(40) Knots - Crash of Rhinos (Topshelf)
I was very skeptical of Crash of Rhinos, though, I'm not exactly sure why. Surprise, surprise, turns out, Knots is a good emo record, especially in a year that's pretty weak with the stuff (at least compared to 2012). It helps that there's a lot of variety in dynamics and vocal styles (between nice and yell-y) here. It gets a little too post-rock in some places for my taste, but that gets cancelled out by the noodly guitars and wanky drumming that pop up from time to time. Track two, cleverly titled "Opener," might be the emo jam of the year.
Top jam: "Opener"
(39) The Constant One - Iron Chic (Bridge Nine)
Iron Chic got the Pitchfork hype treatment at the very end of this year, and of all the like-minded bands that somehow Ian Cohen was allowed to write about on that site, they might be the most deserving. A couple complaints: all the gang vocals get a little tiring, and I'm not a huge fan of singer-guy's voice. BUT, these are some really great, huge sounding pop punk songs, and the element of unity is strong in this one, in a similar way to Japandroids' Celebration Rock. "Spooky Action at a Distance" is one of my favorite songs of the year, though I prefer the 7" version.
Top jam: "(Castle) Numbskull"
(38) I Won't Hold This Against You - Light Years (Paper + Plastick)
Obviously, I know that music is a subjective, personal thing, and I don't have to be embarrassed of anything I like or listen to. It is hard for me to admit to the internet public (the three or four of you who read this) that I am into this record. Light Years sound like New Found Glory, Blink-182 and MxPx. There are some really great moments on I Won't Hold This Against You (mainly when they shift from double-time to half-time in a variety of choruses), and the melodies are sooooooooo catchy. I have been suckered into this. Stop laughing at me.
Top jam: "Parking Lots"
(37) The World is Real - Lake (K)
Here's my selfish, pretentious hipster side (which I try to keep hidden most of the time) talking: I kind of love that none of my friends know about the K Records band Lake. Among the large number of people that I commune with over music, Lake are mine and no one else's! Seriously, though, it really is unfortunate that this band is by and large ignored. They are not just another twee band that has ties to K Records. There is an element of that to their sound, but I would say they're influenced more by adult contemporary legends like Fleetwood Mac and Steely Dan. Their latest, The World is Real, even nods to some early-90s R&B (not sure if that's a turnoff or a bonus to anyone who reads this). Nothing else that they've done has come close to their wonderful 2009 record, Let's Build a Roof, but, this certainly will suffice.
Top jam: "Perfect Fit"
(36) Anything in Return - Toro y Moi (Carpark)
With the release of his third Toro y Moi LP, Anything in Return, Chaz Bundick pretty much came right out and said, "This is a big, straight-up pop record." And, it is. Had this been the follow-up to 2010's Causers of This, I think I would have appreciated it more. But, instead, he threw a curveball in 2011 with the psychedelic R&B masterpiece that is Underneath the Pine, and then backpedaled to craft some straightforward, grandiose, expertly-produced pop jams. Don't get me wrong, Anything in Return is good, it's just a little bit of a come-down.
Top jam: "Never Matter"
(35) Lucky Leaves - Krill (self-released)
Krill are part of the whole Massachusetts indie rock/Exploding in Sound scene, which really seems to have taken off this year. Lucky Leaves is pretty awesome (especially the first half), and the closest comparison I can make for it would be Built to Spill and Pavement, though these songs don't really sound like either of those bands. That probably doesn't make any sense, but it feels right. Intricate guitars, driving bass, shitty production, which is sort of charming, though I'd like to hear this record with a real producer behind it. The vocals sometimes sound a tad bit too Born Ruffians, but there's enough interesting stuff going on to make up for that.
Top jam: "Sick Dogs (For Ian)"
(34) I Hate Music - Superchunk (Merge)
It's crazy to think that Superchunk have been churning out quality punk-infused rock music for almost 25 years now (give or take). I Hate Music is their 10th LP, and while I prefer 2010's Majesty Shredding, it proves that these seasoned indie rock veterans still have it in 'em (even if some of the songs can be a little boring). The highlights: "Void" is a badass rock song with the type of tricky structure that I love, "Low F" and its subtle emo undertones, the chord progressions and melodies in "Breaking Down."
Top jam: "Breaking Down"
(33) Bankrupt! - Phoenix (Glassnote)
Not quite the follow-up to Wolfgang Amadeus Phoenix that I was hoping for, especially after a four-year wait, but I'm over that now. The production on Bankrupt! is equally as appealing, even if the songs aren't (though "The Real Thing," "SOS in Bel Air," "Trying to be Cool," and "Drakkar Noir" are all great). There's just no "Too Young," "If I Ever Feel Better," "Lisztomania" or "1901." Which, is fine. If you already like Phoenix, there's plenty to enjoy here.
Top jam: "Drakkar Noir"
(32) Always Whatever - Sundials (Asian Man)
Richmond, VA's Sundials are so good at this classic alternative rock/pop punk thing that this collection of b-sides, rarities and forgotten songs made my year-end list. Yes, there is most definitely some inconsistency in recording fidelity and quality of songwriting, but, that is to be expected. Plus, the great moments rival the best ones on When I Couldn't Breathe (which, in retrospect, should have ranked higher than #16 on my 2012 list). "Assailant" and "Shelter Girl" are true JAMS.
Top jam: "Assailant"
(31) The Things We Think We're Missing - Balance and Composure (No Sleep)
I will forever associate this record with the Daylight record that also came out this year (SPOILER ALERT: that one is #23 on this list). I wrote the blurb for Jar first, and I guess I'll be elaborating more now, which might make things a bit disjointed. Continuing on, music that sounds like these two records has become quite the trend in popular punk rock in 2013. What do you call this? Post-nu-emo? Nu-post-alternative? Anyway, there were times this year where I thought I liked this Balance and Composure record more than the Daylight one. The Things We Think We're Missing is a bit more diverse, especially rhythmically, structurally and in vocal style. So, that should mean I should like it more, right? However, there are surely some outright duds here, which is not the case with Jar. Also, my favorite moments on Jar are probably more memorable than the ones on The Ts We Think We're M-ing. So, there's that. Oh, and in case I convinced you otherwise, this is still a good record!
Top jam: "Back of Your Head"
(30) Jar - Daylight (Run for Cover)
Sometimes I listen to this record and wonder: "Do I really like this? If so, why? Doesn't it sort of sound like the terrible radio rock you hated in the late-90s/early-2000s? This is almost nu-metal, isn't it?" Other times I listen to it and think: "Yes, this rules! It sounds like Deftones' Around the Fur and STP's Purple and Soundgarden's Down on the Upside and Title Fight's "In-Between" all rolled into one! This record is bad ass and huge!" So, as you see, I have a conflicted relationship with Daylight's Jar, and I'll just leave it at that.
Top jam: "In On It"
(29) You're Nothing - Iceage (Matador)
I liked the idea of Iceage's 2011 debut, New Brigade, more than I actually liked the album (although it had two total bad ass jams). Their sophomore LP, You're Nothing, is more in line with what I was hoping for. The vocals still snarl in the most atonal way, and the drums are still primal as shit, but, thankfully, some melodicism comes out more in the guitars (which are still pretty discordant at times, of course), and that helps flesh these songs out in a way that I really dig. These melodic moments are few and far between, but they make the waiting for them well worth it. Especially when the album ends so strongly (the last three songs kill). In case this blurb has been confusing and uninformative so far, overall, I'd describe the sound of You're Nothing as heavy post-punk mixed with exotic hardcore. Something like that.
Top jam: "You're Nothing"
(28) Shade Perennial - Bottomless Pit (Comedy Minus One)
Admittedly, my knowledge of the classic 90s Chicago indie rock band Silkworm is at an extreme minimum. I've listened to some songs, and I know that they seem like a band I could get way into because of their guitars. I know that they were on Matador and Touch and Go at different points. I know that their drummer died in a terrible car accident. I know that three of my bandmates love them. I know that Stephen Malkmus loves them. I know that I love the song "Couldn't You Wait?," and that a documentary about the band with the same title was produced. And, I know that two of the guys went on to form Bottomless Pit, of whom I know even less about. However, knowing that I need to at least start somewhere, I have spent ample enough time with their latest, Shade Perennial, to know that an intense, longstanding love affair with both of these bands is bound to happen in 2014. Shade Perennial is a mellower form of Albini-rock, or at least it sounds like it was recorded by Steve Albini. My favorite moment is the stupid-long fade out and then sudden stop in closer, "Felt a Little Left."
Top jam: "Felt a Little Left"
(27) Stop Breathing - Donovan Wolfington (Community/Broken World)
Here's a band that came out of nowhere for me. Donovan Wolfington is a loud, noodly, super fuzzy, emo-y pop punk band from New Orleans, and Stop Breathing is their debut full length. 90s-referencing all around, they remind me of a sloppier Luther with more yelling, or a less technical Glocca Morra... somewhere along those lines. "Spencer Green," "Ryan Rowley," and "Hell" are JAMS.
Top jam: "Hell"
(26) Uncanney Valley - The Dismemberment Plan (Partisan)
I will openly admit that my expectations for The Dismemberment Plan's reunion were completely unrealistic. I was really hoping for Uncanney Valley to rival Emergency & I and Change, but, I should have known that was not going to happen. I think Dinosaur Jr. spoiled us all by how awesome their reunion records Beyond and Farm were. Now, I will say that, as maligned as they were, I enjoyed Travis Morrison's two solo albums, and Uncanney Valley feels more in line with those than any previous D-Plan recording. Maybe if the band had chosen a different name for this endeavor, that would have helped things? Anyway, all of this complaining only to say that with each listen, Uncanney Valley grew on me, and I have come to appreciate it. It's still a smart, unique take on danceable guitar pop, and I'm very glad that it happened, even the regrettable moments.
Top jam: "Waiting"
(25) X'ed Out - Tera Melos (Sargent House)
Tera Melos' most recent full-length, X'ed Out, was another one of those surprise albums for me in 2013. I had never really spent any time with the band, though based off things that I'd read, I assumed I'd like them. I didn't realize how much, though. They do noodly guitars and mathy drums well, and without overwhelming, as there is a strong sense of melody, especially in "Weird Circles" and "Sunburn" (best song). 2002-2006 Quillen would have lost it over this.
Top jam: "Sunburn"
(24) Days Are Gone - Haim (Columbia/Polydor)
It seems like almost everyone loved the Haim sisters' debut Days Are Gone, and I totally get it. While it didn't blow my brain out of my head, the talent these gals display is undeniable, as is their penchant for quality pop songwriting. My bud and bandmate Bravender tried to hook me by describing this record as 80s Fleetwood Mac mixed with Phoenix. I definitely hear that in the melodies, musicianship and especially the production, and, bonus that there is even more to it that drew me in further.
Top jam: "Honey & I"
(23) Modern Vampires of the City - Vampire Weekend (XL)
On first listen, I was hugely let down by Modern Vampires of the City. Vampire Weekend's self-titled debut LP was my favorite album of 2008, and Contra was my fifth-favorite of 2010, so, maybe my expectations were a little unfair. I finally came around thanks to jams like "Unbelievers," "Diane Young," "Everlasting Arms" and "Finger Back" (and in spite of the annoying "Step"), and realized that M Vs of the C is just another VW record, perhaps more mature, and with a little more focus on production and changing moods. It's good, but not album-of-the-year good.
Top jam: "Everlasting Arms"
(22) An Object - No Age (Sub Pop)
No Age continue to do two things that I love on their latest, An Object: (1) Not sound like anything else going on in music, but, still somehow sounding punk, and, (2) show such restraint from song to song to the point that I feel like, to quote Arrested Development, they get off being withholding. Example: Album opener, "No Ground," is one of the louder songs on the album, and certainly is the one that calls for the most bad ass of drumming, and, yet, there are no drums. I hate that, but, I also love that. This is An Object. The first seven tracks are pretty much untouchable, the main highlights being the jangly guitars and chord progression in "I Won't be Your Generator," the general weirdness of "Defector/Ed," and how completely gorgeous (strings and all) "An Impression" is.
Top jam: "I Won't be Your Generator"
(21) Clash the Truth - Beach Fossils (Captured Tracks)
Captured Tracks' representation on this year's list is much thinner than the last two years, and that's kind of a bummer. I guess we have officially moved on from the 80s revival to the 90s revival. Beach Fossils' second LP, Clash the Truth was largely ignored, which, I kind of understand. It is a great collection of 80s-style melodic, poppy post-punk like earlier New Order, The Cure and The Wake, with a smidge more shoegaze thrown in. Lots of layered, chimey guitar leads, bored, reverb-y vocals and driving drums and bass. This is probably the exact same stuff I was saying about their 2011 EP, What a Pleasure. "Birthday" and "In Vertigo" = best guitar chord usage!
Top jam: "Birthday"
