Below are ten of the best rock songs to come out in 2013. This list has everything from gentle lullabies to angsty guitar licks. What it doesn’t have are the 10 best indie rock songs of 2013, which are still yet to come. But I bet you’ll find these are so good that you won’t mind a bit.
Use the music player on the bottom of the screen to preview the whole list, or right-click and choose “Save as” to download. Songs will play in a new tab if clicked on.
“Literally Baby” isn’t even indie rock. This is good old-fashioned rock and roll that’s a little bit 1955 and a little bit 1995. For the latter I’m thinking of the vocalist, who shouts like one of the many nineties rockers influenced by ska or rockabilly. The piano tinkles like a golden oldie and the triumphant back-up chorus is one of many trills that give the song fullness.
The main reason this song didn’t find better footing on my list is that I’m perplexed by the refrain, which happens to remind me of my biggest grammatical pet peeve. It’s not that he’s using “literally” wrongly, it seems more like for no reason at all. Maybe it’s a reference to the girl having a similar pet peeve—akin to Vampire Weekend’s “Oxford Comma.” But unlike the latter, it’s unclear what the singer is getting at with the refrain. Your thoughts on the lyrical intent?
The opening shrill cuts like a knife and the thick, lusty guitar makes me want to sway right from the first riff. Not a lounge-y sway, but a raucous, wide-legged sway, deep enough to be a yoga move, best accompanied by a pumping fist. Next the drums and guitar relent in favor of the singing, unexpectedly soft. This is all just a breather, a chance to prep yourself for some more indulgence to the God of strings. I’m not one for long guitar solos (which half “Thumb Buster” is…I’m wondering if the title is a reference not to the song’s content but what it does to John Dwyer’s fingers). It all fizzles out in skillfully-dosed feedback. Fans of shoegaze and classic rock should check out “Thumb Buster”.
The reason “Needle” didn’t get a better spot on my best of 2013 list is because it starts out too pretty. I like the pretty, but it’s a little too plodding, too plaintive. When the crisp refrain begins it feels like a slow slap in the face. Thirty seconds later I remember why I love this song. When Born Ruffians begin singing “A way! A way!” they have gorgeous harmonies it’s rare to hear in a rock band. And “Needle” does rock when it gets to that refrain. The rockage sneaks up on you.
There’s something to the lyrics too. Most of the song is a plaintive complaint of how the singer doesn’t fit in. But it’s not a sad song, it’s a love song. He’s found that someone, and what are the odds that such an odd fellow would find his needle in the hay?
I belong to no one
A song without an album
Long forgotten maxim spoken to the sea:
I belong with no one/ I belong with no one/ I belong with no one…
you belong with me
The typical lovesong would focus on the object of his affection but “Needle” is mostly lyrical navel-gazing. It’s narcissistic moping is touching because the more of an oddball he is, the more amazing it is that he found her.
Born Ruffians are one of many bands that hasn’t yet gotten the recognition they deserve. In “Needle” they sound a bit like they’re impersonating Vampire Weekend, but many of their best songs are more straightforward rocking out.
Leave it to a Swedish electro band to show us how a synth was meant to be used. “World
On Fire” is yet another rousing tribute to soundtrack the march towards our dystopic future. “The world has gone mad,” the royal concept sings, and this is the song we lemmings will be dancing to as we go over the edge. Originally one of my top-five favorite songs of 2013, but I overplayed it so it lost its rank. Unfair? Tell me if you think it deserves a better spot.
“I got my headphones on from the minute I’m up to the minute I go to bed.” That’s a refrain I feel more kinship with than I do with 90% of love songs. I love the image of a pair of headphones as a sideways mohawk. These Canadian cops on horses are going to be buried in their headphones, proving they’ve done their homework. The guitar work pulls you in without drawing attention to itself while the chilled-out harmonies have a bit of edge in the refrain.
I’ve been listening to a lot of podcasts lately, among them Slate’s Double X Gabfest. In a recent podcast they discussed the concept of the “basic bitch.” Immediately I thought of Kreayshawn’s 2011 hit, “Gucci Gucci” which proclaims “Gucci Gucci Fendi Vendi Prada: basic bitches wear that shit so I don’t even bother.” At one point in the show one of the hosts declared she wanted a remix of that song, and I am here to supply. How can I resist when Party Ben’s remix is so damn good?
The hosts discussed basic bitches as compared to hipsters. They seem to me to be perfect binary opposites. Both groups are lashing out at the presumptions they expect from their counterpart. The basic bitch thinks the hipster is uppity for not following social conventions (I gave a perfect example of this in my first article on hipsters, sourced from Urban Dictionary’s hipster definition). While the hipster thinks the basic bitch is just the sort of girl who made fun of him/her in school for not wearing the right clothes or participating in sports.
If you’ll allow me to further digress, I was having a tangential conversation last night with a Puerto Rican woman I’d just met. We were drunkenly discussing Florida racial politics (a favorite pastime of mine) in particular the ongoing hatred between Cubans and Puerto Ricans.
She felt that Cubans were the ones keeping this going, always accusing Puerto Ricans of selling out, for not revolting against the Yankee oppressor. This parallax view fascinated me. As one raised amongst Cubans, the narrative was similar, but different. My upbringing taught me it was the Puerto Ricans who started it all, with their big flag necklaces and upper-middle-class pride. True, Cubans were proud of their revolutionary status, but the hatred was coming from the Puerto Ricans. They were the ones bragging about their status, thinking the Cubans were lesser, for both their poverty and their questionable legal status.
Now there’s a lot to this conversation, (and much of it that most people wouldn’t be willing to discuss or admit even sober), but the part that is germane here is that in both cases the prejudice towards the other group stemmed from some underlying insecurity. If that Puerto Rican in fifth grade hadn’t gone basic bitch on me for accidentally referring to her as Cuban, I’d not have had prejudices against Puerto Ricans and their pride flags. The prejudice was born out of my own insecurities. And if hipsters weren’t so frequently taunted and bullied as kids, maybe they wouldn’t be so eager to brag about their current elite taste in coffee, music and thrift shopping.
It’s so easy to see one side of that coin, from whatever side a person happens to identify with most closely. What is fascinating to me is that there’s insecurity coming from both sides. That the basic bitches and the Puerto Ricans were hating from a place of insecurity too. It reminds me that deep down there are no bad people, just terribly broken people in search of healing. And that all gets back to the opening of the Gabest episode, where they discuss the gender confidence gap. Nice when things come full circle, isn’t it (discuss!)?
OK I really only meant to start this post as an excuse to share this Kreayshawn remix. This junk will really get you dancing. Seriously one of my favorite remixes of the decade, though Kreayshawn won’t inspire the Oakland hipsters like she used to. And for your patience during my rant, I’ll throw in this cover by suspected-hipster never-to-be-a-basic-bitch Neon Hitch. Neon Hitch drops the “basic bitch” from her version, take from that what you will.
If you like this cover, it’s in my Best Electro of 2011 list. There may be more there to your tastes.
PS, the women of the Double X Gabfest claimed Kreayshawn is now a “mommy blogger.” As a media professional well-acquainted with mommy bloggers, I’m going to challenge that. Having just visited her Tumblr, I’d say that Kreayshawn is not at all a mommy blogger, but simply a public figure how happens to be a mom and have a blog. A distinction a group of feminists should surely acknowledge!
Sadly I wasn’t able to get tickets to the Bag Raiders, Classixx and RAC show a few weeks back. So I’ve picked up tickets to Fake Blood an Alex Metric as a consolation prize. And as consolation prizes go, it’s sure to be better than a red ribbon.
Here they are at least, the Top Ten Indie Rock Songs of 2012.
While this is a list of songs, in some ways this is also the Top Albums of 2012. Most of these bands put out more than one great song this year. But if I included more than one song by each band there would have been less bands overall, and each of these bands deserves recognition. But I swore I would never do another Best Albums list so this is what you get: the best song by my top artists of the year. It is hard to rank songs this good, so as part of weighing them, I sometimes ranked a song higher if their album had many songs that were just as worthy of being on a Best Songs List.
As mentioned previously, I’ve used the phrase “indie rock” very loosely here. This blog is focused on underplayed gems, so you will find we keep it all indie here, whether it’s rock, pop, dance, hip-hop, or some genre that’s yet to be named. If you want to check out the top indie songs from other categories, they’re listed at the bottom of this post.
There’s a ton of bargains on this list; some of these full albums are selling on Amazon right now for less than four dollars.
As usual, to download the song, right-click on it and choose “Save as.”
With joy I present the hottest dance songs of 2012. These have been tested on random samples of teenage girls, drag queens, and punk rock kittens. Well, actually just on me, but those folks all live in my heart. And deep within my heart, when they hear these tracks they dance.
Top Dance Songs of 2012
Azealia Banks – 212
From the June 2012 EP 1991
This properly belongs on my hip-hop list, and you’ll find it there, but it deserves the top spot on my Best Dance Songs list. I tried to avoid duplication, but it truly deserves a high-ranking spot on both lists. I only DJed a few times in 2012, but every time I did, this was the song that people came up to me and asked who the artist was. The beat is positively primal and her fast simple rhyme scheme will have you trying to rap along. You’ll find Azealia is too fast for your tongue, so you may as well give in and let the rhythm move you.
Brodinski (feat. Louisahhh!!!) – Nobody Rules The Streets Released June 12, 2012 on the single Bromance #3
Those who turn their noses up at dance music often complain about the repetition. “Nobody Rules These Streets” is a perfect example of how repetition in dance music succeeds. Louisahhh!!! only has one sentence in this song, and she sings it many times, but I don’t think a single time is identical to any other time. With every measure, Brodinski brings takes the song somewhere new. This is the hottest drop of the year, for dark sexy moments where the ladies bend their legs and dip as low and slow as they can. Even though the song only has one line, “Nobody Rules These Streets” still tells a story: Louisahhh!!! is a big fish in a big, dirty, nasty pond.
If you like this one, also check out “Tonight’s the Night” on the Top Dance Music of 2012 11-20 list.
Lisa Mitchell – Neopolitan Dreams (Sound Remedy Remix)
First posted May 24th, 2012 on Indie Shuffle You may have noticed that I don’t put a lot of dubstep on YNFB/FIF. It’s not that I don’t like it, it’s that I like it in small, exceptional doses. I prefer it to change the mood, not to set the mood for the whole night. Whether you’re hesitant to get on board with dubstep or a longtime fan, check out Sound Remedy’s remix, as it is truly exceptional. He somehow manages to take this light and pretty pop song and make it both dubstep and glitchy 8-bit. Positively a gorgeous remix that’s bringing something new and unique to the dubstep genre.
Robert DeLong – Global Concepts From the October 2012 EP Global Concepts
Robert DeLong is the electronic musician I am most excited about for 2013. He makes electro with percussion that gives a nod to the Jamaican sound popularized by artists like Diplo and MIA. Maybe it’s because of the unexpected two-step pulse, or maybe it’s because he uses, like, REAL drums. “Global Concepts” is filled out with effects that sound like a rain stick. As a bonus, DeLong’s lyrics aren’t the same crap you usually get with dance music. Sure, the refrain “Did I make you fucking dance” is as good an anthem as any, but the rest of the song is filled out with lines like “After I die, I’ll re-awake / redefine what was at stake / from the hindsight of a god.” And who uses words like “entropy” in a dance song? It’s nice touches like this that make Robert Delong one of my favorite discoveries of 2012.
These are not quite the top ten indie rock songs of 2012, but are still some of the best bands you shouldn’t miss out on hearing.
Note that I’ve used the phrase “indie rock” very loosely here. I’m only striving to make a distinction to break these up into the vaguest of genres. So you can look forward to a hip-hop list, a dance list, and an indie pop list. This mostly means rock, but they’re just as much defined by what they’re not: dance-y. These are the (second) best songs of 2012 with more grit than groove.
As usual, to download the song, right-click on it and choose “Save as.” Also, please note the music player at the bottom right of the screen that enables you to preview all the songs on this page as a playlist.
Little Jungles – Nothing Will Grow
Hey, Little Jungles, what happened? Your Bandcamp said way back in January of 2012 that this song would be on the forthcoming album I Would Kill For Some Sunlight. And here it is January 2013 and that album appears to be still forthcoming. “Nothing Will Grow” indeed. Ah well get this song from Bandcamp, where you can name your price.
I wish Spencer Krug would pick a band and stick with it. He’s all over the place, sometimes in Sunset Rubdown, last seen in Wolf Parade and now he’s the primary voice behind Moonface. Every year I think the gent has produced nothing new, I come to find he’s in some other project. Fortunately he has a distinctive voice and amazing lyrics, so I tend to realize it’s a Spencer Krug song the first time I hear it. This one sticks out for the line “Teary eyes and bloody lips make you look like Stevie Knicks.” I think that makes you look more like Tina Turner, but I guess that wouldn’t rhyme.
I have three lists to get through here, the top dance songs, the top indie pop and the top rock songs, and I want to get those top tens to you as soon as possible. So no descriptions for most.
This is not a list of the best dance songs I discovered in 2012, I take care to determine that these songs actually first appeared in 2012. For remixes that can be tricky, so I’m giving credit to the first blog (as far as my research can show) to post the remix. It’s also a way for me to give a nod to the music blogs that helped make 2012 another fantastic year for music fans.
Want to put it in your pocket and take it home with you? Right-click on the song and select “save as” to download. But you knew that already, you crafty babies.
First posted Feb 26th, 2012 on D Squared
“Yeah let’s fuckin’ RAGE!” Honestly I think this should have been in the top ten but I just found it last week and, erm, well the top ten list is already written. Your remix still rages, Hyper Crush.
For a while, I skipped this song, because it starts out all slow and pretty—not what is called for when getting your dance on. But this is just the sign of a finely crafted dance song. Dance music has a lead-in to make it easier for the DJ to mix, Sound Remedy just chose to do this with a lovely opening rather than the naked bass, as weaker DJs do.But the song doesn’t show why it’s one of the best dance songs of 2012 until 1:49, when it drops some retro 80s-esque bliss on your ears. At 4:20 you get a siren and a bit more flair, and the song explodes into a synth wet dream.
When I was a tween I went to my first R&B show (I believe it was EnVogue). I had been to oodles of shows so I knew the uniform: comfy jeans, comfy shoes, clever T, and discernible lack of hat. But there was a secret I didn't know about EnVogue fans: they dress up for a show like they are going to the prom. They get their hair styled, they wear suits and not dresses, but actual gowns. Gowns I tell you. They complete the look with the perfect prom accessory, a limousine. Not just one couple or ten, but droves of them. Three R&B shows later I discovered maybe it wasn't just EnVogue after all. Some people get dressed up for shows.
I'm not saying you need to follow a dress code by genre system. I may wear a tutu at any time, and I support your right to do the same. But some people do like to fit in, and might like knowing this stuff. I'm just saying if you are going to a kind of show you've never been to before, it might help to ask a knowledgeable type what people are likely to wear. Because if you show up dressed for the Prince show at the Gwar show you are going to stand out, and ruin your fancy shoes.
I’m a sucker for harmonies and handclapping. Both are in abundance. This is one of those bands I discovered because cool DJs keep remixing them. I look forward to getting to better getting to know their sound in 2012.
That echoey guitar and croon combination creates some surreal magic in “Top Bunk.” Sounds like: Animal Collective made a mainstream surf album. And what’s with that drum that sounds like an explosion at the bottom of the ocean? How are they producing that dub-step worthy bass out of an ordinary drum kit? If you like music that sounds like the soundtrack Venice Beach surfers hear as they drown, get this whole album, because it’s equally, oddly, delish. Just for fun, here’s a video of “Top Bunk” made with old Shwarzaneggar movies. It’s well-produced but I can’t imagine it’s official, what with copyright and all.
The word “mature” comes to mind: musicians that have been doing this for a while and have put some thought into the lyrics and how it all comes together. The guitarist plays around a bit, showing off but not too much, while the percussion trades off with a variety of synth melodies. Sadly, I haven’t heard the rest of this album, so please share in the comments if you can tell us if the other songs are as good as “Repatriated.” If this song ended at 3:40 it would still be one of the year’s best, but it goes on for another minute just to make sure you know: Handsome Furs know how to rock.
In the proud tradition of Le Tigre, Heartsrevolution is an indie pop band fed on the mother’s milk of riot grrrl punk rock. “I.D.” goes back and forth between the identity politics of war and pop music. It’s framed as a prayer so when she says “I think we got a bad connection… Can you hear me now CAN YOU HEAR ME NOW? NOW?” the urgency is to a savior that doesn’t seem to be listening. My favorite part is where she puts a new spin on that pop-shlock icon when she says that her fear “is that the world will be filled with Britney Spears. ‘It’s Britney Bitch. And I’m not that innocent.’ We’re not that innocent.” But she’s not (only) talking about pop music fans, she’s talking about the claims about American jingoism’s good-vs.-evil motif. She’s saying we know the war cries are a bunch of BS. Suffice to say, there’s a lot more going on in this band than a bunch of crystal bling on a pink ice cream truck. If you like electro but wish you could find something with a bit more substance, Heartsrevolution may be the flavor you crave.
Jon Fratelli can’t seem to get his shit together. First the Fratellis make it big, and he quits the tour because he got too effing “tired.” Then he formed the truly fantastic Codeine Velvet Club, and quits it before they have a chance to build any kind of legacy. But what he lacks in caffeine/direction he makes up for in talent. It’s straightforward indie rock, with rollicking guitars, “Whoah-ohs,” and charming lyrics about life on the road and the women he meets along the way.
You can listen to Mister Heavenly’s entire album on Youtube, which is how I can tell you it’s a solid work with ample variety between songs. I wanted to pick one song from Out of Love and while I think “Bronx Sniper” is my favorite, the songs are so wonderfully different from one another you may find another suits you better. It’s no surprise, as Mister Heavenly is made of folks from The Shins, The Unicorns, Islands, Man Man and Modest Mouse. They even got Michael Sera to play bass for them on tour. Something good is bound to come of such a combination, and it seems that they’ve lent their talents in equal proportions.
This single appeared in 2010 but it didn’t get released on Amazon til 2011, so it’s fair game by my rules. Oberhofer sounds a bit under-produced in a world of Britney Spears, and that’s a good thing. It sounds like they recorded it on the second take, capturing all of Oberhofer’s emoting, whistling, and glockenspiel-tapping in its random, glorious splendor.
Initially “Go Alien” sounds like a Jonsi clone, which we could stand to have a few more of, so that’s fine. But twenty seconds in, some banging drums and guitar-slapping let us know that this isn’t all going to be lullaby music. I like that the build-ups and breakdowns in this song don’t fit the standard chorus-to-refrain ratio. Where most songs kind of do the same thing for a minute and then give you a repetitive refrain, Oh No! Yoko seems to change course every thirty seconds, taking you on a nice ride.
Patrick Wolf put out a ton of material in 2011. Most of it struck me as a pretentious but I’d listen to it again. Perhaps his seriousness keeps “The City” from slipping too far into bubblegum territory. It’s a new wave love song in the tradition of Crowded House or Tears For Fears. I love the piano melody, and only wish it were louder in the mix.“ The City” harkens to the days when a saxophone was a perfectly fine backing instrument for a rock song.
Hey, who uses this much flanger anymore, or at least uses it well? This song is an anthem, a song to dedicate to your friend who’s just gotten out of a long-term relationship or failed the bar exam. It seems all these years we’ve been in need of a song that proclaims “Get back into the rhythm of things and come to the bar!” So thanks for that, Pete.
Polarsets have put out one of my top-5 favorite albums of 2011, and “Leave Argentina” is just one song worth checking out (See my Best electro of 2011 list for a few others). The first thirty seconds of this song are nothing to get excited about, which makes the contrasting burst of sound all the more compelling when he breaks into the refrain. There’s all kinds of bells and electronic percussion and general exuberant wackiness. The refrain of “Leave Argentina” is one of many reasons Polarsets is one of the bands to keep an ear on in 2012.
It’s a simple guitar melody, some slow drums, occasional handclaps, and a few well-placed backup harmonies. When simplicity works, it’s all the more effective (see: The XX), and this Chicago band has pulled off a song just as catchy as some of the pop numbers with double the instruments, clappers, and singers.
I haven’t had a chance to listen to the rest of their latest album, but “Fire” is a sign that The Submarines are just as good as they were on the last one (which is worthy of blowing your milk money). It’s hard to believe it only takes two people to make songs this infectious. Maybe the synergy comes from the fact that they’re married. Maybe it is because singer Blake Hazard is a Harvard-grad whose great-grand-pappy wrote The Great Gatsby. Whatever the case, I hope this couple stays lovey-dovey long enough to get the fame they deserve.
This is probably the most over-played song on this list, but The Best Indie Rock of 2011 wouldn’t be complete without it. Thank goodness we have the Black Keys to pick up where the White Stripes abandoned the cause of reminding us of rock and roll’s long-time love affair with the blues. The Black Keys are back with another album, chock full of guitar-bragging in the fine tradition of Billy Gibbons and Angus Young.
The Go! Team are happy to present another album of songs for cheerleaders to rock-out to. If you’re looking for songs to do kartwheels and splits by, this is the one for you, and this here’s the finest track. Bonus points for naming their title track after the anti-consumerist holiday, though from vague lyrics are more likely to inspire a round of beers than a revolution. There’s a terrific Go! Team remix in my Best Dance Songs of 2011 list.
When it comes to dark, shoegaze-y rock born of some shadow-world version of 50s LA surf-rock, the Dum Dum Girls are not alone. The Raveonettes have produced another album for people who like their guitars with maximum fuzz.
The Wombats make rock music that’s as close as it can be to being described as “cute” without crossing the line into twee. “1996” is a full-blown nostalgia trip for twenty-somethings. If you liked “Let’s Dance to Joy Division” or “Kill the Director” or “My Circuitboard City” here’s more of the same.
I didn’t want to like this song because I overplayed The Ting Tings’ first singles until I was sick to death of girl rap-singing over guitar and a catchy beat. I thought I was through with all that, but “Hang It Up” refuses to be ignored. I forget to not like it, catch my head nodding, and when the guitar breaks out 1:40 I’m all “sweeeeet!” My apologies, Ting Tings. You still got it.
Fast drums and shrill synth and then it’s all over too quickly. Another in the category of great-bands-from-Sweden, Those Dancing Days are an all-girl rock band in the tradition of the Go-Gos and Sleater-Kinney. While their last single was more in the pop tradition of the Bangles this songs shows that Those Dancing Days can rock out like the late-90s girl groups.
Speaking of Sleater-Kinney, the Portlandia star is still making music, with her band Wild Flag. Perhaps should have been on my Best-of list, no?
The first time I heard TuNe-YaRdS I thought they were some sort of Afro-Carribean revival. And maybe they are, despite the fact that singer Merrill Garbus is not an African dude, but a petite woman as white as a stationary shop. It’s not really cleary what genre TuNe-YaRdS is trying to be, which is half of what makes them so great. The other half is that crazy voice, that swoops off in a thousand directions, at times pretty, at times raucous, at times soulful, but never predictable.
You know how your best friends are your partners in crime? How half the amazing pranks, road trips and crazy antics of your life only happened because of some off-hand brag or dare you had to live up to? It’s about time someone wrote a song about it. “You Told the Drunks I Knew Karate” is a fun and clever duet in the tradition of alt-folk story-telling. If you like Hello Saferide or the Moldy Peaches, be sure to give this one a listen.
Hey dudes: if you’re looking for a song to sing at your woman while you jump around the dancefloor–this is the one.Try dancing like a maniac while mouthing “I’m gonna take you back to my house! I love the feeling when you touch me baby!” and surely you will get laid.
This sounds like it should have been the lead single on the Tron soundtrack. After releasing countless albums, M83 is finally starting to get radio play with this song. No wonder, as the beat makes it a little less dreamwave than most of their other stuff. It’s hard to tell where the vocals end and the synth begins. And the passioned cry, “The city is my church!” never gets old.
Remember when Arcade Fire won that grammy and everyone was all, “Who’s Arcade Fire?” Strange times we live in. They wouldn’t let me on their selection committee, but I suspect one of the reasons they won was for the lyrics that explore suburban angst. Arguably the best of these is this song, “The Suburbs,” a song I can’t seem to get tired of.This cover slows it down for a sexy groove that makes the beauitful lyrics easier to understand.
Another fun cover that’s a bit easier to sing along with than the original. If you haven’t heard of Kreayshawn yet, just-you-wait. She’s an up-and-coming Oakland rapper, who courts controversy by being not only white, but having a uniquely Oakland-hipster style. Far as I can tell, she doesn’t seem to give a fuck, which is the best way to be. The original “Gucci Gucci” is in my collection, but I recognize that it can be a bit too…boldly obnoxious for many. 2011 was a year for sexy slow-downs, and this one contrasts nicely with Kreayshawn’s brazen and clever lyrics.
There’s a lot of weird, delightful little sounds in “Polish Girl.” It’s easy to get lost in wondering what toys he’s using to create this-or-that sound. Then I remember the lyrics, and get pulled back into the story of the song, until I hear that sound that’s like Mario just won a green 1-up shroom, and I’m pulled back into the swirly goodness. When there’s too much greatness to concentrate on at one time, you know it’s a song that’s going to stay on the heavy rotation for many months.
Pure, perfect electro.So happy, it almost sounds like calypso. Yet it manages to avoid sounding too sacharine. Maybe it’s because of the emotion in his voice, but it all just works. If you like this song, get this album. One of the year’s best.
No really, you should get their album. Listen to “Sunshine Eyes” and get a lesson in how a perfect new wave song is built. Pure delight from beginning to end. Sounds like: the montage music for your summer romance.
The heavy beat on “Stunts” would have made this a good fit for the “Best Dance Music of 2011” list, but the lack of vocals takes some of the energy out of it, so I put it here instead. If you’re a fan of Ratatat and Caribou this may be the fix you need.
I was very excited to hear the new Rapture album, and while I can’t recommend the whole thing, this song is a winner. Part of what makes the Rapture so great is Luke Jenner’s emotive vocals, and this one is no exception. Four cocktails down, you will have trouble not singing “How deep is your love!” not as a question, but as an exclamation to be shouted to the fullest.
At the beginning of the year, I was obsessing over their new song “Dystopia (the Earth is On Fire).” Well, I overplayed it and now I’m sick of it. But then I discovered that “Paradise Engineering” is even better. Both songs give a nod to the catastrophic state of the world channeling it all into blissed out disco denial. It’s a soundtrack for oblivious consumerism in a broken world, which makes it more than good pop: it’s the zeitgeist of the 21st century.