As we put the finishing touches on our year-end list, here are some of our favorite tracks that just missed the cut. We’ll be back tomorrow through Tuesday with our Top 100.
Arcade Fire “Here Comes the Night Time”
Arcade Fire’s Reflektor was a frustrating album for me. On one hand there were duds like “You Already Know” and “Awful Sound,” and on the other there were knockouts like the title track, “Afterlife,” and “Here Comes the Night Time.” Of these three, none does a better job capturing the Haitian carnival vibes Arcade Fire sought than “Here Comes the Night Time.” The track’s sense of space, produced by James Murphy, swirls from frantic polyrhythms to a murky synth groove effortlessly. On top of this, Win Butler sings here some of his best lyrics on Reflektor, tackling the contradictory nature of missionaries in Haiti who are trying to teach spirituality to people in earhthquake-ridden poverty. He’d rather they just enjoy the night time like the rest of us. —Ryan Thomas
Arthur Beatrice “Grand Union”
Arthur Beatrice, made up of Orlando Leopard, Ella Girardot, and brothers Hamish and Elliot Barnes, is usually associated with a lot of hype, and it is because of songs like this year’s “Grand Union.” This band to watch hails from London and you feel that with every note they play, for it is almost like a sedated fierceness that only a Brit could pull off. “Grand Union” is just a taste of what is to come in 2014 when their debut album, Working Out, drops. —Erica Matlin
Classixx “Holding On”
Los Angeles production duo Classixx has garnered quite a reputation in dance circles for their tight-as-can-be disco-inflected remixes for such megagroups like Phoenix, Passion Pit, and Major Lazer. They released their debut album this year, and “Holding On” is a definite standout. It harks back to the sweet, analog sounds of the ’70s and ’80s, using them to create airtight grooves and loops. While managing to somehow feel both retro and contemporary, “Holding On” indulges in sounds — disco, funk and new wave — that have proven to be perpetually compelling regardless of their datedness. Whether it’s 1979 or 2013, “Holding On” is a darn good song, and you certainly won’t hear me complaining. —Ryan Thomas
Dan Croll “From Nowhere”
Dan Croll has a remarkable ability to make groovy tracks that are thoroughly layered, with smooth, dynamic transitions, and don’t at any point lose their chill. Just short of a full-blown dance track, “From Nowhere” doesn’t overexert itself but channels enough energy to prevent a loss of attention and provoke a solid groove. Its deliberately tacky two-dimensional intro is brilliantly juxtaposed with the ensuing substance that follows the addition of strings and percussion. A deep bass line and driving hi-hat juggle the rhythm while the vocals support a friendly, unassuming melody. —Drew Curtis
Daughter “Youth”
Never straying far from a backdrop of ever-present despair, Daughter’s elegant vocals are at the forefront of their work, shifting between gentle and spiteful depending on the track. “Youth” waivers between a mature reflection on the turbulence of a phase long past and a resurrection of the fiery emotions surrounding that turbulence which can’t be forgotten. Shifting from acoustic vulnerability to booming percussion as cold recollection becomes the revival of a long dormant fury, “Youth” takes an unoriginal phenomenon and communicates it with begrudged poignancy. —Drew Curtis
Deerhunter “Monomania”
In 2010, Deerhunter released Halcyon Digest, the culmination of three years of refining and tightening a crystalized sound. The future looked bright — dreamy, even — for the band and its fans; long gone were the days of ram-shackle, fuck-everyone-and-everything rock ‘n’ roll. Or so we thought. On April 2, Deerhunter showed up on Fallon to play a new little ditty they called “Monomania,” and in a mere five minutes they put every notion of their supposed settling down to rest. Hell bent on catapulting itself into grit and destruction, “Monomania” is an unhinged ode to frustration and obsession — and a pretty great getaway when you need nothin’ but noise. —Andrew Brandt
Foals “Late Night”
Foals’ brilliant “Late Night,” from Holy Fire, is an exercise in space. Building from a restrained mellotron- and voice-based verse, the track builds and builds with Yannis Philippakis begging a lost lover to “stay.” The track’s video (which somehow is equal parts frightening, profound, and sexy) is a must-see. For a band that was thought to have one trick up their sleeve — high gear, fussy guitar workouts (see 2008’s Antidotes) — “Late Night” and the rest of Holy Fire show a remarkable scope. —Ryan Thomas
Fyfe “Solace”
To say that “Solace” is sparse is a bit of an understatement — the only pieces to this puzzle are a flutey-synth, clean guitar, laid-back drum-pad beat, and Fyfe’s elegantly understated vocals. And all four of these parts are rarely occur at once. Yet this wide-openness gives Fyfe’s take on minimalism a powerful punch and allows his downtrodden lyrics space in the center of the stage. His sing-speak delivery is reminiscent of Destroyer: a little sexy and a lot smooth. The lyrics may paint the picture of a lonely and alone human being, but with the aid of an angelic choir in the track’s latter half and a catchy chorus there’s an, ahem, sort of solace to the whole ordeal. —Andrew Brandt
Grouper “Vital”
“Vital” is as hauntingly gorgeous as anything Portland’s Liz Harris has done. It features nothing but her voice and guitar, which glide effortlessly around one another amidst hazy production. “Vital” uses minimalism to create textures seldom heard in the pop paradigm: airy room sounds, guitar creaks, and colossal amounts of reverb. I don’t care that I can’t understand any of the words because I don’t think Harris wants them heard. Rather, she approaches her vocals from an atmospheric perspective that functions hand-in-hand with guitar. “Vital” is a stellar example of her strengths. —Ryan Thomas
The Head and the Heart “Shake”
There’s no question that 2013 was a banner year for rich, inviting indie folk-rock. And not only is six-piece, Seattle-based The Head and the Heart a perfect example of this neo-traditionalist movement but the group also amped up their sound for their sophomore release, on which “Shake” sparkles with a gripping blend of fuzzy guitar and piano. Of course, it’s not just the song’s instrumentation that moves the listener; the wide-open, loping cadence also sweeps the audience along with the same force as the wind the band sings about, and breathes emotion into every chord. —Gretchen Tracy
The Holidays “Voices Drifting”
This year The Holidays brought us the drug-like track, “Voices Drifting.” Australia’s indie-pop trio stepped away from their home base built on dreamy vibrations to create a harsh and hazy pill of a track. Centered on the seemingly unbalanced relationship of a world touring band member, the drawn-out lyrics hit heavy while synth and guitar chords inject a menacing tone. When merged with this dark edge, the typical dream-pop track takes on a much more addictive quality. —Chris Kraemer
Incan Abraham “Tuolumne”
The four-piece, L.A.-based band has been creating uniquely crafted psychedelic-rock/pop since 2009, but it is this year’s music that that turned Guiliano Pizzulo, Spencer Mandel, Andrew Clinco and Teddy Cafaro into storytellers. “Tuloumne” plays out like a classical noir-romance, grabbing hold of you deeply and pulling you into the cinematic stage they have created. You become engrossed in their story right up until the song comes to an immediate halt, at which point you are wondering what in the world just happened to you. —Erica Matlin
Kate Boy “The Way We Are”
Kate Boy is the fusion of vocalist Kate Akhurst and the electronic team Rocket Boy, who have been releasing singles under their new moniker since late last year. Fit with an abrasive and unforgiving industrial sound, “The Way We Are” is a driving, unapologetic declaration of self. Its relentless robotic rhythm matches the vocals in both sound and emotion, building a gritty hostility and a fight impatiently waiting to be picked. The lyrics confess a growing pressure slowly built up over time that has been playing with the limits of sanity and in desperate need of release. Look for a full-length album in 2014. —Drew Curtis
King Krule “Easy Easy”
You can’t help but expect a certain amount of brash youthfulness from a 19-year-old Brit who calls his own Beyoncé- and Earl Sweatshirt-approved single “immature and naïve” (to be fair, he wrote the track when he was only 12). Nevertheless, it’s King Krule’s beyond-his-years world-wearniness and raucously marble-mouthed delivery that make the deceptively simple, overtly British “Easy Easy” a striking listen, even when just he’s singing about a rotten sandwich over a background of thrumming guitar. At once juvenile and timeless, “Easy Easy” delivers in the here and now while also promising great things from Krule’s future. —Gretchen Tracy
The Knife “A Tooth for an Eye”
Who knew a hodgepodge of half-spat vocals and steel drums could produce something so beautiful? “A Tooth for an Eye” starts with the exotic, dream-like synths and solid percussion standard to alternative electronic. However, this single from The Knife’s Shaking the Habitual deviates from basic hip-swaying melodies. It is better characterized by production that is syncopating yet clean with layered textures; creating a feeling of power and ferocity. Even the vocals add an instrumental element. That’s not to say that the lyrics lack depth; the album was influenced by feminist theory and the track makes an allusion to Jeanette Winterson’s The Passion.—Selena Handler
Local Natives “You & I”
Local Natives’ “You & I” can sometimes seem like a mess, and it’s most definitely not the best of Local Natives. However, the song makes an anthem out of love: it reaches out with a lofty assortment of instruments and the band’s typical mellow rock routine. The lyrics make it worth it, even though Taylor Rice’s voice sometimes conflicts with the dull pitches of the song’s repeating guitar bends. The lyrics reflect a separation, a chasm (“the closer I get, the further I have to go”). The disparity in the music reflects with ease the confusion of the lyrics. —Lexy Brodt
Julian Lynch “Gloves”
Julian Lynch is an anthropology/ethnomusicology PhD seeker who makes quirky, earthy music in his spare time. Lynch received praise from the indie press for his 2010 album, Mare, and he’s since enjoyed less attention and more schoolwork. Regardless, Lynch still finds time to make music and he released a new LP, Lines, earlier this year. “Gloves,” the second single from the album, is a breathtaking track. Lynch spins webs of 9/8 drums, layered brass, and biting guitars under his whispered vocals. The track has an endearing, triumphant nature that climaxes around 1:55 with a guitar line that’s really just too good to explain in words. —Ryan Thomas
M.I.A. “YALA”
M.I.A.’s new album, Matangi, was an expectedly good but not great affair similar to 2010’s MAYA. The album finds M.I.A. in various forms: the worldly pop eccentric on the title track, the unruly partygoer on “Bad Girls,” and, best of all, the dubstep goddess on “YALA.” The track is unabashedly self-indulgent and, as much as I despise calling music fun… it’s… REALLY FUN. The track transitions from M.I.A’s idiosyncratic raps about YOLOing to a colossal, TNGHT-worthy bass synth romp. “YALA” is suitable for your party, your pre-exam pump up, and, as I discovered last night, your car commercial as well. —Ryan Thomas
Denai Moore “Wolves”
If you expected teeth gnashing and wild howling, you’ll want to keep moving. Denai Moore’s wolves aren’t the rabid beasts that chased you in your childhood dreams and ate Red Riding Hood’s sweet grandmother. Moore’s wolves are complex creatures, dignified and deserving of sympathy though they’ve come to expect far less. Radiating a raw and gripping power, the emotion in Moore’s vocals makes all else seem trivial. She has a voice that ends every other conversation in the room — that suddenly convinces every other person that nothing at that moment could possibly be more pressing than to just shut up and listen. —Drew Curtis
Jai Paul “Zion Wolf”
Jai Paul is an elusive figure. The British producer/artist, who a few years back signed with XL Recordings, “supposedly” leaked his own debut album online in April. In summary, label reps made conflicting statements, Jai Paul remained tight-lipped, and no one has a clue as to what happened. Although Jai’s debut is still officially “unannounced,” the singer’s singles, both leaked and officially released, have garnered a multitude of praise. “Zion Wolf,” one of Jai’s unofficial tracks, is a gorgeous one that fuses British electro-futurism with an enticing R&B vocal. While Jai continues to do… whatever it is he is doing, one thing is for certain: we anxiously await his debut. —Ryan Thomas
PHOX “Noble Heart”
Wisconsin’s very own PHOX shot out of their small-town cannon into a stratosphere of international limelights this year, and we became enamored with the sight of their wings spreading in flight. PHOX’s songs could be likened to stingers coated so thickly with honey that you would almost miss their bite for all their sweetness. “Noble Heart” is no exception in the way that it wells up from a pretty, hushed reverie on self-loathing to careen into a trumpet-fueled anthem about pure, undeserved love. With equal parts timidity and temerity, PHOX will doubtless continue to win hearts over near and far. —Maia Pujara
Poliça feat. Justin Vernon “Tiff”
Born out of a planned collaboration, Poliça rose rapidly in 2012 as the freestyle nature of Channy Leaneagh’s vocals on top of Ryan Olson-produced beats proved a perfect match. Then, with “Tiff” early this year, the band added an edge. Bring the low-end bass to the foreground without losing the focus on dual percussion, lower the autotune, throw in Justin Vernon, and above all, unleash Leaneagh. She scales back the vocal processing here and lets her impressive pipes showcase a little more of their raw ability. “Tiff” lost none of the Poliça groove while adding the extra punch we never knew we needed. —Chris Kraemer
Pond “Xanman”
A delectable mess from ex-Tame Impala bassist Nick Allbrook’s band Pond, “Xanman” brings forth a brand of stoner rock where the tag applies more to the maker than the listener. It’s a bumble-fumble of fuzz, a joyous riff-fest, and (of course) a straight-up showcase of those crawling basslines that used to move all over Tame Impala’s best stuff. And while some may merely see “Xanman” as six minutes of Allbrook doing his best Ty Segall-style spasm by running an entire room ragged and calling out for “XAAAAANMAAAAAN!” a bunch of times, cut the guy some slack: if you lost Xanman, wouldn’t you do the same? He’s the man, man! —Andrew Brandt
Ra Ra Riot “When I Dream”
Undoubtedly the best song off of the album Beta Love, “When I Dream” is a perfect proof that synth-filled pop music has all the capacity in the world to also be tensely emotional. Reflecting on the remnants of a flailing and failing relationship, the repeated line sung in Wes Miles’ falsetto, “And when I dream, it’s not of you” is dripping with bittersweet ambivalence. This with the song’s videogame-like sound effects and it suddenly seems as if technology might even have emotion. Pretty appropriate for this day and age. —Rebecca Edwards
Say Lou Lou “Julian”
When you consider Say Lou Lou’s transcontinental childhood, the force behind “Julian” makes a lot of sense; twin sisters Elektra and Miranda Kilbey spent their childhood traveling back and forth between their parents in Sweden and Australia. Sonic dream-pop with a heart, “Julian” is a rather enticing invitation for escape with a thematic concentration on breaking barriers and crossing borders. It’s a track that puts you in the mood to make something happen. Addressed to Julian, an unknown character who wisps through the song, it is clear through the urgency of the lyrics that he is someone that is worth saving. “Julian” is an enticing plea, a request for freedom warped within lush synthesizers. —Rebecca Edwards
Sir Sly “Ghost”
Dubbing their genre “sly-fi,” this L.A.-based trio slunk onto the pop scene last summer and soon rivaled Disclosure and AlunaGeorge for buzz. Give one listen to single “Ghost” and you’ll know why, since breathy, flickering loops of background vocals lead into near-funereal puddles of bass distortion while a metallic male voice croons moodily over top. And yet, despite the song’s somber tone, the swirling lightness of many of its ambient synths winks at commercial appeal. In short, don’t be surprised if the next time you hear “Ghost,” it’s playing on the radio. —Gretchen Tracy
Caroline Smith “Magazine”
Minneapolis-based artist Caroline Smith has proven that she’s got some serious chops with her 2013 solo debut, Half About Being a Woman. The stand-out track, “Magazine,” in many ways is an ode to new feminism and the complexities of ideology alongside desire. The hook (“I was a woman from a magazine, how could you ever leave?”) simultaneously admits the pursuit of “perfection” while lamenting its insufficiency even when achieved. Combined with a pop sound destined for mass adoration, the song is infectious to a T. —Riley Beggin
Smith Westerns “Idol”
Hailing from Chicago, the trio Smith Westerns began as a group of punkish teenagers fresh out of high school but have quickly grown up quite a bit. “Idol” is a driving song with a prominent beat and dreamy guitar hooks. As the melody enters, the vocals float above it to create a light atmosphere at risk of floating away if not for the strong, grounded beat that could have been borrowed from a 1980s pop anthem. Vocalist Cullen Omori calls out to a hero he’s always looked up to, but as the song comes to a close the lyrics express how this hero has failed him. This sudden shift causes the listener to rethink the light, poppy sound of the track as something more serious that it seems. —Rachel Schroeder
Soap&Skin “Me and the Devil”
Soap&Skin is a solo project from Austrian musician Anja Plaschg. Her newest EP features a cover of 1930s blues legend Robert Johnson’s “Me and the Devil.” Plaschg attacks the classic with an atmospheric energy reminiscent of Florence and the Machine; she takes the stripped down style of the original and recasts it in a minor key, layering thick string chords over a pounding rhythm to create a dramatic work of sonic art. The deeply embedded bluesy feeling of the song remains, but it is evoked in a highly non-traditional sense. The result is a piece of music that is more a loose interpretation than a cover, a grand stylistic departure from the essential original version. —Rachel Schroeder
Still Parade “Actors”
Try to dig up any information about this mysterious new act, and the most telling bit you’ll come across is the Oscar Wilde quote posted with this track on Still Parade’s Facebook page:”Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears.” Luckily, the lullaby-esque quality of”Actors” speaks louder than biographical data ever could, evoking quiet calm through a miasma of twinkling strings and dreamy, drawn-out cello notes. Perhaps peace does lie in the not knowing. —Gretchen Tracy
Superhumanoids “So Strange”
With a synthy-pop sound and thoughtful yet catchy lyrics, “So Strange” is a head-bobbing, toe-tapping wonder. The syncopated drumbeat is what first attracts you, but it is Sarah Chernoff’s idyllic voice that fully captures your interest. In contrast with the track’s infectious pop sound, Chernoff croons quasi-dark verses. “You make me hate this whole town,” she sings, perhaps alluding to a broken relationship. About halfway through Cameron Parkins takes command of lead vocals with his ethereal baritone, singing lyrics equally poignant. All the while, Max St. John flawlessly harmonizes to create a song that’s at once party-appropriate and introspective. —Kylie Peterson
Suvi “Bleeding for Your Love”
Electronic pop with an orchestral quality to it, the beat here from Swedish-based Suvi Richter is blunt and vulnerable; there is some serious percussion happening in this track. The layered bass line and the desperation of Suvi’s vocals perfectly capture the complications of desire and a believable plea for love. As it progresses, the song becomes the percussion of desperately wanting something that you probably can’t have. And let me tell you, all I want right now is more of what Suvi has to offer. —Rebecca Edwards
Tove Lo “Habits”
Is Tove Lo the saddest girl in Stockholm? If her big-banger “Habits” contains even an ounce of truth, then yes, yes she is. While the music is strangely joyous, her lyrics detail a misguided attempt to get over someone by binge-eating bad food, having empty sex, and constantly being high. And we all know how low always being high makes you feel. Tove Lo may be undeniably sad, but “Habits” is undeniably catchy — and most of us will be too busy jamming out to it to care. —Andrew Brandt
Tyler, the Creator feat. Pharrell Williams “IFHY”
On “IFHY,” Tyler, the Creator skips the violent, misogynistic lyrics that got him his fame in the first place, instead opting for a more emotional path. He writes about a relationship where he’s so madly in love with a girl that he’s depressed, angry, and confused. It’s still got the creepiness of Tyler’s lyrics we all know and love (“look, I wanna strangle you, ’til you stop breathing”) and dark production done by Tyler himself, but it introduces a new sensitivity on the track complemented perfectly with the mega-mellow Pharrell singing the bridge and backup vocals. —Mary Sullivan
Volcano Choir “Comrade”
Volcano Choir’s Chris Rosenau and Tom Wincek spoke with me earlier this year about their always-collective approach to songwriting. A unity unheard on the group’s first album, Unmap, is found in spades on 2013’s Repave. Passages of radiant guitars intertwine with synths and Justin Vernon’s oft-inscrutable vocals. Vernon’s penchant for nonsense can be an issue when his backing is weak, but “Comrade” provides an anthemic, absolutely gorgeous tune for Vernon to explore. The track explodes and rollicks while Vernon waxes poetic. And the music is so good that you don’t even get annoyed with lyrics like “drinking in dramesiac, tore out at the comrade.” —Ryan Thomas
Young Wonder “To You”
“To You” is the standout, far eastern-inspired, bagpipe-featuring single from Irish singer/programmer electronic duo Young Wonder. The production is deceivingly upbeat considering the song is about the death of a loved one, yet the contrast is sublime. The only extra thing that could complement the track is a dusk set-time at a major festival (get on it, Coachella). What really makes “To You” great is Rachel Koeman’s vague lyrics, specifically the lack of pronouns; it leaves the song to be interpreted as listeners see fit. Enjoy the strings and pipes and get familiar with the repeat button. —Joe Hadley