Top 60 songs of 2013

It's been an amazing year. Narrowing down 50 songs out of the hundreds up on hundreds I listened to was quite difficult, so I cheated. Here are my top 60 songs of the year. All my opinion and songs are linked in the descriptions.

60. Spring-Bill Callahan

“We call it spring, though things are dying.” If you wanted the strange duality of Bill Callahan’s music synthesized into one phrase you could do worse than the ultimate line of Dream River highlight “Spring.” Callahan’s quicksilver guitar duets with a floating flute line as Callahan discusses moving mountains, changing seasons, and incurable lust. It’s as gorgeous as it is apocalyptic and that’s probably the point.

59. Fireworks- The act of estimating as worthless

The best way I can explain this song: imagine if a Neutral Milkish band had scored the scene from Lord of the Rings where Pipen and Marry set off Gandolf’s fireworks. 

58. Why’d you only call me when you’re high? - Arctic Monkeys

The Arctic Monkeys have always known how to ride a groove but this might be their funkiest moment yet. It moves at a sly and shady pace unlike the other singles from AM that preferred to burst forth with arena ready choruses “Why’d you only call me…” shows more restraint, allowing the groove to sink in and for the excellent high harmonies to push the song to its ultimate goal; the sweet pay off of the outro. It seems to be AM’s version of delayed gratification.

57. Breathe- Laura Marling

 

For venom “Little love caster” was better and “Master Hunter” was more instant in its delivery, but for spell binding folk nothing on Once was an eagle could beat “Breathe.” The choppy tempo mixed with Marling’s earthy vocals made for one mesmerizing song. The production rightly looked towards “Norwegian Wood” to let Marling captivate.

56. There U GO BOI- RP BOO

 

If this doesn’t knock you on your ass I don’t know what will. The long forgotten forefather of Detroit Juke RP BOO finally received some time in the spotlight thanks to this year’s Legacy and if any one track represents his mad dance genius it’s “There U GO BOI.” It’s an absolutely manic track with a four on the four beat driven by hyper vocals and a fluttering synth line that doesn’t rest for a second. If your head isn’t bobbing while you listen there’s something wrong with you.

55. When a fire starts to burn- Disclosure

 

Disclosure couldn’t find a rapper, so they made one. “I basically got a bit annoyed, we were trying to get a rapper on our album and none of the timing was working out.” So the Lawrence Brothers went on itunes searching for motivational speakers and found that fiery sermon at the center of “When a fire starts to burn.” It’s not just the pep talk that makes this Settle’s banger; the elastic bass line and the slowly energizing hi-hat propel the song into dance floor heaven.  

54. Bad kingdom- Moderat

 

No one knows how to change pretty to menacing quite like Apparat. As the “rat” part of Moderat, Apparat uses a cold croon to entice while Modeselektor create buzzing disturbance below. When Apparat’s voice rises to a crescendo while singing “This is not what you wanted,” you’re left wondering what he means, because on a purely sonic level this is just what is needed.

53. Edie’s Dream- Suuns

 

Its dream-like alright but it’s hard to say if it’s wondering into the land of nightmares or not. There’s something just sort of…off about the opening bass line and intonations of “strange visions” don’t help either. So sit back, relax, and listen in, just make sure not to get lost…

52. Azamane Tiliade – Bombino

 

If you’re going to introduce someone to Bombino’s Jimi Hendrix by way of North Africa style you might as well start here. The lead single from Bombino’s excellent Nomad was lovingly produced with rooms full of reverb by the Black Keys’ Dan Auerbach and it sounds like vinyl quality even through a computer. But the real star, as always, is Bombino, his powerful voice combining with an even stronger guitar, imagining the heyday of guitar-rock recast in Niger.  

51. Whatever I want (fuck who’s watching)- Death Grips

 

Death Grips are a hard group to get into, and if you were looking for easy ways to get people to listen Government Plates wasn’t going to help. Now if you were looking for one song that summed up Death Grips you couldn’t do better than “Whatever I want.” The title itself seems to be Death Grip’s mantra but beyond that the ever shifting music and MC Ride’s booming yells reflect a band that’s never happy with staying in one place. 

50. Afterlife- Arcade Fire

 

There’s a formula that Arcade Fire stick to. The penultimate song will be a massive sing along with their most uplifting chorus. “Rebellion (lies)” “No cars go” “Sprawl II” and now “Afterlife.” “Afterlife” rightfully stands with the others in scope and scale. The twinkling guitars and Springsteen worthy chords send this song to its arena rocking chorus. And of course Win Butler begins with the words “Afterlife…Oh my god, what an awful word.” They’ve made anthems before but this is the first time they’ve glared death in the face with a sing-along.

49. Black wings- Inc.

 

Ethereal vocals and mesmerizing instrumentation have long been the keys to excellent R&B and the slinkier side of soul music. Was it Inc.’s intention to make the perfect example of subtle, sexy, soul music? Perhaps not, but the way the honey glazed vocals and hypnotizing guitar are excellently produced says they knew what they had on their hands. It’s as if the music just can’t quite be a loud as you want it to be, so you’re always reaching for more. 

48. Hey now- London Grammar

 

Since The xx’s debut a flood of pasty skin soul crooners with a leaning towards dark lyrics have come from the U.K. London Grammar is one of the few to truly stand out. Part of that comes from Hannah Reid’s shock inducing pipes but the background of “Hey now” is just as important. The foggy keyboards and subtly plucked guitar are perfect for Reid’s tale of cold winter nights and broken down relationships. 

47. Like water- PRO ERA

 

In a year of over the top releases, Jay-z deals with Samsung, and Kanye’s plain white tees going for 100 bucks it’s easy to forget that some of the finest boom-bap of the year came as a free mix-tape. Statik Selektah puts down a surprisingly mature beat with flowing piano that keeps up with the flawless flows of CJ Fly, Joey bada$$, and Capital STEEZ. After STEEZ’s suicide the song becomes haunting, but it’s a fine final testament for a rapper we wanted to hear more of.

46. Placeholder- GDP

 

Hip-hop had plenty of darkly personal tracks put out this year. Mick Jenkins’ “The roots” or MOOR’s harrowing “Asphyxiated” were some of the best, but GDP’s “Placeholder” cut the deepest. The eerie keyboards that open up the song are just your first clue that GDP isn’t interested in making a pop-hit. Then the muted, yet powerful, kick comes in and GDP intones “You swear to god you think you know someone…” His slurring and stuttering flow about “ice cold beds” is as engrossing as it is draining. I won’t give more away. 

45. Meditations- Holograms

 

Well hey; the most punishing post-punk song of the year isn’t by Iceage. The Stockholm based punks made “Meditations” one of the year’s most brutal tracks by pushing their drummer to the edge and having a surprisingly textured guitar solo right before the wail-from the depths of hell chorus of “DESTRUCTION/ DESTRUCTION/ DESTRUCTION” is slammed into the forefront. Subtle guys.

44. Colossus- Tyler, the creator

 

Who knew Tyler had it in him? Yes it’s his version of “Stan” but Tyler doesn’t need a Dido hook to make “Colossus” both engrossing and strangely beautiful. There’s no doubt that this is Tyler’s best production yet and some of his most mature lyrics. It’s a twisted and disturbing tale that,while it becomes more insane Tyler seems to become more human. Nice trick.

43. Ya hey!- Vampire Weekend

 

Modern Vampires of the city seemed to be the score to a film that Vampire weekend have yet to make and “Ya Hey!” was the most cinematic song there. Tinted with a John Lennon like bite Ezra Koenig sang his most toxic words in his prettiest voice. “Oh, you saint/America don't love you/So I could never love you,” he sings as Rostam Batmanglij’s organ moves along at a sweeping pace.

42. Really bees- Ovlov

 

A sugar rush in sonic form. It’s a shot of pure energy, over and out in less than two minutes. Any longer and the band would have collapsed in pure exhaustion. Even through the lower than lo-fi recording the Hartlett brother’s chemistry blast to the front. It’s a garage rocker in its most joy filled and fuzzy form. 

41. Number 9- Moon hooch

 

Striking the balance between catchy as hell and ambitious, “Number 9” was a perfect way to start Moon hooch’s self-titled batch of jazz noodling. The chorus is one of the most infectious pieces of hard-bop made in years and James Muschler's bonkers drum break only makes the song that much more energetic as the band speeds a head to the dizzying climax.  

40. Skylar Spence- Saint Pepsi

 

More Daft Punk than Daft Punk, in a year where those two robots released one of their biggest albums. “Skylar Spence” is a refreshingly smooth disco track that owes as much to Earth Wind and Fire as it does to the Japanese vocals that make up the chorus. Just try not to dance along. 

39. Doin’ it right- Daft Punk

 

Oh speaking of which, Fuck “Get Lucky.” “Doin’ it right” might just be the catchiest song the robots have put to record yet. The small filtered vocals intoning the title command are deceptively charming and “Doin’ it right” further illustrates that Daft Punk know how to bring out the best in a featured artist. Even Animal Collective disciples didn’t know that Panda Bear could turn himself into the world’s biggest pop star. It’s not complex, it’s not gaudy, it’s simply the best. 

38. Judge Jury Executioner- Atoms for peace

 

Yes Radiohead could be sexy at times, and the Red Hot Chili Peppers were sex obsessed, but this brings it all to a whole new level. Flea’s humming bass line, the stuttering percussion, and Thom Yorke’s multi-layered vocals all add up to a darkly sensual piece.

37. Amplified ease- Darkstar

 

Yes this is Darkstar at their catchiest and at their most Animal Collective-y. And it’s great. “Amplified Ease” works off the clacking backtrack stammering along as each member of Darkstar begins to layer their wonderful harmonies over each other. The spacious outro is devoid of vocals but gives you enough time to comprehend what just happened.

36. Slasherr- Rustie

 

It’s not a drop so what do we call it? Rustie has already made a name for himself thanks to his excellent Glass swords but if “Slasherr” is any indication he’s got bigger goals on the mind. For how easily danceable the track is, “Slasherr” is no dumb dancefloor banger. It was carefully produced with distinct sections that are made up of layers upon layers of Rustie’s hyperactive exquisiteness. The entire song shimmers and is as likely to make you feel a sort of joyous ecstasy beyond what most electronic songs can bring. No the “chorus” isn’t a drop…it’s an elevation.

35. Decorate- Shugo Tokumaru

There may not be a more joyous song made this year. Toy flutes, Spanish guitar, and a chorus that will have non-Japanese speakers scrambling for lyrics to sing are combined into one of the year’s absolute delights.

34. Get it- Run the Jewels

In an album full of crushing beats and twisted rhymes “Get it” was still the king. Over one of EL-P’s most punishing beats Run the Jewels spit fire. Killer Mike lays down one of the most devastating lines about American race relations “They're corporation slaves indentured to all the lenders/So even if you got seven figures, you still a nigga” And also claims to be making “the new avengers.” When EL says “We're overly fucking awesome,” he’s not bragging, he’s just telling the truth.

33. TV on 10- The uncluded

Verse of the year, no doubt. I won’t even give the ending away but Aesop’s dark mutterings will draw you in and leave you white knuckled.

32. Into the green wild- Julia Holter

The strangest and most intriguing song from one of the year’s strangest and most intriguing albums. “Into the green wild” has no less than four distinct sections, each of which could be a song by itself, but Holter clearly had the intention of making “The green wild” a twisting, confusing, and brilliant piece. The near jazz intro, Holter’s hauntingly spoken vocals, the spine chilling bass break finally leading into the ethereal outro, it’s an exhausting but extremely rewarding song.

               

31. Flicker- Shivum Sharma

“Flicker” is a shockingly beautiful piece, taking soulful and stuttering vocals to atmospheric heights over ethereal piano, wonderful harmonies, and blooming bass notes. It takes as much influence from Antony and the Johnsons as it does Thomas Newman. “I chased you, blinded by petty fantasy,” could be a sappy line but Sharma knows how to play it off as a powerful statement. This is bedroom music, not in a sensual way, but in its truest form. As the jaw dropping Sigur Ros inspired outro rings out it brings to mind images of late nights where dreams intrude on reality with the feeling of not quite being asleep.

30. The fall- Rhye

How can you be stunningly sexual without eroticism getting in the way of beauty? Rhye’s main influence, Sade, mastered it and Rhye seem to have found the formula on “The fall.” Milosh’s vocals are as gentle as they are enticing and the bouncing piano has enough playful energy to carry the song to bliss, along with those wonderfully dancing violins. 

29. Fell in love with a feeling- Nightlands

There’s a reason the opening of “Fell in love with a feeling” sounds so much like Prince’s “Let’s go crazy.” Dave Hartley might not be trying to exactly copy the aesthetic of Purple Rain but he certainly is evoking the way that The Purple One is able to create purely joyous dance music. “Fell in love…” clocks in at a miniscule 2:16, propelled along by one of the year’s tastiest bass lines and suave guitars. When it ends it feels gone much too soon and the replay button will certainly get a work out.

28. In kind- Braids

Braids obviously weren’t looking at the indie guide book on how to make a generic album. The instructions clearly state that there should be, at most, two songs over the five minute mark. And stuff all the interesting stuff at the first half album so people will think the album’s solid all the way through. Thankfully Braids said “screw that” and left the best for last on Flourish//parish. “In kind” isn’t just the highlight of the album, it’s the best thing Braids have put to tape yet, a sprawling song divided into two excellent sections that feel natural and flowing. The entrancing second half lets the band show off swaying tempo changes and Raphaelle Standell-Preston pulls off spectacular vocal acrobatics. It’s a stunner and Flourish//parish couldn’t have closed on a higher note.  

27. Knight- Earl Sweatshirt

This isn’t the Earl you used to know. “Knight” might just be the most mature song in the entire OF catalog. Yes Domo sounds like he’s ready to demolish another verse and Christian Rich’s production is excellent but this is Earl’s show. His first and last lines are simply stunning. “Like to give a shout to the fathers who didn’t raise us” is what he starts his molasses like flow with and as his voice becomes deeper and darker the soul-sampled background does the same. Then comes the bomb “Young, black, and jaded, vision hazy strolling through the night.” It’s the line that sums up Doris the best and with more releases like this Odd Future might actually evolve beyond their current prankster persona into serious hip-hop giants.

26. Ohm- Yo La Tengo

“Sometimes the bad guys come out on top, sometimes the good guys lose.” It’s not a line to start an album, unless it’s sung by Yo La Tengo. “Ohm” is one of the best leading tracks made this year. Over introspective lyrics reverb filled guitar and bouncing drums pull the song along. It’s a simultaneously jubilant and withdrawn song, bittersweet in every aspect. It’s a song that could be a lot of things, the end of a relationship, the start of a roadtrip, or simply a small “eureka!” moment. 

25. Anomaly- Doldrums

Great title for the first proper track on Doldrums’ twisted debut album. Buzzing and disconcerting changes to familiar musical modes was a common trope throughout Lesser evil but no song nailed it quite as well as “Anomaly.” As unsettling as it is catchy “Anomaly” has Airick Woodhead at his most androgynous, his slightly off cooing bringing up visions of bad trips and other Sloop John B. nightmares. So dance along and sleep well, if you can.

24. K& F thema- Apparat

Brilliance is simply a quality inherent to the tracks of Apparat’s Kreig unt frieden. But “K&F thema” was the most startlingly well-orchestrated of them all. The beginning noises of a clock being wound act as a catalyst, moving the track away from its more spacious brother “K&F thema (Pizzicato).” Yes both songs have the same melodies, run times, and their overall ideas are the same but the non-Pizzicato version is less luxurious, more hurried, and darker. It’s more mechanical and precise yet somehow manages to be graciously tender.   

23. Let the day begin- BRMC

Michael Been and his son Robert had an interesting relationship. Michael was the lead singer of American new wave band The Call before quitting to become the sound engineer for his son’s band Black Rebel Motorcycle Club. Father and son toured with each other for years before Michael suffered a fatal heart attack backstage during BRMC’s set at Pukkelpop 2010. As a tribute BRMC led off their 2013 LP Spector at the fest with a cover of The Call’s biggest hit. The original was an uplifting tune in the style of U2, but BRMC make it a scorching track, invoking revolution as much as they do fellowship. The lyrics become a prayer of sorts and when Robert invokes the chorus of “Here's to you my little loves with blessings from above… let the day start” you can bet he’s made his father proud.  

22. Double disco animal style- Loading Data

What if Elvis came back from the dead to front a desert rock band? Loading Data have your rather particular mushroom fueled stoner-rock fantasy covered. Front man Patrón bites from another famously smoldering singer, namely Josh Homme, and the rest of the band follows suit. “Double disco” rolls along with Patrón seductively singing about how he’ll “never know your name” and the blazing guitars overwhelm the chorus. It’s some of the dirtiest stuff you’ll hear all year. You might want to take a shower afterward.   

21. Ecstasy- Iceage

If only all young angst could be channeled this well. The verses are coated in the finest sludge, all while frontman Elias Bender Rønnenfelt seems to be on the edge of a mental break down. And he does finally snap in the brutally simple chorus. The drum’s steady beat is reminiscent of a migraine as Rønnenfelt yells “Pressure! Pressure! Oh god no!” Harrowing, yes, but it’s also one of the best songs in Iceage’s growing discography.

20. Advanced Falconry- Mutual Benefit

When “Advanced Falconry” first popped up on bandcamp Pitchfork named it a best new track and added a funny little blurb below. Writer Ian Cohen opened by briefly going over the heyday of mix CDs and said “If you heard a song similar to "Advanced Falconry" on [a CD given to you] around that time, there's a 100% chance that person really, really liked you.” It’s quite true, “Advanced Falconry” is a simple tune at its heart but the warmth that pervades throughout is enough to melt ice. The song rises with Jordan Lee’s oh-so-pretty vocals and a perfectly composed background of banjos and violins. It’s certainly in line with Sufjan, Andrew Bird, and Kishi Bashi but Mutual Benefit isn’t just here to copy and paste. If “Advanced Falconry” is any indication this is the start of something amazing. And for future reference if I make you a mix with “Advanced Falconry” on it…well…

19. Keep it coochie!- Cakes da killa

No surprise that one of rap’s most mad capped songs in 2013 comes from New York, but perhaps it is surprising that it comes from NYU graduate and queer hip-hop hero Cakes da killa. Over brassy production from Poisonous Relationship Cakes spits nimbly and unspools one of the year’s most jaw dropping flows. Few rappers, gay, straight, or otherwise are even close to being in the same dizzying league as Cakes. As the sample at the start says “This is the real thing BITCH!”

18. Anxiety's Door- Merchandise

Is this the greatest Smiths’ song that The Smiths never wrote? Merchandise certainly make an inspiring case with guitar work that Johnny Marr would be proud of and vocals that make the fact that they’re Florida based band surprising. There’s a nervous quality here but when Carson Cox sings the smoldering line “I drink the perfumed air,” it becomes seductive bliss. It’s sleek, brilliant, and the nearly 7 minute run time doesn’t even feel extravagant, if anything it leaves you wanting more. 

17. Bird balloons- Lady Lamb the beekeeper

Ripley Pine was filled with enough breath taking moments to make you oxygen deprived but no song was as gasp producing as “Bird balloons.” Aly Spaltro’s guitar is at its most manic here and her vocal range is impressive to the point that you wonder how her vocal chords work. The darkly poetic lyrics draw dangerous amounts of blood. “It's as if leprosy, it landed on the moon/and it cast a filthy glow in the world and in my room,” she sings, remembering her mental state after an abusive relationship. It’s a multi-faceted song that moves like a country-rock epic. And the absolutely vicious outro leaves no survivors. 

16. Fix my life- Melt yourself down

Manic and passion are the words. A scorching background for a saxophone that seems to have consumed a large amount of hallucinogenics and a singer that’s not too far behind. It’s a mad song that will leave you wondering where exactly you just went. The seizure warning that comes before the song's video isn't just for the visuals, the audio may have the same affect.  

15. Numbers on the board- Pusha T

If the rest of My name is my name had been up to this standard it wouldn’t be the best rap album of the year it would be the best rap album of the decade. Yeezy’s wonky as hell beat is (despite any Killer Mike protest) without a doubt the beat of the year and it only adds to Pusha’s menacing flow. If there’s one moment to pick out of this near flawless song it’s when that Jay-Z sample comes in “motherfuckers can’t rhyme no more, ‘bout crime no more” just before T flaunts his own legend with “Mix drug and show money, Biggs Burke on tour.” And it all sounds so easy. 

14. Heavy Feet- Local Natives

Death isn’t a subject that has avoided the indie-folk circle. Grizzly Bear, Andrew Bird, and any other band with pretty harmonies and a taste for storytelling have crafted their own works about the journey to the afterlife. So what makes “Heavy feet” potent? The instrumentation is at the highest caliber for one thing. Matt Frazier’s drums are twitching and subtle at the same time and Nick Ewing’s gentle bass seems to lovingly hold the lower end together. But it’s the vocals that make it. In one of the year’s most massive choruses harmonies soar while repeating “After…everything.” Taylor Rice’s previous lines about talking to a loved one who’s trying to “out live your body” make it all the more powerful and Local Natives smartly build on each chorus, making the final lyrics explosive.  

13. Sacrilege- Yeah Yeah Yeahs

You know what the Yeah Yeah Yeahs need? A fucking gospel choir. Some madman (or more likely madwoman, knowing Karen O) thought this up at the beginning of the sessions for Mosquito and it’s rare that an idea this totally insane has worked out better. The drums move along at a swaying beat while guitar flutters overhead and Karen O wails out some of her most passionate vocals yet. Then that freakin choir comes in and, despite the title, it is absolutely a religious experience. The power of Karen O compels you.

12. Chaturanga- Hilang Child

With a Fleet Foxes hiatus we all needed a folk transfusion this year, but who would guess that a four track EP would be more than enough to tide us over? “Chaturanga,” the lead single from U.K. based Hilang Child’s First Writings EP is a spectacular example of just how evocative the folk genre can be. Hilang sings in a voice half way between Jim James and Robin Pecknold about dying fires and the coming winter and his luxurious piano fills up the space just before the drums kick in. A few listens in those wordless cascading vocals become more than just entrancing vocal pieces; they become a call for adventure.

11. Retrograde- James Blake

Do you remember when James Blake first hit the scene? In that fuzzy and faded video for “the wilhelm scream” he hid behind filters and an unfocused camera and he cloaked his voice similarly, becoming a far off apparition, just outside of your field of vision. What a change it was to hear Blake’s clear humming wafting through on Overgrown’s first single. It’s incredibly intimate, Blake allowing us to enter his world for a few minutes, and what a strangely gorgeous place it is. The buzzing synth that erupts at the half way point is the second most spine tingling moment of this year, the first being the high coo that Blake lets soar over his immaculate production.  

10. Meow- Anamanaguchi

Call it a sugar rush. Anamanaguchi don’t shy away from color in their music but this is ridiculous even by their standards. Scott Pilgrim fantasies, retro arcades, and exorbitant amounts of candy are the first things that come to mind, but it’s easy to forget that these cats can play. “Meow” is made by its frenetic tempo as much as its “Bubble Bobble” synth chords. In the moments before the hysteric chorus there are even metal leaning guitars! The final minute is one of the year’s most addictive pieces of music, so pull out that N64 and pretend you’re 10 again. Don’t worry Anamanaguchi won’t judge, they brought “Super smash bros” after all.  

9. Brennisteinn- Sigur Ros

This was certainly a shock when it first came out and even after the release of Kvieker “Brennisteinn” is still stunning. The clattering percussion and rusty bass swells pointed towards Sigur ros indulging in more industrial sounds and even Jonsi’s usually dreamy coo turned into something more nightmarish. Its sound is oceanic and that build up to the climax in the second half is darkly potent.

8. Don’t try- Everything Everything

Arc was filled with pop brilliance, songs that were virally catchy and also exceedingly clever. On the first few listens through “Don’t try” may seem like the odd ball out, just going for the sing-along appeal but “Don’t try” eventually reveals itself as a worthy closer to a fantastic album. Everything Everthing’s vocal harmonies are tightly wound, the shifting background changes seamlessly, and Johnathan Higg’s voice is at its most impressive. And just try not to get swept away by the horn laden ending.  

7. Richard Ramirez died today of natural causes - Sun Kil Moon

 “Richard Ramirez died today of natural causes,” isn’t a title that rolls off the tongue nor is it an easy subject for a song. And yet, somehow, Mark Kozelek makes the phrase slide out of his mouth in a skulking and slippery way and creates a near perfect combination of introspective lyrics and musings on a story that seems to come from the most nightmarish of camp fire tales. Over characteristically brooding guitar Kozelek contrasts his views on death when he was a scared teenager in southern California, terrified of “The night stalker” and now that he’s a forty something who feels like he’s going to have a heart attack when he “fucks too much.” There’s a plethora of ideas and stories being unspooled here, Kozelek’s childhood neighborhood, touring, and the death of James Gandolfini. “The Soprano’s guy died at age 51, that’s the same age as the guy coming to do drums,” Kozelek sings with shock. Mortality hangs over every note of “Richard Ramirez” and even when the vocals fade into the shadows and a Modest Mouse inspired riff kicks in over creeping drums and rough violin strokes. The only question left after the song ends is: which is worse, dying quickly in your youth or slowly degrading into dust?

6. I’m falling in love- Teen Suicide

Yes it’s under a minute long and recorded with the lowest of the lo-fi equipment. But somehow through its simplicity it becomes sublime. It’s a small story told here, a shy guy, a beautiful girl, a realization. “If I was a different kind of guy, I’d write you a song…” And of course those final lines, as gorgeous as they can be horrifying. “Oh my god, I’m falling in love."

        5. Part of me apart from you- Colin Stetson

What are the marks of a truly great musician? Technical prowess or something deeper? Stetson has always had a technical mastery of the Saxophone but “Part of me apart from you,” isn’t awe inspiring just because of Stetson’s mind blowing playing. Like John Zorn before him Stetson makes his instrument part of his body, his circular breathing and overtone usage creating a plethora of sounds. The pulsating lower end of his playing unspooling images of strange worlds and his voicing over the chaos below a reminder that a human heart beats at the center. The climatic peak that ends with a seemingly impossible high note isn’t just stirring its life affirming. 

4. Childhood’s end- Majical Cloudz

“Everyone’s father dies.”

It was a small comment that read something along the lines of “This would only appeal to people with dead fathers.” Under the video for “Childhood’s end” it was soon marked as spam but just before that haunting comment appeared in response:

“Everyone’s father dies.”

“Childhood’s end” reaches beyond that though. It could be anything that triggers a loss of innocence. Betrayal, hearbreak, isolation, and indeed, death all weigh heavily down about Impersonator’s greatest song. The coldly stark background only makes Devon Welsh’s pleading voice even more piercing. The chorus is powerful every time it hits but after the simple bridge of “Won’t someone come home…?” repeated with Welsh sounding like a lost child those ultimate lines become something that defies words. Saddest song of 2013? Absolutely. But it may just be the one to remind you you’re alive.

3. Dream house- Deafheaven

With that first rushing salvo of guitars genre distinctions are blown away. And when the avalanching drums are unleashed the opening track of Sunbather informs you that you’ve gone beyond labels, into a much more emotional world. Yes if we have to stick to genres “Dreamhouse” is the best metal track of this year but it’s so much more than that. It’s technically flawless, but never dissolves into pure riffage, it keeps a burning emotional core through George Clarke’s passionate screams. Just when you think the song is about to crumble from sheer intensity a cooling and tranquil guitar sections opens up, allowing a brief respite before it all bursts forth with an ending that’s as heavy as it is reverent. Clarke’s final stanza is as moving as the music that surrounds him:

"I'm dying."

"Is it blissful?"

"It's like a dream."

 "I want to dream." 

Those last four words are screeched like Clarke has just come to the key turning point in his life. “Dream house” isn’t a song hampered by outside influences. It stands on its own.

2. I appear missing- Queens of the stone age

There’s nothing quite like it in all of Queens of the Stone Age‘s discography. ...Like Clockwork introduced a rush of new ideas ranging from piano ballads to Trent Reznor cameos, but “I Appear Missing” is the Queens at their darkest and best. It’s an absolutely scorching song; the intricate and blazing guitar line combines with the sludgy lower end to create the desert feel that Queens mastered long ago. The first half of the song is mesmerizing, but after Dave Ghrol’s blistering break down is when it really kicks into high gear. The seconds before the breath-taking final solo pierces the stratosphere are filled with electric tension and Josh Homme matches the energy with his best vocal performance yet, both in range and vulnerability. The musings on morality are deeply impacted by Homme’s near death experience on the operating table a few years ago and a sinking feeling of shocking hopeless seeps into every note, trading the usual sardonic smirks for honest fear. The final moments have Homme, in his most ghostly falsetto singing, “with my toes on the edge it's such a lovely view.” “I appear missing” fades into the nearly as excellent “…like clockwork,” Queens’ acid washed version of “A day in the life,” but the death obsessed “I appear missing” is …like clockwork’s true centerpiece. It’s the most visceral and devastating song in their catalog…or anyone else’s for that matter.

1.       For- Peter- Toilet Brushes- More- Nils Frahm

In a year full of mammoth songs that destroy time constraints and strove towards unparalleled heights, how does one piece stand out? Indeed in a year made of fantastically ambitious songs it’s hard to encapsulate why “For- Peter- Toilet Brushes- More,” isn't just the best song on Nils Frahm’s magnum opus Spaces but is the single best song of 2013. It’s a four part epic, with each section a stunning testament to Frahm’s skills in both pure technical excellence and emotional power. “For” is an overwhelming opening piece, Frahm’s shimmering chords crashing down with weight and beauty. “Peter” is more abstract stretching out coiled notes into unthinkably loud segments, nearly terrifying in their size. “Toilet Brushes” is an exercise in percussion for its first half before a nervous piano kicks in and the song unwinds into spiraling keyboards dueting with dark swells that wait below. When “Toilet Brushes” comes to its twitching end the thrilling “More” takes over. Along with “Hammers” it’s the most complicated piece on the album and you can hear Frahm softly humming with the complex melody as it expands into a rushing and sprawling finale. The cathartic final minutes move in surprising ways that will leave you in awe. There are small mistakes that can be heard but it’s a pleasant reminder that no sorcerer is behind the curtain here. One man made this song. That fact is nearly as beautiful as the music itself.