10. The 1975, "The 1975"
Mostly an amalgam of the band's previous four EPs, their self-titled debut full-length is a hook-filled collection of pop-rock that has already spawned five singles in the UK. The album charted at #1 in its first week of release in the UK. It's slowly gaining traction in the US, largely on the strength of its breakout single "Chocolate" and its many YouTube covers.
9. Sleigh Bells, "Bitter Rivals"
On their third release, the pop-noise duo have finally dialed back the distortion a little bit to reveal more of the pleasant melodies that have always served as the foundation of their best songs. The result is their best album to date. Not that the noise goes away entirely, of course. They wouldn't be Sleigh Bells if their songs weren't noisy.
8. Yuna, "Nocturnal"
I didn't do a Top Albums list for 2012, but if I had, Yuna's debut self-titled album would have been #1. It was a nearly flawless work of songwriting, so her follow-up was almost certain to be a letdown by comparison. "Nocturnal" is still a very good album, but it doesn't really get going until the album's back half. Once it gets going, however, it shows that Yuna is still a force to be reckoned with.
7. Oh Land, "Wish Bone"
Oh Land's sophomore album improves upon her impressive debut in nearly every way. The production is better, her voice is smoother, the singles are stronger, and the overall quality is more consistent. It's everything a listener wants a second album from a promising artist to be.
6. The Naked and Famous, "In Rolling Waves"
The Naked and Famous expand their sound on their second album, to mostly positive effect. Apart from the album's two singles, however, none of the other songs really stand out in the way that songs on their debut album did. Instead they vanish into the album's overall soundscape. That the soundscape is very well done and appealing is the album's saving grace.
5. Charli XCX, "True Romance"
Like The 1975, Charli XCX is a UK popstar that is starting to break into the US market, largely thanks to her involvement with the inescapable dance hit "I Love It" from Icona Pop and an opening spot touring with Ellie Goulding. "True Romance" is a strong debut, a solid pop record with five singles to its credit. Looking forward to hearing more from her, which should be soon since she already has a follow-up record being released later this year.
4. The Joy Formidable, "Wolf's Law"
The Joy Formidable has always sounded like a far bigger band than they look. They are arena-sized performers stuffed into the body of an indie-rock group. Wolf's Law, the band's third proper album and second with a major label, finds the band reeling-in its sound just enough to keep things from getting out of control (as it occasionally seemed to on their major label debut), but not so much that it will stop them from blowing out a speaker or two. This is a good balance for them to have, as the band has never sounded better than they do here.
3. Dessa, "Parts of Speech"
Dessa was my favorite musical discovery of the year. After devouring her back catalog, it becomes clear that "Parts of Speech" is absolutely her most accomplished work to date. The Minnesota-based rapper/singer genre-hops from song to song, each of which is led by perhaps the strongest lyrics of the year. She's angry, sad, emboldened, regretful, and everything in between. And she always knows exactly how to express it.
2. Chvrches, "The Bones of What You Believe"
There is not a single weak track on the album. Not a single one. That's hard for any band to do, let alone a relatively new band releasing their first record. It's full of melodic hooks from opening until closing, backed by intelligent songwriting and lyrics (not surprising considering that Lauren Mayberry, the band's lead singer, has a law degree and a Masters in Journalism) not often found in EDM music. In almost any other year, this would have been my #1 album without question...
1. Tegan and Sara, "Heartthrob"
...but 2013 was the year Tegan and Sara released "Heartthrob", their homage to 80's pop music that manages to function both as a great tribute and as a culmination of the growth the Quinn sisters have experienced as songwriters in their 17 years(!) as performers. It is a perfect pop record. And apparently Tegan didn't even want to do it, eventually relenting because Sara insisted on doing a pure pop album. I'm extremely happy she went along with it, as my two favorite tracks are both Tegan tracks (T&S fans quickly learn to spot the Tegan songs from the Sara songs, and not just by their voices).For example, this is a Sara song:
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