modern vampires of the city

Top 25 Songs and Films of 2013 (5-2) (With Top 40 Albums of 2013)

This is my penultimate list of the best songs and movies of 2013. Before I issue those favourites, here is a lightning quick rundown of my Top 40 Albums of 2013:

1) Vampire Weekend – Modern Vampires Of The City; 2) Chvrches – The Bones Of What You Believe; 3) Paramore – Paramore; 4) Sky Ferreira – Night Time, My Time; 5) Biffy Clyro – Opposites; 6) Cold War Kids – Dear Miss Lonelyhearts; 7) Daft Punk – Random Access Memories; 8) Shad – Flying Colours; 9) Queens Of The Stone Age – …Like Clockwork; 10) Arcade Fire – Reflektor; 11) Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You; 12) Surfer Blood – Pythons; 13) Phosphorescent – Muchacho; 14) Foals – Holy Fire; 15) The 1975 – The 1975; 16) Lady Gaga – Artpop; 17) Yeah Yeah Yeahs – Mosquito; 18) Lorde – Pure Heroine; 19) Arctic Monkeys – AM; 20) Charli XCX – True Romance; 21) Bastille – Bad Blood; 22) Tegan & Sara – Heartthrob; 23) One Republic – Native; 24) Kanye West – Yeezus; 25) Placebo – Loud Like Love; 26) The Neighbourhood – I Love You; 27) The Joy Formidable – Wolf’s Law; 28) The Knife – Shaking The Habitual; 29) Blue October – Sway; 30) Britney Spears – Britney Jean; 31) Miley Cyrus – Bangerz; 32) Major Lazer – Free The Universe; 33) Panic! At The Disco – Too Weird To Live, Too Rare To Die!; 34) City and Colour – The Hurry And The Harm; 35) Frightened Rabbit – Pedestrian Verse; 36) Valleys – Are You Going To Stand There And Talk Weird All Night?; 37) Stereophonics – Graffiti On The Train; 38) Goldfrapp – Tales Of Us; 39) Jon Hopkins – Immunity; 40) Jimmy Eat World – Damage.

Before I issue my top 5 songs and films, here are a few random awards I’d like to dole out to 2013 films:

Best Performance In An Otherwise Lacklustre Film – Jim Carrey, The Incredible Burt Wonderstone

Best Cameo – Will Ferrell, The Internship

Scariest Use Of Product Placement – Google, The Internship

Reddest Beard On A Dude You Wouldn’t Expect To Have One – Michael Fassbender, 12 Years A Slave

Worst Oral Hygiene – Leonardo Di Caprio, Django Unchained

Best Pimp Walk/Example Of An Actor Who Won’t Change How He Carries Himself Under Any Circumstance – Charlie Hunnam, Pacific Rim

Best Use Of Sequins: Michael Douglas, Behind The Candelabra

Best Hair/Best Jewellery: Matt Damon, Behind The Candelabra

Best Use Of Song: James Franco, singing Britney Spears’ “Everytime”, Spring Breakers

In case you’re wondering what “WAR value is” click here: https://thepunissure.com/2014/01/13/top-25-songs-and-films-of-2013-25-16-with-a-nod-to-mlbs-war-system/

Here are my Top 5 Songs and Films of 2013 (5-2):

(NB: I finally saw Fruitvale Station, and Michael B. Jordan’s performance was a master-class in acting. If I’d have seen it in 2013, it would be in my top 5 films of the year. It’s a must-see movie.)

5. Phosphorescent – Song For Zula (WAR value: 9.5)

“Song For Zula” is the most heart-wrenching tune of 2013. It’s a masterpiece. It’s the best track Matthew Houck’s ever done. “Song For Zula” is a restrained wonder. A steady, sad, imprisoned song. The strings are sooooo bloody good. With no chorus, the song never loses sight of its soul. Its cell is small, but its attempt to free itself is massive. The song ebbs in and out of light, flowing through darkness on its melancholic, melodic journey. The song is rife with lyrical lynchpins of love and its like: “See the cage it called. I said come on in. I will not open myself up this way… again,” and “But my heart is wild, and my bones are steel. And I could kill you with my bare hands if I was free.” A deep irony pervades: “Song For Zula” is trapped, scarred, burned by love, but the honest, gorgeous expression of these horrors is a catharsis, revelation, freedom. By the time it’s over, it’s no longer just Zula’s song, it’s everyone’s.

 

Prisoners (WAR value: 8.0)

Prisoners was absolutely riveting, a “what would you do to save your family” thriller of the highest order. Hugh Jackman was incredibly good as a father who pushed his moral compass to the limit. It’s the best I’d ever seen him. Paul Dano is a fantastic actor, and was eerie to the Nth degree here. The Canadian director, Denis Villenueve, did a fantastic job dousing this film various shades of greys, with the cinematography and the tone, in its sadness and in its message. I was held captive from beginning to end by Prisoners.

Link between “Song For Zula” and Prisoners:

The sadness. The greys. The feeling of helplessness. The doing everything within reason, and more importantly, outside of it, to get back what is a fundamental right, the reason for the fight: freedom.

Prisoners

4. The Vaccines – Everybody’s Gonna Let You Down (WAR value: 9.9)

Eminently enjoyable. Luxuriously listenable. Earth-shattering earworm. “Everybody’s Gonna Let You Down” is all of these things. That guitar riff is my favourite of the entire year. It forms a sensational series of hooks. This is the best song the extremely underrated London quartet has ever done. Lead singer Justin Hayward-Young sounds restrained but seething. This might be the smoothest song of the year. I couldn’t stop listening to it. “Everybody’s gonna let you down,” but this song hasn’t, and I don’t believe it ever will.

 

Gravity (WAR value: 9.0)

There had never been a movie that looked liked Gravity before. It may be some time before one looks like it again. It’s hard to judge the story — after some consideration, I think it was a good, probably not great plot — when the visuals look so real, so captivating, so awesome. Alfonso Cuaron is a brilliant director. His filmography, particularly Pan’s Labyrinth, Children of Men, and Harry Potter and The Prisoner of Azkaban prove this, but this may be his finest work in terms of sheer imaginative gall. I’d heard Cuaron tell of wanting to do a “space” movie for many years; I’m glad he waited until special effects caught up to his imagination. There is a cold, peaceful beauty about the “space” that Cuaron created here. Gravity’s pull is unrelenting.

gravity-imax-poster

3. Vampire Weekend – Ya Hey/Hannah Hunt (WAR value: 10.0)

Ya Hey

“Ya Hey” holds a special place in my heart. I adore Ezra Koenig’s lyric, his delivery, Rostam Batmanglij’s music. I’m so impressed with how Vampire Weekend began their story (on their impressive eponymous debut) and how they’ve continued to tell it (on what I consider the best album of 2013, Modern Vampires of the City). Musically, I think they could very well be the most inventive, creative band on the planet. They’re strange and likeable, qualities embodied by the thrilling, wondrous gem that is “Ya Hey”. For a while, I couldn’t listen to this song without getting goosebumps from the line, “Through the fire and through the flames, you won’t even say your name, only I am, that I am.” “Ya Hey” is an exposition of faith, a dialogue with the mystic, a hymn to heaven. All of this, but it joyously avoids preaching. Such is the beauty of Ezra’s tone and lyric, and their familial connection to Rostam’s music.

Hannah Hunt

It would be easy to assume that no song could match the power of the talismanic “Ya Hey”. Normally, this would be true, of other bands, of other albums. But this is Vampire Weekend, and they are different. So is “Hannah Hunt”. It doesn’t seek the light like “Ya Hey”. It’s content to take turns, basking in a small piece of the sun one moment, serenading the coolness of shade the next. I think the music and lyric are wonderful, but what makes the song for me, what makes the hairs on my neck stand, is when Koenig sounds like I’d never heard him before, singing as if nothing else in the world could matter more (at 2:59): “If I can’t trust you then dammit Hannah, there’s no future, there’s no answer. Though we live on the U.S. dollar, you and me, we got our own sense of time.” Ezra and Hannah may have their own sense of time, but I can’t help but get lost in it. Over and over and over again.

 

12 Years A Slave (WAR value: 9.5)

12 Years A Slave was not an easy movie to watch. But it was spectacularly acted, particularly by Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, and Alfre Woodard, and beautifully shot by Steve McQueen. The horrifying reality depicted in the plot is juxtaposed with a creepy, almost calm sense of dread, of malice that lingers in the sun-strewn fields and pretty white houses. This contrast made the film an unsettling triumph. Seemingly everyone and everything in this movie told a story: a whisper in the wind, a tear-drowned eye, a blood-soaked back, a bead of sweat. This is a story of endurance, telling, I think, of how it will be viewed in the future. This film will linger in the hearts and minds of many for a long while. It deserves to.

12 Years A Slave

2. Chvrches – The Mother We Share (WAR value: 10.5)

The plainest way I can put it is that “The Mother We Share” is the best pop song I’ve heard in ages. I heard it very early on in 2013, and it stayed a gargantuan powerhouse right through the end of the year, even as it began to be heavy rotated on all manner of radio stations. Atypical of most songs, it didn’t lose any lustre when played and played again. In fact, I think it gained something. The music is perplexingly perfect, so pristinely produced, so preened and polished. And that chorus. My God, that chorus. I can’t be 100% sure — the music too big to be measured by human tools — but my best guess is that the chorus contains 1.7 trillion hps (hooks per second). Let it be known that this is a conservative estimate. Lauren Mayberry’s vocal is downright tremendous. Her soft, pure, sirenesque voice mixes magically with the music. The lyric, especially for a pop song, is smart and contemplative. Who’s mother do we share? I think the point is to wonder. The combination of music, voice, and lyric is a shrine to nostalgia, a throw-down to everything else in music right now, and a vision of the future.

I was flabbergasted by the quality of Chvrches’ debut album. It’s clear these musicians are preternaturally gifted, and even still, they hit the jackpot with the collection of songs that comprised their first LP. And even though their talents are bulging at the seams, and even though they’ve just begun what’s hopefully a long career in music, I feel like they’ll never top “The Mother We Share”. And you know what? That’s okay. Sometimes a band releases the best they’ll ever do the first time around. It happens more than we realize. The band has already gifted the world with what I think will go down as one of the songs of the decade. This is pop music at its absolute peak. The air here is rarified, clean, and fresh. The sound here is immaculate, supportive, and free. Life here is great.

 

The Place Beyond The Pines (WAR value: 9.9)

I revere this film. Director Derek Cianfrance is a relatively new filmmaker, but he’s already one of my favourites, and one with an incomparable style. I say this having seen only two of his movies, the heart-breaking Blue Valentine and this, the torrential, towering triptych, The Place Beyond The Pines. His style, ability to say something even in silence, wizardry with tone and eye for cinematography make him a very special artist. Cianfrance also handles his cast beautifully, and directed some fantastic performances here. The supporting cast were brilliant, particularly the chillingly cold Ray Liotta, the devastating Ben Mendelsohn, and the anchor-leg runner, Dane DeHaan. All that, and the leads were all great too. Bradley Cooper was on fire (as he has been for the past couple years), and the performances by Eva Mendes and Ryan Gosling were sterling. (I like Gosling in pretty much everything — such is his charm — and right now, I’d rank his top 3 performances: 1) Blue Valentine; 2) The Place Beyond The Pines; 3) Drive. Semi-tangent: I can’t even begin to qualify how much better a love story Blue Valentine is than the rote blandness that is The Notebook.)

There’s something magical about The Place Beyond The Pines that doesn’t happen often in movies. There are feelings I have about this film that I can explain, and there are some that I can’t. I love that this film does that to me; I believe the best art elicits that type of duality.

The Place Beyond The Pines

My Top Songs of Summer 2013 (15-1)

Without any preamble, here are my favourite 15 songs of the summer:

I plead the fif. I plead the fif-teen.

I plead the fif. I plead the fif-teen.

15. Placebo – Too Many Friends

“Too Many Friends” is a rock solid comeback song from the incomparable Placebo. I think the lyrics could’ve been a bit better/tighter/more polished, as the overarching premise is a smart one, but that’s picking nits. The melody is teflon-strong and Brian Molko’s dark humour with a dollop of sadness is as charming as ever.

 

14. Lady Gaga – Applause

“Applause” hit quick and hard. Gaga is still on top of her game. Maybe it’s not everyone’s favourite — it’s always going to be hard for her to top “Just Dance”, “Bad Romance”, “Poker Face”, “Alejandro” or “Papparazzi” — but “Applause” is still a monstrous pop tune, and she seems to be continuously striving to up the wacky quotient in the name of art. I’m down with wherever her path leads next for one main reason: it’s clear she cares a hell of a lot about her music/art/image. Gaga is preposterous, but the best of pop music should be.

 

13. Disclosure – When A Fire Starts To Burn

First listen: This is a catchy tune. Second listen: Why are my legs moving to the beat, and why do I have no control over them? Third listen: Why do my lips keep mouthing, “when a fire starts to burn, right” and why do I have no control over them? Thirtieth listen: My god, I’ve just listen to this song 27 times in a row. Yup, that’s what I call one of the songs of the summer. For me, “When A Fire Starts To Burn” is far and away Disclosure’s best song. Bonus points for the simple, funny, awesome video.

 

12. USS (Ubiquitous Synergy Seeker) – This Is The Best

Catchier and catchier with each listen, “This Is The Best” is USS at the top of their electro-pop-madness game. They get a tonne of bonus points for constructing a song that’s equally inviting whether played normally or at 1.5x speed. (Go ahead, click on the link to the lyric video below and try it for yourself. My world view was shattered when I first discovered I could change the playback speed on certain Youtube songs.)

 

11. Sia & David Guetta – She Wolf

Maybe the proper title is “David Guetta f. Sia – She Wolf”, but I’ve chosen to list the participants in order of who I deem to be most responsible for its song-of-the-summer worthiness. Granted, “She Wolf” is Guetta’s best track in maybe 10 years (the only other one that comes close is “Love Don’t Let Me Go”), and the way he’s constructed the ebbs and flows, the build-up, the climax, the come down, is pristine and perfect. Sia’s vocal is beyond perfect though, so much so that it renders the pristine moot. There’s an emotional depth in her vocal that you almost never find in a dancepop song. It almost sounds like she’s crying the hook (which is every word she sings by the way). I’m in awe of and hanging onto every syllable she utters.

 

10. White Lies – There Goes Our Love Again

Let’s just forget White Lies’ second album, Ritual, ever happened. Going from “To Lose My Life” and “Death” to anything from that LP is, to put it nicely, a fruitless endeavour (read: the album’s a barren wasteland with nary a good song to be found). Thankfully, it seems that White Lies have forgotten about it too, jumping right back on the Killers/Joy Division/New Order train with their mammoth comeback single, “There Goes Our Love Again”. It’s big, bold, bombastic, with an indomitable chorus and hooks to spare. Welcome back lads. This is where you belong.

 

9. Grouplove – Ways To Go

I didn’t expect this. Grouplove’s debut, Never Trust A Happy Song, was an enjoyable album with some really good tracks (see: “Colours”, “Tongue Tied”, “Itchin’ On A Photograph” and “Betty’s a Bomb Shell”). Yet, despite Grouplove’s zealot-like commitment to fun, their debut was a relatively straightforward guitar-pop record. Two years later, the times they’ve changed, and Grouplove have gone full-synth on their latest, Spreading Rumours. “Ways To Go” retains the frolic, fun and troublemaking charm of its predecessor, but it takes the gitch to a whole new level. It’s a delicious earworm, and one of the best songs of the summer to boot.

 

8. Jacques Lu Cont – Safe With You

“Safe With You” is a missile of a dance track. It’s all seek and destroy. And what a weapon it is. The Thin White Duke has done a lot of good work over the past decade, but I think this is his best ever single. These days, dance tracks this immediate and overpowering are few and far between.

 

7. Drake – Hold On We’re Going Home

Whoa. Didn’t think Drake had a track like this in him. I’m not a massive fan; I’ve liked some of his past work, but I’ve never been infatuated with anything he’s done before (“Take Care” is quite good, but I didn’t go apeshit over it). Scratch that record. “Hold On We’re Going Home” is an a ascendant rejoice: in melody, songcraft, and flipping the script. Gone is Drake’s usual bravado, any semblance of rap, and any posit of a prima donna. In its place is modesty, restraint, and pop mastery. Drake and producer Majid Jordan sought to craft a song that would stand up at weddings. I think they’ve done that and more.

 

6. Lorde – Royals

It took me a few listens to really warm to “Royals”. Now, it’s got me so hot I can cut sheet metal with my index finger. (Sure, I had to go the hospital, and I lost my right index finger, but I proved a point. When keeping it real goes wrong.) “Royals” is simple, direct, and catchy as hellfire and brimstone, while Lorde stands above her contemporaries, alone. I don’t quite understand how a 16-year-old has a voice like that, with a tone so full of depth and experience. Nor do I fully grasp how a 16-year-old has written lyrics so smart, simple, and representative of a common feeling. I do grasp one thing though: Lorde is already a huge star, and deservedly so. “Royals” is a brave statement that achieves a neat trick. Lorde might not be street legal, but she’s straight regal, even if she’s asking to be anything but.

 

5. The Boxer Rebellion – Diamonds

My vishnu, this band deserves to be huge. The London quartet already have two sensational songs to their name, “Evacuate” and “Semi Automatic”, from 2009’s unfortunately unheralded Union. Now, they have a third, the soaring triumph, “Diamonds”.

I got lost in this track many a time over the course of the summer. It’s sweeping. It sounds like it’s weeping. It’s at once uplifting, pensive, foreboding, and melancholic. It’s the sound of falling, rapidly through the clouds of days gone by, only to end up inverted and dazed, landed on the here and now.

The stand-out guitar work melds beautifully with the understated synths. This song will not get the listens and views it deserves. That’s a shame, but the effort the London lads have put forth is not. It’ll stand as a career highlight, I’m sure.

 

4. The Vaccines – Everybody’s Gonna Let You Down

When I hear “Everybody’s Gonna Let You Down”, I hear Dandy Warhols, a tinge of Nirvana, some Cage The Elephant, and a pinch of Weezer. Or The Vaccines 2.0 as it were. “Everybody’s Gonna Let You Down” is a chemical weapon that’s been used on the unassuming public, but it’s been done so slyly there will be no UN inspection.

The West-London quartet have built a nice space for themselves in the crowded indie/pop/alt world. They’ve differentiated themselves from their peers by being, well, kind of weird. The music on their first two LP’s is almost always catchy, but many a time the tunes zig when you think they’re going to zag. Until now, The Vaccines have kept the listener engaged with great melodies that always risk deviating from the beaten path — a tremendously difficult task that they accomplish with apparent ease.

Things are now a little different though. On their new EP, Melody Calling, things are decidedly more straightforward. The band are not trying to bury or subvert the hooks; they’re at the fore and they’re fantastic, especially with what’s probably their most melodic and earwormy song to date, “Everybody’s Gonna Let You Down”. I could listen to it 100 times in a row and not tire of it. Hell, I think I’ve come close. It’s a monumental beast with layers upon layers of hooks (I think the guitar work alone accounts for approximately 67 hooks). I believe The Vaccines have attempted to write the perfect pop song, and the crazy thing is, I think they might have done it. What an absurd thought. What pinpoint execution.

 

3. Alt-j – Taro

“Taro” took the long route to get to my home. It’s from Alt-j’s stunning debut, An Awesome Wave, which was released in 2012, and it wasn’t a single. I spent so much time obsessing over “Something Good”, “Tessellate”, “Breezeblocks”, “Fitzpleasure” and eventually “Matilda” and “Dissolve Me” that “Taro” was sort of a forgotten treasure. That is no longer the case.

It’s a marvellous, disorienting, poetic piece of art. The chorus, with its eastern imbued guitar riff, is a colossal hook. Melody is strewn all over the god-damn everywhere, like the blood of a septuple homicide smeared across a vast, pearl-white wall. The melodies are so relentless because they’re given shape not only by the impeccably executed music, but by lead singer Joe Newman’s varied, serene-come-ominous voice.

I am in awe of “Taro”‘s lyrics. They tell a story of two war photojournalists in a poetic style that I’m not sure I’ve heard before. The lyrics are mystifying, confounding, and complex. The structure of the composition is such that it doesn’t necessarily read rhythmically, yet Alt-j have (miraculously, I might add) found a way to weave it seamlessly with the music, to the point where it seems like one could not exist without the other. It’s pure, inspired artistic expression.

“Taro” forewarns: “Do not spray into eyes, I have sprayed you into my eyes.” Alas, I couldn’t help myself. I sprayed “Taro” into my eyes. It’s like a second pair of eyelids that I never knew I had have been lifted, making my eyes lighter, allowing me to see the world in colours and shapes I’ve never seen before. What a sight to behold.

 

2. Mutya Keisha Siobhan – Flatline

Mutya Buena, Keisha Buchanan, and Siobhan Donaghy are back. In case you’re not familiar with those names, they also go by the founding, original members of the seminal girl group Sugababes. I believe Sugababes are the best girl group of the past 15 years (subject for another day), but despite their popularity (mainly in the UK and Europe), their impact has been somewhat tempered by the revolving door of a lineup they’ve seen throughout the years. Siobhan was the first to go, lasting only one album, and the band, although they had a number of awesome hits without her, were never quite the same after that. One Touch, their debut record, still holds up spectacularly, almost 13 years later. It was a bone-rattling statement from three teenage girls who could do one thing better than 99.99% of their contemporaries: sing.

After a 13 year break from each other, they’re back as Mutya Keisha Siobhan (MKS for short). Certain clichés ring true: they sound wiser, rejuvenated, and ready to conquer the pop world once again. But does the thing that made them famous still ring true? Can they still harmonize better than pretty much anyone else? The answer to both questions is a resounding yes. And beyond their sparkling, shimmering, and more mature voices, they’ve come back with a song just as strong. “Flatline” is an unassailable pop masterstroke. That chorus. Holy shitting shithawks, that chorus. It might take one listen for it to devastate, it might take a few. But facts are facts, the Sugababes are back. Maybe without the name, but with everything else that made them superstars in the first place.

 

1. Vampire Weekend – Ya Hey

“Ya Hey” is my favourite song of the summer of 2013, for one simple reason: it gave me chills time and time again. I love the music. I love Ezra Koenig’s voice. I love the subtle electronic touches that make the song wholly unique, from anything else Vampire Weekend have done or anything else in music right now. I love the lyrics. I guess you could say I love it all. And the thing is, I care (sorry Icona Pop). I really care. About what I think the song means, about how it makes me feel, about Vampire Weekend.

I liked the first two Vampire Weekend records, but something’s changed, either in me or in them. Probably both. I think their latest LP, Modern Vampires Of The City is by far their best work. They’ve culled all of their charms and eccentricities into an irresistible concoction; they’re now a superpower of a band, on the short list of best bands on the planet.

“Diane Young”, “Obvious Bicycle”, “Step” and “Hannah Hunt” (among others; the album is glazed all over with awesome) are highlights, but there’s something different altogether about “Ya Hey”. It’s an examination of the spiritual. It’s filled with questions that allude to answers that beg more questions. If one were to be needlessly reductive, one would say it’s intellectual Indie. Maybe the problem lies in saying that it is anything.

Maybe it just is. Maybe, through the heart, and through the flames, “Ya Hey” says only, ‘I am that I am.’ Eureka. I think that’s it.