100. Nothankyou “Oyster”
Nothankyou’s “Oyster” was a pleasant surprise in a year that seemed dominated by well-established artists. The duo of Olga Bell (Dirty Projectors) and Tom Vek released a two-track single and a video for “Oyster,” with no plans for an album or any tour on the horizon. So, “Oyster” and “Know Yourself” could be the only thing we get from Nothankyou (sad face). Regardless of what happens, these songs are pretty awesome. “Oyster” is a seamless fusion of Bell’s resilient vocals and Vek’s twitchy drums/synths. —Ryan Thomas
99. Washed Out “It All Feels Right”
“It All Feels Right” takes you to a moment, a place, a memory, and holds on. Perfect for a sunset coastal drive, the song soothes and drifts. It vacillates between being a tune for the seriously drugged up and one for those who are seeking profundity. The depth is there, it’s just about identifying it, which is probably the most exciting part about listening to the song. It’ll have you swaying but at the same time, you’ll be caught up in its complacency. It holds you underwater in a confusing bliss, and indeed, it all feels right. —Lexy Brodt
98. Vaults “Cry No More”
Beginning with a gentle sound and understated vocals, “Cry No More” snowballs from harmless to aggressive by song’s end. The chimes, piano, and strings that usher “Cry No More” in give no hint to the swelling synth that hits at the halfway mark, launching the song from harmless into combative. With this unexpected electronic surge, Vaults take a solid track with classical instrumentals, quirky percussion, and “woe-is-me” vocals and gives it teeth. —Drew Curtis
97. Jaymes Young “Dark Star”
Walk with me into the dark side and completely indulge in the delectability of Jaymes Young’s “Dark Star.” It’s got a kind of tortured, down the rabbit hole kind of feel to it, inviting the listener in but attaching a warning label nonetheless. As he acknowledges in his lyrics, Jaymes may not love like he used to but it sure is going to be some good lovin’. —Rebecca Edwards
96. Forest Fire “Waiting in the Night”
“Waiting in the Night” is all about effortlessness: the way Forest Fire beautifully blends bleeping-blorps with acoustic strums is oh so smooth; the way the drums sound so natural in a weightless atmosphere feels, well, not natural. And then there’s the effortlessness of Thresher’s vocals — a whispering Dan Bejar that’s sexy, slick, and strangely slimy — floating delicately above it all, topping off a track that doesn’t even ask you to get lost in it but that you know you’re going to get lost in regardless. “Waiting in the Night” is truly that something worth waiting for. —Andrew Brandt
95. Thao & the Get Down Stay Down “Holy Roller”
Thao & the Get Down Stay Down brought sexy back to 2013 with their album, We the Common. “Holy Roller” is a grand example of Thao’s many talents, as she rocks out on the banjo in remarkable fashion. From beginning to end, this song combines southern twang and Eastern influence with comforting easiness. Thao’s voice passionate voice washes over the listener like a rolling wave as she claims, “I am a woman of leisure.” Now there’s a credo we can all get behind. —Rachel Schroeder
94. Suuns “Edie’s Dream”
Montreal’s Suuns released one of the more frustrating albums this year, Images Du Futur. An album with an undeniably awesome sound and one too many lulls, Images Du Futur painted a bleak, noisy landscape filled with abrasive guitars and electronics. One of the tamer tracks on the album is the single “Edie’s Dream.” Over a Radiohead-meets-Broadcast backdrop, singer Ben Shemie laments reoccurring “visions that feel so real.” The track is equal parts alluring and chilling, and, along with “2020,” it’s one of Images Du Futur‘s highlights. —Ryan Thomas
93. PAPA “Young Rut”
The year’s lo-fi anthem for youth, hands down. Reminiscent of bands like The National and Teddybear, PAPA has stepped into the game in a big way. Lead singer Darren Weiss pleases listeners with his deep and powerful vocals and post-punk rock elements. It’s hard to define a specific genre to a band that has so much range; maybe a better way to put it is instead of calling them “indie rock,” they can just be PAPA, a world of their own. —Monica Grogan
92. Phoenix “Entertainment”
“Entertainment” is a confusing, slightly-crazed jam that never ceases to surprise. Whether it’s the glitzy, east-Asian pop riff or the pounding chorus, the song proves itself to be, above all, insanely fun to listen to. From Phoenix’s new album, Bankrupt!, which the band rightly claimed would be an experimental departure from their usual sound, “Entertainment” keeps the same stuttered beat of the band’s usual noise but shocks with its loud, thrilling, foreign ambiance. The electronic background integrates itself seamlessly within the song — and the experimentation pays off, creating a rhythm that is strangely emotional and exciting. —Lexy Brodt
91. NONONO “Down Under”
Although production duo Astma & Rocwell and singer/songwriter (and psychology grad) Stina Wäppling spent years developing separate music careers, it wasn’t until these Swedes teamed up in 2012 that the real magic began. And “Down Under” is a perfect example of that magic, mixing the sugared self-reflection of Wäppling’s vocals with an impeccably urban, precisely measured beat that leads the song through a misty sonic landscape. In short, between its delicate balance of sweetness and haze, modern production, and unexpected mysticism,”Down Under” not only enchants the listener, but also proves that the three forces of NONONO belong together. —Gretchen Tracy
90. Death Grips “Birds”
Stereogum once wrote that “Birds” contains the most important “Fuck you” of Death Grips’ career. Now, for a band who yearns to represent that phrase to a T, this is the greatest praise available. And “Birds,” off-kiltered and weirdly pretty, feels like the definitive middle finger of their work: sometimes it seems like MC Ride is talking about drones, sometimes it seems like he’s counting actual birds, and all the times he sounds invasive. Death Grips’ music has always been tough to decipher, but with “Birds” that task becomes damn near impossible; one time I got into a fight about it on Facebook with a random lady and ended up deleting my profile for a month. Fuck it. Death Grips, you guys. —Andrew Brandt
89. Yeah Yeah Yeahs “Sacrilege”
All it takes is one word over and over again to get you hooked. Karen O reigns in her raw, powerful voice for “Sacrilege” and turns it into sensual pillow talk. The song pulls you right into the tumultuous throes of love and lust: of knowing what you want but not knowing if you should do it; of wanting what’s wrong because it feels so right. And in those instances, words are the last thing on your mind anyway. —Jaime Brackeen
88. Foxygen “Shuggie”
Ironically, listening to Foxygen’s album We Are the 21st Century Ambassadors of Peace & Magic sounds more like a historical tour through the various the rock styles of the latter half of the 20th century. The Los Angeles duo pays homage at times to Mick Jagger with half-spat and guttural vocals and at other times more closely resembles the aloof tone of Lou Reed. The lyrics of “Shuggie” weave between a sardonic narrative about love and the importance of being true to one’s self. This mix of emotions is complemented by several changes in tempo and layering that give it more of a contemporary appeal. —Selena Handler
87. Rhye “The Fall”
When Rhye anonymously debuted their first singles, many critics compared the group’s lead vocalist, Ryan Milosh, to famous female songwriters such as English pop star Tracey Thorn or Nigerian artist Sade Adu. Understandably so; who honestly pictured the soft and comforting vocals found throughout Rhye’s work belonging to a male? His excellent range and ability to coincide with the group’s string compositions, however, break any musical gender barriers. “The Fall” captures the group’s most basic essence, using minimalism to accentuate the track’s most intimate sounds. It’s 2013’s undeniable slow jam and will be featured on teenage love mixes for years to come. —Mike Schuerman
86. Merchandise “Anxiety’s Door”
Don’t stop. Don’t you dare stop. This is the underlying message of “Anxiety’s Door,” a seven-minute musical binge adventure that makes you think you may be losing your mind in a really, really good way. With competing guitars and vocals that are present but are nonetheless somewhat lost, these guys work themselves into a musical frenzy that you can’t not take part in. Pour a drink and get moving. —Rebecca Edwards
85. Young Summer “Fever Dream”
D.C.-area singer-songwriter Bobbie Allen, the artist behind Young Summer, is fairly new on the scene but you need only listen to the first few hushed, heartbeat pulses of “Fever Dream” to know that she’s got enough talent to stick around. Sparkling with iridescent dream pop reverb, this track enchants the listener even before Allen’s hypnotically smooth vocals drop. And although the lushness of Allen’s voice is inherently grounding, it will only take a few repeats of this song before you find yourself not just swept away in the same “Fever Dream” as the artist but also never wanting to wake up. —Gretchen Tracy
84. Frightened Rabbit “The Woodpile”
From the depths of their Scottish hearts, Frightened Rabbit brought us the heart wrenching ballad “The Woodpile” in late 2012. With bombastic instrumentals and soaring vocals, this single from the album Pedestrian Verse is a song you will want to have on repeat for your most lonesome moments. Lyrics like, “I’m trapped in an abandon building / Come find me now, we’ll hide out, we’ll speak in our secret tongues,” convey an incredibly relatable sense of loneliness, but not without a sense of quiet comfort. In difficult times, you can count on Frightened Rabbit to pull you back onto your feet. —Rachel Schroeder
83. Torres “Honey”
“Honey” was the first time we ever got to hear Mackenzie Scott (aka Torres), and boy does that girl know how to make an entrance. The track is empowering, a constantly-booming-beast built on raw guitars and drums. It’s confessional, but it isn’t merely confession for confession’s sake; this isn’t emotion painted-on for a performance. Scott’s words are vague but potent, thanks largely in part to the way her thunderous voice delivers them. Yet for all of “Honey”‘s rousing qualities, it’s ultimately crushing. For all of the heaviness felt in the instrumentation and the urgency felt in Scott’s throat — and in the words that come out of it — the emotion never seems quite able to break the surface. —Andrew Brandt
82. Wet “You’re the Best”
Remarkably balanced and underemphasizing nothing, “You’re the Best” is an absolute beacon of cool. The intensity of the amorphous track ebbs and flows but never approaches dull and never loses its lighthearted humility. Like a non-moody The xx with triple the sounds in their repertoire, Wet is one of 2013’s biggest rising stars on the indie front. —Drew Curtis
81. Queens of the Stone Age “I Sat By the Ocean”
By the time 2013 rolled around, Queens of the Stone Age’s six-year break was beginning to look less like a hiatus and more like a finite ending. And rightfully so: Josh Homme was producing records for Arctic Monkeys and had already started a new project, Them Crooked Vultures. So when he announced …Like Clockwork back in March, the news was a bit unexpected but wholly welcome. Even better, the record rocked. With standouts like “I Sat by the Ocean” — a tasty track that balances meaty and sexy like no one but Queens can — …Like Clockwork showed that Queens hadn’t lost a step in six years. In fact, they may have gained a few. —Andrew Brandt
80. Unknown Mortal Orchestra “So Good at Being in Trouble”
Whether it’s the cool backbeat or the low bass, there’s something about “So Good at Being in Trouble” that’s simultaneously soothing and danceable, melancholy and rhythmic. The lyrics recall a heartbreak (“Now that you’re gone, it’s been a long, lonely time”), yet the tone of the song suggests that this may not be such a bad thing. Unknown Mortal Orchestra has a tendency to play with emotions — most of their words float on the edge of a desperate, downhill depression — yet the beats of this song in particular are so coherent and melodically in-synch that we twist the words into a completely new, individualized, not-altogether-unpleasant sensation. —Lexy Brodt
79. CHVRCHES “Gun”
At the intersection of dance-electronic and indie pop stands the Glasgow trio of CHVRCHES. Rarely can a group bring together the likes of Pretty Lights raving, synthesizer-dabbling EDM listeners, and the Pitchfork-reading, Kanye-obsessed indie-pop fans. But there is something about the strong, feminine Glasgow vocals of Lauren Mayberry, blending seamlessly with upbeat chord progressions and dance synths that cross over genres in a way that not many can. The members come from various backgrounds — from shoegaze, from rock and even from law — but together they have a unique identity that they are careful to preserve, especially in their lyrical prowess that strives to stay away from the shallow depths of complete popdom. —Selena Handler
78. Kurt Vile “Wakin on a Pretty Day”
Kurt Vile is the epiphany of chill. His music exuberates coolness in every way possible. The nine-minute epic “Wakin on a Pretty Day” is like a Sunday afternoon nap; nothing really exciting is going on but you’re perfectly content the entire time. The biggest surprise in the song is the 10-second null of sound at the fourth minute — just enough time to bum you out that it’s over before picking right back up for another lackadaisically awesome five minutes… until the nap is over and you have to get back to your life. —Mary Sullivan
77. Mount Kimbie “Blood and Form”
Britain’s Mount Kimbie released one of the year’s best electronic albums with Cold Spring Fault Less Youth. The duo’s analog synth- and drum machine-based approach takes elements of house, jazz samples, and ambient music for an intriguing result. The best track on Cold Spring is “Blood and Form,” a murky groover with a driving backbeat. After vocals exploring life’s “blessings and curses,” the track takes a James Blake-level turn into a climax filled with goosebump-inducing, suffocating synths. Then the song ends. Then you repeat it. —Ryan Thomas
76. AlunaGeorge “Attracting Flies”
Carefully designed beats and succinct vocals prove to be the backbone of “Attracting Flies.” This unorthodox pair (Aluna Francis is entirely vocals while George Reid sticks exclusively to production) have repeatedly made our heads role this year with tracks that are continuously slicker than the next. Their music is not only catchy, it’s smart — which is probably why this song was one of 2013’s best ways to tell someone they are full of shit. It’s all in the lyrics: “Hold on now, I’m choking / Give me a second to collect myself / you must be joking / Otherwise I’m laughing to myself.” Yep. —Rebecca Edwards
75. Smallpools “Dreaming”
For Smallpools, their debut single “Dreaming” was dream-like in its ridiculously quick rise to popularity. With bouncy synth beats and energetic vocals reminiscent of Passion Pit, the track made plenty of people’s lists of top summer songs in July 2013, including Billboard’s Alternative Top 40. It’s not hard to understand why. The song oozes youthful summer bliss, evocative of warm evenings, cool drinks, and all-night dance parties. In no time, Smallpools will have you dreaming of warm weather and endless freedom. —Rachel Schroeder
74. Still Corners “Fireflies”
Still Corners may have officially dropped the single “Fireflies” at the ass-end of 2012, but it’s hard to imagine its existence in any season other than summer. One of a couple showstoppers the band’s solid Strange Pleasures, “Fireflies” boasts an air of invincibility, of everlasting. The vocals are entrancing and the backing synths ravish; everything is ’80s-style smooth, yet there’s no cheap nostalgia or cheese here. Sky Ferreira may have declared the night time as her time — but with “Fireflies,” Still Corners let their work speak for itself and claim the night as their own. —Andrew Brandt
73. Phosphorescent “The Quotidian Beasts”
Phosporescent’s Matthew Houck has been in the game for quite some time. The dude’s seen debauched tours, drugs and booze, and bad relationships get the best of him. Houck’s ups and downs have informed all of his work but perhaps 2013’s LP, Muchacho, is where everything best came together. Throughout the album, Houck spins heartfelt tales over pop, rock and Americana stylings. One of the album’s highlights, “The Quotidian Beasts” tells of troubled domesticity and everyday life, with Houck lamenting, “yeah, the beast was upon me honey, I thought you should know.” Phosphorescent’s Muchacho is one of those records that seems to offer something for everyone. Many would go as far to call it timeless. —Ryan Thomas
72. Kanye West feat. God “I am a God”
Ye’s a polarizing man. There’s a contingency of people who would be angered by merely looking at his song titles. Like, I don’t know, perhaps the one called “I am a God”? Kanye’s most egotistically named track from his sixth album, Yeezus, is also one of its best. With Kanye juxtaposing moments of ego excess and emotional despair, the song creates an unsettling effect. Kanye repeatedly says “I am a God” and spits condescending demands, but he never convinces you that he truly believes it. See the end of the track, which finds Kanye desperately and vulnerably gasping for breath. —Ryan Thomas
71. The Knife “Full of Fire”
When The Knife unexpectedly dropped “Full of Fire” back in January, the timing was ripe. It had been nearly seven years since the duo shook the shit out of the entire electronic music community with Silent Shout, and that record’s influence was beginning to show through in artists like Doldrums and Purity Ring. So, The Knife stirred the pot in a way only they could — by releasing a seven-minute relentless chase in the dark. Fueled by a perpetual, daunting drum loop, “Full of Fire” does its best to blur the distinction between voice and instrument, between nightmare and reality. It’s a glitchy, mutilated mess that culminates in pure bliss. And trust me, it was worth the seven-year wait. —Andrew Brandt