40. Vampire Weekend “Step”
Vampire Weekend’s “Step” is pretty magical. Ezra Koenig’s velvety voice introduces the track backed only by a bass drum and pulls you through the entire song. Once the instrumentals come in, you can’t help but bob along to the harpsichord/organ combo for a baroque-rock change to the rhythmic beat of the bass. The lyrics in the chorus are a scared underdog’s pep talk (“Gloves are off, wisdom teeth are out”) and they’ll stay in your head all day. The only thing that makes it even better is the black and white, nostalgic, Wes Anderson-style, tour through New York City lyric video. —Mary Sullivan
39. Banks “Waiting Game”
Self-taught on a toy keyboard at age 15, newcomer Jillian Banks brings a much-needed female perspective to the dark, narcotic R&B vibe that’s been dominated thus far by male performers like Frank Ocean and The Weeknd. And although “Waiting Game” creeps up on the listener with noir, fizzy background vocals looped into a descending riff, soft keyboards, and angst-y lyrics, the eventual addition of a thunderously fragmented beat proves that Banks can hang on a deeper level. At once delicate and dank, this song speaks to the “Waiting Game” of love while also building anticipation for a full-length debut. —Gretchen Tracy
38. Mikal Cronin “Shout It Out”
When “Shout It Out” was released back in February, it served as a hopeful sliver of sunny days to come; when those days finally arrived, however, it (and Cronin’s MCII in its entirety) burned hotter than a fucking heatwave. More melody-driven than his previous work with Ty Segall, “Shout It Out” is a jangly-guitar-guided track elevated by a fuzz-induced, kick-to-a-frustrated-mouth chorus that really casts Cronin in his own light. It’s catchy, it’s clappy, and it’s cloudless: this really is three minutes of summer-strumming perfection. —Andrew Brandt
37. Cut Copy “We Are Explorers”
“We Are Explorers” is not the type of track to add to your library playlist; rather, it demands a venue better suited for dancing, heading bobbing, and lyric-belting. On their Free Your Mind LP, Cut Copy has found the perfect harmony of dance inducing beat drops and psychedelic synths to free your body and certainly your mind. The four-man Australian group brings the new age technological ’80s vibe into this millennia by adding a fuller atmospheric sound; imagine Men Without Hats revamping the “The Safety Dance” for Lollapalooza. And the album as a whole is markedly more high energy and clear-cut than earlier alternative albums. —Selena Handler
36. San Fermin “Sonsick”
For anyone who has fallen in love at an inconvenient time, for anyone who has considered themselves star-crossed, and for those who know what is in their best interest but simply cannot seem to follow it: San Fermin’s “Sonsick” may be your new anthem. From Yale graduate Ellis Ludwig-Leone, it is a deliriously sunny track about romance with a “hopeless case”; a euphoric celebration of letting go, of falling in love in the most visceral sense. The chorus almost conjures images of falling backwards into a pool, the water jumping up around your body’s soft outline as you sink to the inevitable, delirious depths of emotion. But maybe that’s just love getting the best of us again. —Riley Beggin
35. CHVRCHES “Recover”
Thanks to a handful of sterling tracks, CHVRCHES were the eye of 2013’s never-ending shit storm of female-fronted synth pop outfits. “Recover,” a sugar-coated showcase of the trio’s ability to flirt the fine line between pure bliss and down-in-the-dumps subject matter, was the track that rightfully dropped them smack-dab in the center. It’s delectable, it’s smart, and it’s made to be ingested in massive quantities by the masses. And sure, Lauren Mayberry seems pretty bent on fixing her broken heart by lyrically stomping yours to shit — but I guarentee you’re going to have one hell of a time while she tries. —Andrew Brandt
34. Unknown Mortal Orchestra “Swim and Sleep (Like a Shark Does)”
On the surface, “Swim and Sleep (Like a Shark)” was arguably the loveliest two minutes of rock music we had the pleasure of hearing in 2013. I mean, catchy guitar riff plus ultra-sweet melody… HELLO. Why doesn’t everyone want to swim and sleep like a shark? Well, because upon further examination (under the surface, if you will), swimming and sleeping like a shark entails wanting to crawl into a hole until the world ends. But, there are times when we all just really need to get away from everyone and everything, and I can’t think of a more blissful soundtrack to escape to than this. —Andrew Brandt
33. Daughter “Still”
Elena Tonra’s wickedly loud little voice is enough to hypnotize, drawing us in with its viscous melody and a lyrical savvy. “Still” is a heart-breaker, a combination of slow beats and mellow echoes. The song builds in stages, smoldering with light guitar before moving into a drumbeat that is blissful behind the lyrics: “Two feet standing on a principle / Two hands longing for each other’s warmth.” The back beats kick in and the song reaches its potential with a light crashing noise filtrating the background. With “Still,” the trio grasps a strength that is captivating and memorable. —Lexy Brodt
32. Foxygen “No Destruction”
If there was one song this year that felt like your oldest pair of sneakers, it was “No Destruction.” Thanks to both Sam France’s dreamy vocals and the track’s lackadaisical tempo, “No Destruction” appears almost too relaxed, too good to be true. And maybe it is. Looking back on how Foxygen’s year went down, “No Destruction” actually reads as a pretty mocking mantra. I guess it just goes to show that no matter how hard you hold on, even your most faithful pair of kicks finds the can eventually. —Andrew Brandt
31. Sky Ferreira “You’re Not the One”
She’s 21, platinum blonde, rocks blood red lipstick, and writhes around in skimpy white skivvies in her latest music video. If you think I’m talking about America’s favorite good girl gone bad of 2013, think again. Sky Ferreira managed to do what Miley did for badassery without twerking on Robin Thicke. Her latest album made a splash with the cover alone (one word: boobs), and this ’80s pop-/’90s grunge-inspired gem should crystallize her in our collective memories as the Goth Madonna of our time. Keep your eyes to the Sky when she’s on tour with Miley next year. —Maia Pujara
30. Kanye West “New Slaves”
Back in July, Kanye tweeted that the second verse on “New Slaves” was the greatest rap verse of all-time. Well, *sigh* it’s not. Hell, I’d even argue that Kanye’s done better. “New Slaves” as a whole, however, was arguably Mr. West at his best in 2013: a blatant, bare-boned middle finger to the federal prison system featuring a fractured falsetto finish with Frank Ocean. The fact that it came from a man who flips the bird like its his day job yet it still managed to stand out was a testament to how shocking it was, and to how great it is. —Andrew Brandt
29. The National “Graceless”
The National seems notorious for a confusing blend of angst and uplifting desperation. “Graceless” fits right into their mold; the slides and echoes of the chorus are dizzying and mystifying. They give the listener a sensation of the passing moment, the thrill of time, the power of sadness, the glory of loss. The lyrics are difficult to interpret as the lines often seem like randomly combined non-sequitors. However, Matt Berninger’s voice is enough to captivate and upon the fourth, fifth, sixth listen, we start to understand that the song is really about the mess of pulling through, the practice of trying to put ourselves back together. —Lexy Brodt
28. Jagwar Ma “Come Save Me”
Australia’s Jagwar Ma were one of the most exciting acts to emerge in 2013. The psychedelic groovers’ single, “Come Save Me,” is a timeless-sounding, flawlessly-crafted pop track. The group does a good job blending their primary influences — Primal Scream, acid house, The Beatles — into a cohesive sound. “Come Save Me” begins like a ’60s throwback and slowly evolves into a dancier, more electronic groove. Howlin’, Jagwar Ma’s first album, was one of the year’s stronger debuts and it’ll be fun to see where the group goes. —Ryan Thomas
27. The Preatures “Is This How You Feel?”
It was a good year for The Preatures, an Australian group who managed to develop and refine their sound in the best of ways. The title track from their EP, “Is This How You Feel?” came as a surprise based on their less-than-stellar work previously available online — the song is a downright jam. A buoyant and irresistible rhythm-based pop single, it is clean and straightforward, easily digestible, and feel-good. Front-woman Isabella Manfredi’s vocals hover above the groove, staying engaging and yet somewhat transcendent. Turns out their good year was lucky for us, too. —Riley Beggin
26. Kurt Vile “Never Run Away”
“Never Run Away” may be one of the shortest tracks on Kurt Vile’s sprawling 2013 long player, Wakin on a Pretty Daze, but in no way does its lack of length detract from its excellence. In fact, thanks in large part to its ability to be compact and concise, “Never Run Away” is without a doubt Vile’s most accessible single to date. In other words, when you mesh lyrical sincerity with a catchy melody and place that over a summertime Tom Petty-styled guitar riff, the results are going to be pretty great. What more would you ask for from a love song, anyway? —Andrew Brandt
25. London Grammar “Hey Now”
Hannah Reid: London Grammar’s lead vocalist and, deservingly, the group’s focal point. Posted online early in 2013, “Hey Now” was the trio’s first release, relying on Reid’s resonating delivery to draw in an audience. Less than a year later, the group has toured their home country and ours, continuing to capitalize on their singer’s captivating sound. If you are thinking the studio recording may have polished Reid’s vocals more than reality would allow, a listen to their live studio performance will be a humbling experience. —Drew Curtis
24. Danny Brown “Dip”
Inescapable and sure to please nearly everyone in attendance, Daft Punk’s “Get Lucky” was probably the one song that got the party started this year. But every party progresses and every party gets a little weird. And four hours in, you probably don’t want to hear “Get Lucky,” do you? No, you want to hear Danny; you want the “Dip,” a.k.a. three minutes of everything we need: nods to both Freak Nasty and Watch the Throne, intense SKYWLKR production, and Danny ferociously spitballing in his high register. There’s always that one goer who needs to rev up the party, and no one kicked it like Danny in 2013. —Andrew Brandt
23. Disclosure feat. AlunaGeorge “White Noise”
“White Noise” is one of those ever-valuable tracks that work in any environment. The track fuses moments of electronic bliss with straight up pop vocals and rhythms. AlunaGeorge was one of 2013’s rising acts and their effortlessness in crafting pop tunes is pretty darn evident. With “White Noise,” you get the best of both worlds — Disclosure’s experimental grooves and AlunaGeorge’s pop sensibilities. The track was one of our favorites this year, and I don’t plan removing it from the rotation anytime soon. —Ryan Thomas
22. Water Liars “Fake Heat”
Definitely one of my most listened and most loved tracks of 2013, Water Liars’ “Fake Heat” is a near-perfect song. It’s also probably one of my most hated because of the whole brutal honesty, way too close to home thing it has going for it. It’s about that bad news kind of person that you just can’t seem to write off as a bad idea. The song is honest and sad and relatable and beautiful, and that is all you really need to know. —Rebecca Edwards
21. Caveman “In the City”
“In the City” is the expansive, looming type of music that makes you feel lost and a part of something all at once. The Brooklyn-based group has gradually picked up speed, releasing their second album this year to enthusiastic critical acclaim. Strong percussion, an aggressive, stay-with-you kind of tempo, and layered synthesizers that creates a type of musical landscape, this is not a song to miss. —Rebecca Edwards
20. Daft Punk feat. Pharrell Williams “Get Lucky”
When spring rolls around and you’ve finally had enough of all the ice and snow, you’re lucky if you can find the perfect song to lift you out of the winter blues. Earlier this year, we did indeed get lucky when Daft Punk slapped those blues out of us with this one. It seemed like you couldn’t go anywhere where “Get Lucky” wasn’t playing, making itself known as The Perfect Summer Jam. As you descend into winter, thank your lucky stars that you can bust this song out to re-live nights when you were up all night for good fun. —Maia Pujara
19. Parquet Courts “Stoned and Starving”
Brooklyn’s Parquet Courts are either the biggest slackers or the biggest geniuses to come out of punk rock this year. Their album, Light Up Gold, is a punchy, sarcastic ode to doing nothing for society and loving every minute of it. “Stoned and Starving” is exactly what it sounds like: frontman Andrew Savage is wandering through Queens really high, really hungry, and not thinking or caring about much else. The song puts you in a good mood with every thumping bass line, quick snare beat, and background mumble of the repeating “stoned and starving” mantra that Parquet Courts takes ever so seriously. —Mary Sullivan
18. Courtney Barnett “Avant Gardener”
Hazy psychedelia, lackadaisical grooves, and fun wordplay come pretty naturally to Australian singer/songwriter Courtney Barnett. “The yard is full of hard rubbish it’s a mess and
I guess the neighbors must think we run a meth lab” is a particularly choice line from Barnett’s single, “Avant Gardener.” She spits non-sequiturs like it’s her job (I spose it is, really) over an agreeable, psych folk backdrop and harks back to Beck’s glory days as a slacker in the mid-’90s. Barnett’s music has an inviting, down-to-earth quality that seems to evade many indie musicians of now. It’s perfect for a mid-day chill out. —Ryan Thomas
17. Arctic Monkeys “Do I Wanna Know?”
The first track on Arctic Monkeys’ 2013 release, AM, this song exemplifies their gradual move from frantic rockers to psychedelic crooners. It pulls you in at the first hit of the slow, definitive drum beat while keeping you mesmerized with the repetitive riff of the sole electric guitar in the first verse. From there it only grows into a loud, epic anthem of unrequited love and reckless actions; it has the ability to tug at the emotions of anyone who has drunkenly called someone they knew they shouldn’t. —Mary Sullivan
16. HAERTS “Wings”
Hitting Soundcloud in late 2012 as the first track from multinational group HAERTS, “Wings” was initially released as a way of testing the waters. The band was shocked by the overwhelming positive reaction, but the reasons behind it are obvious. The song is a comprehensive synth-pop ballad rife with ’80s references and veritably exploding with positive vibes. Like a whirling kaleidoscope of synth sounds and muddled drum beats, this track will sweep you up and float you away to a sunnier place. —Rachel Schroeder
15. ON AN ON “The Hunter”
All I can say is that ON AN ON has done something especially right here. The assaulting nature of the vocals in contention with the percussion and bass makes it so the song effectively captures the melancholy frustration that beautifully partners with a desperate need to experience, to strive, to frantically live life. It’s a feeling that creeps over you as the song reaches its musical climax, giving you the feeling you need to create something and destroy something at the same time. Long and short, ON AN ON has managed to create what has the potential to be one of the anthems of our musical generation. —Rebecca Edwards
14. ScHoolboy Q feat. Kendrick Lamar “Collard Greens”
“Collard Greens” and its infectious beat makes my head swim. This could be caused by the quick and heavy bass that jumps throughout the song like sugar-happy children in a bouncy castle. Billowing smoke clouds rising from each and every ScHoolboy Q verse could also be to blame for my altered reality. Throw in some extremely repetitive background lyrics as good as subliminal messaging and the song’s effects last long past the final note. Kendrick Lamar releasing a stream of profanities in Spanish only adds to this fun and foggy track. —Chris Kraemer
13. Lorde “Royals”
Once a track that I could not get enough of and now one I can’t seem to avoid, the immaculate “Royals” has hit the limelight while music snobs everywhere cringe at its warm reception into the mainstream. But so much like Gotye’s “Somebody That I Used to Know,” overplay may make the track start to lose its flavor but cannot take away from the quality of product itself. “Royals” boasts rich and enchanting vocals, intricate harmonies, rousing beats, insightful critiques of pop culture, and a now-17-year-old New Zealander to thank for it all. —Drew Curtis
12. Volcano Choir “Byegone”
A lot of us held our breath for the final quarter of 2012 when Justin Vernon announced that Bon Iver was over, or something. But it didn’t take too (metaphorically) long for that sigh of relief to come: Volcano Choir unleashed “Byegone,” the first taste of their inconsistent sophomore effort, this past June. And Bon Iver’s mits are all over this thing, whether it be the northern-heavy lyrics or the way the vocal clips and layered guitars amalgamate into a truly staggering, sweeping climax. With “Byegone,” Volcano Choir sounds inspired, and in turn they’ve created something inspirational — something that breathes home as resonantly to us Wisconsinites as any song I’ve ever heard. —Andrew Brandt
11. Savages “Shut Up”
The raw and intoxicating post-punk sound of Savages is intimidating to begin with. Then, their message kicks in, urging you to disconnect to actually engage. With a romping bass line and simultaneously driving and haunting vocals, the song reminds us to shut up and actually listen, a rarity in our technology-centric lives. In a year marked by pop hip-hop and dreamy indie-electronic tracks, “Shut Up” is a surprising hit of dark sound and revolutionary undercurrents — a welcomed cold splash of water to the face, in more ways than one. —Riley Beggin