2013 Top Ten Albums

Before the list proper, a little preamble. I love lists. I appreciate too that what I deem to be the best albums of 2013 will not likely resonate entirely, or at all, with your own. These are my choices, and I make them because these albums have in some way shone like beacons in a veritable ocean of releases throughout the year. Some were instantly destined for selection, while others had to persevere to make an impression. Regardless, those that made it here did so by two qualities; repeatable listening and superior song-writing/performance. What I won't do is arbitrarily put these into an order of greatness. Instead they are presented alphabetically. So, to the nitty-gritty...

1. Deafheaven - Sunbather
Taking the dream-pop vibe of Alcest and melding it with the transcendent post-black metal styling of Liturgy, Deafheaven take epic post-blackened something-or-other into sun-inflected realms that pasty-faced Kvltists can only stare at blinking. The vocals are almost moot as the music takes the listener to peaceful sandy beaches via the frosty landscape of black metal's past. What is truly astonishing is that it is both background music and a complex tapestry of audio storytelling.

  

2. Kvelertak - Meir
Pure rock and roll. Actually, scratch that. This is the essence of rock and roll squeezed through an extreme metal filter, through slightly fucked-up speakers. With that in mind, it's safe to say that if you like the thought of Hoest 'singing' his way through the Hellacopters back catalogue, then this will be right up your alley. However, to one-dimensionalise the album in this way is to do it an injustice. 'Meir' is an exercise in brilliant song-writing; melodies coarse through the circulatory system despite the abrasive nature of the vocals. But, it's the harmonised backing vocals that ensure the juxtaposition of Erlend Hjelvik's screaming doesn't seem too out of place with the music. Not that the guitars don't pack a punch of course; there's plenty of tremolo picking for the speed freaks out there.

3. Leafblade - The Kiss Of Spirit And Flesh
Okay, time to put my cards on the table with this one. I am friends with the band, and have had the pleasure of supporting them twice on stage. Hopefully, you'll put aside such close association when I say that this was one of, if not the, most played album in our house (and car) this year. Danny Cavanagh has his stamp on this album (something he was keen to point out to me when I reviewed the album proper earlier in the year). But, it is Sean Jude's song-writing, coupled with Mr Cavanagh's production that elevates. Some have labelled this as progressive rock - a fair assessment - perhaps in part due to its home on K-Scope. However, Leafblade are bards and, should such genre-labelling appeal, this is progressive-Celtic-medievel. With a hint of rock. The lyrics are poetry, and the music both lilting and powerful.

4. Nine Inch Nails - Hesitation Marks

Recorded in secret and released to much fanfare, it's fair to say that 'Hesitation Marks' was going to come under close scrutiny. Nine Inch nails will always be measured against the yardstick that was 'The Downward Spiral', and here they meld the song-writing skill of that album with the pop joy that was 'Pretty Hate Machine'. However, this is no return to roots, or nostalgia trip that is implied by such a statement. This is Trent Reznor, recuperated from a break, taking his baby into the future. The only thing that slightly suffers is the strangled mix; at least the version I heard (there is an 'audiophile' version out there). That aside, this is as complete a work as the aforementioned albums, without the baggage that seemed to kill the mood on 'The Fragile'.

5. The Polyphonic Spree - Yes, It's True

I really did lose track of The Polyphonic Spree after their sophomore album; the novelty had kinda worn off. However, I was made aware of this, their crowd-funded album, which promised the same sunshine flavour of rock, but with more focus on traditional song structures. If their early albums were Tim DeLaughter finding his feet after the collapse of Tripping Daisy, this is his St. Pepper; the peak of his creativity and confidence. I'm not usually one to fall for music with a total sunshine aesthetic, but there is a beauty to this that is infectious; a true soundtrack to summer.

6. Sigur Ros - Kveikur

I've always admired Sigur Ros, but appreciably from afar. 'Hoppipolla' aside, I've not been able to recall a single motif from any of their earlier work. Not that there's anything wrong with their music, but it always passed by in the background; lovely sonics, but no real hooks. Kveikur changed that somehow by marrying an almost industrial approach to song-writing, bolstered by an undercurrent of hope. Critics deemed this a return to roots (a lazy term for Sigur Ros) and a difficult, dark, listen. It is none of those things. It is triumphant, optimistic, and grand (if a little non-commercial). It's fair to say that this has been the album I've listened to most this year.

7. Sting - The Last Ship

Continuing the folky themes of last album-proper 'If On A Winter's Night', Sting cements his latter years in mature(ish) reminisces; this time a semi-fictional tale of the end of the Tyneside ship building era. Some may scoff at the supposed over-enunciation of his Newcastle accent, but it's appropriate for the setting, and the supporting cast of natives; including a friend of mine, Mr Mike Wilson. And while the subject matter is of obvious importance to Sting, it isn't necessary to understand the emotional part of the story. And, without being overly-sentimental, there is a raft of emotion coursing through its veins. And humour; most notably on 'What Have We Got' - the most obvious show-tune song on the standard version of the album. Brian Johnson lends a hilarious turn on 'Tartan Paint...' on the special edition. And, yes, it's all a precursor to a Broadway show. So, nothing like The Police. Which is a good thing.

8. Suede - Bloodsports

This should have not been so good. It's fair to say that Suede had a wonderful 1-2-3 run of albums through the nineties. From album number four, they just ran out of steam. And good ideas. Yet, here we are in a different musical time, and they still sound vital and full of energy. No, they're not going to re-capture those glory days, and it would be foolish to think they could. But, for a band that has reached elder-statesman status, they show a youthfulness that is both unexpected and thrilling. It's undeniably 'Suede' in sound and song-writing; those dirty glamour guitar licks can only be their work. Nostalgia is sounding lovely.

9. Thrawsunblat - Wanderer On The Continent Of Saplings

If you're wondering what the hell that title means, be aware that this is a concept album. Loosely speaking. The album deals with loss; be it of close friends/family, identity, or of the environment. If anything, it is the songs that deal with personal loss that resonate most; band-leader Joel Violette was a member of Woods Of Ypres up until David Gold's untimely demise. Musically we're predominantly in extreme metal territory. However, Thrawsunblat mix it up with nods to folk music (a common extreme metal bedfellow), progressive rock, and even ragtime piano. Vocally, Joel mixes a dual-octave growl/rasp with some lovely clean singing. If you like your metal to be intelligent, thought-provoking, and diverse, you will be served well by this excellent album.

10. Vista Chino - Peace

Kyuss by any other name (Josh Homme is probably going to sue me now). In fact, given the popularity of QOTSA and Josh Homme in general, you'd be forgiven for thinking that his absence here would be a severe detriment to the quality of the album. Far from it, and it's telling that QOTSA's latest work is missing from this list. If anything, for me, Kyuss was always about the rhythm section and John Garcia's drawl. Perhaps that is why the guitars on early albums were fed through bass amps. Regardless, Vista Chino severs the ties with past, but drags the corpse of the nineties stoner scene into the modern era. By doing absolutely nothing different. The stoner genre was already twenty years behind the times when it gained popularity, so it's never going to sound dated. If that makes sense. Anyway, 'Peace' blasts through waves of bass-heavy, solo-frenzied, psychedelic, fuzz-rock - free of agenda, save for one of chilling out - in a haze of foggy glory. Yeah, the production blows, but then that's as it should be. This is music for driving down desert roads with the top down. Or, for us less fortunate Brits, it is music to swallow the soul and drift you away on a cloud of care-free whimsy. Essential.

So, that's my brief round-up of my favourite albums of 2013. I hope you enjoyed reading it, and I hope 2014 provides us with even more quality music.