1) Arcade Fire Reflektor
This may be a controversial choice for album of the year, since critical opinion has been divided. I was initially one of the doubters, and it takes time and repeated listening to fully absorb the depth of this creation. Its structure is less immediately satisfying than The Suburbs', but I disagree with those who feel the energy subsidies in the second half. Others have argued that the 80 minute length is excessive, yet my least favourite track is the shortest, Flashbulb Eyes. Their live show has turned Reflektor into a trigger for to travel back to an unimaginably creative and joyful evening. I'm sure I'll be returning to this for many years to come.
Until last month I was certain that Trouble Will Find Me would be my album of 2013. I found it difficult to envisage that The National could release an album I love even more than High Violet, but in stripping back their lush strings, they've produced something even more personal and moving. It takes their melancholy side even further, and I'm moved immensely by its shear beauty. Ultimately, I chose the more danceable joy of Arcade Fire, but this remains so touching.
The appeal of this album lies in its simplicity, and the relaxed, soothing atmosphere. South Carolina's MC Taylor's voice is charismatic and sounds well-worn and sincere. I haven't tired of the blusey sound, its effect reassuring despite the deep lyrics about religion and doubt. It benefits from sounding more authentic than polished, and I've returned to it frequently since my initial discovery.
The London trio's first album has a great melancholy beauty. Elena Tonra's vocals sound vulnerable, and the accompaniment is ethereal. It sounds personal, and is a reflective listen, recorded in an airy acoustic. NME found it too gloomy, but it's worn exceptionally well with me and I find it comforting and cathartic. It rose significantly in my ranking after my live experiences this year, which made me aware of its power and subtlety.
This is one of my most frequently played albums of the year: the only criteria for this list was enjoyment, and I've made no attempt to try to represent a broad cross section of genres, or list the most significant or critically acclaimed titles. For some, Matthew Houck's addition of electronics to the popularist Song for Zula represent too much of a departure from his folk roots. I find the blend of sounds stimulating, and the atmosphere it creates is one of tranquil contemplation. It's also beautifully recorded and experiencing it live gives a fuller understanding of the album. For this reason, I've listed the deluxe version, which adds a moving stripped down live performance recorded in a church in London.
Influenced by Laurel Canyon rock, Fanfare is a cosmic record from North Carolina. The sound is rich, encompassing strings, horns, bells and sometimes what sounds like an orchestra. It's been described as revisionist revivalism, and despite its debt to the 70's goes beyond a tribute to the past. I especially love the jazz amongst its eclectic influences, and its melancholic mood stimulates my imagination.
The controversy of the slickness of this Danger Mouse produced album became all too evident during their Manchester show this year, when the shouting of insults did little to spread love. That evening proved so upsetting that I haven't listened to Evil Friends since. Yet, returning to it for this assessment, the energy is clear, and it's the Alaskans' finest work yet. I find some of the lyrics difficult to accept, but for sheer catchy energy I have to include it high on this list.
Repave is almost a Bon Iver album by another name, and so features Justin Vernon's familiar falsetto. It's composed largely by his colleagues from Wisconsin but contains the expected tranquil beauty. The highlight is Alaskans, but the relatively succinct whole is full of subtleties that reward close, repeated listening and dreaming to.
This already sad album is made all the more poignant by the knowledge that The Civil Wars will not be touring it, and that it may be their last joint creation. Their strife has given it an edge lacking in Barton Hollow, and is a near perfect valediction. It's overwhelming tragic, full of regret and emotion which transcends its unlikely combination of pop and country origins.
The Icelandic post rockers have taken a more assertive turn with their latest creation, after the relatively laid back Valari, especially in the opening Brenninsteinn. Yet, this is still music of staggering beauty as well as appropriately volcanic energy, and as ever, the instrumentation and production is faultless. Jonsi's voice is as ethereal as ever, and there's a timelessly epic quality.
Laura Marling provided one of the highlights of my live music year, exhibiting a magic which isn't quite captured in the studio. Yet, the opening four songs meld into each other in a continuous sweep and represent her greatest achievement yet. They were recorded at Ethan Johns' studio in a ten day period in long takes: this adds to the spontaneity and feeling of risk. Her voice has evolved into a passionate instrument, able to convey the pain of breakup. It marks a turning point in her life, laid down just before her move to LA, and is astonishing mature for a 23 year old.
Israel Nash's voice has been compared to Neil Young's, and the sound of this album revives classic 70's rock. The Missouri native is now based in Texas, and the music is redolent of wide open spaces. I love relaxing and getting lost in this album, and any points lost for originality are regained for sheer pleasure.
London Grammar's keenly anticipated debut album met with less critical acclaim than expected, largely due to its lack of variety of mood. Yet, their moody, XX like electronics are brought to life with Hannah Reid's haunting singing, which gives a poignant beauty. Their songs may not yet be as consistently inspired as Metal and Dust, but I've no idea why they were overlooked for the Mercury Prize nomination.
Bombino was one of the most imaginative and transporting live music experiences this year, and I'm in complete awe of his virtuoso guitar playing. He collaborated with producer Dan Auerbach to create to desert blues fusion, mixing middle eastern harmonies with the blues of the American south. Yet it owes more to jazz than The Black Keys, and deserves exposure beyond world music aficionados.
This album's been extremely well received, but I'm not yet convinced that they have the depth of material to match their amazing performance ability. Four of the songs on this long awaited release had already seen the light of day on Haim's EP, and for all its high budget production, I miss their improvisational jamming on stage. Even so, their success is justified and Days Are Gone is invigorating.
My initial response to this album from one of my favourite alt country groups was one of slight disappointment. It may not be ground breaking, but its warmth has given much pleasure. The Canadians are at their best in the more rootsy songs like 18th December, when they tell a story, aided by vintage organ. The warm sound is testament to the fact it was recorded in a cabin in Alberta, and the 10 minute closing track gives a flavour of their live jams.
Dawes is one of my favourite bands, and much though I love Taylor Goldsmith's warm melodies, I'm not sure if I rate this album as highly as Nothing is Wrong. It can seem too radio friendly, yet this throwback sound is warm and Goldsmith hasn't lost his songwriting ability. There has been sadness in their past lives, and its direct simplicity seems to give great comfort in the difficult times.
The Irish indie folk group has stunning energy on stage. They're an explosion of joy, recalling Of Monsters and Men, but with a Laurel Canyon influence. The group are accomplished singers, and the vocal harmonies are the stand out feature for me. It's a very full sound, but enjoyable though the album is, you need to go to a show in a small venue to experience the thrill of them performing a capella.
This experimental UK group blend folk and electronics in a gloriously subtle, nuanced way. The tone is sombre, but warm thanks in part to the vocal harmonies. It was recorded in part in Iceland, and I've come to appreciate its dark, quirky beauty even more with repeated listening.
I debated at length whether to include this album in my top choices: I've had a mixed experience of Abel Tsefaye live, and it feels more homogeneous and less edgy his shadowy mix tapes. I also have significant reservations about the sentiments expressed in the lyrics. In the end for all the controversy, Kissland weaved its sensual spell over me.
Next 20 Choices
21) Lady Lamb the Beekeeper Ripely Pine
22) Anna von Hausswolff Ceremony
23) Nathaniel Rateliff Falling Faster Than I Can Run
24) Waxahatchee Cerulean Salt
25) Valley Maker Yes I Know I've Loved This World
26) Austra Olympia
27) Joseph Arthur The Ballad of Boogie Christ
28) Money The Shadow of Heaven
29) San Fermin self-titled
30) Widowspeak Almanac
29) San Fermin self-titled
30) Widowspeak Almanac
31) Houndstooth Ride Out The Dark
32) Typhoon White Lighter
33) Julianna Barwick Neptenthe
34) Julia Holter Loud City Song
35) Rhye Woman
36) Matthew E. White Big Inner
37) Atoms for Peace Amok
38) Daft Punk Random Access Memories
39) Houndmouth From the Hills Below The City
40) Local Natives Hummingbird
32) Typhoon White Lighter
33) Julianna Barwick Neptenthe
34) Julia Holter Loud City Song
35) Rhye Woman
36) Matthew E. White Big Inner
37) Atoms for Peace Amok
38) Daft Punk Random Access Memories
39) Houndmouth From the Hills Below The City
40) Local Natives Hummingbird
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