2013 Tracks Of The Year – #20 – 16

9 Dec

Tracks of 2013 - 20-16

Here we go then with the second part of our Tracks of the Year countdown. After revealing the tracks that hit the spots marked 25 – 21 earlier today, it’s time to unveil the five songs that made it to the 20 – 16 places. But before we do, here’s a quick reminder of the random rules we have imposed upon ourselves.

The song doesn’t have to be an actual single and while that may seem a bit of a cheat, there’s a good reason behind it. We are looking at tracks that were released in one capacity or another over the last 12 months so that amazing album tracks will also be considered. We must note though, if a track was released online this year but will become a single next, then it won’t be included (“Anomaly” by Paper Crows fell foul of this rule for example). The only other arbitrary rule we have implemented is, one song per artist.

With that bit of admin out of the way, here are the songs we ranked from 20 – 16. Enjoy.


#20 Gems – “Medusa UN₡U₮”

We were originally going to put Gems’ “Medusa” here, but then, just a few days ago, they went and posted an uncut version of the track with an additional couple of minutes opening the track. Additional and different. The breathlessness is still there, the light as a feather monochrome beauty is still there but now the whole thing begins with something a bit more down to earth, a bit more base in tone. It’s still sparse but it doesn’t float, it is tethered to the ground, desperate to break free. These opening two minutes are like a walk through a long corridor in a stately home. Polished black and white tiles lead us to a great atrium where “Medusa” takes flight to the open sky above. It’s just wonderful.



#19 John Grant – “GMF”

He is the greatest motherfucker that we’re ever gonna meet (well, we hope to meet at least, it’s not happened yet) and on “GMF”, John Grant has no problem telling us. On an album that’s about as open and honest as it can get, “GMF” is one of many gorgeous and glorious highpoints. Introspective, self-depreciating, witty, angry, defiant, bombastic, broken, it runs a gamut of emotions while simultaneously sounding like one of the most sublime pieces of music around. The melody whispers and swirls like a solo waltz in the midst of shrapnel from a shattered and exploded relationship. Detritus lies all around, a memory here, a keepsake there, a heart still and cold discarded forlornly to one side as John stoically rises and falls through it all, bloodied but unbowed.



#18 Mononoke – “Alice”

Who Mononoke actually is, may remain a mystery for the time being but there’s nothing secretive about how sublime her debut track, “Alice” is. It’s a single tear of exquisite emotion with simple and stark chords alternating with finger clicks as the vocals caress the memories of a life that never was. It’s a beautifully haunting ballad that uses the imagery of Alice In Wonderland as a metaphor for something altogether more heart wrenching and bewitchingly beautiful.



#17 Mega Emotion – “Brains”

With their debut track, Mega Emotion announced themselves to the world with big seventies pop guitars and neo-disco basslines, brash, angular riffage and dark electro flashes. “Brains” is hyper addictive and bold, raw and powerful. The soft, cool (as the other side of the pillow) female vocals are superbly juxtaposed with the frenetic, non-stop energy of the track, and while you can’t get it out of your head, you still feel like it’s going to destroy you with its massive hooks and chaotically brilliant sound.



#16 Lorde – “Royals”

We came very late to the Lorde party this year, having somehow managed to not hear a damn thing by her until deep into autumn. We’d wondered what all the fuss was about and then, on hearing “Royals”, we got it. There have, evidently, been many arguments and discussions about her stance within the song (aspiration, envy, apathy etc) but all that is secondary to the quality of the music itself. For regardless of what else it may or may not be, or what people want it to be, it is a fantastic piece of pop. Lorde’s rich, soulful vocal resonates against the sparse beat and barely there tune. It’s bold and confident, yet restrained and understated. In fact, perfectly, it is the complete opposite of the brash in your face bombardment of the bling fuelled homogenised pop she is discussing in the song, and better than anything else that has come from those hit factories all year.



So that concludes the second part of our countdown, come back tomorrow for part three and the tracks we ranked 15 – 11.

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