miniscule 60-second length, manages to be something to look most forward to with every spin.) With a number of interludes sprinkled throughout it, you begin to pick things up about the artist. One of most enigmatic moments comes during “Favourite Parts,” an interlude that may (or may not) give insight into the whole issue of the collection’s release. Many have argued that the songs on this leak seem, when compared to previous releases on XL, uncharacteristically undone, even as demos. But when listening to this interlude in that context, it provides listeners with what might have been going through Paul’s head. It begins with sample of a woman stating, “The skin was always my favorite part, anyway. Quite chewy, but very terrible--can almost melt in the mouth if cooked properly. But I like it raw.” It’s as if Paul acknowledges, albeit cryptically, the at-home feel of these tracks, and embraces it for that fact. There are more bizarre samples (like the Gilmore Girls one on “Baby Beats”) used by Paul on these primarily instrumental interludes that might not have to do with anything in particular, but, damn, they sound great. It’s hard not to fall in love with this release. I don’t even know what to call it, really. Is it an album? A mixtape? I can’t say. But with so many moments of pure bliss, this collection of demos has been the best release of the year ever since it was uploaded in April. Each listen is as rewarding as the last, and with the mystery surrounding its release, it might be something listeners will always look back on and think how great it was to be a part of the puzzle.

THIS YEAR WAS PRETTY CRAZY FOR ME.

Not just in terms of music (I mean that’s a given), but in general it was pretty weird and music definitely helped. I heard a lot of stuff this year that I didn’t think I’d enjoy, but ended up loving, and started to find my niche in terms of what I liked to write about. While my list doesn’t necessarily reflect what I write about the most, that influence is definitely in there. On top of that, 2013 feels like a really important year for music too. It’s not something I can necessarily put a finger on (besides new My bloody Valentine material) but I feel like I’ll be looking back on this year and the albums it brought for years to come. Anyway, I’m excited to share this list with you and it was fun putting together. Rankings are hard to nail and I’m sure my feelings on what’s better than what will shift but all of these records are very special to me. Hopefully I can help you find something that you wouldn’t have heard otherwise or even just consider re-listening to an album you weren’t sure about before. Enjoy.

ALBUMS: H&S

Mirror Kisses – Heartbeats Stepping up their production, Mirror Kisses returned this year with Heartbeats, an album full of retro pop influenced gems. I was in love with their release on Chill Mega Chill and to hear the growth between that tape and Heartbeats makes me so happy. Tracks feel so much more full and detailed and it really helps push the songs forward. Heartbeats is honestly a treat from start to finish.

Secret Mountains – Rainer Rainer is, in one word, powerful. Everything about this record screams power, with its rumbling guitars and (ex) lead vocalist Kelly Laughlin’s vocals. In a year where a lot of bands were putting out short records composed of short songs, it was nice to see a band like Secret Mountains dedicate a lot of time to each song and build a unique atmosphere for each one. Not a single song on this album goes under four minutes and a good amount pass six. The key is that these songs never feel really that long.

Alphabet Witches – gloomist gloomist was one of the first records I threw on my year end list (which I started at the beginning of the year)and it’s held on since I first added it, mainly due to how much of a trip the record is. At some points it’s pure ambient music and at others we’re presented with weirdo pop tunes. It’s an odd mix that can throw you off at first, but the more I listened to the record, the more I sort of settled into it.

23 Florist – We Have Been This Way Forever Rachel Levy (R.L. Kelly) turned me on to this delightful twee pop record a while back and it quickly became one of my favorites from the year. It’s a short release, only 6 songs long (2 being instrumentals), but in those 6 songs Florist craft some absolutely lovely tunes. Vocalist Emily Sprague (who’s also released music on her own) has the perfect voice for the types of tunes Florist is putting together and her lyricism, while simple and straight to the point, is fitting and honest.

21 Fog Lake – farther reaches This year turned out to be the year where a lot of the bedroom musicians I was following sort of developed into a sound they felt really comfortable in and, as a result, released really fantastic records. Fog Lake is no exception. While his second record still holds a very special place in my heart, it’s hard to deny that farther reaches is his strongest release so far. The album’s closer, “extension cord,” sort of feels like the song Fog Lake was meant to make all along. It’s painfully heartbreaking but that’s because of the emotion delivered behind it.

Creech – Pasture This is still a relatively new discovery for me but Creech’s Pasture is one of the best things I’ve found all year and I’m sure this record will continue to grow on me. Emotive vocals and intricate guitar parts make up a majority of this record but while this is very much a rock record, these guys have an ear for ambiance and create really nice atmospheres in these songs. While some might try to pin this album down with the rest of the “emo revival” that took place this year, I much prefer the ‘art rock’ tag I see on their Bandcamp page.

wim (ウィム) – thanks & early feelings I’ve been really excited about Nicholas Krapf’s work for a long time and it all seems to have led up to thanks & early feelings. This record combines all of the influences of his past work, ambient recordings and more straightforward singer songwriter tunes, and throws them together track by track while still maintaining some type of natural connection between songs. There’s something about Nicholas’ work that seems really honest and heartfelt. Even when there aren’t any vocals you can still feel that honesty in these tracks.

Joanna Gruesome – Weird Sister This Cardiff based noise pop group recently dropped their debut LP and it’s honestly one of the most fun records I’ve had the pleasure of listening to all year. The vocals that switch between sweet harmonies and ferocious screams are always a pleasure, and there’s just an energy that’s maintained throughout the album that makes you want to listen to it over and over. All of this is constantly backed by fuzzy, distorted guitars that provide sharp (but still totally catchy) riffs and leads. A definite must-listen.

Pusha T – My Name Is My Name Following what could have been an album leak, Pusha T put My Name Is My Name up for a free stream to counter the would-be leaker. Ever since that initial stream went up, My Name Is My Name has been on heavy rotation. While this record packs a ton of guest verses, they (almost) never let down. Most importantly, this album managed to produce a Rick Ross verse I actually really enjoy, which is pretty special.

Youth Lagoon – Wondrous Bughouse The shift in sound between Youth Lagoon’s debut album and his most recent release left a bad taste in a lot of my friends’ mouths but I honestly love Wondrous Bughouse more than I ever loved Year of Hibernation. There’s something about the trippy and long format tracks on this album that felt really immersive to me. Perhaps there was less of a personal connection I make with this album but sonically it’s so beautifully textured and interesting that I couldn’t stop listening to it when it was first released. A recent listen of Wondrous Bughouse confirms it still holds up.

Mormon Toasterhead – summer I honestly had no idea what to expect when I got this album as a submission for the blog. To be honest ‘Mormon Toasterhead’ as a project name still throws me off sometimes but what’s important is how strong of a record Ben’s album is. With an album title like summer the pretty opening track and the tracks that follow in that sound are a given but there’s so much more to offer on this record than just pretty songs. There’s an instrumental piano piece (that may or may not be improvised), a spoken word piece over a sort of ambient instrumental, keyboard pop instrumental tracks, and a whole lot more on this short little record. The fact that Ben is able to fit this variety into such a small package without compromising the album as a whole is honestly impressive.

nfinity Crush – stumble pretty Caroline White and Dan Cordero have been releasing beautiful lofi bedroom pop songs under the name Infinity Crush for a while now but this year’s stumble pretty might just be my favorite thing they’ve done. Musically this album (like their other releases) is very stripped down, mostly consisting of guitar and vocals but the emotion these two can convey with just that is incredible. Caroline’s songwriting is definitely the strongest part of this album. There’s something about the way she writes that comes off as effortlessly poetic. That’s not to say these songs don’t sound beautiful, too; it’s just that lyrically there’s so much to offer. stumble pretty concludes with “the boys of summer,” a fantastic ambient and spoken word piece that works as the perfect closer for the tone that’s been set on this album.

Chance the Rapper – Acid Rap Chance is definitely one of the more interesting rappers to release something this year. Ranging from his ear for beats and eccentric flow, which at times feels like a pitch-shifted Lil Wayne, Chance put out what was, for a while, my favorite hip-hop release of the year. Chance has the ability to throw together a collection of songs that are at times soulful and at other times playful and balance them out appropriately. More importantly, he knows when he needs to be serious and truly shines in those moments. There’s a lot to love on Acid Rap and that’s all because of Chance’s personality, which is on full display throughout this entire mixtape.

13 12 The Debauchees – Big Machines and Peculiar Beings This Louisville three piece stunned their audience during CMJ this year and for good reason. The Debauchees craft danceable rock tunes and show off talent and songwriting abilities that are well beyond their years (they’re all under 21). Their debut record Big Machines and Peculiar Beings reflects that talent with a fantastic set of tracks that have a nice range in sound. Filled with up-strums and funky bass lines, The Debauchees present a fantastic album on their first shot and show that they’re definitely a band you should be paying attention to.

Vampire Weekend – Modern Vampires of the City A lot of the talk surrounding Vampire Weekend comes down to how genuine they are as an act. While I definitely understand the importance of this argument, at the same time at the end of the day it’s about the songs, and Modern Vampires of the City is full of really good songs. Vampire Weekend has always been an indie-pop act that was very much focused on the pop aspect, and it seems that on their latest record they’ve really developed on those pop songwriting skills and crafted an album with a good amount of character and humor that’s at the same time extremely catchy. The chorus to “Diane Young” is constantly popping into my head and the same goes for “Ya Hey.” That’s not to say that the lyrics on this record aren’t important. Both lyrically and thematically Modern Vampires of the City brings a lot to the table and it’s definitely a record worth spending time with and really listening to. Vampire Weekend might still not be everyone’s cup of tea but what they’re doing is still admirable.

Crying – Get Olde 2013 has been a pretty cool year for music, and the fact that a chiptune pop rock band put out one of my favorite records of the year genuinely excites me. Crying formed just this year and their debut Get Olde is equal parts fun, catchy and honest. Fronted by Elaiza Santos (who records solo under the name Whatever, Dad), Crying creates extremely fun songs that, while are definitely driven by chiptune, feel like they don’t have to only be heard by people who are in that niche. That has mostly to do with the songwriting that switches from fun and goofy to honest and pensive as you progress through the album. There’s just something about this album that makes me really happy. It’s not necessarily the music that’s making me happy (though for songs like “Bodega Run” it is), but rather the fact that it exists more than anything.

Deafheaven – Sunbather I hadn’t heard about Deafheaven until this year but for once I was extremely happy and pleasantly surprised with the buzz. For a band like Deafheaven to get so much attention in a more “indie” circle, you know it’s because they’re doing something special--which is exactly what this record is. I guess I should make it clear that I am in no way knowledgeable about “black metal” and whether this is or isn’t black metal doesn’t really affect me. All I do know is that I haven’t heard many records this year that sound the way Sunbather does. It’s another record that feels huge but not in the same way No Blues does but instead with its volume and intensity. There are obvious metal roots at play but as Ian Stanley (Cactus Mouth) said, it’s a record with a lot of the elements of black metal but it doesn’t feel like a black metal record. Sunbather is a beautiful record that should really be listened to regardless of your musical preferences. Julia Brown – to be close to you Following the end of teen suicide, Sam Ray announced that he’d be starting a new band and went on to regroup with Alec Simke and Caroline White (who had already been playing in teen suicide) as well as John Toohey and Dan Collins under the name Julia Brown. Shortly after that announcement to be close to you was released, as Sam had already been working on the record for a while. Much like teen suicide, Julia Brown is still very much a lo-fi pop band (to keep the description short); however, there’s a different edge to these songs compared to the older teen suicide material. This change proves to be for the better the more I listen to this album. While a lot of teen suicide was tongue-in-cheek, the songs on to be close to you are more straightforward and honest. It makes for a really comforting listen. While I really enjoyed this record when it was first released, I didn’t realize how much I loved it until I went on a vacation and it soundtracked the majority of my trip. I guess it meant more to me than nothing.

MGMT – MGMT When MGMT released Congratulations, they sort of disappointed their initial fanbase by making the switch from straightforward synth touched pop songs to more experimental and psychedelic music (that was still very much pop influenced). Luckily for me, I was never a fan of their first record, and Congratulations continues to be one of my favorite records in existence. Following Congratulations, MGMT seems to have gone even deeper into their experimentation leaving us with their third (and self-titled) record. While it isn’t as good as Congratulations, this record is still one of my favorite things to come out this year. MGMT is a fantastic collection of oddball pop songs covered in layers of effects that make for an extremely enjoyable listen. It sounds like MGMT making music they want to make and if this is the path they decide to follow, I’m already looking forward to their next release.

Baths – Obsidian On Obsidian Will Weisenfeld crafts a record that is hauntingly dark, but at the same time finds a sort of beauty in that darkness. That’s not to say Will glorifies depression or desperation on this album. On the contrary, Obsidian is brutally honest but that’s part of why it works. Will battles himself throughout this album, putting his thoughts on death on full display with no hesitation. There are plenty of lyrics to back this up: “Come kill me I seem so brittle / Come kill me I seem so little” on “Earth Death” and “Phaedra, it is you that made me want to kill myself” on “Phaedra”. Obsidian is a dark record that doesn’t really have much of a resolution. It ends with a more uplifting instrumental but even that’s only uplifting in the context of the record. The thing is it doesn’t need that resolution to feel complete. Obsidian is emotionally raw and honest enough to do without it, and that’s what makes it worth listening to.

5 Kanye West – Yeezus Following the gorgeously produced MBDTF, Kanye West returns with a record that, minus “Bound 2,” is gritty and harsh. While this shift in sound (unfortunately) alienated some fans, Yeezus is one of the best records Kanye has created. To match the aggressive production found on this record Kanye’s delivery follows suit leading to tracks like “Black Skinhead” and “New Slaves” where he voices his frustrations over social issues like classism and racism. However, the record as a whole plays as a space for Kanye to voice out his aggressions in general and it makes for a captivating listen. West’s collaborations with other producers pay off throughout the record, creating an album with a good amount of variety in terms of texture and sound while still maintaining cohesion and flow. In the end, Yeezus is very much a loveor-hate record, but I feel like that split in opinion Yeezus has created shows just how important it is.

My Bloody Valentine – m b v After more than 20 years since the release of Loveless, My Bloody Valentine were able to return with a record that proves to be a worthy successor. m b v is beautiful in the same way that Loveless was. Soft vocals are buried under layers of distorted guitars, but this is all treated with an ear for detail. While the record is definitely hazy and dreamy, listening to it with any decent pair of headphones shows that Kevin Shields doesn’t let that sacrifice any subtlety in the music. My Bloody Valentine have always had the ability to make very dense music but still had the tunes to push those songs forward and thankfully m b v delivers on that front as well. Directly after the album’s slow opener we’re presented with tracks like “Only Tomorrow” and “Who Sees You,” and while a lot of people were sour about the inclusion of “Nothing Is,” I feel that in the context of the record even that song works out great. It’s great to know that My Bloody Valentine have still got it.

Mutual Benefit – Love’s Crushing Diamond Mutual Benefit was another act that really surprised me this year. My introduction to Jordan Lee’s music was a (stunningly beautiful) set at FMLY Fest earlier this year which led me to visiting his Bandcamp page and downloading everything he’d ever done. While there are plenty of gems in those older releases, Love’s Crushing Diamond proves to be Jordan’s masterpiece. It’s simply a beautifully crafted record that comes off as totally honest and sincere. Jordan has a way of writing about love that doesn’t make it sound cheap, or trite. It just feels like a direct connection you’re having with him and, more importantly, it all feels relatable. To back up all of this fantastic songwriting, there are beautiful arrangements found everywhere on this record, particularly fantastic strings and harmonies. Love’s Crushing Diamond is easily the prettiest record to come out this year, but what’s so beautiful about that is how it feels so effortlessly done.

2 Los Campesinos! – No Blues No Blues is perhaps the biggest surprise for me this year, if only because I had never given LC! the attention they deserve. I’m regretting that now. There’s so much to love on this record, ranging from Gareth’s vocal delivery to lyrics that switch between honest, sincere and humorous, to fantastic production. Electronics are seamlessly combined with more traditional “rock” components throughout the whole of No Blues, but it never really hits you until you sit down and look for it. That’s because the way these synths and electronics are used on the record fit in so well with the sound LC! create. Speaking of sound, No Blues is a huge record. Not so much in length but in the way these songs feel. These tracks just feel colossal, partially due to how big of a band LC! is, but also because of the instrumentation and composition. And while maintaining that energy and sound would be tough for the entirety of a record, No Blues never feels like it’s running out of steam, and that’s just a small part of why it’s such a fantastic album.

1 Coma Cinema – Posthumous Release I’ve been following Mat Cathran’s work for a while now, and Posthumous Release is easily the best thing he’s ever done. Whether I look at it in terms of production, songwriting, or cohesion, I can’t find a flaw anywhere in this record. While that may come off as hyperbole, I honestly cannot find anything wrong with it. Normally when bands move from a more lo-fi sound to cleaner production, it exposes flaws. But in Mat’s case this leap helps. Tones are so much smoother and his voice is given room to breathe. There’s a certain warmth throughout the album that is definitely due to the fantastic production. Rachel Levy’s guest vocals are more than I could ever ask for, and add the perfect touch to the songs. Mat proves to be an excellent songwriter by never letting ideas run for longer than they’re worth, but doesn’t cut anything short, either. Posthumous Release runs for just under a half-hour, but that feels like the perfect length. It’s the type of record that invites you to listen to it fully. But most importantly, there’s something about this record that feels special. It’s not something I can exactly pinpoint, but every time I listen to this record it feels like the first time, which is more than enough for me to make it my favorite for the year.

RIP 2003 Man! I Feel Like a Woman: 2003 in songs by e-clare and ramona crazy in love - beyonce ft. jay-z ignition (remix) - r. kelly roses - outkast in da club - 50 cent bring me to life - evanescence i hate everything about you - three days grace the reason - hoobastank chicago is so two years ago - fall out boy seven years - saosin baby blue - the early november tautou - brand new tiny vessels - death cab for cutie way away - yellowcard

On The Importance of Being Rash is a music blog that existed from 2011 to 2013 (R.I.P.). It was run by Adrian Rojas (aka RAP GAME GEORGE COSTANZA), a 23-year-old who has sold out to Corporate America.

�☺� I‘m Rafael and I started Heart and Soul (originally Brighter Sounds) as a way to promote artists that I didn’t see getting written about on most of the blogs I followed. It quickly also started working as a place to document the music I was digging and why, almost as a personal reference. I started writing soon after I moved to Brooklyn and it’s also been helpful for me just in terms of meeting really nice and supportive people in the music scene.