Related: The Best Songs of 2014 (So Far)
Related: The Best Albums of 2014 (So Far)
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In 2013, a handful of great albums proved that it wasn't all about singles. Despite our shrinking attention spans and the world of illegal downloading and free streaming forever changing the way we consume music, there's still something special about an album. As cliché as it sounds, there's still something magical about (metaphorically) ripping through the plastic wrap and diving into a new record or CD collection of MP3s.
But we've realized something else over the past years, and more than ever in 2013: there's something just as special about the way we're adapting to the single-oriented market. It's not just about selling a song. It's about hearing that first single from your favorite band's new album; sitting around waiting for the live stream of a radio show so you can get a first taste and listen at the same time as the rest of the world; finding yourself on the Soundcloud page of some random artist from across the globe and falling in love with a song that's completely unfamiliar to you. We've seen new artists make it big off the strength of one single, and we've seen how playing one song in the right way at the right time can shake the whole music community.
So yeah, it isn't all about the singles, but in 2013 the single had more power than ever, and no matter how that gets twisted up to make us seem like depraved consumers looking for a quick fix, it's becoming clear that maybe it's not all that bad.
Here are our favorite songs of 2013.
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50. Big Sean ft. Kendrick Lamar and Jay Electronica - "Control"
Obviously. When's the last time Jay Electronica came out of hiding for a verse and nobody was talking about the Jay Electronica verse?—khal
49. Earl Sweatshirt ft. Vince staples & Casey Veggies - "Hive"
Earl Sweatshirt is a rap nerd's wet dream, cramming syllables upon syllables into each line, with a seemingly endlessly stream of words waiting to pour out of his mouth every time he opens it. He's at his best over simple, skeletal beats, and the raw, cold-hearted assist from Vince Staples provides a chilling conclusion to a menacing song.—Constant Gardner
48. Lil Wayne ft. 2 Chainz - "Rich as F*ck"
Though Lil Wayne no longer seems capable of the sort of provocative lyricism that marked his blistering ascent to "Best Rapper Alive" status circa 2007-2008, he can still make a hell of an attitude record. With the help of a typically excellent, skeletal T-Minus beat and an entertaining 2 Chainz assist, Wayne's hit single "Rich As F*ck" provides the perfect soundtrack to drunken, late night antics with friends, whether you are, indeed, rich as fuck or not.—Jon Tanners
47. Seinabo Sey - "Younger"
When we first posted this song earlier this month, one reader commented, "the vocals came in and my hand went up like I was testifying in church." It's a sentiment that perfectly describes Seinabo Sey's impressive debut, "Younger." Powerful and undeniably emotive, the song beautifully mixes together Sey's soulful vocals and a poppy melody to create a production that is as inspirational as it is infectious. —Katie K.
46. DJ Rashad ft. Spinn - "Drank, Kush, Barz"
Nothing said "hey, footwork is some shit everyone could fuck with" more than Double Cup's "Drank, Kush, Barz." DJ Rashad (with frequent collaborator DJ Spinn) did what he does best: flex his many influences (in this case, hip-hop, a touch of jazz, and jungle) into one cohesive footwork cookie. The ever-present thump is there, but it's presented in a way that allows those who might not be familiar with the sound to get a taste.—khal
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45. Vondelpark - "California Analog Dream"
With an absolutely gorgeous guitar melody, a soft whooshing sound (is it a car passing? a wave rolling in to the shore?), and the gentlest of percussion, Vondelpark manage to evoke so much, so clearly. In just the first 20 seconds you can almost hear the waves crashing against the shore, smell the sea air, and feel the wind through your hair. Whether you're from Cali or Cornwall, or have never even seen the coast, let this dremaily nostalgic song wash over you and just see if you don't feel better afterwards.—Constant Gardner
44. Sway Clarke - "I Don't Need Much"
In 2013, we were introduced to Sway Clarke with "I Don't Need Much." Sway had written for other big-name aritsts before, but he chose this to be his first solo track, and he chose it well. We'd like to agree with the spirit of this song and say that we don't need much either, but we need more Sway.—Confusion
43. Little Daylight - "Overdose"
In a music culture where new indie bands pop up from every corner of the world and Brooklyn on the daily, first impressions are key. And electronic trio Little Daylight struck exactly the right chord with their debut single "Overdose," an infectious head-turning jam just catchy enough to be the makings of a career akin to MGMT and Passion Pit if they play their cards right. We first heard this song nearly a year ago, and to this day every listen sounds fresh.—Dee
42. The xx - "Together"
Release-wise, 2013 was a quiet year for The xx, who spent most of their time touring 2012's Coexist and organising festivals. They did, however, find time to contribute to the soundtrack for Baz Luhrman's The Great Gatsby, turning in the appropriately cinematic, string-laden "Together," a typically restrained but lovely performance from the trio, with a brilliant beat switch around a quarter of the way through.—Constant Gardner
41. A$AP Rocky ft Gunplay & A$AP Ferg - "Ghetto Symphony"
That beat. Gunplay's intensity. Even Ferg's goofy Chips Ahoy line. This is one of the toughest productions of the year, and on A$AP Rocky's hit-and-miss album, it offered up a style that we hope he revisits in the future.—Confusion
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40. Childish Gambino - "Telegraph Ave."
Though it might seem a fitting first response to question Childish Gambino’s sincerity (you know the knocks against him: he's an actor/comedian turned rapper, he got his name from a Wu-Tang name generator), songs like "Telegraph Ave." from his much improved sophomore album Because the Internet showcase surprising emotional and existential depth. Blending modern R&B fixations with Gambino's heavily referential rap, "Telegraph Ave." stands out because it lives firmly on the line between the uncomfortable jokes and the reality they mask, as fitting a representation of the multi-talented rapper's persona as exists to date.—Jon Tanners
39. Poliça ft. Justin Vernon - "Tiff"
Never before had Poliça sounded so big and so bold. With Justin Vernon, who puts in another scene-stealing vocal performance, acting as the perfect foil for Channy Leaneagh, a faint air of desperation running through the song, and cutting lyrics like, "I'm a pawn in the hype machine," "Tiff" is Poliça not just at their most accessible, but at their best.—Constant Gardner
38. Arcade Fire - "Reflektor"
When the anticipation is as high as it was for Arcade Fire’s latest album, the lead single is crucial to sustaining the buzz. With the James Murphy-produced "Reflektor," the Montréal band managed to do just that. With an uptempo, funky feel, the track was exciting and different enough to highlight the musical growth of the band between releases, while still maintaining the core cinematic sound fans have come to know them by. It was the perfect introduction to the next chapter in Arcade Fire's catalogue of work.—Katie K.
37. The Child of Lov ft. Damon Albarn - "One Day"
A subdued, gently percolating song with production that perfectly accentuates Damon Albarn's slow-burning vocals, "One Day" appears on The Child of Lov's debut album, which was also to be his last, as he sadly passed away this December. Music was like alchemy to Cole Williams as he combined seemingly disparate elements to create a strong, unique end product, and this song highlights his undeniable talents.—Joyce
36. Foals - "Late Night"
Foals’ 2013 album Holy Fire was an impressively varied record from a band who started off as esoteric math-rockers. From Friendly Fires-esque danceable indie, to heavy layers of reverb-laden guitars, the record seemed to do it all. "Late Night" however, stood out, thanks to an impassioned vocal performance from Yannis, and the restrained, slow-building instrumentation, which only reaches its stunning, punishing crescendo around 3 minutes and 30 seconds in. And a brilliant video only added weight to the song's emotional punch.—Constant Gardner
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35. Kwabs - "Spirit Fade"
Towards the beginning of 2013, "Spirit Fade" introduced British singer Kwabs as one of the most arresting, soulful voices in the current music landscape, whether compared to emerging artists or established acts. This song puts his sonorous, inimitable natural instrument on full display alongside a world-weariness befitting of the great soul singers of years past. Though he only has a handful of songs to his name, Kwabs has our full attention.—Jon Tanners
34. MØ – "Waste of Time"
MØ’s music is captivating because it encompasses a key characteristic that is often void in female musicians: MØ is fearless. Regardless of the topic, she has the ability to confront the issue head on in her music in a way that doesn’t seem immature, but instead admirable. "Waste Of Time" is a fantastic example of this, telling the tale of a lover breaking her heart set to her signature celestial electro-pop sound. Yet instead of mourning the failed relationship, she asks, "where is the love we had? Why do you always make me cry," seemingly unafraid of what answer she'll get back. It's a brilliant head-on approach that has made MØ an artist that's consistently exciting to listen to.—Katie K.
33. Deptford Goth - "Union"
There are a few reoccurring themes that present themselves throughout Deptford Goth's (aka Daniel Woolhouse) debut album, Life After Defo. One of them is the unsettling idea of uncertainty. He attempts to address this issue on the fantastic "Union," a stunning yet fragile track that maintains his signature somberness despite the upbeat production. He's certainly not the first musician to delve into the varying aspects of human pathos, but not many have done it in such a beautifully haunting way as Woolhouse has on "Union." —Katie K.
32. Kelela - "Bank Head"
Culminating with Beyoncé's 14-song surprise attack, R&B had a hell of a year, consistently exploring exciting sonic territory and expanding on a stellar 2012. Seductive Fade to Mind singer Kelela had one of the year's finest entries in the ever-evolving alternative R&B catalog with single "Bank Head," a sensuous, loose love song that fully displayed the sultry possibilities of her bass-heavy, electronically-influenced sound.—Jon Tanners
31. Shlohmo ft. Jeremih - "Bo Peep (Do U Right)"
Overt sexuality has become a very normalized thing in the past year. From Miley Cyrus licking sledge hammers, to R. Kelly ruining Oreos for everyone, it really seemed like there was no way to be sexy and not completely crass and offensive. Yet Shlohmo and Jeremih managed to find a good balance, relying mostly on the seductive production and Jeremih softly crooning that hot promise. Despite the fact that the title references a classic nursery rhyme (conversely, that may add to the appeal), "Bo Peep (Do U Right)" manages to stand out in a sea of exhaustingly sexual content.—Joyce
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30. Disclosure ft. AlunaGeorge - "White Noise"
While AlunaGeorge's 2013 debut album Body Music was a mostly excellent peek into the duo's developing sound, it didn't catapult them to quite the levels of acclaim we'd hoped. It also didn't contain their finest output, "White Noise," a collaboration with another ascendant British twosome, Disclosure. Marrying Aluna Francis' enchanting vocals and pop sense with Disclosure's warm, expertly crafted, tastefully-pop-y take on deep house, "White Noise" is instant satisfaction, four and a half smartly assembled minutes that deliver the irresistibly danceable goods from start to finish.—Jon Tanners
28. A$AP Ferg - "Shabba"
While A$AP Rocky might have had the higher profile debut album, A$AP Mob partner-in-crime Ferg won fans with his unexpected, dark horse mini-hit "Shabba." Animated verses, a thumping beat, and one indelible, unforgettable chorus turned "Shabba" into an instant party favorite and a sign that Ferg might be more than a mere sidekick.—Jon Tanners
26. Drake - "Worst Behaviour"
Three albums into his career, Drake has mastered the art of the chest-puffing-but-still-kind-of-emotional anthem. As "HYFR" was to Take Care, "Worst Behaviour" is to Nothing Was The Same: top-of-your-lungs-at-4-AM, meme-worthy music, readily serving up catchphrases and attitude for the taking. Though it's sort of unclear who the "muhfuckas" are that "never loved us" (particularly considering that Drake is not only one of rap's most bankable stars, but also an Internet-industry unto himself, an immediate source of both laughs at his many foibles and replay-ready tracks), "Worst Behaviour" plays as an excellent underdog soundtrack, a jolt of bravado into whatever you're doing–whether you're just going to get your morning coffee or you're lobbing bottles at Chris Brown from the other side of a nightclub.—Jon Tanners
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25. Janelle Monaé - "What An Experience"
"What An Experience" sounds just as fresh, futuristic, and nu-soul as almost anything in Janelle Monaé's book, but it also kind of sounds like it could have been a Michael Jackson song. It's a smooth, ocean of a groove, and while it's not a radio-ready hit, it's the one song on this album that we keep going back to.—Confusion
24. Movement - "Us"
Australia had a great year musically, throwing out artists in every genre that were well worth paying close attention to. One of the most impressive introductions came from Movement, who stole hearts the world over with the restrained, downtempo R&B of "Us." The song is a hazy, slow-moving trip through am irrestible golden dreamworld, and we really couldn't get enough of it.—Constant Gardner
23. Sampha - "Indecision"
Sampha has had one hell of a year. He blew up as a solo artist, featuring on a couple of songs with Drake, and well and truly fulfilling the potential that had been evident in his numerous vocal contributions to SBTRKT's album. Possessing of a glorious, richly soulful voice, Sampha needs little accompaniment to shine, and thankfully he keeps things simple on "Indecision," nothing more than piano and that unique voice. Never has the plea of "let it all work out" sounded so gorgeous while also tugging so powerfully on the heart-strings.—Constant Gardner
22. Run The Jewels - "Job Well Done"
El-P and Killer Mike's Run The Jewels project is called "rap's most dangerous group," and the vitrol that's spit on "Job Well Done" perfectly defines that statement. Hell, "Job Well Done" might be one of the more definitive tunes on why they are the most important duo in the hip-hop scene right now. Everything that makes El-P one of the illest producers in the game right now flows through this, while Killer Mike's opening verse is a piece of potent poetry. Fuck boys, think about it. —khal
21. Willis Earl Beal ft. Cat Power - “Coming Through”
Willis Earl Beal isn't built to sing soulful duets that sound like instant classics. He's just not. His whole aura is that of a lonely, frustrated outsider full of pain. He's best when he's at his most misunderstood. At least, that's what he had us all thinking. Then he dropped "Coming Through." Well shit.—Confusion
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20. King Krule - "Easy Easy"
Close your eyes and you'd never suspect that the frustrated guttural voice belongs to a 19-year-old kid. But King Krule aka Archy Marshall knows what he's doing. The off-kilter strumming and frantic, unstable vocals in "Easy Easy" come together like a perfect storm, an odd quiet, brooding aggressiveness that unfolds into a sparse, yet incredibly full-bodied experience. It's this delicate balance of fast and slow, calm and urgent that both perfectly reflect the complex state-of-mind of a teenager, and the multifaceted nature of this talented musician.—Joyce
19. Burial - "Come Down To Us"
Burial is put on a mighty high pedestal by many of his fans. They are often obsessives, acolytes, people who swear that he's a genius and listen to Untrue every night before bed. Then there are those to whom Burial's music is enjoyable, but all sounds the same—one long stream of clipped drums and ghostly vocal samples. Nice to put on in the background, but nothing to really grab on to, nothing to distinguish one song from the other, and little to suggest he has progressed in any meaningful way since 2006's self-titled debut album.
Burial's new EP makes it clear why he is held in such high regard by so many, and sees the artist evolving and embracing a whole new set of sounds. Burial's past, present, and presumably future, are drawn together neatly in the sprawling "Come Down To Us," a breathtaking mix of geniunely catchy, golden melodies, angelic vocal samples, and worhtwhile messages about identity and self-worth.—Constant Gardner
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18. CHVRCHES - "The Mother That We Share"
2013 was heavy with synth-pop, but none did it as well as CHVRCHES. Where others produced material that felt like a contrived attempt to capitalize on the latest trend in music, this band instead delivered something much more organic with their debut album The Bones Of What You Believe. Even just skimming through the record, it becomes immediately clear that for the Glasgow trio, making this genre of music comes naturally. And instead of trying to incorporate any other aspects, they stayed true to what they know and clearly excel at.
This ideology is perhaps most emphasized on "The Mother We Share," the group's first proper single and a standout cut from their debut. The song opens with darting synths and lead singer Lauren Mayberry's saccharine, echoing vocals before giving way to a wave of layered percussion and a chorus that's so catchy, it may take weeks to get out of your head. "The Mother We Share" isn't an offering full of complex, emotional observations. Instead, it's simply a perfect display synth-pop done right. And for all of 2013's trials and errors, there's not much more you can ask for.—Katie K.
17. Kanye West - "Blood On the Leaves"
If it's the rap god of sampling you're after, look no further than Kanye West and his excellent Yeezus cut "Blood on the Leaves." Sure, Beyoncé may have stole the limelight at 2013's end for her unconventional sample of Chimamanda Ngozi Adichie's feminist TED talk in "***Flawless," but Kanye's been dabbling in spoken word and non-traditional music composition for years. He's also made a career out of touching many of music's untouchables, from Otis Redding to Nina Simone to Billie Holiday. And while it's usually the artist he chooses to sample that attracts the controversy, in the case of "Blood on the Leaves," critcs took an exception to his use of Billie Holiday's "Strange Fruit" as the primary vocal sample—though he uses Nina Simone's cover instead.
But what makes "Blood On the Leaves" some of Kanye's finest work is its abilty to marry so many dichotomous elements, with lyrics that mourn a failed relationship set against a timeless anti-racism anthem that lambasts the practice of lynching. The song also showcases Kanye's impeccable ear for production with his selection of TNGHT'S horn-heavy "R U Ready," making for arguably the best beat drop of 2013. And while most producers would generally take the sample and alter it to fit their original track, Kanye picks "R U Ready" apart, recognizes the C-Murder "Down for My Niggaz" sample, and inserts lyrics from that song into his own. Very meta, very Kanye.—Dee
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16. Kid Cudi ft. Haim - "Red Eye"
This is that riding-around-town-with-the-windows-down music. Over the years, we've seen many sides of Kid Cudi, but he's always been at his best when he reveals some genius stroke of simplicity. When we talked to Haim, they told us that Cudi didn't know what to do with this song. He and Kanye tried to write on it. It could have ended up on Watch The Throne, but things just never worked out. Then one day, he invited Haim over and asked them if they'd write to it. They did, and the song was finished in one day. It's melodically simple, repetitive (in a good way), and another example of the wizard Kid Cudi orchestrating magic. —Confusion
15. Pusha T - "Numbers On The Boards"
Pusha T's been rapping over better beats than other rappers for most of his career. The Neptunes knew a thing or two about making weird, stripped back beats made with barely a melody to be heard, but Kanye West and Don Cannon took things even further for "Numbers On The Boards." Made up of little more than a throbbing bassline, ominous clicks, and the occasional vocal sample, the beat gave Pusha T all the space in the world to remind us what a viciously precise and focussed rapper he can be.
Like "Trill" drained of any brightness and updated by Kanye's focus minimalism, "Numbers On The Boards" sounded like nothing else this year. Raw, unforgiving, and just what we wanted from the combination of Pusha T and Kanye West.—Constant Gardner
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14. Mapei - "Don't Wait"
In the intro of this list, I talked about stumbling upon some random Soundcloud page and falling in love with something completely unfamiliar. I was talking about Mapei. The Swedish singer has released music in the past, but she's only got one song on her Soundcloud page (plus a remix and an acoustic version), and it's "Don't Wait." It's blissful pop, but it's got soul, and it's got teeth. After hearing this, finding out that Mapei used to be a rapper made sense. In a matter of months, the song has racked up close to a million plays, and my love for Mapei is proof of the power of a fucking amazing single.—Confusion
13. Danny Brown - "Dip"
Anyone who'd been following Danny Brown’s career before Old already knew that the guy could rap his ass off, possessed one of the most unique deliveries in the game, and was fond of choosing frenetic production, but all these came together in a perfect storm of debauched partying on "Dip." Old is full of brilliant beats, and although the producers we were most excited to see in the credits were Rustie and Darq E. Freaker, SKYWLKR came through with the standout, a beautiful mess of manic synths and heavy bass, the kind of production that only one man could truly do justice. Luckily that man was on hand to complete a song that will set off any party.—Constant Gardner
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12. Phosphorescent - "Song For Zula"
Matthew Houck released his sixth album as Phosphorescent in 2013, and it is his best yet, a mixture of folk, country, and blues that has its moments of world-weariness and regret, but is, overall, a hopeful, uplifting record. All this, and more, comes in to play on "Song For Zula," at its heart a love song, but also an appreciation of people's endless capacity to overcome adversity. Houck's wavering, often unsteady voice is the perfect vehicle for this message, while the incredibly rich, multi-layered instrumentation makes this song even more rewarding a listen.—Constant Gardner
11. Blood Orange - "You're Not Good Enough"
We placed Blood Orange's Cupid Deluxe at No. 10 on our Best Albums of 2013 list, and one of the many reasons for that decision is the lush "You're Not Good Enough." Much of Dev Hynes' artistic persona is retro. He gives off a vintage aura that goes beyond his clothing and regularly seeps into his music. For "You're Not Good Enough," he taps into a decade he was born right in the middle of: the '80s, with '70s-era funk undertones appearing in the bass-line. Sonic components aside, what elevates the song—and much of the album—past much of Blood Orange's previous work is Dev Hynes' girlfriend, Samantha Urbani of Brooklyn band Friends, whose breathy vocal presence gorgeously accentuates the track. With both Hynes and Urbani's vocals layered over each other, the song becomes a wistful duet to get lost in over and over again.—Dee
42. 10. Daft Punk ft. Pharrell - "Get Lucky"
In a lot of ways, "Get Lucky" defined 2013. As the lead single off Daft Punk's Random Access Memories, it marked a forceful return for the mysterious French duo who'd been in quasi-hibernation for nearly a decade—ignoring Tron: Legacy, of course. It evolved into the crown jewel of Pharrell's enviable discography, arguably making him more popular in the mainstream than he's ever been before, and kicked off one of the busiest years of his career. The song also punctuated the funk revival, a musical nostaliga which had been bubbling in the undercurrent for at least the last two years, particularly in some subgenres of R&B. In 2013, it felt like almost every artist had their moment with funk from Blood Orange, Dâm-Funk and Snoop Dogg (rebirthed yet again as Snoopzilla), and dozens more.
But nothing lived up to "Get Lucky," with pristine guitar playing from Nile Rodgers and Pharrell's sensual cooing accenting Daft Punk's sublime production. And though the song draws countless influnces from Rodgers' band Chic and other elements of '70s funk, it's almost genre-defying in its accessibility to all audiences. "Get Lucky" is utterly inescapable in the best possible way.—Dee
43. 9. Autre Ne Veut - "Counting"
Listening to Autre Ne Veut for the first time is like taking a drug for the first time. It's exciting and weird; you're out of your element, not entirely sure what to expect, and when it hits you, it takes some effort to adjust. Arthur Ashin's music—his attempt at revitilizing R&B—may be aggressive, but it certainly isn't only for those who some may consider to be music snobs.
"Counting" falls over its listeners with hushed, harmonized vocals before a cacophanic orchestra of seemingly incongruous instruments crashes like a wave. Despite its jarring production, one single obscure instrument introduced at a time and ultimately paired with Ashin's delicate falsetto voice, the song gradually forces the listener to restructure his or her musical comfort zone. In a musical landscape where many songs simply sound like copies of other songs, Autre Ne Veut's able to provide one of those rare new musical experiences.—Joyce
44. 8. Chance The Rapper - "Acid Rain"
Considering the year Chance the Rapper had in the wake of his Acid Rap mixtape–including frequent denial of label deals, high-profile tours with Mac Miller and Macklemore (not to mention his solo outing, the Social Experiment tour), and one Justin Bieber collaboration–it is hard not to view single "Acid Rain" as a sort of view from the ledge, a song that bittersweetly takes stock of past, present, and future. Over Jake One's mournful production, Chance waxes philosophical, laments changing relationships and a childhood left behind, and searches for larger truths. As he seeks a place amongst the madness, we see the yearnings both of a star-to-be and a 20-something trying to make sense of the world (a notion made all the more poignant by the continued violence of his hometown, Chicago). "Acid Rain" is one of the most essential songs in Chance's burgeoning catalog, a fitting starting point for new fans, a heart-tugging retrospective for those who've tracked him for some years, and an impressive display of his prodigious talents put to use on worthy subjects.—Jon Tanners
45. 7. Tobias Jesso Jr. - "Just A Dream"
This is a great song, allowed to live unadorned and uncluttered by complicated arrangements or overproduction. "Just A Dream" is a demo recorded by Tobias Jesso Jr. with ex-Girls member Chet “JR” White as part of sessions for an upcoming album, and the raw simplicity of the song—the hiss of recording equipment, the absence of anything other than piano and vocals, the little grunt at the end—does nothing but increase its charm. Softly spoken vocals are at the heart of this song, and they're elegantly heartfelt ruminations on life and love and family; deeply poetic, deeply personal, and wholly entrancing, one of the year's simplest songs is one the best.—Constant Gardner
46. 6. Vampire Weekend - "Step"
You can talk all you want about the evolution of Vampire Weekend—of course, every band sounds different from album to album—but really, Vampire Weekend hasn't changed much. On Modern Vampires of the City, they just sound better at being themselves. They've embraced what they're good at, and they've gotten more bold with it. On "Step," the band flaunts an ear for classical music and an appreciation for hip-hop (the song references Souls Of Mischief's "Step To My Girl") and to some, that may be a turn-off. It may just perpetuate that reputation of the group as a bunch of Ivy Leaguers who used to be in a rap group and now make snobby indie music. But to dismiss Vampire Weekend as that is to overlook the reasons these guys are one of indie rock's most popular groups—one of the few that can actually fill stadiums and headline festivals. If all the lyrical references turn you off, just listen to the melody. It's one of the year's best.—Confusion
47. 5. Haim - "The Wire"
Producer Ariel Rechtshaid told NME that his goal in working with Haim on their debut album Days Are Gone was to make sure that they weren't pigeonholed as another "another throwback rock'n'roll band." The three sisters all play instruments and sing, and it's impossible to hear a song like "The Wire" and not use words like "retro" or "throwback," but the music feels crisp, fresh, and so great to hear in 2013, given that "rock" music has been (according to some) pretty fucking boring. While Rechstshaid's touch surely helped round out this sound, it's the songwriting on this album that makes these girls stars. Thank you 2013, for Haim, and for proving that a group of women who write, play instruments, and sing can capture the attention of the masses without following the trends.—Confusion
48. 4. Drake - "Hold On, We're Going Home"
Kendrick Lamar dropped the "Control" verse this year. It's a strong contender for rap verse of the year, and one of the most talked about events of 2013 in hip-hop. Is Kendrick the best rapper alive right now? There's a case to be made for that. But Drake has always been smart—a competitor in every sense of the word. He smiles on camera, but read his interviews or listen to his lyrics, and it's clear that he's a step ahead of everyone else.
2013 was a huge year for hip-hop, but while Kanye, Jay, Eminem, and other heavyweights dropped albums, Drake held his ground with one of the best, Nothing Was The Same. And while Kendrick boldly dropped the verse of the year after claiming the throne with his 2012 debut, Drake did something none of these other rappers could: he put out the best pop song of the year. Could you imagine "Hold On, We're Going Home" on Yeezus? No, you couldn't. Drake isn't staying in his lane right now—he's occupying a few lanes—and even though he catches a lot of internet memes for being smiley and friendly, he's killing the rest of these rappers by doing what they can't, and doing it extremely well.—Confusion
49. 3. Kanye West - "New Slaves"
While many considered Kanye West’s "Black Skinhead" as him getting his "punk" on, "New Slaves" was the shot heard round the world. It was the track that thrust Yeezus' new musical consciousness upon us, and with Kanye's face projected on the walls of cities worldwide, Kanye did what he does best: channeled his anger into one succinct, defining statement.
Was any of these verses his best of all-time? We doubt it. But "New Slaves," which was in part born from his frustrations with the fashion industry and the racism felt worldwide, had much more impact than the ditties that we bop to during drunken nights out. You can hear his tension throughout the difficult soundclash that is Yeezus, but with most of that stripped away, and this beat being not much more than Kanye, a pulsating melody, and his aggression? You're left with a leftfield anthem from the most important artist making music in 2013. His middle finger to the Hamptons at the end is priceless, and truthfully, when 'Ye airs shit out, what does anyone have to say? That's right: everything. 'Ye wins. Flawless victory.—khal
50. 2. Arcade Fire - "Here Comes The Night Time"
"Here Comes The Night Time" was not one of the first singles off Arcade Fire’s fourth full-length album Reflektor. It's not the most catchy or the most welcoming. It's not really the most anything. But it captures a spirit of the album better than any other song. It's an ominous celebration, a call to rejoice and to repent. This is what Arcade Fire has been about for the span of their career—they capture complication like no other modern band. It's not always happy or sad, and it's not always easy to pinpoint the feelings it evokes. But that's what makes Arcade Fire so compelling, and that's what makes Reflektor some of their best work yet. "Here Comes The Night Time" blends Arcade Fire's familiar grandiosity with Haitian influence and James Murphy production, and the band has gotten good enough to make it all so seamless.—Confusion
51. 1. James Blake - "Retrograde"
The backbone of "Retrograde" is the vocal melody that James Blake employs from the song's very beginning. His instantly recognisable voice, both fragile and soulful, stays with us throughout, anchoring and repeating this overt love song's message. What makes "Retrograde" really stand out, what elevates it from a good pop song to something great, are the experimental flourishes that come to the fore in the latter stages, where elements of tension and release are brought into play. The discordant, seemingly ceaseless synth builds and builds and builds, before suddenly, unexpectedly dropping away, revealing the beautiful clarity and timbre of Blake's singular voice, and creating one of the most stunning musical moments of 2013.
No matter how many times we listened, that moment lost none of its magic. Since discovery of moments like that is at the very heart of why we listen to music, nothing makes a more fitting number one.—Constant Gardner
