The Best Albums of 2013 (So Far)

Related: The Best Songs of 2014 (So Far)

Related: The Best Albums of 2014 (So Far)

Release date: March 26

Highlights: "Demon To Lean On," "Sail To The Sun," "Afraid Of Heights"

After pleasantly surprising and impressing fans and critics alike with 2011's King Of The Beach, skuzzy surf rockers Wavves returned this year with their follow-up offering, Afraid Of Heights. Though a few years had passed, the album wasn't a sonic departure from the material they had previously perfected. Each track was full of distorted guitar, catchy hooks, and frontman Nathan Williams' paranoid, depressing lyrics about the ups and downs of relationships and growing up.

The importance of Wavves' Afraid of Heights though is the fact that it's once again reaffirmed Williams' place as a makeshift hero to a large group of fans who didn't previously have someone they felt they could relate to. His well-crafted, anthemic tracks feel more fleshed out than ever, depicting the ideas so often scribbled down in notebooks during high school: fuck you, I hate everyone, and life sucks. Timeless themes.—Katie K

Release date: March 18

Highlights: "I Love You," "Iron"

2013 isn't a time to be shy. The ambition in the world of music right now is going to cement this year's spot as one of the most important of the past decades, but Woodkid's mission statement is up there with the most lofty goals in art. According to him, he wants people to feel like heroes when they listen to his music. Well damn, how can you not fuck with that? Spend some time with The Golden Age and you'll realize that—with a combination of classical composition and a primal, dramatic pop sensibility—he does a pretty great job of reaching that goal. Somebody cape me.—Confusion

Release date: June 18

Highlights: "Forbidden Fruit," "Let Nas Down," "Trouble"

While Kanye West declares himself a god, one of the highlights on J. Cole's new album—released on the same day as Yeezus—is the song "I Let Nas Down," in which Cole explains how it felt to disappoint an idol. While Danny Brown riles audiences with charisma and Kendrick rules with technical ability, J. Cole has gotten back to what he's best at: something in the middle of it all. And that's not a bad place to be; Cole comes off as humble but confident, intelligent, and comfortable, and instead of trying to muster up hits, he's choosing to go with kind of production and content that suits him best.

Letting Nas down is kind of an odd thing to rap about, but in the context of J. Cole's career, it means a lot more. This time around, Cole says Nas heard his new music and was "highly impressed." That's symbolic of a lot more, too.—Confusion

Release date: April 16

Highlights: "Sacrilege," "Despair," "Wedding Song"

The Yeah Yeah Yeahs spastic and soaring Mosquito has the charismatic quality of a fistfight at the supermarket. You just want to get your spicy shrimp chimichangas and get out of there, but you can't help but wait until you see if he's really going to use that pineapple.

Karen O and her troupe of Yeahs are in the midst of fame at this point, a career point surely fraught with anxiety and heady vacillations between rage, empowerment and depression. At least, that's what the album would have us believe. It's brightest spots are not so bright—the sparse instrumentation of "Despair" and "Wedding Song" (the last two songs on the album) leave room for Karen's voice to stretch and yelp at the empty space in front of her, reverb echoing in a gossamer web behind.

When the sound veers towards psychedelic noise-rock, however, they seem to stop short of going all in, retreating to the safe, pointed energy of punk rock. Neither place feels like home, but that resulting schizophrenic sound is a drama all its own, played out across the course of 11 tracks and 47 minutes. Where they go from here is important—but it may only make sense if you hear how they arrived here, at the fork in the road.—Graham Corrigan

Release date: March 15

Highlights: "Pusher Love Girl," "Mirrors"

A polished product from start to finish, this Timbaland/JT collab is not just impressive because it's good—that much was expected, given the parties involved. The 20/20 Experience stood out because of what two princes of pop music chose to do with it. The album moves like a piece of classical music, songs stretching to 7 and 8 minutes as JT's falsetto navigates progressions retired by Stevie Wonder, unearthed by Frank Ocean, and dusted off here by the former Mouseketeer.

The centerpieces stand out, even upon first listen. "Pusher Love Girl" and "Don't Hold The Wall" lead a platoon of songs that exist both as contemporary pop music and a history lesson in its roots. The singles—bobble-headed "Suit and Tie" and eternal-love "Mirrors"—are worthy in their own right, but Timberlake has taken the risk of asking us to be patient and remember. The ghosts of soul, doo-wop, jazz, samba, and even a strain or two of *NSYNC play a part in the Experience.

Timberlake's return to music included a stint as the "house band" for Jimmy Fallon, a guest verse from Jay-Z and a music video directed by David Fincher. He has retaken a seat left empty for him since a well-founded hankering for acting drew JT away in 2007. But he got itchy, apparently, and we have been gifted the first half of a symphony. The second half of The 20/20 Experience drops September 30. Given the fact that this first go was recorded in one month, I like our chances of success the second time around now that he's had five of them.—Graham Corrigan

Release date: March 26

Highlights: "Curtains," "Rich as Fuck," "Beat The Shit"

To all Lil Wayne fans who want "the old Lil Wayne" back,

I know, I know. But stop it. By this point, it should be obvious that Lil Wayne is probably not going to do what you want him to do. But he's also proven plenty of times that he's full of surprises, so sit back and be patient—maybe that Mixtape Weezy resurgence will come some day. While you're waiting, try to get over it and embrace I Am Not A Human Being II for what it is: a fun, well-executed album by one of the most entertaining artists in rap.

Love,

Confusion

THE 30 BEST LIL WAYNE MIXTAPE TRACKS

Release date: June 4

Highlights: "Modern Jesus," "Purple Yellow Red and Blue"

Working with Danger Mouse as a producer lent an air of purpose to Portugal. the Man's latest studio album Evil Friends. For a band that has been independent, been on their own label, and now reside comfortably among Atlantic's historic ranks, the partnership with one of this industry's foremost experts was a logical step. Yet, the sonic fingerprints of Brian Burton remain just that—fingerprints. This album is still decidedly on par with John Gourley's defiant, innovative take on rock and roll. Valuing touchstones like the Beatles, Oasis and the Rolling Stones, Gourley manages to update these traditional sounds with his own signature twist, creating a legacy in his own right. With tracks that vault between the roar of "Hip Hop Kids" and the slow roll of "Purple Yellow Red and Blue," this record solidifies Portugal. the Man as one of our generations most prolific and important acts.—Caitlin White

Release date: March 26

Highlights: "Tap Out," "Welcome to Japan," "Happy Ending"

Frankly speaking, this is the follow-up album The Strokes have been trying to record for over a decade. Sure, there were certifiable shining moments on Room on Fire and a few satisfactory tracks on First Impressions and Angles, but for some reason the band just wasn't able to pull it all together like they have for their fifth and most recent studio release.

Part of it likely had to do with fatigue, disinterest and rumored simmering conflict between members, but for Comedown Machine Julian Casablancas and crew worked through the strife to produce a polished, witty, effort that's part NYC underground garage punk, part sophisticated new millennium pop rock. In classic Strokes fashion, it runs a tight 40 minutes wire-to-wire, with songs ranging from the experimentally erratic "One Way Trigger" to the album's passive backside bookend, "Call it Fate, Call it Karma."—Monster

Release date: March 19

Highlight: "Song for Zula"

Phosporescent's Matthew Houck has been producing music for a long time now, and most of it has been considerably good, well-formed folk rock. From a tribute album to Willie Nelson to Houck's own five plus other recorded releases, Phosphorescent has had a strong presence in folksy, acoustic-loving circles. Whether he likes it or not, Muchacho would've kept along the same path, if it wasn't for one of the best songs that the past twenty years has seen—"Song for Zula." Marrying the bleeding, off-beat smack of a sparse drum with elogonated strings and a torrential outburst of life-grappling questions, Houck has crafted his masterpiece, and through it, entered the mainstream. Albeit through a track that borrows a line or two from Johnny Cash's own "Ring of Fire," Houck seems to have found a route off his plateau, leading Muchacho to a much more exalted place than it would've previously occupied. Here's hoping for more gems like this one.—Caitlin White

Release date: February 2

Highlights: "New You," "She Found Now"

Of all the bands that have reunited and made new music recently, Kevin Shields' shoegaze explorers My Bloody Valentine could well have had the hardest task, following up their seminal 1991 LP Loveless after being on what most fans thought was an indefinite hiatus. The very fact that such a well-loved and respected band have reunited at all can sometimes lead to sentimental or overly kind reviews of less than impressive music, but that's certainly not the case for m b v, a sweeping, stunning, weird and wholly satisfying record. This is music that feels meticulously produced and arranged with every layer of processed guitar, every hushed vocal, and every rumble of distorted bass telling a story or providing context to the incredibly impressive nine track whole.—Constant Gardner

Release date: April 9

Highlight: "Wakin on a Pretty Day," "Never Run Away"

Kurt Vile's ascension to king of the "slow dude" rock movement has progressed at the pace that most of his songs adopt—a sluggish but steady chug full of twists and turns that eventually wind up into a thin-aired higher atmosphere. If Vile has a mountain-top record, it's this one. Wakin on a Pretty Daze, his second album for Matador records, sees Vile lounging in the riff, but he's also pressing into crises of human existence with more verve than ever. For a man who is married with two kids, Vile's lyrics still read like the musings of a celibate monk focused on the inner-workings of the spirit. Sure, there's references to his personal life, but they're oblique and wrapped in larger-than-life imagery as on "Shame Chamber" and " KV Crimes." This record leaves behind a lot of the acoustic frameworks of older material, opting instead for noisier, or muddled electronics in place of the quiet strumming. Still, this record feels like Kurt as the most himself, as he sings on "Goldtone—"I might be adrift, but I'm still alert"—or as another poet once quoted "not all those who wander are lost."—Caitlin White

Release date: March 5

Highlights: "Open," "The Fall," "3 Days"

California-based soul-pop duo Rhye mysteriously appeared on the scene early last year with a pair of sentimental singles, "Open" and "The Fall," that would ultimately prove to be the lead off of their sensual debut album, Woman. Drawing comparisons to classic sophisti-pop act Sade, vocalist Robin Hannibal's airy voice is relaxation in an audible form. Combined with supporting production from Mike Milosh, the duo have crafted a smooth jazz meets quiet storm album that pairs perfectly with a fine bottle of wine and romantic night in. They manage to take all of the romance of these moments and channel them into clear, seductive tunes that appeal across the board.—Monster

Release date: May 6

Highlights: "Dream Captain," "Monomania"

Bradford Cox won't be slowing down any time soon, despite the crawling, creaky sounds of his latest foray at the helm of Deerhunter, Monomania. An album that celebrates—or decries—his self-apparent self-obsession, it may be this very disease that has set Cox apart from the run-of-the-mill millons of rockstar wannabes and elevated him to cult, if not iconic, status. There's too much rusted over rock fuzz to relegate Deerhunter to the realms of either indie or alt, they're smack dab in the middle of classic rock and a continuation of those sounds in a lot of ways. Grunge and '90s ooze from the pores of this record, meshed with Pavement-like guitar hooks and even Dinosaur Jr. grandeur. I usually hate to invoke the names of contemporaries when establishing a band's place or describing their sound, but it's important to note, Deerhunter stand heads and shoulders above most of their peers, and Monomania cements their ascension. At what cost, we may never know, but the music seeps into a society that desperately needs a rock album of this caliber.—Caitlin White

Release date: April 16

Highlights: "That's Alright," "Like the Morning Dew"

There's only so many ways to tell a story, and waxing eloquent at all is a feat in itself, but Mvula makes the tiniest turn of phrase feel like an original narrative on her debut full-length Sing to the Moon. A record that could be sonically stacked somewhere between a symphonies recordings, a soul singer revolutionary, and a well-mannered pop star, Laura manages to combine these sharply distinct facets with elegant ease and inventiveness. Spiritually aware and determined to struggle its way deeper into life's most existential questions and emotional quandaries, Moon is a breath-taking to interact with, both as a listener and as a fellow human being searching for the answers in an uncertain world.—Caitlin White

Release date: February 19

Highlights: "Holdin On," "Sleepless" & "Left Alone"

Musically, Australia is a very exciting place right now. With so many other regions pulling focus off the Lucky Country, acts like Ta-ku, Chet Faker and Say Lou Lou are successfully reclaiming global attention to their continent. In addition, Sydney producer/DJ/prodigy Harley Strenten aka Flume exploded stateside this year, thanks largely in part to the release of his self-titled debut album in February.

Already certified platinum by the ARIA (Australian Recording Industry Association), Flume is packed with gorgeous electronic pop records that are lush and digestible. Select featured artists include Jezzabell Doran on the standout single "Sleepless," as well as rapper T. Shirt, and Aussie vocalists Moon Holiday and George Maple. Much like fellow electronic project Disclosure, Flume managed to construct a well conceived debut that highlights not only his personal talent, but that of numerous other exciting new artists from his home country.—Monster

Release date: February 25

Highlights: "Counting," "Play By Play," "I Wanna Dance With Somebody"

Autre Ne Veut isn't for the closeminded. Brooklyn's Arthur Ashin's overall sound is melodic, but his execution is aggressive, and that's where people misunderstand his music, dismissing it as "noise." Anxiety, as a result, is an ambitious project, because unless the listener takes the time to dissect each of its many layers—the everything-in-the-bathroom-sink juxtapositions—it can't be appreciated in the way Ashin intended it to be. At first listen, it'll swallow you whole, but this is one of those times where drowning is a good thing.—Joyce Ng

Release date: January 15

Highlights: "Fuckin' Problems," "Ghetto Symphony," "Suddenly," "LONG.LIVE.A$AP"

A failed attempt at tricky balancing act of the high-profile rap debut album threatened to ensnare A$AP Rocky in the wake of "Goldie," his would-be lead single that failed to truly get off the ground commercially. Riding a buzz well-earned from his cohesive, sonically refreshing (though decidedly dour) debut mixtape Live.Love.A$AP, Rocky was tasked with rising to mainstream expectations while maintaining the dark edge that made him a fan favorite on the internet. For the most part, LONG.LIVE.A$AP succeeds at this feat, occasionally pandering to current commercial fixations (Skrillex-assisted "Wild For the Night" springs immediately to mind) but never leaping so far away from Rocky's original formula as to obscure the young rapper's endearing qualities—his voice, his occasionally nimble flow and skillful use of space, and his beat selection. Successful Hail Mary second single "Fuckin' Problems," album opener "LONG.LIVE.A$AP," and deep album cut "Suddenly" point the way forward, polishing the sonic fixations of Live.Love.A$AP up for public consumption without losing Rocky's initial allure.—Jon Tanners

Release date: February 22

Highlights: "Dead Fo Real," "2 Cups Stuffed," "Fuck With It," "Nigeria"

Running with hip-hop's most alien moments, artists like Future, Gucci Mane, and Lil B have take the wonderful oddities in rap style and developed them into successful career drivers. None have done it quite like Young Thug on 1017 Thug, though. The collection finds Thug at his most unhinged, with lyrics that feature an entertaining train of thought ("My diamonds, they say Pikachu/They gon’ wink at you") and vocals that flex to reach a pitch most rappers can't (or won't) touch. It's unique and refreshingly experimental but still manages to be accessible. In a time when we're searching for broader meaning in the intricate layered productions of albums like Yeezus, Thug gives us material we don't have to dig too far into to understand. It's simply a fun album that's enjoyable to listen to; and that's a level that Thug not only seems to be comfortable in but one that he's also proven he can produce extremely well.—Katie K

Release date: June 3

Highlights: "F For You," "White Noise," "When a Fire Starts to Burn"

Depending on your audience, it might prove difficult to describe Disclosure's sound. Or their music for that matter. Here are some genres to choose from: house, deep house, future garage, UK funky or straight up pop music. Pick your poison. While each are accurate, none exclusively pin down exactly what English brothers Guy and Howard Lawrence accomplished on their debut release, Settle.

With a deluxe edition that runs 18 tracks deep and spans nearly 1.3 hours, it's an impressive first effort, blending danceable uptempo production with engaging vocal features from some of the UK's brightest up-and-coming stars. What makes this album so alluring, aside from the excellent music, is that Disclosure were able to fully deliver on the hype. Nearly a year of building anticipation from multiple singles and remixes resulted in a comprehensive release that unfolds beautifully from start to finish.—Monster

Release date: March 18

Highlights: "Union," "Guts No Glory," "Feel Real"

There's something delicately serene about Deptford Goth's (aka Daniel Woolhouse) debut album, Life After Defo. Lyrically he may err on the rather gloomy side; more often than not the subject of his hushed electronic ballads is a love lost. But the lush ambiance of the tracks causes you to feel a much wider range of emotions. His tracks sweetly wrap themselves around you, grab hold of you and force you to feel something while you listen to them. As a result, Life After Defo is the type of album that will expertly escape being merely background music and instead become a soundtrack for listeners, one that will evoke memories of when and where you were when you first really heard it. In a year which has already seen its share of emotive electronic cuts, this album's memorability shows why Woolhouse has delivered one of the strongest, most moving offerings. —Katie K

Release date: May 17

Highlights: "Get Lucky, "Doin' it Right, "Instant Crush"

Prior to Random Access Memories, it had been seven years since we had a Daft Punk album. A lot has happened in electronic music in that time. While it's hard to find an electronic artist out who doesn't cite Daft Punk as an influence, there was still the obvious question of whether or not the legendary duo could keep up with the times. This question never had to be answered because with Random Access Memories, Daft Punk made it clear: they weren't trying to keep up.

Instead of hopping on the trends and proving that they could keep up with the young guns, they looked to the past. They flaunted their disco roots, their pop influences, and embraced more than ever the sounds that have always lurked beneath the robotic stylings of their work. In a way, Random Access Memories felt like Daft Punk schooling us on what made Daft Punk so special, and while it wasn't exactly what everyone wanted (or expected) it was masterfully done with crisp instrumentation and superb songwriting. By avoiding expectations, sounds of the moment, and any temptation to compare Daft Punk to modern day EDM, the duo managed to make something timeless, and something that will undoubtedly force many of the acts that grew up emulating the pioneers to question once again how they can be more like Daft Punk.—Confusion

Release date: April 30

Highlight: "Cocoa Butter Kisses," "Everybody's Something," "Juice"

In the echo-chamber of the blogosphere, the din that preceded Chance the Rapper's second mixtape Acid Rap seemed deafening, a conversation that painted the tape as a potential career-turner, setting the young rapper up for the potential fall with the caveat that he might have his Section.80 on hand. Acid Rap turned out to be the perfect second step in the 20-year-old's career, a commitment to cohesion, personality, and great rapping that shunned any feared attempts to jump the gun to the commercial landscape too soon in favor of showing what the young rapper could do given full creative control.

With its warm, nostalgic production and evocative, detailed rhymes, Acid Rap paints Chance's character in often dazzling 3D, with songs like "Cocoa Butter Kisses" and "Everybody's Something" delving into the rapper's past to shed light on his present, all without becoming overly sentimental or ever forgetting to entertain. At very least, Chance gets to display his prodigious technical skills early and often, rapping circles around all but a precious few in his age bracket (or any age bracket, for that matter). It's an impressive display of emotion, vision, focus. A deliverance on promising talent and a strong indicator that there's more where that came from.—Jon Tanners

Release date: April 8

Highlight: "Retrograde," "DLM"

The nimbleness of James Blake's voice is matched only by his aptitude for a proper way to navigate the current landscape of electronic music. It was on his self-titled debut that his innovative style was first revealed: glitchy, repetitive electronic noise married to a soulful, fragile croon that had audiences swooning. These motifs, even their combination, are now replete within the music scene, and on Overgrown Blake feels to be once again ahead of the curve. Vast, cave-like tracks are inhabited with the ghosts of Blake's voice, and other voices too, including that of Wu-Tang's esteemed RZA on "Take a Fall For Me," and the production stylings of Brian Eno for "Digital Lion." The haunting feeling of a genius on the cusp of his own self-realization lurks throughout this album, a specter about to come back to life in the whirrs and clicks of "I Am Sold," or even more susceptible to spiritual re-kindling on the record's standout "Retrograde." James pleads on this track "ignore everybody else, we're alone now," and for this record, I'd almost be willing.—Caitlin White

Release date: May 14

Highlights: "Step," "Hannah Hunt," "Ya Hey," "Diane Young"

If Vampire Weekend and Contra were dating, then Modern Vampires of the City would be the most beautiful love child of that couple. The band's third offering is the perfect balance between the fun recklessness channeled in their debut, and the lush, almost tropical sound heard on their sophomore album, Contra. But at the same time, it's undeniably more refined, and there's an overarching sense of control in each song. Modern Vampires also seems reflective of how the band grew from creating Vampire Weekend and Contra, learning they not need to be tied down to a specific "sound," and more importantly, that their signature sound may still be developing. The result? Modern Vampires is the most Vampire Weekend-y album that Vampire Weekend has ever made. All technical stuff aside, the melodies and songwriting on this album are the band's best yet.—Joyce Ng

Release date: June 18

Highlights: "Black Skinhead," "I Can't Hold My Liquor," "New Slaves," "Send It Up"

Though it is impossible to properly assign Yeezus its place in Kanye West's catalog yet, no album has loomed larger over the musical landscape than the rapper's recently released sixth album. Ambitious in its jagged edges and challenging textures, it's unusual juxtapositions and pitch-black palette, Yeezus is perhaps the most fitting encapsulation of the current state of music we've yet received, anti-radio but all for provocation and spectacle, all for driving conversation. Though the lyrics at times border on the frighteningly juvenile, the blunt force discussion of race, willful enactment of stereotype, and brutal hedonism are pure Kanye, stripped of self-deprecation and the usual layers of wit that candy coat the message. Almost a decade ago, "New Slaves" would have emerged as "All Falls Down," but in a world more fragmented and and confusing it arrives as a burst of shrapnel seeking to challenge and unsettle. Yeezus may bother our digestion, but it may also prove to be one of Kanye's most important albums, if not his most self-appeasing.—Jon Tanners

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