Feature / Music / Year End 2013
2013: A Year In Review

You've seen our best albums of 2013; you've heard what artists think of the last twelve months. Now it's over to our writers to assemble their other top items of 2013: hip-hop, metal, live shows, indie EPs, goth records and more, just like every year. Click below to browse our year in review and see the things you may have missed in the year just ended.

- the SPB Team

1. 

   El-P & Killer Mike – Run the Jewels

   (Fool’s Gold)

   Well, they went and did it again.  Following a year that saw El-P and Killer Mike releasing two of the best albums in any genre, let alone rap music, both of which were produced by El-P, the two returned as the duo Run The Jewels.  And as it was expected to be by anyone who loves rap music and has a Twitter account, Run The Jewels is actually the best rap album to drop in 2013.  El-Ps beats were deep, scientific, tense, and so far beyond bass-heavy, that they needed to be heard with headphones (and possibly a senses-heightening substance) to be fully appreciated.  Cadence-wise, the duo attacked each track with sweltering intensity and unrestrained emotion.  Their verses effortlessly traversed between humorous witticism and cutthroat battering.

   - Nathan

2. 

   Tie: Gensu Dean & Planet Asia – Abrasions and Durag Dynasty – 360 Waves

   (Mello Music Group) / (Nature Sounds)

   Fresno, CA’s veteran underground emcee, Planet Asia had two of the year’s best rap albums—Abrasions with beatsmith Gensu Dean and 360 Waves with the Durag Dynasty posse.  MMG has a knack for pairing the right producers and emcees up with favorable results—as evidenced by last year’s Apollo Brown & OC - Trophies and Guilty Simpson & Apollo Brown—and  the Dean/Asia combo was one of the latest.  Gensu Dean, who’d gone largely unknown up to this point, crafted simplistic yet alluring loops rooted in boom-bap nostalgia.  As usual, Planet Asia masterfully rocked the mic with his commanding presence and sharp rhymes.  Durag Dynasty found him teaming up with emcees Tristate and Killer Ben, and prolific beat master Alchemist.  Although there was a minimal air of comedy involved, mostly due to imagery and the fact that they’re called, you know, Durag Dynasty, 360 Waves was an exercise in grimy cypher rap – a prominent example of mic skill and hard beats.   These two albums appealed to heads who want more out of their rap music than a clever hook and a generic trap beat.   

   - Nathan

3. 

   Guilty Simpson & Small Professor – Highway Robbery

   (Goliath / Coalmine)

   Detroit emcee Guilty Simpson has worked alongside some of the hottest producers in the game. With full-length collabos flanking Madlib, Black Milk, and Apollo Brown already under his belt, he stepped out in 2013 with burgeoning beatsmith Small Professor. Highway Robbery was a concept album set post-apocalyptic Detroit. Simpson’s signature rhyme scheme told the story of survival in the concrete jungle, while Small Professor’s menacing, percussion heavy, scratched-up boom-bap pounded its way forward in neck-snapping fashion.

   - Nathan

4. 

   Ill Bill –The Grimy Awards

   (Fat Beats)

   Over a decade has passed since The Future Is Now, the debut album by the now-defunct group Non Phixion. Featuring a grip of hip-hop’s most sought-after producers and some menacing and poignant lyricism, it was the vehicle that placed Ill Bill immediately into the annals of underground hip-hop greatness.  For his latest in a fertile catalog of work that includes numerous collabos, supergroups, mixtapes and solo records, Ill Bill returned to that early formula of using high profile beatsmiths and spitting venomous rhymes.  The album featured backing from the likes of Large Professor, Pete Rock, the Beatnuts, DJ Muggs, El-P, and DJ Premier, which of course droves the sonic direction into hard-hitting boom-bap. But Ill Bill’s lyricism and delivery was totally on point too.  Not only did he do the requisite murder and paranoid conspiracy raps, but he got deeply personal about his life, loved ones, and how much hip-hop (and even heavy metal) shaped him.  The Grimy Awards was as near a “classic” rap record as we’ve heard in a while. 

   - Nathan

5. 

   Roc Marciano – Marci Beaucoup

   (Man Bites Dog)

   Roc Marciano makes noir-style rap music that’s perfect for a headphone session. Whether riding a train through the city or laid back on the couch with a splif, Roc’s gravely accent and distressing  wordplay swirls its way into your ears, demanding your astute attention.  Marci Beaucoup was full of his enthralling production; managing to sound experimental while still exhibiting evident nuances of classic New York hip-hop. While he handled all the beats and appeared on every song, he also brought aboard a bevy of guest emcees including Evidence, Quelle Chris, Ka, Boldy James, Action Bronson and Guilty Simpson. (See also: The Pimpire Strikes Back mixtape)

   - Nathan

6. 

   Pusha T – My Name is My Name

   (Def Jam / GOOD music)

   After turning in a somewhat disappointing trap-orientated mixtape called Wrath of Caine early in the year, Pusha T came back hard with a capital H on his debut album My Name is My Name. Against a backdrop of alluring, and often times mean-sounding beats handled mostly by Kanye West, Pusha was the most urgent and focused he had been since his Clipse days. Whether he came with braggadocios rhyme style or was sharing personal insights—often times switching up his cadence and using different vocal tones—he kept you glued to your headphones throughout the duration of the album. In many ways, My Name is My Name is the good kid/m.A.A.d. City of 2013.

   - Nathan

7. 

   Ghostface Killah & Adrian Younge –Twelve Reasons to Die

   (Sonic Temple)

   Twelve Reasons to Die was the latest in a recent catalogue of hits ‘n’ misses for the Wu Tang Clan’s Ghostface Killah.  More in line with the hits Fishscale and Apollo Kids than the misses The Big Doe Rehab or Ghostdini, the album was produced entirely by beat-maker Adrian Younge, and narrated by Wu head honcho RZA.  Twelve Reasons was a concept album of sorts.  Ghost played Tony Starks, a former enforcer for a crime family, who was murdered by the mob after falling in love with the boss's daughter.  His remains were melted in vinyl and pressed into a dozen LPs that, when played, revivified him as the Ghostface Killah.  He then exacted his revenge on his killers.  It’s often been said that rap music is cinema for the ears, and it couldn’t be truer with Twelve Reasons.  Not since a Prince Paul album, do I recall story time rap being taken to this level.  The synergy between Young and Ghost is so air-tight it’s hard to believe this was the first project they’ve done together. (See also: Ghostface Killah & Apollo Brown – The Brown Tape cassette.)

   - Nathan

8. 

   Tie: A$AP Ferg – Trap Lord and A$AP Rocky – LongLiveA$AP

   (A$AP Worldwide / Polo Grounds Music / RCA)

   A$AP Mob’s biggest stars released albums this year; beginning with A$AP Rocky’s long-awaited LongLiveA$AP in January, and ending with A$AP Ferg’s highly-anticipated Trap Lord in August. The two records complement each other well, as Rocky fits in with the oddball party rap styling of Danny Brown or 2 Chains, while Ferg holds down the thuggy gangsta end of things. As well, both records are shining of examples of what popular hip-hop sounds like in the year 2013. That is to say, despite geographic location (in this case NYC) the South’s impact (trap in particular) on rap music cannot be ignored.    

   - Nathan

9. 

   R.A. the Rugged Man – Legends Never Die

   (Nature Sounds)

   In a career that dates back to the early ‘90s, Legends Never Die was actually only the second album from boxing fan/cult film aficionado/hip-hop historian/magazine writer/rapper R.A. the Rugged Man. Although the album featured guest spots from the likes of Talib Kweli, Tech N9ne, Masta Ace, and Brother Ali, it was R.A. who shone the brightest. The album showed he had grown as an emcee in the nine years since his last release. He flexed a breathless, multi-syllable style of rhyme-slinging, against a backdrop of boom-bap provided by Buckwild, Apathy, C-Lance, Marco Polo and others. 

   - Nathan

10. 

    Quelle Chris – Ghost at the Finish Line

    (Mello Music Group)

    Following an excellent mixtape titled Niggas is Men early in the year, Detroit emcee/producer Quelle Chris dropped his latest album, Ghost at the Finish Line. It was an insightful look at “art and life, and the realities and illusions that blur the two.” The album featured guest spots from a number of notables, including Alchemist, Guilty Simpson, House Shoes, Black Milk and more. Beats were handled by Denmark Vessey, Knxwledge, Oh No, Chris Keys and Quelle Chris himself. Ghost at the Finish Line was Chris’ best effort to date.

    - Nathan

11. 

    Earl Sweatshirt – Doris

    (Tan Cressida / Columbia)

    After an involuntary stay in boarding school, Odd Future’s cult-like figure Earl Sweatshirt returned to the limelight that had been awaiting him for three-plus years. Doris was the genius piece of art fans and critics alike had been waiting for since 2010. While Earl’s lyricism and rhyme play was as impressive as expected, and largely free of the murder ‘n’ misogyny that ruled his previous material, much of the albums brilliance came at the hand of his producer alter ego “randomblackdude.” Doris was full of brooding, cloudy beats that helped convey an overall feeling of a dark reality.     

    - Nathan

12. 

    Freddie Gibbs – ESGN

    (ESGN, Empire Distribution)

    Gary, Indiana’s Freddie Gibbs is one of hip-hop’s emerging talents and somewhat of an enigma in the rap game. He's seemingly as comfortable collabing with well-known producers like Madlib as he is rapping over disposable trap beats. After a string of successful mixtapes dating back to 2004, Gangsta Gibbs finally unleashed his debut album ESGN unto the eager masses. While there were a few slight drawbacks--in that the majority of the production was done by relatively unknown trap producers, and the whole thing clocked in at 75-plus minutes--there were more than enough high points to make it stand apart, where others albums were easily lost in the shuffle. As far as delivery goes, Gibbs was near-perfect throughout the entire album, proving that he can hold his own alongside some gangster raps most historically revered artists. 

    - Nathan

13. 

    Ka –The Night's Gambit

    (Iron Works)

    Brooklyn’s little-known emcee/producer Ka is a working class professional by day, who makes rap music on the side. His D.I.Y. or die approach to hip-hop is straight punk rock. He’s the type of hushed innovator that goes largely unnoticed by the masses but is held in esteemed regard amongst underground heads. While it’s often stated that he resides in the boom-bap nostalgia of the ‘90s, his beats on The Night’s Gambit were too ominous and ambient for that comparison for that to be wholly accurate. In fact, often times he used no drums at all. Instead he relied on simple orchestral loops, which worked well with his vocal tone. Much like his compadre Roc Marciano, his gravelly voice effectively transmitted the dark subject matter of his song writing. 

    - Nathan

14. 

    Inspectah Deck and 7L & Esoteric – Czarface

    (Brick)

    Revisiting a collaboration that first appeared on the title track of Speaking Real Words, the debut EP by 7L & Esoteric, the Beantown duo teamed up with Wu-Tang Clan’s Inspectah Deck again. Some 14 years later the three veterans came together with a full-length superhero project titled Czarface. Taking into account the back catalogue of the parties involved, it came as no surprise that the modus operandi was gritty, hard-line boom-bap. The album was a clear indication that both Esoteric, at over a decade in the game, and Deck, at nearly twice as long, are still exceptional rhyme-slingers. The two effortlessly intertwine braggadocios liberetti with a myriad of cleverly placed pop culture references, and did so at well-paced clips. Amidst a period of rap music that sees increasingly less emphasis placed actual mic skills in favor of marketable personality, Deck and Esoteric remind listeners that emceeing is still a true art form. (See also: Esoteric & Stu Bangs – Machete Mode.)

    - Nathan

15. 

    Termanology – G.O.Y.A. (Guns or Yay Available)

    (Brick)

    G.O.Y.A. found Lawrence, MA’s Termanology picking up where last year’s Fizzyology, his collabo project with Lil Fame of M.O.P. left off. It was another unapologetic dose of potent East Coast street rap, from an emcee that’s lived that life. In the past Term had worked with well-known producers like DJ Premier and Statik Selektah, but in keeping with the unforgiving griminess of this project, his entire beat selection came at the hands of a relative unknown in Shortfyuz. (See also: Hood Politics VII mixtape.)

    - Nathan

16. 

    Tie: Boldy James & Alchemist – My 1st Chemistry Set and Prodigy & Alchemist – Albert Einstein

    (Decon / Mass Appeal) / (Infamous)

    Beatmaker extraordinaire Alchemist had yet another productive year.  Aside from Durag Dynasty, he also provided the soundscapes for longtime collaborator Prodigy of Mobb Deep on Albert Einstein and up ‘n’ comer Boldy James on My 1st Chemistry Set. Alchemist’s genius has never been about pushing his emcees into new territory, but rather his ability to compliment their strong points with apropos beats. The production on Albert Einstein hit a little harder and is more on the boom-bap tip, which matched Prodigy’s gritty, braggadocios rhymes well. My 1st Chemistry Set found him providing eerie, orchestral beats that rolled in sync with Boldy’s laidback, oft-monotonous rapping.

    - Nathan

17. 

    Danny Brown – Old

    (Fool’s Gold)

    While Old was a bit of a departure from Danny Brown's previous material, it’s not at all surprising that the guy that has a fucked-up emo-style haircut, sponges much of his fashion sense from punk rockers, gets oral sex on stage from fans (allegedly,) and calls himself the Black Brad Pitt, would go and put out a rap album with left-field techno beats on it and a confusing narrative. Half the album he spent exercising the demons of his former life. The other half he was celebrating his current life, which, if you’re not paying close enough attention to the details, sounded a lot like his old life.  But that’s part of the brilliancy of Old – it's blatantly honest. Brown packed his verses with an interpersonal commitment to the details as he set up the scenes, told the stories, and expressed how he felt about all of it

    - Nathan

18. 

    Denmark Vessey & Scud One – Cult Classic

    (Dirty Science)

    Produced in full by Chicagoan Scud One, the soundscape of Cult Classic relied heavily on simplistic soul, R&B, and psychedelic rock sample flips. Detroit emcee Denmark Vessey spun a tale of an ambitious rapper who somehow ended up becoming a cult religious leader when hip-hop didn’t provide him the fame and riches he had hoped it would.  As far as rap concept albums go, and one about religion no less, Cult Classic worked really well thanks to their tight deejay / emcee synchronicity. Much like frequent collaborator Quelle Chris (who appeared on one track) Vessey’s lyricism and off-kilter flow kept listeners engaged throughout the entire album, while Scud One's beats helped things move along nicely. (See also: Don’t Drink the Kool-Aid mixtape)

    - Nathan

19. 

    Cage – Kill the Architect

    (Eastern Conference)

    Much like 2009's Depart From Me, Cage’s 2013 album Kill The Architect might not have jumped out and grab the listener immediately the way Hell’s Winter or Movies for the Blind did. But after spending some time with it, it became clear that that was never the intention. This record was more about the journey than it was the impact. No, he didn’t recapture the glory of his first two albums, but unlike Eminem, who he is oftentimes unfairly compared to, he wasn’t at all trying to. Cage has indeed killed the architect, just as he departed from himself last time around. (Perhaps it’s time to start taking his album titles literally.) This album showed us a Chris Palko that’s grown bored of backpacker boom-bap and shock value rap. He slowed his cadence a bit and employed the trip-hop production of DJ Mighty Mi, the Eastern Conference label head whom he’d recently reconciled with. It’s unfair to compare this record to his previous ones, as many critics have, because it’s not that it wasn’t good; it was just a different kind of good. 

    - Nathan

20. 

    Swollen Members – Beautiful Death Machine

    (Suburban Noize)

    Beautiful Death Machine was the eighth studio album by the Vancouver, British Columbia rap group, Swollen Members. It was the type of record requires complete attention and repeated plays to fully sink in. Emcees Madchild and Prevail spit crazy-provocative lyricism that pierced the cerebrum; while Rob The Viking twisted-up mesmerizing, neck-snapping beats. The whole thing was dark and perverse. Both lyrically and in delivery, the two emcees were completely on point throughout the entire record. Beautiful Death Machine was clearly a focused attempt to snatch rap supremacy by the throat and strangle it into submission.

    - Nathan

21. 

    Deltron 3030 –Event 2

    (Deltron Partners / Bulk)

    In what has been rumored to happen for several years now, emcee Del the Funky Homosapien, producer Dan the Automator, and deejay Kid Koala came together again to reform the futuristic alt hip-hop group Deltron 3030. Event 2 found Del reprising his role as Deltron Zero, a hero sent here to take on the giant corporations and big governments that attempt to rule the world. Only this time around his outlook was a little bleaker. His rhymes were as on point as ever, but he’d dialed back the humor a bit, in favor of a more focused lyricism.  For better or worse, listening to Event 2 reminded you of everything that’s gone wrong in the World in the last 13 years.

    - Nathan

22. 

    Kool G Rap & Necro (Godfathers) – Once Upon a Crime

    (Psycho + Logical)

    Once Upon a Crime was the result of two storied NYC impresarios teaming up for murderous, street-heavy horrorcore rap theatrics. Godfathers brought together legendary, influential rap master Kool G Rap and emcee/producer Necro. Most of the record’s production was similar to that of Necro’s previous work. It was mostly gloomy, repetitive loops and simple yet hard-hitting drums that pushed the overall sonic direction. The two emcees painted narratives of two violent criminals who spit one evil-tongued violent threat after another throughout the duration of the album.  As far as delivery is concerned, it came as no surprise that Kool G Rap, who is often credited as the inventor of gangsta rap, clearly outshone that of his makeshift understudy Necro.  However both had such tightly-wound raps that they complemented each other well.  There was absolutely no positivity or consciousness within’ the confines of Once Upon a Crime, but rather it existed in the vein that rap music often does: escapism for escapism’s sake.

    - Nathan

23. 

    Edo. G – Intelligence & Ignorance

    (Envision Entertainment)

    Intelligence & Ignorance was the latest in a long string of releases dating back to 1991 for Boston veteran emcee Edo. G. Over the course of 10 tracks Edo explored the dual existence of that which the album was named. There were songs that advocated intellect, empowerment, and positivity as well as tracks that dipped into in the mindless pursuit of material wealth and the discord of ignorance. The majority of the production was handled by Microphono, who provided soulful boom-bap beats. 

    - Nathan

24. 

    Tie: Marco Polo – Newport Authority 2 and Marco Polo – PA2: The Director's Cut

    (Spaghetti Blender) / (Soulspazm)

    NYC’s Marco Polo put out two the year’s best producer albums. Newport Authority 2 dropped first; featuring a bunch of songs that “politics and industry bullshit” prevented from appearing on his soon to be released PA2: The Director’s Cut. He added intros and interludes, had deejays Shylow and DJ Revolution drop record scratches on it, and then got it mastered as an official album. It featured veteran emcees like Rakim, Big Daddy Kane, Tragedy Khadafi and Das EFX, as well as contemporaries like Torae, Big Gutta, and Jaysaun. Later in the year PA2 came out. It was chock full of his signature boom-bap production, narration by Michael Rapaport, and more cuts from DJ Revolution. The emcee feature list was a virtual who’s who of the genre’s most revered and highly skilled rhyme slingers; Organized Konfusion, Ill Bill, Rah Digga, Large Professor, Inspektah Deck, O.C., MC Eiht, King Tee, Lil Fame, Styles P, and Masta Ace, all dropped verses. Both records were prime examples of tailor-made boom-bap that appealed to Golden Era aficionados and underground heads alike.

    - Nathan

25. 

    Kid Tsunami –The Chase

    (Head Bop / Fat Beats)

    The Chase was the debut album from Perth, Australia’s producer extraordinaire Kid Tsunami.  As someone who appreciates all forms of hip-hop (at least for their mere existence, if anything) I don’t really like throwing around terms like “real hip-hop” because I think it cheapens the evolution of the art form and more-or-less excludes anything that’s not boom-bap. But I’m going to give myself a pass here and just say it:  This was some real-ass hip-hop!  Dude is a student of the game, as he has obviously immersed himself in classic hip-hop.  And by that, yes, I do mean BOOM-BAP.  The Chase was 16 tracks, constructed from soul, jazz and funk sample flips, with a cornucopia of emcees rhyming on them. Kool Keith, Sean Price, OC, Masta Ace, Sadat X, J-Live, Craig G, AG, Kool G Rap, KRS-One, Pharaoh Monch, Jeru the Damaja, and took turnes in the vocal both.  DJ Bless also left his mark on the project, as he flexed his impeccable turntablism skills, mixing the whole thing together and dropping some serious cut-laden hooks.

    - Nathan

26. 

    DJ Skizz - B.Q.E. (Brooklyn-Queens Experience)

    (Soulspazm, Inc.)

    B.Q.E. was the debut album from DJ Skizz, a producer and turntablist known for his work behind the boards of heavyweights like Lil Fame, Havoc, Sean Price and countless others.  Skizz culminated his 10-plus years in game with an album full of hard-knocking boom-bap beats, record scratching, and grimy versus courtesy of A.G., Cormega, Craig G., Ill Bill, Infamous Mob, Masta Ace, O.C., Tragedy Khadafi, Roc Marciano and a whole bunch of other rugged-tongued East Coast emcees. When I say “hip”, you say “hop!” 

    - Nathan

27. 

    Tony Touch – The Piece Maker 3: Return of the 50 MCs

    (Touch Entertainment / Red River Entertainment)

    Deejay/producer/rapper/radio show host Tony Touch entered the rap game during the renaissance era of the early 1980s. Influenced by pioneers like Grandmaster Flash, Red Alert, and Jam Master Jay, he focused his interest on the turntables. For his sixth album, he wanted to do something special to pay tribute to era in which he came up. So over the course of two years, he took his time compiling beats and securing verses from some of his favorite contemporary rappers. The end result was The Piece Maker 3: Return Of the 50 MCs, a compilation of beats, rhymes, and cuts that celebrated an era of rap music when boom-bap was king and strong mic skills were crucial to an emcee’s survival. If you could only had one album to rock a party with this year, Return of the 50 MCs was it.

    - Nathan

28. 

    Oh No – Disrupted Ads

    (Kash Roc Entertainment)

    Early in the year beatsmith and sometimes emcee Oh No, released Disrupted Ads, his production-based album structured loosely around an infomercial-styled cigarette ad from the days before cancer.  It was a well-formed creative compilation of musical snippets, retro audio samples, and brief emcee appearances from the likes of Rapsody, Psalm One, Tristate, and Souls of Mischief. Moody, psychedelic, and dystopian, it played like neck-snapping cinema for the ears. 

    - Nathan

29. 

    Statik Selektah –Extended Play

    (Showoff / Duck Down)

    After 2012 that saw him sort of spinning his wheels--teaming up for uninspired full-length projects with Termanology and Reks--deejay/producer/ perennial workhorse Statik Selektah returned in 2013 with a solid solo outing titled Extended Play. Front to back, the album was jam-packed with hard-hitting beats, faultless vinyl cuts, and cipher-style emceeing that followed the boom-bap blueprint of forefathers like DJ Premiere and Pete Rock. At 18 tracks and a monstrous 38 guest emcees, some of whom make more than one appearance, Extended Play was a nonstop hour of real-ass hip-hop party music.

    - Nathan

30. 

    P-Money – Gratitude

    (Dawn Raid / Duck Down / Dirty)

    NYC by way of New Zealand producer P-Money returned with his sixth album Gratitude. After the dance-orientated styling of his last album, he reverted back to his hip-hop roots with a grip of head-nodding East Coast-style boom-bap beats and a bit of R&B. Clocking in at a favorable 40 minutes; Gratitude featured emcees Talib Kweli, Pac Div, Skyzoo, M.O.P., Freddie Gibbs, Havoc, Buckshot and Roc Marciano. 

    - Nathan

• 

  Gateway District - Old Wild Hearts

  (It’s Alive)

  This Twin Cities-based band has a working-for-the-weekend vibe to them, celebrating the good times and letting your Saturday nights roll. On their third LP, the transition continues from earlier works. For a band that started as a one-off 7”, they’ve now hit stride and found their voice. The sound is a strong pop influence that clashes with mid-tempo, guitar-heavy punk. The pop seeps into memorable choruses, and also in the backing vocals. It has a bounce to its step, well accentuated by the vocal trade-offs that keep the energy flowing. 

  - Loren

• 

  Autistic Youth – Nonage

  (Dirtnap)

  These Portland suburbanites play a clean, insistent style of pop punk that’s been injected with a bit of garage rock, ‘80s hardcore, and a healthy dose of classic power pop ala The Buzzcocks. With its driving melodies, gang vocals and upbeat tempo, it’s the kind of punk rock party music that makes partially-jaded old-school dudes like me drag our butts of the couch and start dancing around.

  - Nathan

• 

  Broken Prayer - Self-Titled

  (Sorry State)

  Here’s some condescending, pissed-off, experimental hardcore from Chicago. Like some crusty D-beat guys let one their younger brother’s play his synths with them but only if he got fucked-up on cold medicine and cocaine first. The vocals, which are on the Pissed Jeans / Raw Nerve / mysterious guy tip are awesome, and the driving force behind the record.  

  - Nathan

• 

  Coke Bust – Confined

  (Grave Mistake / Refuse)

  After a lengthy discography of splits and EPs, this Washington DC DIY straight-edge crew returns with just their second full-length LP.  Angry, fast, poignant hardcore is the name of the game here.  Tough vocals, the occasional breakdown, and mean guitars that squeal from one song to the next.

  - Nathan

• 

  Cokskar - Repetitive Stress 7"

  (Self-Released)

  Female-fronted grindcore out of Minneapolis, MN. More on the punk side of things than the metal. Speaking in fragmented sentences trying to describe this is apropos, so I’ll continue to do so. Spastic, unfettered aggression, driven foremost by the hyper-fast, chipmunks-on-speed vocals. Clever and biting lyrics when decipherable. 10 songs that are over before they even started. The first one is called “Powerviolence.” So there’s your frame of reference. Awesome.

  - Nathan

• 

  Condominium - Carl 7"

  (Sub Pop)

  This St. Paul three-piece started out playing fairly straight-forward ‘80s-influenced hardcore punk, with Greg Ginn-style guitars and all the trimmings, but over the course of six pieces of wax, they have evolved into a uniquely original entity. Their latest EP finds them furthering the noise and arty experimentation that left a mark on 2011’s Warm Home LP, but also digging their claws even deeper into the feverish anger from which they were born. Each component of their sound is functioning at a high level of intensity. The vocals sound meaner than ever before, the bass playing is downright nasty, the guitars are urgent and assaulting to the senses, while the drums fill every available nook and cranny with skillful pummeling. This is a powerful piece of art, and a strong indicator that these guys are capable of taking hardcore to places rarely explored.

  - Nathan

• 

  Culo - My Life Sucks and I Could Care Less

  (Deranged)

  Crazy fast hardcore from Chicago, in the same vein of some of the greats. Think Tear It Up, DS-13, Los Crudos, or 9 Shocks Terror but with fingerless black gloves and a red beret. This is their first LP aside from Life is Vile and So Are We, which was a collection of all their previous highly-touted 7”s. Lyrics that are both scathing and humorous paired with some lightning-quick rock ‘n’ roll-infused thrash. Pretty much timeless, and certainly not to be slept on. One of the better bands on the scene in the last few years.

  - Nathan

• 

  Daylight Robbery - Distant Shores 7"

  (Dirt Cult / Poison City)

  This Chicago trio play upbeat punk, with dual male/female vocals, and pulse-pounding, rhythmic trappings that draw heavily from some of punk rock’s most historically revered artists. Wire, X, Blondie; lazy comparisons, but not at all inaccurate. This EP hasthree moody, captivating tunes that embrace various musical shadings from within’ the genre. There are bits of post-punk, garage rock and melodic trad-punk at play here that makes for a really enjoyable listening experience.

  - Nathan

• 

  Deadly Reign - Slave 7"

  (Profane Existence)

  This three-piece unit out of Austin, TX plays a Portland-by-way-of-Scandinavia strain of D-beat. The three songs here are tonally deep, entrenched in modern-day crust, and very well-produced. This isn’t on the chaotic noise end of the D-beat spectrum; rather it’s very clean and polished, in the epic style typical of acts like Wolfbrigade or Passiv Dödshjälp

  - Nathan

• 

  Despise - Desolate b/w Inebriated 7"

  (Profane Existence)

  Despise’s songs are deliberate, forceful blasts of punk obliteration, just as much as they are a subtle cultivation of gloomy, blackened nervousness. By incorporating aspects from the crustier side of black metal, they successfully convey dark tones without compromising any thrashing vehemence. Throat-ripping female vocals are consistently growled, rather than given the “blown-out” effect vindictive the recent raw noise trend. The instrumentation remains equally unswerving; the mix never allows for one player to outshine another. Whereas side A leans more in the metal direction, the flipside shows a band that is no-doubt indebted to the artless D-beaten torrent of classic Minneapolis crust punk.

  - Nathan

• 

  Destruction Unit – Void

  (Jolly Dream)

  Out of the deserts of Arizona comes this art-damaged, freakout post-punk. It’s rhythmic, brooding, and partially psychedelic. Sort of like sludgecore that’s been given the darkwave treatment –swirling, atmospheric yet lumbering soundscapes matched with detached vocals. Think Ian Curtis singing for Kylesa or something. 

  - Nathan

• 

  Gas Rag - Human Rights 7"

  (Beach Impediment)

  A rock ‘n’ roll brand of D-beat from Chicago that’s taken the punkers by storm. This EP follows up the much-adored demo tape from earlier in the year. In fact it was recorded during the same session. Sex-starved, pizza roll pimple-core that makes you feel a just little bit creepy. Get into it.

  - Nathan

• 

  Hoax - Self-Titled

  (Self-Released)

  This is just brutal and nasty fucking hardcore. These degenerates are getting a lot of attention as of late and not for lack of good reason. Dark, gut-wrenching, self-absorbed vocals meet head-on with an unprocessed, strident, airy style of punk that falls somewhere between D-beat and black crust. If these guys don’t break up first, they will undoubtedly get huge(er) and no one will be surprised but everyone will complain about it; which will be kind of a shame because this shit is exceptional.  

  - Nathan

• 

  Iceage - You're Nothing

  (Matador)

  Rather than reiterating what others (read: the Internet) have said about how this record is more aggressive than their critically acclaimed debut (which it is,) how Elias Rønnenfelt’s vocals are more present and urgent than before (which they are,) how the apathetic, gothic tendencies are gone in favor of enthusiastic, thrashing punk (which is fairly accurate but not entirely true,) and how it is not only one of the best punk albums of the year (which it undoubtedly is) but one the best albums in all of music (which is probably true but still debatable)—even though in saying so, I just did exactly that—I would instead like to say this: Regardless of how you feel about a bands intentions, or your affinity for DIY-produced punk, or disdain for mainstream coverage, sometimes you just have to admit that band made a really fucking good record. This is one of those times. 

  - Nathan

• 

  Joint D - Satan is Real Again, Again, or: Feeling Good About Feeling Good About Bad Thoughts

  (Sorry State)

  Hailing from North Carolina this quartet delivered their second full length in as many years.  Catchy, tension-filled fringe punk, shot with a load of ‘80s west coast hardcore. It’s oddly unique and rocks with a driving intensity that demands attention. While the title is clever, and certainly a mouthful, it should be noted that it’s also a play on a similarly-titled 1996 album from Scottish art punkers Country Teasers.  

  - Nathan

• 

  Kontrasekt- End of Destruction

  (Vex / MCR)

  Massive, subterranean-sounding crust punk from the bullet belted landscape of Minneapolis. The bass guitar is so fucking nasty on this that when you spin it, dust falls from the ceiling. The drums will give you a Dis-beaten panic attack, while the guitars grind into your temples, leaving you with permanent sense of displacement. Deep, reverb’d-the-fuck-out all black everything. 

  - Nathan

• 

  Krang - Broken Waves 7"

  (Profane Existence)

  With their latest EP, these Chicagoans treat us to some fine face-melting stench. The guitar work is first-rate. Weighty thrash riffs are peppered with erratic fills and soaring leads for a searing assault on the senses. The vocals are a bleach-gargled exasperation of anger and misery, and redolent of the crustier side of black metal. Everything is amplified just enough to give it a really crunchy, unrestrained air of noise that perfectly encapsulates the hellish intersection of thrash metal and crust punk.

  - Nathan

• 

  Kromosom - Live Forever

  (Southern Lord)

  Noisy and downright nasty crust punk out of Australia. This is a discography of all of their previous vinyl-only material on CD for the first time. It’s total blown-out madness from former members of Pisschrist and Schifosi and current members of Nuclear Death Terror, Leprosy and Bloody Hammer. Totally raw. Go nuts to it.

  - Nathan

• 

  Much Worse - Macrocosm is a Wash

  (Forward)

  Following up a couple of excellent 7”s, this is the first full-length LP for this Minneapolis crew. Spun from the same Mecca-like breeding ground as Brain Tumors, Wild Child, Total Trash, Condominium, and countless others, this band plays a brand of ‘80s-style hardcore that sounds like Boston and Japan going to war in a cage match. It’s agro, it’s bloody, and nobody that enters is will come out unscathed.

  - Nathan

• 

  No Power - No Peace

  (Sorry State)

  The debut LP from this North Carolina unit. There are subtle elements of garage and psych at but it’s primarily raging hardcore punk, with a noticeable emphasis on the noise. It's a primitive and blown-out style of D-beat that’s been injected with a distinctive dose of artiness and then drenched in feedback. Although he’s not stretching the margins of hardcore vocals too far, the singer is still able to effectively convey a variety of emotion. The rhythm section steps outside the Dis zone for brief periods of erratic improvisation, trying as best as they can to keep up with the lightning fast guitars, which squeal and swirl all over the place; driving the band’s sonic direction into eardrum-bursting realms.

  - Nathan

• 

  Pissed Jeans – Honeys

  (Sub Pop)

  Over the course of the past decade this quartet out of Black Flag/Flipper-worshiping Pennsylvanians has held somewhat of a polarizing position in the punk lexicon.  They have little regard for hallowed punk ethos and politics, singed with Sub Pop, and wrote songs about ice cream and scrapbooking. And they did it all while kicking mucho ass in the rock ‘n’ roll department and shooting a knowing wink at their detractors.  There latest record finds them exploring further “un-punk” subject matter, with songs concerning the dullness of working an office job, checking emails, cafeteria food, choosing health plans, and trying to spice up stagnant relationships. This is what happens when teenage punk angst gets drawn into the doldrums of adulthood. To call them a joke band would be incorrect, as they are blatantly self-aware and openly shameful of their own narcissism.  

  - Nathan

• 

  Raw Meat - Demo on a 7"

  (Vinyl Rites)

  This now-defunct group of New Yorkers, which featured members of Rival Mob and Nomos, played crazy-aggressive hardcore that’s not easily dismissible. Pissed-off, throat-burning vocals grind against a massive wall of fuzzed-out, loud, fast and crunchy riffage. These are songs from their demo cassette that have been remixed and re-mastered, and then pressed to vinyl, with the addition of the Combat 84 cover, “Rapist.” It’s nearly impossible for the listener to walk away from Raw Meat unscathed, as it’s a bruising incident on the uglier side of hardcore.

  - Nathan

• 

  Rifle Diet - Abuse Begets Abuse b/w The Affected 7”

  (Profane Existence)

  Up until 2011 these Minneapolitans were known as Thrash Compactor. Along with the name change is a noticeable shift in sound – the band moved into a darker direction; ditching much of their fastcore roots in favor of a heavier, neo-crust approach. The two songs here are molasses-thick coagulations of galloping sludge, plodding D-beat, and punishing hardcore, sprinkled with heavy metal guitar posturing and female vocals that are both snotty and throaty at the same time.

  - Nathan

• 

  Rough Kids - The State I'm In

  (Sorry State)

  This is super catchy ‘70s style punk rock out of Los Angeles. There are some regulus rock ‘n’ roll parts, and a bit of new wave, but the emphasis on traditional guitar-driven Brit punk is the most apparent. A nice reminder that before punk got all muddled up in subgenres it thrived in simplicity. Sloppy in all the right places, concise, totally rockin’, and absolutely not to be missed.  

  - Nathan

• 

  Shaved Christ - Bad Mind 7"

  (Bakery Outlet)

  Aggressive, despondent hardcore from Athens, GA. A throwback to the ‘80s era of hardcore that sprouted up across America, giving life to bands like Middle Class, Articles of Faith, Scream, and countless others. The soundtrack to your teenage years has come back to kick you in your middle-management, cubicle-dwelling ass. Go out the parking lot, spray paint “Fuck This Life” on the hood of your boss's car, and then dance on the roof of it while drinking a forty.  

  - Nathan

• 

  Stoic Violence -Self-Titled

  (Video Disease / Katorga Works)

  Charging out of Southern California, these hostile fuckers unleash a pissy, self-loathing USHC brand of vitriol of onto the boot-strapped, Canadian tuxedoed masses. Beating on your undeserving eardrums with grating  guitars and squealing, snotified vocals, this LP clocks in at fewer than 10 minutes. And that’s about how much time it will take to recover from the headache it just gave you. You're welcome.

  - Nathan

• 

  The Shame - The World is Ours 7"

  (Profane Existence)

  This Tulsa trio plays straightforward, catchy punk ‘n’ roll in the vein of early ‘80s UK Oi!, and they do it exceptionally well. The Oppressed and Blitz influences are easily detectable. Lead singer Chad Malone’s lyricism, which focuses primarily on anti-fascism, beer, buddies, and futbol anthems, is dispatched appropriately via his gruff-voiced delivery. The production is thick and stuffy, with a peculiar familiarity to it that’s hard to pinpoint exactly. It's like an old Sham 69 record playing on your parent’s turntable – it exudes a general feeling of something historical.

  - Nathan

• 

  Useless Eaters – Hypertension

  (Jeffery Drag)

  Weirdo garage punk with some surf and new wave-y parts from Nashville, TN.  In a mixing bowl, combine a small amount of The Stranglers and Gang of Four. Then blend in generous helpings of Jay Reatard, Ty Segall, and Digital Leather. Bake at 420 and serve cold with a side of Adderall.  

  - Nathan

• 

  Varix - I Can't Get Out 7"

  (Fashionable Idiots)

  Awesome band comprised of women from NYC and Minneapolis. Super fast, bass-driven hardcore punk with a stitch of D-beat tossed in. The raw lyricism shows a bleak societal outlook; topics range from perceived gender role frustration to insomnia to the pain of seeing punks lose their life to addiction.  The recording is under-produced; giving it a demo-like quality that is really fucking rad. It has certain air of distortion and feedback that’s not completely blown-out but bordering just near it. Don’t miss this one.

  - Nathan

• 

  Wild Child - Self-Titled 7"

  (Deranged)

  Out of Minneapolis comes seven inches of manic hard punk, played with sloppy aggression. The guitars are hollow-ish, clanky and fast while the drums and bass race along, seemingly on their own accord with little regard for things like holding the beat. The snotty, Darby Crash-like vocal styling of the singer lends a bit of early-LA punk to the overall feeling. The recording perfectly encapsulates the raw intensity and reckless abandon with which these guys attack their art.

  - Nathan

The Best Rap Mixtapes of 2013

Hi, my name is Nathan and I have a rap music problem. Every single day there are literally one million new rap mixtapes released. And because I am a gluten for punishment I have taken it upon myself to sift through as many as humanly possible. I write a semi-regular column called Too Many Rappers, in which I single out a handful of the latest mixtapes and wax un-poetically about them just for you. You can find it over on ye olden blogge. What follows is the best rap mixtapes of the past year in alphabetical list format…

• 

  Action Bronson & Party Supplies – Blue Chips 2

  Action Bronson's greatness has never come as the result of focused lyricism, but rather the opposite—scatterbrained rhymes; seemingly written with little regard for things like story arc or cohesiveness, but delivered with superb breath control. Much in the same way the Beastie Boys were the Internet before there was an Internet, Bronson boasts a savant-like spank bank of '80s sports figures, pro-wrestling history and pop culture references. Blend it with a dose of druggy, misogynistic shithead-ness, a don't-give-a-fuck attitude, and an unhealthy food obsession and you have the most trivial and irreverent, yet amazingly fluid rap songs available for free on the Internet. If you’re not downloading Action Bronson mixtapes, you're literally losing money. 

  - Nathan

• 

  Tie: Black Dave – Stay Black and Black Dave – Black Bart

  “All I do is rap – All I do is skate,” states the rapper/skater on “Rap & Skate,” the mid-tape track that in the simplest terms possible sums up what Black Dave is all about.  Although he’s a New Yorker, Dave applies a multifarious approach to rap, successfully flexing mic skills in a variety of regional styles—effectively stirring an alluring cocktail of trap, club and boom-bap.  Lyrically, he’s not saying much you haven’t heard before (see: song titles like “Bitch Nigga Why You Fake?” and “Muthafuck My Enemies!”) but that’s exactly what’s so great about it—it’s fucking rap music, man!  Black Bart picks up right where Stay Black left off, leaving no inclination of Black Dave slowing down.  In fact, when it comes to rapping, he’s gotten faster. At times he sounds like more attentive and decipherable Twista. His granular, vigorous flow is complimented well by beats from a variety of producers.  The assortment of production lends the tape a bit of a multi-regional feel, but ultimately, much like fellow New Yorkers Flatbush ZOMBiES and A$AP Mob, Black Daves’s sound reflects the trap emergence of modern day rap music.  Shy Guy takes on the majority of the production, providing super-clean trap-happy slaps and chimes to seven of the 15 tracks. Brady Becklo delivers the boom-bap leanings for “Recognize”, which is as close to old-school New York rap as you will get on this tape. Other notable tracks are “To Da Grave”, in which DJ Smokey goes the full SpaceGhostPurrp on the beat, and the electro-tinged “Fake ID”, where VeryRVRE provides a buzzed-out noise manipulation score.

  - Nathan

• 

  Busta Rhymes & Q-Tip – The Abstract & The Dragon

  Sure, you saw the A Tribe Called Quest movie and were dissapointed by how much of an asshole Q-Tip turned out to be, and no Busta Rhymes hasn't made a good album since Extinction Level Event, but trust me, when these two get together it's like time travel. Roll a Dutch Masters blunt, crack a deuce-deuce of malt beezy, and suit-up in your baggy Silver Tabs, puffy skate shoes, and oversized sweatshirts. Then jump in a DeLorean with 2.21 gigawatts and the dial set to a house party in 1996. Hip-hop don’t stop, ya’ll.

  - Nathan

• 

  Da Mafia 6ix – 6ix Commandments

  If ever there was an applicable usage of that old the band is back together adage, Da Mafia 6ix is it. DJ Paul reunited five of the original Three 6 Mafia members and their Hypnotize Minds peripherals for a new tape of straight grime. Crunchy Black, Koopsta Knicca, Lord Infamous, Gangsta Boo, and Paul are joined by Lil Wyte, Skinny Pimp, La Chat, and sometimes Juicy J (although he’s not credited due to contractual obligations) for a full-on re-visitation of the dark, violent, confrontational, unapologetic, krunk’d, trap’d, purp’d the fuck out Southern rap music that every corner boy and their crack-bagging mother is copycatting these days.  6ix Commandments is what happens when Three 6 Mafia jumps all over their own damn bandwagon. And holy shit is it so goddamn unbelievably great. 

  - Nathan

• 

  Flatbush ZOMBiES – Better Off DEAD

  The majority of the production is handled in-house by Erick Arc Elliot. His dedication to his craft is apparent. The ample soundscapes on BetterOffDEAD are the result of what I can only imagine must be hours upon hours in the lab. BetterOffDead is a rap opus. Inasmuch as an opus can contain the following descriptors: psychotic, psychedelic, druggy, drugged-out, acid-soaked, obnoxious, eerie, ominous, rugged, raw, and bangin’. Emcees Meech and Juice stir a bubbling cocktail of nasally, drug-addled, murderous, and thought-provoking lyricism that recalls early Nonphixion, Necro, Cypress Hill and Gravediggaz.

  - Nathan

• 

  Gucci Mane – Diary of a Trap God mixtape and Gucci Mane – World War 3: Lean

  In a move that surprises absolutely nobody, Gucci Mane put out a whole bunch of mixtapes this year - nine to be exact.  Well, that might not be exact because there's always the very real chance that he dropped like, three more in the last 10 minutes. No, wait, he’s in jail, right? Who knows – I don’t have the energy to keep track. When Trap God 2 came out at the beginning of the year I jumped all over but now I can't remember much about it other than Gucci said his name a lot, the production was lame, and it was not as good a tape as Trap God 1 from last year…which isn't saying much really. August’s World War III: Lean was dope though. I’ve been bumping that one and Diary of a Trap God whenever I feel like punching down. Although Gucci does really irritating things like releasing nine tapes in one year—most of which are like, 20 songs long—I give him a pass because he was in the highly underappreciated film Spring Breakers, has an ice cream cone tattooed on his face, has Twitter beefs with rappers who are featured on his songs, and, well, is Gucci Mane

  - Nathan

• 

  Gunplay – Cops & Robbers

  “Bet That,” the first song on Gunplay’s tape Cops & Robbers starts off with the MMG loudmouth boasting, “I just beat a life sentence. Fuck ya!”  This is a guy that is fresh off of house arrest, mind you.  It’s clear Gunplay doesn’t give a fuck.  I mean, come on, dude has a swastika tattoo.  Like with past releases, his approach to tapes falls in line with the traditional template set forth in the days when they actually came on cassette or CD-Rs that you had to buy at the corner store or from the dude in the parking lot of A&J Fish & Chicken—he raps over second hand trap beats, the audio quality is poor, and it’s a collection of songs largely void of a thematic cohesiveness or album continuity.  The guy’s name is Gunplay and this is called Cops & Robbers, so there’s that type of thing going on in every song, but there was likely no real thought to how they are assembled.  It’s raw, ignorant, and completely unapologetic.  And, well, it’s pretty great actually.

  - Nathan

• 

  Hit Squad – Two Turntables and a Microphone and Redman – The Remixxes

  Two Turntables and a Microphone marks the return the Hit Squad. Yes, that Hit Squad. EPMD, Das EFX, K-Solo, Keith Murray, DJ Scratch, and Redman all up in here doing that old-school record-scratching boom-bap hip-hop rap shit. While it’s mostly new beats and new raps, there are a few nods to their collective history on it that sort of tie it all together. So is it true that time heals all wounds? Well the jury is still out on that.  And speaking of Redman, Remixxes finds him rapping over “classic” beats from other artists in true mixtape fashion.   He meritoriously breathes new life into Eminem’s “Just Don’t Give a Fuck”, Nas’ “My 2nd Childhood”, Jay Z’s “My First”, and Kirko Bangz’ “Drink in My cup” among others. 

  - Nathan

• 

  Joey Bada$$ – Summer Knights

  Summer Knights is the latest from NYC boom-bap revivalist wonderkid Joey Bada$$.  This is his fourth mixtape (counting the Pro Era crew tape) since 2012. Over the course of 17 tracks, the emcee proves once again that he’s more advanced than many of his peers, and deserving of the praise heaped upon him.  The majority of the production is handled by Pro Era crewmates Lee Bannon, Chuck Strangers, and Kirk Knight, who acted in accordance to give the tape a cohesive resonance.  As I ride my bike around the city with Summer Knights bumping in the earbuds, I recall memories of summer days during my youth, listening to A Tribe Called Quest cassette tapes on my Walkman.  In addition to the previously mentioned beatsmiths, the tape gets a little extra mileage thanks to singular contributions from Statik Selektah, MF Doom, Oddisee, and DJ Premier.

  - Nathan

• 

  KRNDN – Everthing's Nothing

  KRNDN is how Krondon from Strong Arm Steady spells his name now, because he’s like, a rapper and stuff.  Everything’s Nothing is his first solo outing, and as anyone familiar with SAS would expect, it’s impressive as hell.  It’s hard to put this into words, so I’m not sure this will make sense anyone besides me, but it’s almost as if Krondon accidently created a better piece of art than Kendrick Lamar very purposefully attempted to create with good kid, m.A.A.d city.  Against a backdrop of smoothed-out beats (by Cardo, DJ Dahi, DJ Khalil, and 321) he interweaves autobiographical memoirs and herb-puffed anecdotes; parading the laid-back, sunny vibe of California rider music.  The sound emanating from your speakers will only enhance the hallucinogenic properties of whatever it is you ingested...if that’s your thing or whatever.  

  - Nathan

• 

  Mr. MFN eXquire – Kismet

  Kismet, which means “fate” or “destiny”, is also the name of the new tape by New York’s Mr. MFN eXquire. And while it may seem like an odd title choice for a tape whose cover art shows the emcee gripping a naked woman’s rear end in a pose that can’t be construed as anything other than standing coitus, it’s actually very apropos given the direction he’s taken things since his 2011 tape, Lost in Translation. Sure, the raunchiness and wild’n out aspects are still intact, but several tracks are dedicated to personal insights and human growth. For the most part, Kismet is dare I say, a kinder, gentler eXquire. That is not to say he doesn’t go hard in typical braggadocios rap fashion from time to time but overall, the tape is more on the personal revelations tip than anything else. eXquire’s flows and beat selections are as varied as you’d expect from a man who refers to himself as an “avant-garde hood nigga.” “Hoes I Don’t Remember” is the Willie Nelson “For All the Girls I’ve Loved Before” of rap songs, if ever there was one.

  - Nathan

• 

  Tie: Project Pat – Cheez N Dope and Project Pat – Cheez N Dope 2

  When it boils down to it, there’s too many rappers out there trying to clone this sound, that it’s actually refreshing to hear a veteran of the Memphis scene put out some new songs, even if only half of them are necessary. The standout tracks here are the Drumma Boy produced ones “Flippin N Stackin”, “No Mirage”, and “Gettin Cash”, which features longtime collaborator Juicy J.  As far as production goes, Ricky Racks turns in some trap bangers on the aforementioned “Mask Up” and the Nasty Mane feature, “Dick Eatin Dog”, which is lyrically just as ridiculously misogynistic as the title would imply. I’d reprint a sample lyric here but then I’d have to register as a sex offender.

  - Nathan

• 

  Quelle Chris – 2Dirt4TV Episode 2: Niggas Is Men

  Niggas Is Men is the second episode of the Quelle Chris’ 2 Dirt 4 TV series. The production is handled by Stifu, Messiah Musik, and of course, Quelle himself. The majority of the songs feature verses from Cavalier, whose cadence compliments Quelle’s oddball delivery quite well. “Natural Flavors” has the captivating buzzed-out bass beat that invokes the same feeling of intrigue that almost broke the Internet the first time everyone heard The S.O.N. EP. Tracks like “Greene Eyes”, “Good Days” and “Long Tokes” are the type of head-nodders that rely heavily on raw sample loops.

  - Nathan

• 

  Rapsody – She Got Game

  She Got Game marks Rapsody’s full emergence as one of the genres flyest emcees.  Even though the tape is ripe with soulful beats by fellow North Carolinians 9^th Wonder and Khrysis, and some guest spots from the likes of Raekwon and Chance the Rapper, she fully owns the project.  Showcasing her ever-flowing breath of lyrical acrobatics and impeccable songwriting, She Got Game is an album-worthy collection of songs.  She touches on a number of subjects—love, basketball, education, family, etc.—from a personal point of view, rather than speaking in hypothetical or metaphorical terms.  DJ Premier lends one of his signature cut-laden, sample-heavy beats for “Kingship,” which is one of the tape’s harder-hitting songs.  The pairing is so natural; I’d love to see a whole project by the two.

  - Nathan

• 

  Roc Marciano – The Pimpire Strikes Back

  The best mixtapes are those that could stand on their own as a retailed album, which is the case with many (but not all) of those on this very list. In that vein, The Pimpire Strikes Back plays a lot like it could be disc 2 of Roc Marciano’s 2013 album Marci Beaucoup. Why anyone needs more than, say, 15 songs from any one artist in a 12 month span is beyond me. Rappers are the prime offenders when it comes to market saturation but it’s an annoyance that’s easily forgiven when it comes at the hands of a rhyme and production beast like Marciano. As per the usual, his deeply smooth vocal tone perfectly matches his favored subject matter – dealing drugs, concealing weapons, and pimping out his ladies. While he’s fully capable on his own behind the boards, he hands over half of these tracks to top-shelf beatsmiths like Evidence, Madlib, Lord Finesse and Alchemist, all of whom are aware of Roc’s preference for grim loops and dusty samples.

  - Nathan

• 

  Spark Master Tape – The #SWOUP Serengeti

  There are all types of things going on here and the whole thing bangs.  Because all of the vocals are chopped and screwed, at times it’s hard to tell if who’s rapping; whether it’s the mysterious Spark Master Tape or if it’s samples of like, Busta Rhymes or MC Lyte or something.   Although it would appear SMT is a skilled emcee, he is also obviously hyperaware of all of hip-hops various stereotypes, as he and producer Paper Platoon exploit them to the fullest.  The beats are reverb-heavy, as if they were constructed under a thick cloud of sour diesel while syrup dripped all over the 808s.  As to the identity of SMT, I have no interest in playing the guessing game; I’m too busy bumping the shit out of this in my imaginary jeep.

  - Nathan

• 

  Tie: The Underachievers – Indigoism and The Underachievers – Lords of Flatbush

  The Underachievers are the latest duo to spring from New York City’s rap collective, Beast Coast; a crew that also includes Flatbush Zombies, Pro Era, A$AP Mob, and Smoke DZA. Against a backdrop of beats that range from conventional boom-bap to the trap’d gradations of modern-day tape rap, emcees AK and Issa Dash exasperate wordy lyricism at a rate that is both impressive and slightly overwhelming. They go heavy on the sour diesel and psychedelics but disguise it via well-written, clever similes rather than easily decipherable one-liners. Whereas some of their contemporaries are reviving classic NYC rap, Underachievers are strangely enough, reinventing it.

  - Nathan

• 

  Tree – Sunday School II: When Church Lets Out

  Tree has a really distinguishable voice that is part soulful croon, part grayish growl.  There’s a lot of emotion in his rapping like he’s always on the verge of meltdown or something.  For the uninitiated it might not be the easiest thing to digest on the first spin.  The first Sunday School tape took a bit to grow on me but eventually it ended up being one my favorite tapes of 2012.  The second edition, When Church Lets Out is even better, and production-wise, more focused.  Although a number of producers contribute beats to the tape, it’s Tree’s own brand of “soultrap” that drives the overall sonic direction.  As expected, Tree’s songwriting is introspective and inspirational.  While that may translate to some rap fans as “not bangin’” there are some tracks that go hard too.  Particularly near the end with, “Tree Shit” and “White Girls.”  And there are noteworthy guest appearances by Danny Brown on “No Faces” and Roc Marciano on “Trynawin.”  The latter of which, is such a unique pairing, it leaves intrigue as to what an entire project from the duo would be like.  

  - Nathan

• 

  Various Artists – New York Renaissance

  Whether or not you believe that New York was in need of a rap “renaissance” probably depends on your history of seeking out and actually listening to rap music, what region of the country you prefer your rap music to come from, and/or if you only hear what’s on the radio or MTV Jams and BET.  New York Renaissance is compilation of newbies, curated by NYC radio station Hot 97’s Peter Rosenberg.  If you’re already hip to Action Bronson, Joey Bada$$, Smoke DZA, Troy Ave, Flatbush Zombies, Harry Fraud, A$AP Rocky, Oddisee or Homeboy Sandman then you’ll probably dig it.  If you’ve never heard of these names or listened to any of their material, then you should at least see what all the hype is about.  The live radio freestyles will appeal to fans of hip-hop radio shows.

  - Nathan

• 

  Western Tink & Beautiful Lou – Mobbin' No Sobbin'

  My initial reaction is to call this blogger-approved rap. Mobbin’ No Sobbin’ strikes me as the type of rap that would get favorable attention from outlets where the people writing about it don’t normally like rap music that isn’t, for lack of a better term, weird.  To further my point, Beautiful Lou’s most popular beats to date are the ones he has done for Lil B and Kitty Pride & Riff Raff.  After a lackluster start the tape begins warming up with “Gity Up.”  Western Tink goes hard over Lou’s fuzzy, screwed trap beat: “Fuck the laws, fuck the rules, fuck your family, and your dead homies too.”  One of the best songs comes mid-tape with “Bounce Back,” an infectious stripper pole-ready jump track that commands neck snapping from the listener.  The song accurately encompasses the tape as a whole – it’s bass-heavy Texas rap where everything is at a favorable level of loudness that borders on distortion.  Mobbin’ No Sobbin’ is a solid tape front to back and totally worth the download.

  - Nathan

1. 

   James Blake - Overgrown

   ATLAS Records

   James Blake's sophomore record is one that expands upon his blissed out sound yet it somehow still retains the inherent sadness that ran through his self-titled debut. Overgrown is a record that is both delicate and powerful. 

   - Cheryl Prime

2. 

   Charles Bradley - Victim of Love

   Dunham Records

   Charles Bradley's sound is straight out of the golden age of soul yet his voice is altogether timeless. Having released his debut in 2011 at  the age of 62, Bradley soon became a prominent figure on the modern soul scene and the follow-up, Victim of Love, is a record that surpasses any other this year for pure emotional punch. Plus, his Record Store Day cover of Black Sabbath's "Changes" is enough to break your heart. 

   - Cheryl Prime

3. 

   CHRVCHES - The Bones of What You Believe

   Vigin Records

   Scottish trio CHVRCHES have deftly melded the elements of pop and synth and their debut is one that touches the heart and weaves into the corners of the soul with a wonderful ease. 

   - Cheryl Prime

4. 

   Forest Swords - Engravings

   Tri Angle Records

   Liverpool based Matthew Barnes  - Forest Swords - is a producer who is unafraid to explore the soundscapes of the mind. Engravings is a work that is expansive and intricate and the record is one that demands close listening. 

   - Cheryl Prime

5. 

   Valerie June - Pushin' Against a Stone

   Sunday Best Recordings

   Valerie June's mix of folky bluegrass and country is one that engages and showcases a young and natural talent. June's voice is remarkable and her songs are littered with a clever honesty. Grab a whiskey and let her lull you to sleep. 

   - Cheryl Prime

6. 

   Lady Gaga - ARTPOP

   Interscope Records

   ARTPOP has been a long time coming and despite taking some time out for a gruelling recovery from a hip operation, Lady Gaga has been almost omnipresent over the last year and with teasers and inkling of what her third record would sound like, no one was quite prepared for this. The album runs from all out pop, to electro swagger to hip hop and rock and back again. While she isn't breaking down any genre walls, it's clear that Gaga has a vision. 

   - Cheryl Prime

7. 

   London Grammar - If You Wait

   Columbia Records

   The first thing you notice about London Grammar is the gorgeous tone and depth of vocalist Hannah Reid and it's her soul that brings If You Wait to tortured life. Sultry and embracing, the trio have here a debut that has been the slow burner of the year. First coming to most people's attention via a guest appearance on Disclosure's Settle (a record that just missed out on a spot here), many noted Reid's beautiful voice and the wait for London Grammar's full length became like torture. Stunning. 

   - Cheryl Prime

8. 

   The National - Trouble Will Find Me

   4AD

   The National's gloomy resonance took on a whole new aspect on Trouble Will Find Me which feels like the most devastatingly personal record of the year. With waves of darkness and glimpses of the light at the end only coming through in short bursts, The National have created a work that while making them more accessible to those unfamiliar with them, still punishes the heart and mind. 

   - Cheryl Prime

9. 

   Vatican Shadow - Remember Your Black Day

   Hospital Productions

   Dominick Fernow of Prurient has been dabbling in industrial/techno for some time now and Vatican Shadow's debut full length was certainly worth the extended wait. Cold, harsh and more than a little in debt to the current Middle East situation, Remember Your Black Day is a record that troubles, shocks and provokes. Doing all that without barely uttering anything in the way of words is quite a feat and long may Fernow contine. 

   - Cheryl Prime

10. 

    VNV Nation - Transational

    Anachron Sounds

    VNV Nation have been around for a long, long time yet they keep delivering albums and live shows that would put most younger bands to shame. Their brand of electronic music lies a little further away from their initial beginnings in EBM and industrial but the futurepop sound they embrace now is one that flows with a euphoria that is hard to find without more....chemical means. 

    - Cheryl Prime

1. 

   Findlay - Greasy Love

   Polydor

   Blazing guitars, clattering drums and dip-diving vocals that go from sweet and innocent to roars of "And how do you suffer/When it starts to get rough" easily made Greasy Love the first choice for this list. Dreamy ballad "Black Cloud Silver Lining" is hauntingly sparse in comparison to the shatteringly loud all-out rock that makes up most of the EP, but the spine-tingling vocals leave a lasting impression. Natalie Findlay knows how to yell, how to sing, and how to make a damn good EP. 

   Key Track: Greasy Love

   - Aideen

2. 

   The Delaplains - The Other You

   Independent

   This Mancunian five piece released two EPs this year, the excellent Gypsy Blood in March and then we were treated to The Other You in November. Jangly guitars with hints of glowing 60s California sunshine melodies make this EP stand out above the rest. 

   Key Track: Sheena's Always Late

   - Aideen

3. 

   Rose Elinor Dougall - Future Vanishes

   YOU

   Former Pipette Rose Elinor Dougall's last solo release was her 2010 debut album Without Why, a poppy full length with an emphasis on break-ups and infatuation. The Future Vanishes EP experiments with flourishes of synths and an even stronger vocal than Dougall had before. "Poison Ivy" is an instantly hooky track while "Strange Warnings" sounds like an eerie prelude to the world ending, it's otherworldly and slightly magical. 

   Key Track: Poison Ivy

   - Aideen

4. 

   Pelicans - Day Tours

   Independent

   At six tracks, this Dublin band's EP clocks in at the longest on the list. "Tumbling" is a summery track boasting a sinewy bassline and soft vocals with shades of Bombay Bicycle Club, while "Sylvie" is twinkling guitars and morose lyrics; "If I feel this way for my whole life/I'll go insane" is met with squealing guitars and sounds like some kind of gentle, thoughtful breakdown. 

   Key Track: Sylvie

   - Aideen

5. 

   Aaron & the Sea - Cloak & Dagger

   Independent

   "Scratchy synths, breathy but commanding vocals, coupled with echoey atmospheric effects that swaddle the music gives their sound a pulse of its own. On Cloak & Dagger Aaron & the Sea have crafted a darkly beautiful sound filled with juddering synths and brilliantly textured songs made for sombre winter evenings."

   Key Track: Blac of Heart

   - Aideen

Honourary mentions go to Mainland, Dear Boy, The Mighty Stef, Anna Lena & the Orchids, Bloc Party and Panama.

Top 5 London Live Shows of 2013

Live music in London is a special thing and living here means you're very lucky in the range of shows you can see. I saw a lot this year but these five in particular stood out and are listed in chronological order for ease of sorting. It seems as though most of these events are from the back of the year. Either my brain and memory is failing, or we've been very spoilt of late. 

1. Altar of Plagues

   Candlefest, August 24th

   Altar of Plagues final UK show was an incredible experience. Part sadness and triumph, their performance was one of exhausting honesty. They'll be greatly missed and their legacy won't ever be forgotten.

   - Cheryl Prime

2. Rome

   Electrowerkz, September 14th

   Neo-folk master(s) Rome played the UK for the very first time this year and Jerome Reuter's appearance was a magical and transportative event. Reworked classics and new material ensured many there that night spent the next few weeks wishing they could see it again. 

   - Cheryl Prime

3. 40 Watt Sun

   The Black Heart, October 11th

   40 Watt Sun's powerful brand of stripped back doom took a turn for the acoustic at this show and despite showcasing three brand new tracks before getting into material anyone was familiar with, the band were a breathtaking delight. 

   - Cheryl Prime

4. Wardruna

   Queen Elizabeth Hall, October 24th

   Seeing such intense music in this setting was a once in a lifetime opportunity and Wardruna's gorgeous, winding folk-style was perfectly suited to the huge expanse of the venue. Enthralling and mesmerising, the band brought a wonderful atmosphere to the performance.

   - Cheryl Prime

5. Deafheaven

   Birthdays, November 8th

   I've been lucky enough to see Deafheaven live three times this year and each time has been both different and special. This, the second of two sold out dates within a nine day span, was surely the "best." The band were assured, confident and altogether blissful in their take on modern black metal. We won't be seeing them play venues this small any time soon. 

   - Cheryl Prime

Other incredible events from this year include HIM at KOKO, Amorphis at O2 Academy Islington and both Damnation Festival and Doom Over London IV. I couldn't include Caïna or Year Of No Light as they'd be a slight conflict of interest but both of those shows were bloody great.

1. 

   Ash Borer - Bloodlands

   Gilead Media

   Ash Borer's strand of black metal is engaging and deep. They're way ahead of their peers and this EP shows that they aren't anywhere near done. Listen.

   - Cheryl Prime

2. 

   Bölzer - Aura

   Iron Bonehead Productions

   Bölzer's Aura would probably be the best release of the year if it was a full length and could be counted for the best records list. Instead, its home is here and it rightly takes a place for one of the most incredible works of blackened metal in 2013. Buy.

   - Cheryl Prime

3. 

   Burial - Rival Dealer

   Hyperdub Records

   Surprise! A new Burial EP. The electonic producer is one of the most seretive on the scene and so springing this on unsuspecting fans was perfect. Buy.

   - Cheryl Prime

4. 

   Liar In Wait - Translations of the Lost

   Profound Lore Records

   Goth has never sounded so good and Liar In Wait bring a fresh take to the heady darkness with Translations of the Lost. Listen. 

   - Cheryl Prime

5. 

   Opium Lord - The Calendrical Cycle - Prologue: The Healer

   Thirty Days of Night Records

   Birmingham based Opium Lord have found themselves in many other bands in their past and their skills are put to the fore in this short, but definitely not sweet doomed out, sludgy monstrosity. Buy.

   - Cheryl Prime

1. 

   Ashencult+Mephorash - Opus Serpens

   Unholy Anarchy Records.

   USBM segues into orthodox black metal. Trve to the core. Buy. 

   - Cheryl Prime

2. 

   Botanist+Palace of Worms - Split: EP1: The Hanging Gardens of Hell / Ode to Joy

   The Flenser

   Curious black metal meets the cult. Buy. 

   - Cheryl Prime

3. 

   Cough+Windhand - Reflection of the Negative

   Relapse Records

   Tortured sludge begets opium laced doom. Buy. 

   - Cheryl Prime

4. 

   Helrunar+Árstíðir Lífsins - Fragments - A Mythological Excavation

   Lupus Lounge

   Folk inspiration and Icelandic heritage. Buy. 

   - Cheryl Prime

5. 

   Vestiges+Panopticon

   The Flenser/Replenish Records

   American darkness complements Kentucky blackness. Buy.

   - Cheryl Prime

1. 

   Beastmilk - Climax

   Svart Records

   Beastmilk's name is probably not the best of band monikers around, but their brand of goth rock is delightfully dark. Featuring Mat McNerney of Hexvessel on vocals, Beastmilk manage to breathe life into the genre and take it into new dimensions every single time. 

   - Cheryl Prime

2. 

   In Solitude - Sister

   Metal Blade Records

   With a cover that conjures memories of Joni Mitchell's Blue and a line in heavy metal that far exceeds 2011s The World, The Flesh, The Devil, Sweden's In Solitude have created a record that goes beyond the darkside and finds solace in the night.

   - Cheryl Prime

3. 

   LowCityRain - LowCityRain

   Prophecy Productions

   With gorgeous soundscapes that make you feel as though you're driving through a neon-lit 80s city (think Drive without the violence) LowCityRain's debut ebbs with a strong sense of sadness. The project of Markus Siegenhort of Lantlôs is a new wave highlight. 

   - Cheryl Prime

4. 

   Soror Dolorosa - No More Heroes

   Northern Silence/Beneath Grey Skies

   No More Heroes is a record that wears its heart right on its lapel and the French band have here an album that revels in the past as well as the now. Soror Dolorosa are a group that have surpassed ther debut (Blind Scenes) in an incredibley morose way. 

   - Cheryl Prime

5. 

   Vaura - The Missing

   Profound Lore Records

   Vaura's base is in more metallic tones and the combined hisotry of the bands creeps into the blast beat style of the drums and into the almost black metal thrum of the guitar. Yet, the vocal grounds The Missing in far deeper and sensual territory and allows Vaura to fully embrace the darkness. 

   - Cheryl Prime