#1 Album of the Year: Arcade Fire - "Reflektor"

Rating: 9.8/10

My album of the year is Reflektor by Arcade Fire, a band I dedicated an entire week to in anticipation of this album's release. Big surprise that it got #1 on this year's countdown, right? Seriously though, if you read my first review of the album (which you can do by clicking through that hyper-linked text), you'll know I adored the thing. When you got past all of the empty criticisms and the puzzling anger towards the allegedly over-the-top promotion of the record, what you had was a near-perfect group of songs from a band that have mastered their craft. Reflektor is an Arcade Fire album like no other; drenched in synthesizers, lacking much guitar, and driven by Caribbean-flavored beats, this sounds distinctly removed from the days of Funeral, Neon Bible, or The Suburbs. But then again, the band's identity remains intact. Win Butler's gusty voice and his wife Regine Chassagne's perky vocals are ever-present. The ambition, grandeur, and emotion are all stronger than ever. Most importantly, the pure skill of making great music stays.

Butler & co. are undoubtedly fantastic songwriters and performers, as the songs on Reflektor prove. The title track is one of the year's most universally beloved singles, thanks to an incredibly danceable groove, fluttering pianos, deep-rooted synths, and Butler and Chassagne's vocal trade-offs. The conga beat gives the song a foreign feel as Butler's mysterious lyrics leave the song open to interpretation. The other single off the record (so far) is the absolutely gorgeous "Afterlife," guaranteed to send shivers down your spine. Chassagne's "oh-oh's," the chiming keyboards, and jumpy beat all set the stage for Butler's haunted vocal. "Afterlife/Oh my God/What an awful word," he sings right out of the gate. The accompanying music video is just as wonderful as the song, and drives home the meaning of the song even more, as a father and two sons struggle to cope with the loss of the mother of the family.

As always, Arcade Fire tackle some huge themes with their lyrics. The aforementioned "Afterlife" deals with life after death (hence the title). "We Exist" tells the tale, according to Butler himself, of what it is like growing up gay in a particularly homophobic region. This is not from Win's personal experience, as he currently has a wife (fellow vocalist Regine Chassagne, as stated above), but that makes the song no less sincere. Early on, a son asks his father for his help, as Butler cries, "Daddy it's true/I'm different from you/But tell my why they treat me like this?" Later, the speaker becomes more defiant, exclaiming, "Let 'em stare!/If that's all they can do!/But I'd lose my heart/If I turned away from you." It's a pretty riveting track, and one that probably stems from the band's experience while in Haiti. The sounds behind the story are great as well, as the keys and drums swell up, bursting at the song's pivotal moments.

While the story behind "We Exist" likely came from Haiti, so too did much of the album's music. "Flashbulb Eyes" and "Here Comes the Night Time" play out back-to-back as a sonic representation of Haitian Carnival, with wildly fun conga beats and blaring horns. The latter is particularly superb, a song I found so enjoyable that I named it my favorite song of 2013. A rowdy guitar part kicks off the song as drummer Jeremy Gara plays with flair. The dancefloor-rush soon fades to a slow groove the bubbles up before the adrenaline-pumping "fast part" makes a spectacular return.

I can go on and on about each individual track, but I already did that in my last review. Instead, I'll wrap up the year with a more big-picture look at Reflektor for the rest of this post. This album has indicated a new direction for Arcade Fire, one that's much more LCD Soundsystem (whose main man, James Murphy, produced this LP) and Talking Heads than previous albums. Of course, they could take another sharp turn on their fifth release, whenever that may be.

Much spite was directed towards the band for how the promoted the album, while artists like Daft Punk and Justin Timberlake received no hate, and in some cases praise, despite having exponentially larger campaigns pre-release. They played SNL, including a post-show special in which they debuted several new songs, which I found pretty cool. The group performed other late-night shows, a pretty conventional way to generate buzz. The only really out-there method Arcade Fire used to hype Reflektor was that logo they had drawn everywhere. But in a year when Kanye West quite literally projected his face on buildings across the world, it seems hypocritical to call out Arcade Fire for what was possibly somewhat self-indulgent but nowhere near egregious. Some view the band as very pretentious, another unfounded claim in my eyes. I enjoy getting excited about a release, especially one as big as Reflektor.

Personally, Reflektor is the first Arcade Fire album where the band don't sound young anymore. Funeral was a youthful burst of energy, Neon Bible was a sort of coming-of-age, and The Suburbs felt like saying goodbye to childhood. Reflektor, however, is forwards-looking, dealing with uncertainties about life (and death) in the upcoming future. Nostalgia is swapped for anticipation, love lost exchanged for love to come. It's a logical step, considering that Butler and Chassagne recently became parents, and the band's only gotten bigger in cultural footprint since their last record and subsequent Grammy Album of the Year victory. The musical ideas are more thoroughly developed, too, as every detail was worked on meticulously, a clear sign of maturation of sound.

Reflektor is everything great about music packed into one, albeit lengthy, album. Deep lyrical themes, musical talent, catchy hooks, hypnotizing grooves, and songs that make you want to dance, sing, laugh, cry, and everything in between, sometimes all at the same time. Few bands can pull off having songs which contain the literal sounds of a party on the same record as songs dealing with love, death, and fitting in, but Arcade Fire is one of those bands. 2013 truly was an amazing year for alternative music, and music in general, in my opinion the best since the days of the early 1990's, and certainly the best in almost a decade. Even the mainstream finally started to shift towards higher quality music, as respectable artists like Macklemore and Lorde had smash hits with something to say. Valuable messages of restraint, tolerance, cooperation, and thriftiness left previous pop music ideals like over-indulgence, recklessness, and selfishness behind. People like to say every year that it was a bad year for music, but invariably look back years later and go back on their early words. 2013 is sure to be a year the world remembers as a strong one for music. Don't believe me? Reflektor is all the proof you need.

Key Tracks: "Reflektor," "Here Comes the Night Time," "Normal Person," "Afterlife"

December's been quite the month here on Facts for Whatever, as I published fifteen (!) album reviews in one month. That's almost one every other day! Thanks to everyone who followed along throughout. So, now, I present this month's work in list form. Here are, after long last, my top fifteen albums of 2013, summarized in list form. If you missed any of the full-length reviews, you can click on the album title in the list to jump to the page. Spotify links to the albums & songs of the years playlists will be embedded at the bottom of the post, and the AotY list will include Reflektor (though sadly not MBV - you can listen to that here), so you can hear it there rather than a separate embedment. Here's hoping 2014 gives us as much great music as 2013 has! (And fingers crossed Radiohead put something out!)

Top Fifteen Albums of the Year
1. Arcade Fire - Reflektor
2. Vampire Weekend - Modern Vampires of the City
3. Wavves - Afraid of Heights
4. Queens of the Stone Age - ...Like Clockwork
5. Washed Out - Paracosm
6. The Joy Formidable - Wolf's Law
7. Deafheaven - Sunbather
8. Nine Inch Nails - Hesitation Marks
9. The National - Trouble Will Find Me
10. My Bloody Valentine - MBV
11. HAIM - Days Are Gone
12. Lorde - Pure Heroine
13. Local Natives - Hummingbird
14. Mikal Cronin - MCII
15. Daft Punk - Random Access Memories

Thanks for reading!

Albums of the Year - #2: Vampire Weekend - "Modern Vampires of the City"

Rating: 9.7/10

Before the May release of Modern Vampires of the City, Vampire Weekend were viewed by most as a simple, cutesy, indie pop band. A very good one, to be fair. But to many it seemed that Vampire Weekend were trapped in a bubble, that they had already said everything they had to say, and had nowhere else to go. Everyone knew what to expect from Vampire Weekend, or so they thought. In 2013, the Ivy-bred quartet surprised everybody with the magnificient, twinkling, dazzling Modern Vampires of the City. Some of the band's identifiable characteristics are still present; african-flavored beats, sprightly guitars, and frontman Ezra Koenig's spry vocals all stick around. But this new album is clearly a huge leap forward for the group. The lyrics are better than ever, a bounty of previously unused instruments are introduced, and new techniques a are presented. The most noticeable of these is the use of pitch shifting, employed liberally and masterfully on two of the record's biggest songs, "Diane Young" and "Ya Hey."

Albums of the Year - #3: Wavves - "Afraid of Heights"

Rating: 9.5/10

"We'll all die alone/just the way we live." So sings Wavves frontman Nathan Williams, the millenials'  new poster child for snot-nosed garage punk, on Afraid of Heights opener "Sail to the Sun." On their latest record, Wavves veered off slightly from their lo-fi surf-rock path, adopting a more grunge-influenced sound and putting more effort into production. The result is the group's most polished, most mature, and in truth most enjoyable album to date. Though 2010's King of the Beach had a carefree, adolescent feel, it was somewhat one-dimensional. Afraid of Heights maintains that energy and youthfulness while also at times venturing off and exploring deeper, more complex psychological themes. Sure, there are still fast-paced, quick punk ditties like "Cop" and "Paranoid." But self-loathing tracks like "Beat Me Up" ("That's the reason why/I love the pain/It makes me wanna die") and "Everything Is My Fault" (see title) add a more profound layer to the music of what was once a decidedly straightforward band. 

Of course, Williams sings some if not most of these lyrics with a wry smile. This tongue-in-cheek delivery is to be expected of the singer, and represents the spontaneous, live-in-the-moment attitudes of the band members. This kind of lifestyle can at times be reckless and self-destructive, which is what some of the songs on Afraid of Heights showcase.

Albums of the Year - #4: Queens of the Stone Age - "...Like Clockwork"

Rating: 9.4/10

If there's one man today who does guitar-rock right every time, it's Josh Homme. The QOTSA vocalist/guitarist/mastermind is one of the most consistently excellent musicians in the business, and ...Like Clockwork was no exception. A behemoth in terms of sound and raw power, the new record is jam-packed with crisp guitar licks, dynamic drumming, and slick vocal hooks. There are also several cameos here, and none of them feel forced. Former band members Nick Olivieri and Mark Lanegan contribute backing vocals on "If I Had A Tail," along with Arctic Monkeys frontman Alex Turner. Dave Grohl, who played drums on all of 2002's Songs for the Deaf, sits in behind the kit on four different tracks. Nine Inch Nails' Trent Reznor helps out on "Kalopsia," and even Sir Elton John gets in on the action, singing and playing piano on "Fairweather Friends." The sheer volume of musicians who go out of their way to help make a Queens of the Stone Age album says a lot about how talented and friendly Homme is.

However, ...Like Clockwork isn't an album just about names. It's also about ten striking, fantastically written and produced rock songs. "Keep Your Eyes Peeled" starts everything off with a creepy guitar rumble and echo-y vocals. Homme shouts during the chorus, "if life is but a dream/wake me up." The clever lyric clearly sets the tone for the track, one of dissatisfaction and desperation. "If I Had A Tail" is an equally unsettling song, as a chorus of backing vocals from those mentioned above cry out in a tortured call of "oh-oh." The production work ups the ante, as the guitars morph from imminent to confrontational in a split-second. A disquieting, raspy whisper comes in after the instrumentals fade, warning "we will control the fight."

Albums of the Year - #8: Nine Inch Nails - "Hesitation Marks"

Rating: 8.3/10

Editor's Note: Check out my earlier, more in-depth review of the album here:

http://factsforwhatever.blogspot.com/2013/09/album-of-week-nine-inch-nails.html

Arriving half a decade after The Slip and just under four years past Nine Inch Nails' last live show, Hesitation Marks is technically a comeback record. Though the period between records wasn't nearly as lengthy as, say, the gap between My Bloody Valentine albums, Trent Reznor did declare his decade-spanning project to be over back in 2009, at least for a little while. When he eventually did decide to return as Nine Inch Nails, Reznor came back with Hesitation Marks, a lengthy, fourteen-track album full of some of the group's heaviest and most jarring tracks since the turn of the century.

When I first reviewed Hesitation Marks upon release, I gave it a rating of 7.8. As you can see above, my opinion of the album has only improved since. The standout tracks I wrote about back in September remain among the best. "The Eater of Dreams" is still relentlessly creepy, "Came Back Haunted"'s bleeps and bloops sound more cohesive and thought-out, and "Copy of A" is one of the few tracks in FIFA 14 that I haven't grown tired of yet. (For the record, "Worship You" and "We Sink" are still amazing). "Everything" made my top 20 songs of the year, thanks to its harsh production and torrential mood swings. That said, some tracks which I liked back in September, I now love in December.

Albums of the Year - #9: The National - "Trouble Will Find Me"

Rating: 8.3/10

I'll be honest with you; I'm not crazy about the second half of Trouble Will Find Me. After four amazing tracks packed into the top half of the line-up, the album unfortunately drops off in quality a bit. With the major exceptions being the electrifying "Graceless" and pitter-patter of "Pink Rabbits," the tracklist starting with "Heavenfaced" is somewhat lacking. There's nothing inherently bad about any of the songs, but there also isn't anything to pull you in either. Devoid of any kind of earth-shattering moments and leaning too heavily on Berninger's melancholy vocals, songs like "Slipped" and "Hard to Find" merely stretch out the record longer than it needed to be.

That being said, I still gave the album an 8.3. Why's this? Well, though the second division of Trouble Will Find Me is disappointing, four of the first five songs are awe-inspiring. "I Should Live in Salt," "Demons," "Don't Swallow the Cap," and "Sea of Love" more than make up for the rest of the album's shortcomings. All possess that trademark sound all of The National's best tracks do, except maximized to new heights.

Albums of the Year - #11: HAIM - "Days Are Gone"

Rating: 8.0/10

HAIM have had quite the year. After generating buzz last year with their three-song EP Forever, this band of sisters took 2013 with the hook-laced Days Are Gone. Melodious harmonies, plucky guitar riffs, and skittish drum beats characterized the indie-pop record that landed on numerous year-end lists. Several fesitval shows and an SNL appearance later, HAIM have been labeled by many as the best new artist of 2013. (Though they missed out on a Best New Artist nod at the upcoming GRAMMY Awards thanks to a confusing nomination process.)

Over the two months between my original review of the record and this one, my love for Days Are Gone has only strengthened, thus the jump up from a 7.1 rating to a flat eight. Songs like "Forever" and "The Wire" are undeniable pieces of pop-rock gold. On "Forver," the start-stop coordination between the bass and drums give the song a nervous feel as main vocalist Danielle is joined by sisters Este and Alana for the chorus.  "The Wire" rides on the backbone of a riff that could've been plucked straight from Rumours, incorporating keys and thundering drums for the hook. "Always keep your heart locked tight/don't let your mind retire," urges Danielle. A miniture guitar solo takes prominence right at the track's conclusion.

Albums of the Year - #13: Local Natives - "Hummingbird"

Rating: 7.6/10

The second album from L.A.-based indie rockers Local Natives, the airy, lighthearted Hummingbird suffers from a classic case of having excellent singles but also possessing way too much filler. The record is strongest when the band are at their most ambitious, and is weakest when the songs become simpler and less involved. Still, there aren't really any bad songs on Hummingbird; only boring ones. The album at times is dark, something the group's 2009 debut Gorilla Manor did not forge towards, or at least not as successfully. The lyrics were apparently influenced by the death of singer/multi-instrumentalist Kelcey Ayer's mother and the departure of original bassist Andy Hamm.

The more morose tunes are some of the album's best moments, as it doesn't get much better than the opening one-two punch of "You & I" and "Heavy Feet." The former utilizes an edgy drum beat and mysterious guitar twists that sit under a confused, wandering vocal. "When did your love go cold? The closer I get, the farther I have to go" cries Ayer. The song reaches a climax during the bridge, as an early break of "oh"'s, horns, and tribal drums gives way to one of the best-sung notes of the year. Accompanied by an even sadder video, "You & I" nabbed the #27 spot on my countdown of the year's best individual songs. When I had the pleasure of seeing these guys live at this past September's Boston Calling, this song was the definite show-stopper during their set. It's one of this young band's best songs to date, and definitely their most mature one.

"You & I"'s partner-in-crime in starting off Hummingbird is even more impressive. "Heavy Feet" focuses in on a complex drum beat, complimented with handclaps and stellar bass play, and features excellent overall sound thanks to album producer and The National member Aaron Dessner. The change in intensity between the verse and chorus is more than noticable, as the guitar tones make the song bigger than expected.

The group clearly draws influence from fellow up-and-comers Grizzly Bear, most evident on songs like "Bowery" and "Black Balloons." Each feature vocal harmonies and dreamy guitar work. Other notable songs include "Wooly Mammoth," a relentless and frantic track, and "Ceilings," a more relaxing but still enjoyable song.

Still, there are some duds that you wish had been modified or scrapped altogether, and this really holds the album as a whole back. "Three Months" feels like it lasts for three months, though the official track length reads about four and a half minutes. "Columbia" is a piano ballad that never quite seems to come together. The record is also top-heavy, which disrupts the flow greatly; arguably the two best tracks are the first two, and the only other truly stellar song comes fifth on the setlist.

That fifth song is "Breakers," another drum-heavy song with jangly guitars, though this time the chorus soars above the clouds and seems to be enjoying itself. In the chorus, the band's other vocalist, Taylor Rice, sings, "breathing out only to breathe in, I know nothing's wrong but I'm not convinced." A wave of hi-hats and "ooh"'s overtake the breathtaking chorus.

Hummingbird is a strong effort that arguably produced Local Natives' two best songs to date. However, it is less consistent throughout than Gorilla Manor, and has its dull moments. Nevertheless, some tracks are so superb and others are still far enough above average that Hummingbird certainly warranted a place on my top 15.

Key Tracks: "You & I," "Heavy Feet," "Breakers"

Albums of the Year - #15: Daft Punk - "Random Access Memories"

Rating: 7.4/10

Today, I'm beginning the countdown of my top albums of 2013, starting at number fifteen and working all the way up to my favorite record of the year. The first entry on the list is Daft Punk's highly successful dance-pop monster Random Access Memories. The album had plenty of hype surrounding it pre-release, with the group hinting at the upcoming CD in a commercial during SNL before officially announcing the album to much fanfare.

The most instantly recognizable track off Random Access Memories is lead single "Get Lucky," a summertime smash hit which featured Pharrell Williams on vocals. Built around a funky guitar riff and Pharell's falsetto, the single went triple platinum in the United States and sold over seven million copies worldwide. However, unlike other recent chart-toppers, "Get Lucky" had critics raving, and the so-called "return of disco" was declared perhaps over-optimistically.