10. MØ “Waste of Time”
I don’t quite know how she does it, but MØ somehow manages in “Waste of Time” to make romantic desperation sound, dare I say it, kind of sexy? Not many women in the music industry could get away with the high-pitched refrain “Say what you mean / what the fuck?” without even a hint of whine. But she does it. I sit here and all I can think is, “You know what, MØ? You’re absolutely right. What the fuck?” If inner-dialogue isn’t indicative of a song’s reach power, I just don’t know what is. —Rebecca Edwards
9. The National “Don’t Swallow the Cap”
The National is the quintessential group of sad boys. Their poetic melancholy permeates most of their tracks, and “Don’t Swallow the Cap” from this year’s Trouble Will Find Me is no different. The track is a work in thematic juxtaposition; confusion and clarity, diligence, and desertion are all in the group’s arsenal. Dancier than we’ve come to expect, “Don’t Swallow the Cap” drives forward with strong, central guitar at the eye of the storm among piano and strings. It’s powerful, poignant, and one of The National’s best. —Riley Beggin
8. Autre Ne Veut “Play By Play”
Arthur Ashin’s alias derives from a French inscription on a 15th century British jewel that roughly translates to English as “I think of none other.” A graduate of Hampshire College with a psychology degree, Ashin understands the deep complexities of the human mind. Yet, as “Play By Play” and his performance name suggest, his mental capacity can’t seem to understand the concept of love. Its lyrics are erratic and fleeting statements only a hopelessly abandoned soul would say, while the synths bubble and waver to mirror his thoughts. Ashin emphatically screams out “I just called you up to get the play by play,” as if even the most meaningless conversation could offer consolation. “Play By Play” is more so a performance than a song, with Ashin vocalizing his life and burdens alongside an equally dramatic melody. —Mike Schuerman
7. Haim “The Wire”
The Haim sisters are the three most badass chicks in pop music today and “The Wire” is one of the catchiest tracks of 2013. It’s impossible to turn off because the beat is made to clap along to and the apologetically emotional yet nonchalantly tough lyrics are carried by three fantastic voices. Danielle’s deep vocals open the first voice, Alana takes over the second verse for a higher-pitched but equally as strong solo, and Este provides punchy background vocals and brings the house down with the closing chorus. “Always keep your heart locked tight, don’t let your mind retire,” Haim urges on “The Wire,” and their cool confidence can’t help but inspire you through the entire track. —Mary Sullivan
6. Majical Cloudz “Childhood’s End”
If there was one book this year that you weren’t supposed to judge by its cover, it was Majical Cloudz. Because while their name may be a bastardized version of a term that brings shitty images like these into existence, Majical Cloudz’s music is an arresting minimalist tour-de-force of desperation. “Childhood’s End” is a prime example of this despair: using solely a sparse beat and simple (yet direct) lyrics, the band manages to punch the crap out of our sad-guts. And yeah, there are plenty of bands out there who can punch our sad-guts. But, with “Childhood’s End,” Majical Cloudz does it with their hands tied behind their backs. —Andrew Brandt
5. CHVRCHES “The Mother We Share”
A synth-pop band whose name attempts to sound edgy enough to slice through an ironic Urban Outfitters tank top doesn’t initially scream “originality.” Yet after hearing lead singer Lauren Mayberry’s chants about female empowerment amid a modernized Prince synthesizer pattern on “The Mother We Share,” a new degree of authenticity emerges with the Glasgow trio. The first track on the group’s debut LP, The Bones of What You Believe, it appropriately begins an album that discusses coming of age themes interpreted through electronic melodies. Although seemingly an M83 byproduct, CHVRCHES offer listeners much more than their genre confines suggest. —Mike Schuerman
4. Vampire Weekend “Ya Hey”
In 2008, Vampire Weekend was penning catchy songs about upper-class fashion, college campuses, and oxford commas. Fast forward five years to 2013 and the band is, well, writing catchy and brutally honest open letters to God. “Ya Hey” is that letter, a pondering popsterpiece that asks a lot of big questions. It’s not about losing faith; it’s about being let down. And if a song about being let down cannot only put a smile on your face but make you joyous, someone’s doing something goddamn right. —Andrew Brandt
3. Kanye West “Black Skinhead”
Kanye’s spring performance of “Black Skinhead” on Saturday Night Live fell like a bomb on the mainstream rap world. Coming after My Beautiful Dark Twisted Fantasy, the track marked a significant departure from Fantasy‘s perfectionist sheen to something much more sinister. Over a Depeche Mode-meets-Nine Inch Nails-meets-Death Grips backtrack, Kanye tackles classist and racial divide in his most colossal call to arms yet. On paper, “Black Skinhead” and the rest of Yeezus sounds a bit convoluted and there’s no denying it at times is. But when Yeezus works, it works better than anything Kanye’s ever accomplished. Take “Black Skinhead” as proof. —Ryan Thomas
2. Arcade Fire “Afterlife”
True love never dies, or so they say. Sometimes it works out and other times it doesn’t, lingering in the form of a scar, or a broken heart, or what have you. With “Afterlife,” Arcade Fire delved into the latter category of passion, simultaneously mourning the death of a relationship and celebrating the fact that a love so strong can even exist. It’s a joyous, eulogistic romp that lauds and rejoices for what once was, simply because no one can ever tear those memories from your grasp. Never has a song about death (whether it be metaphorical or otherwise) been so abundant with life; never has an afterlife sounded as substantive as the real thing. —Andrew Brandt
1. Phosphorescent “Song for Zula”
If Phosphorescent’s career could be summed up in three words, they would be “Song for Zula.” The standout single from Matthew Houck’s excellent Muchacho finds the man baring his soul in the name of (or against) love. Every syllable he utters is brutal, cracked, and victimized. Yet it’s the juxtaposition between his caged testimony and the lush instrumentation that sets this one apart: the pulsating synths meander above it all, and like love, they transcend both time and space. It’s damn easy to get swept up in this dream world Houck’s created, and as heartbreaking as it is I don’t ever want to wake up from it. —Andrew Brandt
Looking for these? They were on last year’s list!
Autre Ne Veut – “Counting” (No. 33)
Daughter – “Smother” (6)
Disclosure feat. Sam Smith – “Latch” (22)
Haim – “Forever” (40)
Local Natives – “Breakers” (50)
Mikky Ekko – “Pull Me Down” (25)
MØ – “Pilgrim” (49)
MS MR – “Hurricane” (70)
The Neighbourhood – “Sweater Weather” (56)
ON AN ON – “Ghosts” (61)
Rhye – “Open” (85)