Makeup For The Silence

The digital home of music writer Jesse Richman

Makeup For The Silence

Tag: kelsey chaos

Makeup for the Silence - Best of 2013 Mix

Makeup for the Silence – Best of 2013 Mixtape

Makeup for the Silence - Best of 2013 Mix

Though I’ve done an annual mix each of the past three years*, this year was the first time I actually compiled an ongoing list of my favorite songs throughout the year. You’d think that would make this process easier; instead, I wound up with a glut of sincere favorites, and a lot of hard choices to make. For some reason, I insist on keeping this thing to a >80 minute playtime, i.e. the length of an actual CD. I’m not under the pretense anyone is actually burning this to a disc (I’m certainly not), but there’s something to be said for this mix being digestible in a single sitting, for it being something I can listen to on repeat and actually get familiar with – I like the way albums ebb and flow and tell stories through sequencing and pacing, and it’s something I’ve always put a lot of care into when making mixes. That gets unwieldy in a lengthy playlist. I enjoy getting to the point where I feel unsettled if I hear a song in my mix and it’s not followed immediately by the track that’s supposed to come next.

As always, I’ve elected to leave off any sort of big radio hits (well…kinda. You’ll see what I mean in a second). That’s a challenge in any year – for a guy who mostly writes about punk and other music of that ilk, I’m really a pop fan at heart. But this year was especially challenging. 2013 was the biggest year in recent memory for Superstar Pop – if you’re a musician people call by just their first name, odds are good you put out an album this year. A lot of those albums were genuinely great, and even when they albums were merely OK, or weren’t particularly pop-radio friendly, each seemed to contain at least one or two killer singles.

Not only that, but two artists who I normally would have found room for here, Fall Out Boy and Paramore, came back in such a big way this year that I couldn’t justify squeezing them in – both “My Songs Know What You DId In The Dark (Light Em Up)” and “Still Into You” found Top 40 radio ubiquity, and nobody’s going to be overlooking those acts just because I didn’t squeeze them onto my list. (Unlike, say, in 2011 when Patrick Stump made it onto my mix with a track from his criminally underappreciated solo album).

Finally, this year’s mix wound up especially upbeat; there’s a lot of bright, synthy, dancey pop that really hit home this year (and some moody, synthy, dancey pop to go with it). There were a number of songs I really loved – Defeater’s “Bastards”; View From An Airplane’s “Stayed Awake”; Sparks The Rescue’s “Ceara Belle”; many others – that just didn’t fit here stylistically, and even more – anything by The 1975, for one – that felt too similar to other tracks on here to make the final cut.

That said I’m really happy with how the final mix came out. Download**, listen, enjoy!

Makeup For The Silence – Best of 2013

  1. Feeling In The Night – The Reign Of Kindo
  2. Paper Royals (Lorde vs M.I.A.) – Mashed Pot8er
  3. In For The Kill – Kelsey Chaos
  4. Waste My Time – Tilian
  5. Dresden – Orchestral Manoeuvres in the Dark
  6. Baby Shakes – Shone
  7. I’ve Been Waiting For This – Butch Walker
  8. Sad And Blue – Jimmie Deeghan
  9. Keep Me In Your Heart – The Here And Now
  10. Take A Picture – Carly Rae Jepsen
  11. Dreaming – Smallpools
  12. Excalibur – TEAM
  13. Supernatural – roboteyes
  14. Love Is A Dog From Hell – The Limousines
  15. Forget You – Cady Groves
  16. Hanging On A Honeymoon – William Beckett
  17. All I Know – Washed Out
  18. The Way Back – Whitewaits
  19. True Trans Soul Rebel – Against Me!
  20. Au Revoir (Adios) – The Front Bottoms
  21. Etc. – Francis and the Lights

click image to download

Stay tuned; the yearly Top Ten will begin tomorrow!

*you can always find the complete collection of mixes which have appeared on Makeup For The Silence, as well as all the playlists I’ve contributed to elsewhere, right over here.

**just like last year, there’s a Spotify version of 2013’s mix available, but also like last year, there were a handful of tracks on the final mix which aren’t available on the service. I totally understand Spotify’s convenience – after dabbling with it for a couple years, in 2013 I really converted to using it as my primary listening spot, ahead of iTunes – but I recommend downloading if you want the real deal.

2013 Year In Review

Motley Crue – Same Ol’ Situation (S.O.S.)

Last year, I wrote up a lengthy State Of The Scene report, almost inadvertently – it began as a few stray comments I intended to send in along with my Pazz & Jop ballot, and spiraled out into something much larger.Those comments, unsurprisingly, didn’t get printed (though two of my picks did manage to get called out in this piece!)

The irony is that, this year, there would be no sense in me sending in something similar. What, last year, seemed to me so far off the critical radar that I felt compelled to shine a spotlight on it, is this year such a glaringly obvious trend that there’s nothing I could write that wouldn’t be redundant of the excellent, and well-read, work this year by folks like Ian Cohen and Leor Galil. What was a thousand words last year can, this time out, be reduced to an #emorevival hashtag and a few links.

The real kicker? Not a single artist that could reasonably be called an emo revival act made my list of albums or singles that I submitted to the Voice this year, nor will any make my Top Ten here. I don’t think any are even making the final cut on my 2013 Mix. These acts are calling back to a generation of emo which precedes the discovery of melody, or theatricality, or ambition, or edge, even cartoony edge. There’s precious little of that sort of stuff in my personal canon – American Football’s album and the first two Owen CDs; Mineral‘s The Power Of Failing; early Bright Eyes, if you want to count that – but noodly sadboy navelgazing has never really been my scene.

Even the stuff I liked most from that era, like Jimmy Eat World‘s Clarity or Death Cab for Cutie‘s The Photo Album, place song structure, harmony and production values at their fore. Of all the things you could ape about late-90s emo, “lack of vitality” seems like a poor choice, and yet it’s the dominant mode of the day. So you can write an intricately fingerpicked, multi-movement suite without a single memorable hook or any shift in emotional tone? Congrats, you’re Yngwie Malmst-emo! Pick up your award at the circular file under my desk.

What excited me this year?Against Me!’s Laura Jane Grace waving her identity like a battle flag on True Trans. Bands with guitars that made me want to dance, from Haim’s Days Are Gone and Chvrches The Bones Of What You Believe to SmallpoolsEP and The 1975’s self-titled album. Wonderful comeback albums from two acts that could be called emo revival, except that they were part of the terribly uncool* era of emo we’re currently trying to pretend never happened: Fall Out Boy’s Save Rock And Roll and Paramore’s Paramore.

*Even a metal purist acknowledges hair metal as a part of the genre’s history, even an important (if embarrassing) step in it’s development. Why is it that old-school emo fans consistently privilege cool over historicity and narrative?

Follow-ups from acts that made my list a year or two ago and managed not to disappoint, like OMD (the perfectly-titled English Electric) and Mansions’s Doom Loop. Nu-twang that sidestepped clap-n-stomp blustering of Mumfordcore in favor of something a little more personal, like Twin Forks’ EP and Lacey Caroline’s Songbird and Jimmie Deeghan’s Cheap Therapy. Side projects of old favorites that not only delighted but surprised, like WhitewaitsAn Elegant Exit (Rob Rowe of Cause & Effect) and The Here And Now’s Born To Make Believe, Part 1 (Alan Day of Four Year Strong). My every-third-year nu-gaze treasure, this time around from The History Of Apple Pie, Out Of View.

And pop. Pop! So much pop! It was the year of the superstar: Kanye West, Miley Cyrus, Justin Timberlake, Beyonce, Jay Z, Lady Gaga, Justin Bieber, Drake and Katy Perry all put out albums that were deeply intriguing, each one for vastly different reasons. Some were great; most weren’t; even the failures contained some combination of perfect singles and deeply ambitious overreaches that made me want to figure out what went wrong, and why, and how.

And if this was the year pop superstars reasserted themselves, the pop underground held its own too. Some of my favorite pop jams came from folks who didn’t even register a blip on the mainstream radar, like Kelsey Chaos’ Out Of This World and Tilian’s Material Me, Cady Groves’ “Forget You” and roboteyesself-titled. Even Carly Rae Jepsen, the most unfairly-scarlet-lettered One Hit Wonder in recent memory, got in on the fun with maybe my favorite song of the year, ”Take A Picture“.

So you can count me out on scenes for now. This is the state of my scene, and that’s a scene of one. It’s a post-genre world, and the freedom to run from what doesn’t click with you is just as exhilarating as the freedom to dig into something new or uncool. That’s where I stood for a long time, before the 2000’s emo revolution sucked me in, and it’s to where I gladly return. Everything old is new again. It’s the same old, same old situation.

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