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Best Albums of 2013: The Top Ten

We unveil our top ten albums of 2013, a year in quality music that offered several releases worthy of the #1 spot.
 
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Best Albums of 2013: #11 to #20

We begin digging into the top 20 albums of the year. Only the top ten remains.
 
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Best Albums of 2013: #21 to #30

The top albums of 2013 continue to be recapped, with the top 20 steadily approaching.
 
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Best Albums of 2013: #31 to #40

Our coverage of the best albums of 2013 continues, with an eclectic string of albums comprising the next ten releases.
 
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Best Albums of 2013: #41 to #50

Obscure Sound's annual 'Best Albums' feature kicks off with the first ten releases!
 
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Best Albums of 2012: Top Ten

Obscure Sound's top ten albums of 2012.
 
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Best Albums of 2012: #20 to #11

Obscure Sound kicks off the top 20 from a wonderfully diverse year in music. Check back for the remaining ten albums tomorrow.
 
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Best Albums of 2012: #30 to #21

Dubstep, electro-pop, punk, and stylistically ambiguous releases continue our favorite albums of 2012, as we pass the list's mid-way point.
 
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Best Albums of 2012: #40 to #31

Our 'Best Albums' feature continues with ten more excellent releases, ranging from intricate post-rock to sensual R&B.
 
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Best Albums of 2012: #50 to #41

Obscure Sound kicks off its annual 'Best Albums' feature... ten every day.
 
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  • @yourkingjevon’s new track “Where the Clouds Do Part” captivates from the get-go. A precise, captivating flow drives to a haunting melodic twist within the beat. The 44-second mark signals a shift in piano melody, followed quickly by wordless haunting backing vocals. What’s very evident is Jevon’s knack for structurally vibrant songwriting that feels fresh and alive. The Los Angeles-based MC/producer takes influence from the Golden Age of hip-hop, and has considerable experience. He released his first album Friday in 2012, following that up in 2017 with the album Trap Saiyan. This past New Years Day, Jevon released the second installment, Trap Saiyan 2. That release, along with the new “Where the Clouds Do Part,” shows that 2020 is likely to be a big year for Jevon. {Link to listen & artist’s creative process in bio}
  • “I Want You Mine” is a hypnotic charmer from @gabachomusic. Playful keys and murky guitars accompany chilling vocals, with the guitar twang at the one-minute mark leading nicely into the memorable chorus. There’s a quaint charm reminiscent of The Kinks, as well. The yearning and hypnotic qualities throughout the track are considerable, making “I Want You Mine” very easy to get lost within. “I Want You Mine” comes via Gabacho’s new self-titled EP. {Link to listen in bio}
  • “Low Days” is a melodically consuming effort from Belgian act @thefeathermusic. First impressing me with the gorgeous “What If” in 2013, the project continues with a mysteriously intoxicating aesthetic. “Low Days” sports twinkling keys alongside pulsing synth pad envelopment, giving way to lush vocals shortly thereafter. Just past the one-minute mark, the chorus arrives with vigor, an apt fit for the uncertainty today. “In the low days, we refuse to know,” the chorus exudes, building to a soulful bridge that twinkles delightfully, before one final go-round from the expansive chorus. “Low Days” is another success from The Feather. The Feather elaborate more on the track below: “This track is the first I recorded for my new upcoming album ROOM, almost 2 years ago. I wanted to make a clean break with my past works. It was also a song that I needed to write, to record at that very moment. A sunny synth melody for a twisted mind. It helped me to face some difficult moments. ‘Low Days’ are days when you can’t do anything but wait. Days when you have the strength nor the urge for nothing. The wait has always been worse than getting bad news for me. This song describes a time in my life made up of these expectations, a roller coaster made of solutions and disappointments. The chords and the musical color of the title clearly contrasts with the subject matter as if to pull the one who sings it up!” — Link to listen in bio
  • “Where Are We Now” is a beautiful new track from @merechildmusic, the previously featured project of Aimee Herbert-Smith. The Mazzy Star comparisons were evident with “Cold Light of Day,” and there’s a similarly consuming quality to this release. Melancholic acoustics and swelling strings establish a gripping beginning. Lushly contemplative vocals build to graceful brass-laden touches, followed by a peppy percussive entry. 02:58 is particularly memorable, showing an intermingling of percussion and subtle brass-like lingering. An orchestral swell meshes with synth work in the final minute to wrap this gem up with satisfaction. In explaining the track’s themes, the band writes the following: “Learning how to live with grief, and managing to still find beauty in the small things. Experiencing waves of stillness and chaos within moments of each other.” {Link to listen in bio}

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