Amid the sea of hype surrounding "Yeezus", "Nothing Was The Same", and other lackluster-but-top-100-list-making albums released in 2013, it was easy to forget about some of the more standout compilations put out by less-covered artists.
But no worries. We're here to help you remember the five albums that weren't released with as much promo and publicity, but certainly surpassed a number of the chart-topping hits in terms of cohesive concept and sonic excellence. Here are the five best albums that got lost in the sauce this year.
5. "We Are the 21st Century Ambassadors of Peace & Magic" - Foxygen
Los Angeles-based duo Foxygen's third studio album combines elements of psychedelic and folk rock, while simultaneously bringing a style all their own to the table. On "No Destruction," 22-year-old Sam France's droning vocals evoke Bob Dylan during his prose glory days, while soft keys performed by Jonathan Rado twinkle in the background. Beatles-esque harmonies on "In the Darkness" sail over smooth trumpets, in a track the Merry Pranksters wouldn't mind playing on their bus. As the album's title suggests, "We Are the 21st Century..." contains throwback aspects - flute and percussion that uncannily resembles the Velvet Underground's "Sunday Morning" on "San Francisco," loose guitar and some serious Barry Gibb high notes on "Oh Yeah" - but is a fresh, modern release all on its own.
4. "Soft Will" - Smith Westerns
It's tough to say whether Chicago's Smith Westerns will ever be launched from relative indie obscurity to the mainstream limelight, but if their latest effort "Soft Will" is any forecast for things to come, it's safe to wager they're on their way. The band, which first started out recording DIY punk tracks with fuzzy acoustics and very heavy drums, has shifted to a more pop-centric sound. Smith Westerns have come a long way since the "Irukandji" days, and it's most clearly shown in their 2013 release. Choirboy vibes that even Panda Bear wouldn't sneeze at mix with Marc Bolan-style guitar solos and 80s synth on tracks like "3am Spiritual" and "Idol." But the most undisputed highlight on the album bears no words: "XXIII", a mix of Pink Floyd and Carol King's signature keys produces a moving, stirring instrumental worth giving a listen.
3. "Twelve Reasons to Die" - Ghostface Killah
How could every. Single. Top album list. Forget. About. GHOSTFACE?! This album, which was described by "NYU Local" as "the closest we'll get to 36 Chambers in 2013," is one enormous salute to all things Wu Tang, all things Killah. The OG rapper's classic storytelling flow, use of nearly unidentifiable colloquial and flawless sample choice all flourish in "Twelve Reasons". The album is a testament to Ghostface's life experience - in his verses, he unravels more narratives on his wild, rollicking life of trapping, changing relationships and run-ins with the law. Inspectah Deck makes a surprise appearance on "An Unexpected Call" - the kind of track you've really got to listen to for full grasp of the message. Ghostface calls on record scratching, grimy drums and key quotes from movies and television shows to produce joints that gained Wu Tang fame in the first place. Also, it was nice to hear ODB's voice screaming, "It's the Ghost. Face. Killaaaah!" on "Rise of the Ghostface Killah."
2. "Comedown Machine" - The Strokes
At this point, all members of The Strokes have released solo projects in some capacity, (except lead guitarist Nick Valensi, although he's been on his own tip for a minute now). And in each of their one-man efforts, they flaunt their personal style - Julian Casablancas' penchant for pop, classic rock that Albert Hammond, Jr.'s father himself would be a fan of, jolly basslines in Nikolai Fraiture's "Nickel Eye." But what sets "Comedown Machine" apart from, say, "Angles" is the band's cohesive combination of each of their individual musical approaches in conjunction with the loose, strum-heavy style synonymous with The Strokes. Plus, the album throws a few curve balls at the listener - proof that the band isn't afraid to try out a number of forms. On "50/50," the five try their hand at a Misfits-esque punk track, while "Chances" reveals a, er, softer side. But tracks like "Happy Ending," and "Welcome to Japan" are indisputably Strokes, giving "Comedown Machine" a happy range - a middle ground that shows just how much they've grown as a band since "Is This It."
1. "Electric Lady" - Janelle Monae
"Electric Lady" should have been the number one album of the year by any top list's standards. The work features the likes of Prince, Solange and Erykah Badu, but it is Monae's artistic vision, concept, use of interval, overture and emotional outpouring that truly makes "Electric Lady" a standout. Funk, soul and dance-inspired tracks like "Q.U.E.E.N." and "Electric Lady" are so sonically infectious you can't help but, at the very least, tap your feet. Meanwhile, Monae's lyrics bear themes of feminism, questions of love and the position of a woman in society, but they're not executed in too heavy a manner. She's not shoving these ideals down your throat, rather, easing them into your cerebral cortex while flaunting eye-popping vocals, classical violin, deep bass, and "Qui-Etes Vous, Polly Maggoo?" visuals. Strong soul influence remains throughout the album, but it's dotted with Bossa Nova elements as well - think Shaft meets Astrud Gilberto. Be sure to listen to "We Were Rock N' Roll" and "It's Code" when you check out "Electric Lady."
