Top 100 Songs of 2013 (40-26)

Continuing along with my Top 100 Songs of 2013, here are songs 40-26:

40. Biffy Clyro – The Thaw/Biblical/Opposite/Accident Without Emergency

Biffy Clyro brought the heat on their sprawling double LP, Opposites. All four of the songs listed below are massive. The Biff have continued to expand the scope and reach of their sound with each passing album, and the result here is a record that sees them pushing to be arena-conquerors the world over.

The Thaw:

The change in dynamic that follows the second time Simon Neil utters, “the secrets in the snow, will always come out in the thaw” is a shot of adrenaline to the heart.


Choruses don’t get any bigger than the one in “Biblical”. Deservedly, a massive hit.


“Baby I’m leaving here, you need to be with somebody else…”

Accident Without Emergency:

Two brothers and a bad, bad man rocking their Scots off.


39. Jacques Lu Cont f. Alex Metric & Malin – Safe With You

Whether he goes by Jacques Lu Cont, The Thin White Duke, or Stuart Price, he’s a peerless electro/dance/pop wizard. “Safe With You” is one of his finest efforts.


38. Tame Impala – Elephant

I missed this in 2012. As I began to hear it on the radio in 2013, it kept burrowing deeper and deeper into my brain. By the second half of the year, “Elephant” was bellowing like a beast. One Youtube comment nailed the song’s appeal bang on: “Elephant” sounds like John Lennon singing over Pink Floyd. But with a modern twist. I love the lyric, “But he feels like an elephant, shaking his big, grey trunk for the hell of it,” and could listen to it over and over. I have.


37. ASAP Rocky f. 2 Chainz, Drake, Kendrick Lamar – Fuckin’ Problems

That beat. Man, oh man, that beat. This is as catchy as hip-(p)hop gets. It’s the short and ubiquitous contribution from 2 Chainz. It’s Kendrick Lamar’s verse. Maybe most of all though, it’s Drake’s verse and tag-in on the chorus. From the second the beat drops, the track is reeling in its hook.


36. HAIM – The Wire

It’s interesting that HAIM chose to cover Sheryl Crow(‘s “Strong Enough) in 2013 because I think if Crow were still at the fore of pop music in 2013, this is what she’d sound like. The Bangles’ and Fleetwood Mac’s influence is also palpable. I’m of the mind that HAIM were a bit overrated before they released “The Wire”. Since, their success makes sense — this track is fantastic.


35. Mariah Carey & Miguel – #Beautiful

Mariah’s best track since 2005’s “We Belong Together”. An interestingly structured pop ditty, as Mariah doesn’t appear in earnest until 1:31 into the track. Not a bad thing, as Miguel’s smooth vocal paves a red carpet of silk for Mariah, who, when she finally does appear, sounds resplendent and invigorated.


34. Panic! At The Disco – Far Too Young To Die

The best song on Panic! At The Disco’s super strong and enjoyable LP, Too Weird To Live, Too Rare To Die!. Brendon Urie and company have crafted a nice career for themselves, and over their past few records, have proven they have a genuine knack for melody and pop songcraft.


33. David Guetta f. Sia – She Wolf (Falling To Pieces)

I can’t get over how moving Sia’s vocal is. The music is the best Guetta’s made in ten years, but it’s the heartbreaking way Sia croons each and every syllable that carries this staggering dance-pop gem above so many of its contemporaries. Sia has magic in her voice, and it’s never been more powerful than it is here.


32. Queens Of The Stone Age – My God Is The Sun/I Appear Missing/I Sat By The Ocean

It took me a while to get into QOTSA’s Like Clockwork, but when I finally did, I fell in love. There just isn’t anyone else making this kind of (rock) music right now. It’s QOTSA’s most cohesive and best sounding album. Josh Homme enlisted several of his friends, Dave Grohl and Alex Turner among them, to help mould this record, and the collaborative nature of the songs is apparent. Homme sounds inspired, and wait for it, like he’s having fun. Recording must’ve been a wild ride. This is vital music.

My God Is The Sun:

I Appear Missing:

I Sat By The Ocean:


31. The Dream f. Fabolous – Slow It Down

This is a brilliant mid-tempo pop/r’n’b song. It’s the clever lyric. It’s Fabolous’ sick, no sweat verse. But most of all, it’s the way The Dream pouts, “Enough with the mother f***in’ dance songs, you gotta slow it down…” Radio killa indeed.


Quick aside: The best and most prevalent lyrical theme of 2013 was, without question, Demons


30. Surfer Blood – Demon Dance

The riff at the beginning of the song slays for days. My favourite Soundcloud comment about this song says it’s “as if The Pixies and Weezer had a baby.” The motion is seconded. There are definite Britpop tendencies here as well, and so much more. I can’t count high enough to put on a number on the amount of hooks in this song.


29. Wavves – Demon To Lean On

If the previous song was parented by The Pixies + Weezer + a dip and dash of Britpop, this song sounds like the offspring of Weezer + Nirvana + a splash of Green Day. “Demon To Lean On” sounds like an effortless joy of a pop-rock song, as if it were conceived of and sung whilst skateboarding down a steep California street in the summer. A helmet wasn’t needed, just as long as there was a demon to lean on.


28.  Imagine Dragons – Demons

The third offering in the Demon Trilogy. I think this is far and away Imagine Dragons’ best song. The more I listened to it, the more I loved it, and the more the many subtle musical strokes (designed to make it hit) became apparent. This song was everywhere in 2013, and I’ve heard it a tonne, yet I’m nowhere near sick of it.


27. Foals – My Number/Inhaler

My Number:

Count on Foals to issue a tune with a relatively unorthodox structure and still have it be hellaciously catchy.


This must be inhaled to be believed. Foals are a force of nature and a fantastic, unique band.


26. Shad – Stylin’ f. Saukrates/Love Means f. Eternia/Intro: Lost f. Lisa Lobsinger, Ian Kamau, K-OS


This is what thoughtful, effortless obliteration of the microphone sounds like. Shad is absolutely on fire here, from his lyrics to his cadence to his apparent ease, comfort, and joy on the mic.

Love Means:

Love means reflections like this. Love is so often conveyed in such banal, superficial ways in popular music. This is not that. Shad’s thoughts on love are deep and considered, as are Eternia’s, who kills it in her time on the track.

Intro: Lost:

There’s something magical about this tune. It’s at once an old soul, yet as fresh (to death) as anything out there now. It’s the first song on, and sets up, Shad’s wildly impressive Flying Colours LP, and it also sums it up: adventurous, original, and razor sharp lyrically.

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