Our countdown of our favorite songs of this decade’s first five years continues today with contributions from a band of three trendy sisters, an aggressively political hip-hop duo, and a member of the queer rap community, among others. The diversity of these ten songs alone (and, of course, the entire list) attests to the breadth of excellent songs released in this time span. Topics as classic as unrequited love and inconsolable heartbreak are explored abundantly in this group of songs, but we also hear more modern themes such as homophobia and being proud of, and confident in, one’s sexuality. In 2000-2009, society might have stricken down these ideas and sounds as too far ahead of their time, but in this decade, they’re among the cream of the crop.

Best 50 Songs Of The Decade So Far
(#40 – #31)

HAIM – “The Wire”

With its jaunty staccato grove, stomping chorus and ‘70s radio rock vibe, HAIM’s “The Wire” is one of those rare pop songs where every section is catchy as hell, not just the chorus, á la Rihanna’s “Umbrella” and Miley Cyrus’ “Wrecking Ball.” If you’ve ever tried to write a song, you know how hard it is to write a catchy hook, let alone make every second of the song irresistible, which is what HAIM’s done here, amazingly. The instrumentals and break-up lyrics are straightforward because the three sisters from California know the song’s melodies deserve their own pedestal without much fuss going on underneath. As always, the vocals are supple and effortless, with just the right amount of attitude sprinkled on when appropriate. [Bernard]

Le1f – “Wut”

Homophobia has been a large issue with rap music, one that’s taking the tiniest baby steps towards progress (remember: Frank Ocean’s coming out was seen as a milestone, and that was less than three years ago). And while some are delicately approaching the acceptance of homosexuality in rap culture and music, Le1f is taking a sledgehammer to it. An openly gay rapper, Le1f has no worries about being himself, and “Wut” is one hell of a bold declaration. Sexual orientation has no baring on the fact that “Wut” is an amazing rap song. With production by 5kinAndBone5, Le1f throws down a jaw-dropping flow (that second verse!) over a horn sample that puts Macklemore & Ryan Lewis’ “Thrift Shop” to shame. Combine it with an awesomely in your face music video, and this is insanely good music from a truly progressive artist. [C.J.]

John Grant – “I Want to Go to Marz”

The fact of the matter is that The Czars never got the attention they deserved. Formed in Denver, CO by John Grant and Chris Pearson, The Czars released six albums and an EP over the course of nine years, only to have all of the members besides Grant exit. For a time this left the depressed and alienated Grant contemplating giving up music. But thankfully for us, he didn’t, and instead he released one of the most incredibly genuine and satisfying solo albums (Queen Of Denmark) of the first half of the decade, and on it, one of the finest songs in recent memory, “I Want To Go To Marz.”

The 2010 song is a triumphant example of a 1970s throw back. The circling piano melody, the sometimes-unnerving synth, and the hauntingly and seemingly random lyrics make this song impossible to forget. Grant’s smooth voice on “Marz” (and elsewhere) lulls you into a catatonic state, makes you dizzy with heartbreaking metaphors of escape, longing, and a maybe, just maybe, a hint of hope. [Gary]

Makthaverskan – “Asleep”

On “Asleep,” Makthaverskan’s sadness is almost tangible. The cold, enveloping reverb of those opening drums; the wet, aching, minor-key guitar chords; the melancholy, tearful bass line; the pessimistic, heart-wrenching synths; Maja Milner’s desolate, wistful vocals. Appearing in this order, the song’s relatively small amount of elements combine into a Gothic, new wave-indebted torch song of despair and heartbreak. Particularly notable are Milner’s vocals and lyrics. A non-native English speaker whose lyrics are more direct than most American songwriters, her voice’s ability to switch from a soft, faint croon to a piercing, pained shriek in a second’s notice is impeccable. She sounds particularly incisive over the double-time drums of the song’s bridge: “You’re dreaming!” she chimes, although this is merely a sliver of the song’s mantra, “It’s not me you’re dreaming of!” But with songs this immediate, how could it not be? [Max]

The Irrepressibles – “In This Shirt”

The Irrepressibles are a band that’s all about emotions. Created and led by Jamie McDermott (who now calls himself Jamie Irrepressible), the band makes songs that fit the name perfectly; songs about emotions that can’t be contained. “In This Shirt” is a simple break-up song about someone wearing their ex-lover’s shirt for comfort, and yet the song is tragically operatic. That’s because the band understands how those kinds of feelings can overwhelm an individual, and make the smallest action feel like it has the weight of the world. It’s one of The Irrepressibles’ best songs because of how it feels sprawling yet intensely personal at the same time. Also worth mentioning: Roy Raz’s brilliant and unforgettable music video for the song. [C.J.]

Jessie Ware – “Wildest Moments”

For everyone who agrees that Adele has a great voice but find something off in the way she uses it, meet Jessie Ware. The 30-year-old British singer-songwriter has two albums under her belt already in this decade, and her debut Devotion soars mostly because of its first single and, to this day, Ware’s most readily recognized song: “Wildest Moments.” The song allows Ware’s earthy, melancholic, and semi-mystical intonations to gently persuade the listener towards its instantly epochal yet timeless chorus. The emotional seesaw from the highs of life when “we could be the greatest, we could be the greatest” to when “we could be the worst of all,” is made all the more hypnotic by how Ware lingers on the key word “moments,” making it resonate that much stronger. Even if it’s destined to be ruined by drunk teenagers in karaoke bars, “Wildest Moments” will always be a fantastic song, and one thing that makes me love it even more is that it was inspired by Ware’s fraught relationship with her best friend, (as opposed to the usual tale of the scorned lover), while the song’s open-ended lyrics leave room for a myriad of universal interpretations. [Nik]

Run the Jewels – “Oh My Darling Don’t Cry”

Full disclosure guys, this single from the second album of EI-P and Killer Mike’s collaboration project Run The Jewels is in my personal top five songs of the decade so far. I have to put aside the bitterness that’s bubbling inside me at seeing “Oh My Darling Don’t Cry” placed in the 30’s and not the 10’s of this list (breathe, Nik, remember that it’s a staff feature), and try to put into words how immortally sick this track is. From Killer Mike and EI-P’s explosive chemistry, through the samples of whips, cut-up drum loops, subdued alarms, and that brilliantly mixed sample of “Darling-d-d-darling/dar-dar-dar-d-ling,” making dance floors vulnerable to total destruction every time it drops, ‘Darling’ encapsulates everything that makes this duo such trailblazers of underground hip-hop. “Me and EI-P got time to kill, got folks to kill, on overkill/He hangin’ out the window, I hold the wheel” explains Mike, as EI-P’s murderous production (helped by Little Shalimar and Wilder Zoby) confirms everything he says. They retain the raw essence of hip-hop with incredibly inventive, electronic, and dubby productions, and for my money, make spotlight-hoggers like Kanye West look silly in comparison. [Nik]

Perfume Genius – “Queen”

A low, buzzing keyboard pulses, an elemental, lumbering drum beat, and shimmering, soaring synths lay the groundwork for “Queen,” the lead single off of Perfume Genius’ 2014 album, “Too Bright.” Strutting through the instrumentation with his tense, tortured vocal delivery is Mike Hadreas, who in his lyrics embodies a sociopathic, oppressive, shriveled matriarch who fancies herself a sexual predator. It’s been a pleasure to watch Hadreas expand his game, forgoing the dirge-like piano ballads that put him on the map to experiment with full instrumentation. “Queen” is emblematic of his growth as a songwriter, a creepy, glitzy nightmare that slays all in its path. Now we’re left waiting in a sweat to see what rare sonic confections he’ll have waiting for us on his next album. [Bernard]

Autre Ne Veut – “Play by Play”

“Never leave me” is a phrase heard time and time again in all manner of pop songs, but on “Play by Play,” Arthur Ashin, while posing in equal amounts of disco and soul as Autre Ne Veut, sells this phrase with the strength of the King of Pop. The way Ashin’s vocals deal striking blows and waver between the highs and lows of his vocal range over a constantly shifting, hyperactive arrangement of synthetic elements recalls Michael Jackson at his prime, possibly more so than anyone since him. Ashin’s desperate lyricism is delivered in angelic falsettos, seething raps, and extended wails; his vocals bend and adapt to the unpredictable, cerebral shifts in instrumentation that outline this song. Synths fade in and out of vision over merely a few seconds; percussive tracks expand and contract in real-time. Maybe Ashin’s character here is well worth leaving, but the music is almost unrealistically entrapping. [Max]

Fiona Apple – “Hot Knife”

It’s always a treat when Fiona Apple drops new music on her army of hungry fanatics (of which I belong) since she releases albums so infrequently. The ridiculously gifted singer-songwriter never disappoints, though, and her 2012 offering “The Idler Wheel…” was nothing short of a revelation. The crowning jewel of the stripped-down collection of lovesick tunes is “Hot Knife,” an empowered, primal track in which immaculately layered chants by Apple and her sister, Maude Maggart, weave and spin around each other over distant, rumbling war drums and Apple’s signature angular piano rifts. It feels as if you’re tied up and blindfolded in a vacuum of space and time, with Apple and Maggart circling you as they sing right into your ear, “if I’m butter than he’s a hot knife / he makes my heart a cinemascope screen / showing the dancing bird of paradise.” Who else could write this shit? [Bernard]

Listen to These Songs on Spotify

See the rest of our Best Songs Of The Decade lists!

View Other Lists of this Feature:
Best 50 Songs of the Decade So Far (#50 – #41)
Best 50 Songs of the Decade So Far (#30 – #21)
Best 50 Songs of the Decade So Far (#20 – #11)
Best 50 Songs of the Decade So Far (#10 – #1)

Yeezus. Reflektor. Random Access Memories. mbv. If you feel like you’ve heard these names far too often recently, you’re probably not alone. These seemingly ubiquitous names have appeared towards the top of many “Best Albums of 2013” lists, but many, if not all of them, rank so highly only due to critical hype. Way Too Indie’s Top 20 Albums of 2013 list cuts through critical buzz and picks out twenty thoroughly enjoyable, moving, infinitely replayable albums released this year…well, somewhat. Even after clearing the critical fog, frequent picks Settle, Days Are Gone, Modern Vampires of the City, and The Bones of What You Believe remained compelling enough to place on this list. Despite the appearance of these albums, there should be some surprises that lie ahead, some wonderful albums that went relatively unappreciated this year. Let’s begin.

Also check out our Top 20 Songs of 2013

Way Too Indie’s Top 20 Albums of 2013

#20 – Moderat: II

The dreary nature of II is best observed on tracks such as “Versions” and “Ilona,” movingly dark pieces that affect with each synthetic spike. Of course, Moderat is somewhat aware that this formulation will eventually turn stale if repeated to precision on each track, so they occasionally invite in a guest vocalist to mildly brighten the mood. The flicker of hope in the vocals of tracks “Damage Done” and “Bad Kingdom” ever so slightly disguise the thoroughly desolate instrumentals below them.

More vocal bits might have helped Moderat craft a better album, actually. Only four songs contain guest vocals, and, although each of the remaining tracks is perfectly enjoyable, it can be easy to confuse one with the other (“Therapy” and “This Time” are almost interchangeable). Luckily, Moderat seems to understand the similarities running through their songs, as evidenced by their decision to stick the brilliant ten minutes of “Milk” close to its center. “Milk” is the track that transforms II from a great album to an excellent one. Its repeated synths fluctuate in and out of focus, and the clicking drums haunt just as thoroughly as the thinly veiled vocal samples comprising the song’s perimeter. It’s mildly more upbeat than the rest of the album, striking a balance with its thorough darkness; this balance allows II to succeed in spite of its notable flaws.

#19 – Saint Pepsi: Hit Vibes

Indeed, DeRobertis is a pretty funny guy. Check out the dialogue that begins the album: opener “Hit Vibes” starts with a seemingly arbitrary bit of dialogue before spending just under a minute fleshing out a brazenly funk-indebted track. The next track, “Have Faith,” boldly announces, “It’s Saint Pepsi, bitch!” and then releases a slew of mid-70s dance sounds, as though the first track weren’t already fully devoted to this era.

Really, Hit Vibes is a modern take on the disco and funk themes of 70s music. Album highlight “Better” mixes brass and bass to maximize the level of retro-worship, resulting in a fast-paced dance anthem; “Skylar Spence” is as outright an embrace of funk as is the much-better known Daft Punk song “Fragments of Time”; “Together” echoes the era’s slow jams, embellishing the music with soul influences to fully achieve this effect. Even when Saint Pepsi includes more modern sounds, he sounds like the past: although the heavily processed vocals on “Strawberry Lemonade” are altered to fit the tradition of instrumental hip-hop, the instrumentation belongs to, again, the 70s. Forget being a champion of the internet in 2013; Saint Pepsi is happily anchored forty years in the past.

#18 – Boxed Wine: Cheap, Fun

This group’s upbeat, foot-shuffling sound echoes Matt & Kim, albeit with a greater polish. For a band with such limited resources and exposure, “First Time” features a surprisingly professional sheen, enhancing the already ecstatic themes of the music. Indeed, Boxed Wine writes songs that border on dangerously high-key; if they keep at it, their presence in the world of music may match that in their songs.

#17 – Jagwar Ma: Howlin’

In theory, the description of Jagwar Ma’s style reads like that of so many other groups, yet the band’s success lies in their unparalleled exuberance. These three simply sound happy to be making music, and their delight is infectious. Even on songs as lyrically upsetting (although commonplace) as “Man I Need”, Jagwar Ma threaten to fully absorb listeners with their hookiness. But nowhere do they compel as greatly as on third track “The Throw”, which thrusts forward over seven unforgettable minutes. It’s an early statement of Jagwar Ma’s greatest powers; the rest of Howlin’ follows in suit.

#16 – Mister Lies: Mowgli

Opener “Ashore”, a thinly dim affair, starts Mowgli unassumingly, but by the arrival of third track “Align”, clearly the most house-influenced track here, it’s no longer plausible to apply the word “tiny” to this album. “Lupine” continues the ice of past tracks, its paranoid synth screeches accentuating the subdued horror; the Exitmusic-featuring “Hounded” cries soulfully, its ethereal vocals providing a disconcerting yet gorgeous contrast to the cold instrumentation. A generally dismal work of art indeed, Mowgli‘s bare nature enchants from its opening moments rather than merely emulating its predecessors.

#15 – Glasser: Interiors

Yet even though the actual sounds heard on Interiors skillfully balance dread and beauty, nothing on this album is particularly new. Interiors inevitably draws comparison to Björk’s music because, well, it sounds exactly like the space between Homogenic and Vespertine, two of the Icelandic goddess’ best works. Whereas many musicians might bore by so transparently emulating their idols, Mesirow instead so boldly wears her influences on her sleeve that her gorgeous songs never get lost in pure reverence.

For instance, the frozen synths and flickering percussion opening “Design” provide a thrilling segway into an even more chilling track; the minimalist opening notes of “Exposure” allow its huge chorus to blindside listeners, sweeping them with emotion; the short segments of “Forge” that consist only of Mesirow’s singing are nothing short of harrowing. Glasser excites without truly innnovating: although Interiors exists in the shadow of its progenitor, it sparkles gorgeously.

#14 – Boards of Canada: Tomorrow’s Harvest

The dreariness of first track “Gemini” sweeps into “Reach for the Dead”, a bleak picture of desolation; the emptiness continues over the entirety of Tomorrow’s Harvest, each track adding more to the theme. Indeed, Boards of Canada haven’t lost their talent for extending an idea across a whole album; in fact, moreso than ever before, they’ve released a work that, in its hour-long runtime, conveys one mood so precisely. Although a couple of standout tracks do exist (“Jacquard Causeway” and “Nothing Is Real”), Tomorrow’s Harvest succeeds wonderfully as the sum of all its parts.

#13 – AlunaGeorge: Body Music

Generally, AlunaGeorge’s music is “future soul”: Francis’ delicate croon permeates warbled electronic beats, delivering what could be mistaken for 90s radio R&B sent to the 2030s for plastic surgery. Francis and Reid explore the more aggressive side of this style with upbeat, radio-ready tracks such as “Attracting Flies” and “Superstar”: exuding typical pop song structure, these tracks wouldn’t sound horrendously out of place on commercial radio if not for their futuristic, atypical synths. Elsewhere, the music exudes sensuality and intimacy: “Outlines” and “Your Drums, Your Love” soften the heavy blow of Body Music‘s many in-your-face pop tracks, delivering sensitive love tunes with familiar themes.

If anything, Body Music only falters for how familiar it feels. Even on this album’s best tracks, formulaic approaches can be pinpointed. For example, “Kaleidoscope Love” changes key for its final chorus, a technique that might come off cheesy if this duo weren’t so damn good. Lyrically, it’s firmly precedented: themes of love and lust are no fresher than a McDonald’s salad. Sure, Body Music have flaws, but AlunaGeorge are excellent architects of sound, and it’s tough not to enjoy their music, even with its faults.

#12 – Phoenix: Bankrupt

It’s not like Phoenix have never focused on synths before. “1901”, their best-known song, backs its verses with absolutely monstrous keyboards; however, for its incredibly distinct, catchy chorus, guitars lead the charge. On Bankrupt!, though, the synths control everything. The album’s most cathartic moments — the rushing post-chorus of “Entertainment”, the bright flourishes of “S.O.S. in Bel Air”, the mid-song transition in “Drakkar Noir” — ever so slightly elevate the synths above the guitars, to the point where distinguishing the two proves somewhat challenging. The increase in synthetic elements dictates the sound of Bankrupt!, which isn’t as outrightly sunny as the bright-skies-over-everything Wolfgang Amadeus Phoenix. Not to fret, though; the glory days of upbeat, positively exuberant Phoenix are not yet over. For now, though, they’re disguised by somewhat darker shades, an exciting switch-up from a band so well-respected for their skyward enthusiasm.

#11 – Disclosure: Settle

Truth be told, the fourteen tracks on Settle can be difficult to power through in one sitting, but the album’s saving grace is how enthralling each track is on its own. “F For You” is a front-foot-forward, handclap-driven jam that’s relatively low-key for something that bumps so heavily. “White Noise” broadcasts the precious voice of Aluna Francis (yes, the same one from AlunaGeorge) and berserk clicks of icy synths. “Stimulation” pounds forward on giant percussion, thick, computer-generated murk, and sampled vocal snippets. “You & Me” fuses Eliza Doolittle’s soulful, pleading voice with percussive shuffle and moody yet quick synths. “Confess to Me”, perhaps the most exciting of all the guest-featuring tracks here, uses Jessie Ware’s breathy vocals to great effect, establishing a longing ache in the verses before exploding into dancefloor mania in its chorus.

Amongst all the guest features and straightforward compositional techniques, the tracks on Settle hit surprisingly hard. There’s not a weak track to be found here, and each song has a moody underbelly hidden beneath the dancing drums and high-paced synth attacks. What a deceiving name for an album: on their debut, Disclosure’s fire never Settles.

#10 – Baths: Obsidian

It’s ultimately tragic that Wiesenfeld’s despair makes for such chilling music. Wiesenfeld discusses his absolute lack of respect for his current live-in boyfriend on “Incompatible”, a hapless situation indeed, yet the bare instrumentation and harrowing percussive click of the chorus inevitably strikes an emotional chord. It’s even easier to resonate with the statement that initiates the comedown from the chorus: “You don’t do anything with your life/fascinating, terrible, your stupid idling mind/I could prod your hurt all night.” Although the particular situations Wiesenfeld finds himself in may not be commonplace, his sentiments ring home.

Further compounding the themes of “Incompatible” is “No Eyes”, perhaps Obsidian‘s best instance of giving equal emotional weight to the music and the lyrics. A desperate tale of loveless sex, it bravely commands, “come and fuck me!” during its quavering, uneasy chorus. The lyrics are as uncomfortable as the instrumentation, which feels glaringly obvious during the disturbing, minimal interlude following the second chorus. Barely a synth tone flickers in unison with some sort of metal objects making contact in the distance, until a massive, unexpected, three-second glitch burst disrupts the quiet. Or, rather, it disrupts the disquiet; on Obsidian, the two are equal. When the darkness of the lyrics and the music are also equal, which occurs frequently and alarmingly, Obsidian succeeds as a bold statement from an artist who, despite finding his place musically, still has many more issues to sort out.

#9 – Fuck Buttons: Slow Focus

Naturally, Fuck Buttons being Fuck Buttons, Slow Focus doesn’t eliminate its rave and noise precedents entirely. Lead single “The Red Wing” closely approaches the transcendent, sky-reaching roar of Tarot Sport, although final track “Hidden XS” does so even more obviously. However, the twosome’s newfound horror-house sound makes for intense listening over this album’s seven, mostly-longer-than-six-minute tracks, even when the music approaches the Buttons’ prior optimism.

No, these guys conscious decision to restrict the soaring brightness of past works does not bore. In fact, moreso than ever, the music is driving and forceful; rarely over the course of these lengthy songs does the weight of the album fail to demand attention. Fearsome though it is, Slow Focus enthralls throughout its fifty-two minutes, and is one of the year’s best instrumental experiments.

#8 – The Virgins: Strike Gently

There’s a retrospective haze clouding Strike Gently‘s instrumentation, manifesting particularly strongly in its guitars and vocals. Many other acts have attempted similar styles and felt forced rather than natural, but The Virgins approach past sounds wonderfully (although these past sounds belong to other artists and not themselves — no “Rich Girls” will be found here). The relatively soft, almost-ballad “Figure on the Ice” instantly brings to mind the sparkle of 70s high school proms and the associated slow dancing, but never sounds cheesy; “Wheel of Fortune” takes on a comically lackadaisical vocal attitude to emulate the personality of the era’s performers, resulting in a wonderfully moving composition; “What Good is Moonlight” extends the band’s retro-reverence into quasi-arena rock, and is the album’s most outrightly fun number.

In the interspace between these tracks lies “Flashbacks, Memories, and Dreams”, the track that best demonstrates how The Virgins’ backwards-looking approach succeeds when it could so easily fail. It’s tough not to at least crack a smile when first hearing the tone the song’s vocal takes, although the glam guitars opening the song are already amusing enough. “I think that cool kid broke my jaw!” begins the second verse, a line that instantly recalls the glory days of the Brat Pack. “Flashbacks” takes a striking pose, although it does so gently, clinching the album’s mission statement.

#7 – Savages: Silence Yourself

A rolling, ominous bassline tends to dominate the direction of these tracks’ verses, with stadium-sized guitars overtaking the choruses. Even when massive distortion rips these songs open, the guitars somehow manage to recede into the background by the arrival of the first verse, giving priority to the bass. “I Am Here”, “City’s Full”, “Strife”, and “She Will” all use this exact same approach. Rather than cursing the songs with staleness, though, this formula enthralls. Perhaps, though, this success is only due to the saving grace that is the Siouxsie-esque voice of vocalist Jehnny Beth. Equally capable of both breathy pleading and unhinged terror, Beth’s distinct voice empowers Savages with an absolutely undeniable force.

Although the fear induced by Beth’s voice holds the key to “She Will”‘s riotous, triumphant outro, the comfort it induces on tracks like “Marshal Dear” also deserves a mention. Ending the album, this track stands alone from the rest: rather than just post-punk instrumentation, it also brings pianos and what might be horns into the mix. It boldly states just how flexible Beth’s voice is, and makes it clear that, despite how gigantic the rest of the band sounds, this element is what drives the band to such great heights so early in their career.

#6 – CHVRCHES: The Bones of What You Believe

“We Sink” follows “The Mother We Share”, and further hints at the vast, skyward sounds the album will achieve. “I’ll be a thorn at your side/’til you die/I’ll be a thorn at your side/for always” coos Lauren Mayberry during the chorus, and these lyrics stick not due to their sentiments, but rather due to the impact of their surrounding synths. Like “We Sink”, “Lies” and “Recover”, probably the two best tracks on the album, also burn lyrically due to the instrumentation enveloping the words rather than their inherent meaning. On the former track, “I can sell you lies!/You can’t get enough!” scalds listeners rather than just passing them by as some sort of love-lost metaphor; the much more transparent “and if I recover/will you be my comfort?/or it can be over/and we can just leave it here” feels important and desperate when wrapped in the latter track’s humongous, optimistic synths.

There’s a definite relation between composition and lyricism in CHVRCHES music’, and it’s the interplay between the two that makes The Bones of What You Believe such an enjoyable listen. “I am gonna come for you/with all that I have,” threatens Mayberry during the first verse of third track “Gun”‘s chorus, and it’s a good summary of what CHVRCHES do best. Using all their possible instrumental and verbal talent, CHVRCHES have brewed an incredibly potent album, one whose unrestricted buoyancy provides an incredible, addicting release each and every time.

#5 – Haim: Days Are Gone

Take the title track, for instance: the subdued, bluesy guitars recall Fleetwood Mac (really, everything this band does recalls Fleetwood Mac, but just roll with this example), while the pleading vocals of the chorus might not sound terribly out of place in a 90s R&B jam. Elsewhere, “My Song 5” advances on both computerized arena rock percussive stomp and similarly thick, bluesy guitars, and “If I Could Change Your Mind” employs Danielle Haim’s soul crooning in combination with affecting guitar flicker. Haim thrills by fusing their influences with tradition, a surprisingly valid approach.

Perhaps the best example of how Haim boldly balance admiration for the classics with modern pop structures is their best known song, “The Wire.” Opening on a power chord and an arena rock drum pattern straight out of a Billy Squier tune, the song quickly rolls into a verse dominated by palm-muted guitar riffing, fluid but subtle bass, and deep, breathy vocals courtesy of Danielle Haim. Its chorus sparkles only mildly in comparison to the verses, yet it sounds impossibly larger than the verses surrounding it. After the first chorus, the song plays a trick on unfocused listeners: Danielle hands lead vocal duties to her younger sister Alana for the first half of the verse, and then to older sister Este for the verse’s second half. Each sister’s voice bears a notable amount of soul and attitude; confidence appears to be a genetic trait, as does infectious pop songwriting.

#4 – Yeah Yeah Yeahs: Mosquito

Very few other bands, if any, could make such an indecisive album a success; really, the Yeah Yeah Yeahs are getting away with murder. But this trio have a certain magic to their songwriting regardless of what shape it takes: the brutally tenuous “Subway” stings just as harshly as does its following track, the searing, frivolous “Mosquito.” The latter track contains one of the most useless, outrightly stupid sets of lyrics to ever appear in this band’s catalog (and this is coming from a band responsible for the words of “Black Tongue”); rather than bringing this song down, though, its simplicity lets the bonkers instrumentation shine. It’s a similar approach to some of the music on M.I.A.’s Matangi: let’s make the music thrilling enough for the possibly vapid lyrics to take second fiddle.

Of course, this approach is bound to fail at some point, as it does on the inane, worthless “Buried Alive.” But when you’ve also got lyrics as gorgeous and affecting as “Despair”, “Subway”, and “Sacrilege”, it’s easy to forgive the occasional slip-up. These songs all encompass dramatically different musical palettes, yet each burns with longing and passion. The victories on this album completely negate its weaker moments, and although Mosquito is no Show Your Bones or It’s Blitz (really, how many other bands write near-perfect albums in two distinct genres?), it’s still just as potent.

#3 – Foxygen: We Are the 21st Century Ambassadors of Peace and Magic

Take “No Destruction” as an example of how Foxygen distinguish their art from that of their musical parents’. The lightweight, giddy sound achieved here settles in some unexplored gap between The Rolling Stones and The Velvet Underground, fleshing out this space with Sam France’s narrative storytelling. His voice varies from half-assed and uninspired to borderline broken (this latter state mimics Mick Jagger to near perfection), and the fusion of barely overdriven guitars and faint pianos recall the late 60s all too well. Of course, it’s impossible to discuss this song without mentioning the stellar jab, “There’s no need to be an asshole/You’re not in Brooklyn anymore”; France’s wicked, characteristic sense of humor pervades his words and their delivery constantly on Ambassadors, and “No Destruction” is only the duo’s most notorious example.

The precious way France sings the opening lyrics of “San Francisco” is bound to incite at least a chuckle from the attentive listener, as is the chorus: “I left my love in San Francisco” is followed by a high-pitched, distantly mocking “That’s okay, I was born in L.A.” Oddly laughable lyrics outline “Shuggie” as well: “I met your daughter the other day/well, that was weird/She had rhinoceros-shaped earrings in her ears,” France sing-speaks as nonchalantly as the surrounding guitars and strings slump forward. The lyricism originates from predecessor Lou Reed, whose recent passing makes his influence on this album even more apparent than it already was. Indeed, even when employing their own unique sense of humor, Foxygen recalls prior greats; their backwards gaze provides an amazing template for the success of Ambassadors, an album that’s simultaneously clever and trifling, and as reverent as it is irreverent.

#2 – Vampire Weekend: Modern Vampires of the City

From the opening moments of “Obvious Bicycle”, it’s evident that Modern Vampires of the City is far more restricted in its dynamics than past albums…well, for the most part. “Diane Young”, “Finger Back”, and “Worship You” are boisterous, energetic standouts that show the band hasn’t entirely left their frenzied, wild past, and while these tracks all strike as diligently as the rest of the album, it’s the stark, depressing tracks that chill most strongly. “Unbelievers” contains Vampire Weekend’s signature instrumental flourishes, although they’re far more moderate than ever before. The intertwinement of the track’s organ-esque keyboards (I saw them live, I can assure you it’s not a real organ) and pushing percussion screams Vampire Weekend, yet these parts sound far bleaker than ever before, and thus more afflicting.

“Step”, “Everlasting Arms”, and “Ya Hey” also flourish on this same trick: these songs don’t sound like any other band could have created them, yet their darkness is newfound for this foursome, and their tone startlingly resonant coming from a band who once sang about Decembers spent looking psychotic in a balaclava. In general, the songs on this album are undeniably evocative and bone-chilling, but it’s impossible to discuss MVOTC without mentioning the brutal, heart-shattering “Hannah Hunt.” Critics and fans alike agree that this song is the best Vampire Weekend has yet released; from the opening whir of washed-out bass and faded human chatter, it’s instantly clear that something greater is at work here. Almost three minutes in, a cathartic, emotionally destructive climax emerges, fulfilling the song’s disquieting tension with a tragic, painful swell of pianos and Ezra Koenig’s aching, pleading vocals.

Throughout Modern Vampires of the City, one might be as likely to cry as to jump in excitement. Although it sounds soft when compared to past work, it strikes a blow so massive that it makes this band’s already excellent previous work seem like child’s play. Even if this album doesn’t feel right at first, give it a few more listens; if you have a heart, the human core of this album will eventually overtake you, and you’ll never look back.

#1 – Youth Lagoon: Wondrous Bughouse

Turning a deaf ear to such soaring guitar fills as the ones driving “Mute”, “Attic Doctor”, and “Pelican Man” must take some sort of supernatural skill. As devastating as they are kooky, the sounds on Wondrous Bughouse might at first feel confusing and trifling, but Powers’ mental troubles are entangled with his compositions. When faced with the prospect of losing someone he cares about, he writes “Dropla”, driven by its doubtful claims of “you’ll never die” and its nostalgic sentiment. “Raspberry Cane” also contains the repetition of a straightforward statement likely not believed by its speaker: “Everybody cares,” Powers tries to reassure himself, only to quickly admit, “They say love exists/but what happened to it?” The bare instrumentation surrounding these thoughts soon ascends into a hallucinogenic, childlike array of alien-sounding synths that’s oddly irresistible.

In general, the songs on Wondrous Bughouse are trippy and juvenile, but it’s this very description that also accounts for how striking they are. On “Attic Doctor”, for example, Powers introduces haunted mansion synths and MGMT-like psychedelic gait, a bit funny in their silliness, but also deeply keen and acute. “Third Dystopia” is trapped underwater, but its affecting guitars and longing chorus thrill and invigorate. “Sleep Paralysis” actually sounds like a dream for a while, but when it picks up the pace, it truly sounds like a nightmare.

Naturally, the inane basis of these songs’ instrumentation can be easily perceived as rubbish; its oddball, off-kilter tone isn’t for everyone. For listeners able to connect to Powers’ eerie songwriting, though, Wondrous Bughouse is a thrilling ride, often fun in its instrumentation, but always depraved in its sentiments. A psychedelic playground, but only for those willing to spend some time on the monkey bars.

As Christmas approaches, so do the lists. Yes, it’s holiday season, but it’s also ranking season; each and every year, bloggers, music critics, and your Average Joe music listener all compile lists of their favorite musical works of the year. Typically, there’s a preface included, which reads something along the lines of “this was a great year for music, so choosing these picks was extremely difficult!” This introduction is about as guaranteed as the mere existence of the list itself, because, well, those who devote time and effort to discovering (and hopefully enjoying) new music know that it’s rare that, at any point in time, a dearth of it exists.

In light of this wonderful wealth of music, don’t fret if some of your favorite songs of the year don’t wind up on this list; there exists a perpetual abundance of art, far too much for any one human being to perfectly and fully absorb, so it’s wholly possible that great works won’t achieve the appreciation that many believe they merit. That said, notoriously popular picks such as “Get Lucky” might not be found here, although such omissions stem from indifference rather than malice. Also, lists convey opinions rather than objective fact, and, as Sly Stone once said, “Different strokes for different folks.” Anyway, without further ado, let’s reflect on this year and twenty of the many great songs it brought us.

Also check out our Best Albums of 2013 list

Way Too Indie’s Top 20 Songs of 2013

#20 – Lemonade: “Skyballer”

#19 – Haim: “If I Could Change Your Mind”

#18 – Jagwar Ma: “The Throw”

#17 – Foxygen: “On Blue Mountain”

#16 – Boards of Canada: “Nothing Is Real”

#15 – Glasser: “Exposure”

#14 – Saint Pepsi: “Better”

#13 – Disclosure: “When a Fire Starts to Burn”

#12 – Speedy Ortiz: “Tiger Tank”

#11 – Darkside: “Paper Trails”

#10 – CHVRCHES: “Lies”

#9 – The Virgins: “Flashbacks, Memories, and Dreams”

#8 – Vampire Weekend: “Hannah Hunt”

#7 – Savages: “She Will”

#6 – Arcade Fire: “Reflektor”

Even in light of Reflektor‘s often pale musings, its title track stands as one of Arcade Fire’s greatest accomplishments to date. It continues the band’s embrace of disco as hinted by The Suburbs‘ “Sprawl II (Mountains Beyond Mountains)” — actually, it expands this theme much farther than most listeners would have reasonably expected. Marching forward upon “deep African voodoo rhythms that are the language in Haiti,” as vocalist/songwriter Win Butler describes the percussion, “Reflektor” perfectly melds the dance-leanings of producer James Murphy with the cathartic, carrying song structures Arcade Fire perfected on their first three albums. The grandiose instrumentation also present on these albums is restricted to a backing template here, as strings and brass merely paint an outline for these nearly eight minutes of life-sized splendor. It’s Arcade Fire’s longest song to date, and over its course, there are many moments when dancing is as understandable a response as is being too awestruck to move at all.

Listen to Arcade Fire: “Reflektor”

#5 – Kurt Vile: “Wakin’ On a Pretty Day”

From this song’s opening moments, it’s clear that Vile’s lush guitar tones and Americana-influenced soloing make for pure psychedelic bliss. After an already appealing first four minutes filled with this variation on his typical complacent, chill psych-folk, a brief pause transitions into the song’s second half, the true winner here. The first appearance of what might be the year’s best guitar riff emerges just about thirty seconds into this section: washed in lush, hazy tones, plucked guitar notes bathe the listener in a listless euphoria. There’s nothing exceptional about the riff itself — these notes have been used before, these scales are thoroughly abundant in guitar-based music — but its delivery is riveting. Vile repeats this riff constantly over the course of five minutes, adding minor variations here and there, yet it affects just as strongly each and every time. Nothing to be afraid of here — just sit back and float away.

Listen to Kurt Vile: “Wakin’ On a Pretty Day”

#4 – Moderat: “Milk”

With “Milk,” Moderat can be added to the list of electronic musicians with a steady hand over repetition. “Milk” lasts ten minutes, yet feels much shorter. Perhaps this pseudo-brevity, both a blessing and a curse, stems from how great the song’s repeating bit remains from its first to its last iteration. The clatter of icy percussion, the rise and fall of cold walls of synths, the blurring and refocusing of sampled oohs and aahs: really, these three phrases describe the entirety of the song. Although each featured is layered and de-layered countless times during “Milk”‘s blessed ten minutes, the song never stagnates despite its inherently perpetual nature. Amidst all the repetition, it’s one of the most moving pieces released this year.

Listen to Moderat: “Milk”

#3 – Jon Hopkins: “Open Eye Signal”

#2 – Youth Lagoon: “Pelican Man”

#1 – Yeah Yeah Yeahs: “Sacrilege”

From the song’s relatively minimal opening moments, it’s clear that Karen O hasn’t lost her ability to alternate between the vilest and purest states of her voice. “Halo! ‘Round his head!” perfectly covers the former terrain, while “Falling for a guy/who fell down from the sky” embraces the latter. Once the percussion picks up and provides the bass (a rare instrument in this trio’s music) with a greater context, Nick Zinner doesn’t take long to throw in a flashy guitar riff similar to the ones for which he’s so well-liked. Zinner brings some murkiness and general mystery to the tone of the chorus; this feeling slowly spreads throughout the remainder of the song (although it had been there since the beginning), culminating in, of all things surprising, the addition of a 24-piece gospel choir.

This gospel choir could have easily felt out of place, but the band instead uses it to initiate the song’s triumphant emotional peak. As Karen O pleads and prays, the choir follows her lead, eventually themselves becoming the leaders when nearly all other instrumentation drops out. It’s a reminder of just how powerful human voices can be, especially in unison, and achieves a victorious feeling that seemingly resolves the tension the song employed in the first place. Sure, it’s a change in direction, but when it’s this resonant, who cares?

Listen to Yeah Yeah Yeahs: “Sacrilege”

Each week we bring you the current Top 10 indie tracks streaming on Spotify to help you create the perfect workweek playlist.

Arctic Monkeys have held onto the top spot for the past 4 weeks…wonder who will eventually take over their coveted spot? “The Wire” has swapped spots with “Reflektor” while the rest of our Top 10 appears to be about the same with the exception of The 1975’s “Girls” breaking in at #7, “R U Mine” & “My Number” both dropping 2 spots and “Falling” breaks into the #10 spot.

Weekly Top 10 Indie Tracks Streaming on Spotify

1. “Do I Wanna Know?” – Arctic Monkeys (AM) [Spotify]
2. “The Wire” – Haim (Days Are Gone) [Spotify]
3. “Reflektor” – Arcade Fire (Reflektor) [Spotify]
4. “Chocolate” – The 1975 (The 1975) [Spotify]
5. “Afterlife” – Arcade Fire (Reflektor) [Spotify]
6. “Afraid” – The Neighbourhood (I Love You.) [Spotify]
7. “Girls” – The 1975 (The 1975) [Spotify]
8. “R U Mine?” – Arctic Monkeys (AM) [Spotify]
9. “My Number” – Foals (Holy Fire) [Spotify]
10. “Falling” – Haim (Days Are Gone) [Spotify]

Megan’s top pick for the week:

“Chocolate” – The 1975 (The 1975)

Each week we bring you the current Top 10 indie tracks streaming on Spotify to help you create the perfect workweek playlist.

Well, well, well. Artic Monkeys are still locked in this week with “Do I Wanna Know?” at our number one position with Arcade Fire’s “Reflektor” holding strong in the number two slot. “The Wire” (Haim) has snuck back into the Top 3 again this week and “Forever” (also Haim) is back in our Top 10 this week after falling off the list last week. There are however two new comers to our Top 10 this week; Foals with “My Number” and Two Door Cinema Club with “Changing Of The Seasons”.

Weekly Top 10 Indie Tracks Streaming on Spotify

1. “Do I Wanna Know?” – Artic Monkeys (AM) [Spotify]
2. “Reflektor” – Arcade Fire (Reflektor) [Spotify] 
3. “The Wire” – Haim (Days Are Gone) [Spotify]
4. “Chocolate” – The 1975 (The 1975) [Spotify]
5. “Afterlife” – Arcade Fire (Reflektor) [Spotify]
6. “R U Mine?” – Artic Monkeys (AM) [Spotify]
7. “Afraid” – The Neighbourhood (I Love You.) [Spotify]
8. “My Number” – Foals (Holy Fire) [Spotify]
9. “Forever” – Haim (Days Are Gone) [Spotify]
10. “Changing Of The Seasons” – Two Door Cinema Club (Changing Of The Seasons) [Spotify]

Megan’s top pick for the week:

Chocolate – The 1975 (The 1975)

Each week we bring you the current Top 10 indie tracks streaming on Spotify to help you create the perfect workweek playlist.

This week we still see Artic Monkeys’ “Do I Wanna Know” standing strong at number one, but you will notice how Haim have fallen from the charts with only one track gracing our Top 10 (The Wire). Arcade Fire have climbed the charts this week with “Reflektor”, moving up 6 slots along with “We Exist” breaking into the Top 10. Stay tuned as we will have our review of Reflektor on the site later in the week.

Weekly Top 10 Indie Tracks Streaming on Spotify

1. “Do I Wanna Know?” – Arctic Monkeys (AM) [Spotify]
2. “Reflektor” – Arcade Fire (Reflektor) [Spotify]
3. “Breezeblocks” – alt-J (An Awesome Wave) [Spotify]
4. “The Wire” – Haim (The Wire) [Spotify]
5. “Chocolate” – The 1975 (The 1975) [Spotify]
6. “Angels” – The xx (Coexist) [Spotify]
7. “We Exist” – Arcade Fire (Reflektor) [Spotify]
8. “Afraid” – The Neighbourhood (I Love You) [Spotify]
9. “R U Mine?” – Arctic Monkeys (AM) [Spotify]
10. “Sex” – The 1975 (The 1975) [Spotify]

Megan’s top pick for the week:

“The Wire” – Haim (The Wire)

Welcome to the newest weekly segment for Way Too Indie! We are bringing you the Top 10 indie hits streaming on Spotify for the week to help you create the perfect workday playlist, every week.

Looking at this week’s Top 10 I should remind you to check out our recent review of Haim’s newest album Days Are Gone. Haim clearly has made a splash on the top streaming list for this week with three appearances on it, two of those being from their newest album. Let’s dive right into the countdown!

Weekly Top 10 Indie Tracks Streaming on Spotify

1. “Do I Wanna Know?” – Arctic Monkeys (AM) [Spotify]
2. “The Wire” – Haim (The Wire) [Spotify]
3. “Sweater Weather” – The Neighbourhood (I’m Sorry…) [Spotify]
4. “Why’d You Only Call Me When You’re High” – The Arctic Monkeys (Why’s You Only Call Me When You’re High?) [Spotify]
5. “Breezeblocks” – alt-J (An Awesome Wave) [Spotify]
6. “Chocolate” – The 1975 (The 1975) [Spotify]
7. “Falling” – Haim (Days Are Gone) [Spotify]
8. “Reflektor” – Arcade Fire (Reflektor) [Spotify]
9. “Angels” – The xx (Coexist) [Spotify]
10. “Forever” – Haim (Days Are Gone) [Spotify]

Megan’s top pick for the week:

Sweater Weather – The Neighbourhood (I’m Sorry…)

It’s understandable to have trouble taking a band seriously when its bassist uses the handle “@jizziemcguire” on Twitter. No, Este Haim, one of three sisters comprising Haim (hence the band name), hasn’t changed at all now that she’s in the spotlight; according to Spin’s recent cover story on the band, she shouted her phone number – not a fake one, but her real ten digits – to a fan in the crowd at, of all giant events, the iTunes Festival. If Este and her sisters share similar traits, as sisters are likely to, then it might be logical that the Haim women display their true selves at all times. Perhaps they do so out of oblivion; maybe it’s due to apathy, or possibly a lack of restraint. Regardless of cause, the sisters’ devotion to their true selves – specifically, their desire to please only themselves – proves to be an unlikely asset on their debut, Days Are Gone. Lacking pretense and boasting forward-thinking, yet backwards-looking, songwriting, the album is a thrilling joy ride for its entire forty-four minutes.

Rather than indulging in experimentation or trying to advance an unprecedented sound, Days Are Gone reaches back in time. It sounds nostalgic for the 70s and 80s, and often embodies the R&B-meets-soft-rock spirit of Fleetwood Mac’s legendary Rumours. Danielle and Alana Haim frequently lay down smooth, deep guitar lines that maintain a sensual feel, all while escaping the low-tempo range with which such a mood is often associated. This contrast works particularly well on “Don’t Save Me,” a track on which palm muted notes originating from the lower strings of guitars mesh with thin, bright synths and Danielle’s soulful voice to form a cohesive, touching piece of music. “If I Could Change Your Mind” displays similar instrumentation, its guitars remaining sleek and low-key until the chorus centers their sounds via a flickering, yet fierce, quasi-ska riff.

Danielle and Alana aren’t only interested in restraining their instruments, though: in its verses, recent single “The Wire” employs the same sort of rolling, classic-rock notes as other tracks, but its intro and choruses see the guitars gaining a treble-filled edge missing in other tracks. “Honey & I” boldly ventures into calypso guitar lines, resulting in a tropical, sexy experience; the bluesy, post-chorus six-string stomp of “Let Me Go” might be almost as unexpected as the harmonized guitar solo that emerges near the song’s end.

Of course, the album isn’t entirely a guitar-based affair. At times, the synths bear equal, if not greater, weight; bass comes along for the ride too, albeit less frequently. “My Song 5” best demonstrates what Haim can achieve with a good synth riff: the track gets by on a massive, warped, wobbling digital bit that provides the proper backing for Danielle Haim’s pop-star-attitude vocals. Silvery keyboard tones propel the intro of “Forever”; actually, it’s this very track on which Este Haim’s bass takes flight. It rips through the verses, contrasting the backseat role it plays throughout much of the album.

Indeed, on Days Are Gone, little more than the basics is present in the way of instrumentation, but it all exudes confidence. The Haim sisters understand that excessive experimentation may not always be necessary; they revel in the music of times past without blatantly copying it. Although they gather varying well-established styles into one sound, their blend of music stands entirely on its own. Days Are Gone may have firm roots in what once was, but its sensual, alluring, and riotous core sounds like the future.