Totally Unauthorized 2013 1st Quarter Playlist: January - March

The work of compiling a list of the year's best is never a simple feat, so it necessitates an early start. As we end March, the 2013 music year has come in like a lion, and has promised incredible potential as we look forward to the summer months. Here are 12 can't miss tracks so far:

A$AP ROCKY FEAT. SKRILLEX - WILD FOR THE NIGHT

When the tracklist for A$AP Rocky's debut album was announced, Skrillex's presence was a major eyebrow raising moment. Many questioned whether two artists from such divergent scenes could successfully come together. But the union worked like a charm, in part because neither artist takes themselves too seriously, though they are serious about making sure people have a good time. Skrillex's over the top synth blasts provide a perfect foil to Rocky's spitfire rhyming.

BAD RELIGION - MY HEAD IS FULL OF GHOSTS

Legendary punk rockers Bad Religion are 16 albums into their career, and their attack is still as blistering as ever. On "My Head is Full of Ghosts," they come across as eminently melodic and dignified as ever, while singer Greg Graffin provides some witty wordplay, and the exuberant harmony section is hitting on all cylinders.

TORO Y MOI - HARM IN CHANGE

Experimental electronic musician Chaz Bundick is quickly becoming one of the best at producing sleek, urban and sophisticated pop music. "Harm in Change" unfolds gradually like a warm summer night, with a slight sensuality present in Bundick's lyrics. But most impressive is his production work, as he mixes and weaves layers to create a sweet danceable mix.

MY BLOODY VALENTINE - IN ANOTHER WAY

Here, captured in a solitary five and a half minute track, is everything that makes My Bloody Valentine great. There's still the mind warping sense of fuzziness, drone, and distortion but they also pack a bit of pep in their step as well. Fast paced, energetic drums set the mood, while a lovely synthesizer line comes in over the top and carries the song to its conclusion.

WAYNE SHORTER - PLAZA REAL

Jazz saxophonist Wayne Shorter and his quartet express a vast variety of moods. This remake of a Weather Report song shows off his versatility in being able to sculpt old classics to fit with his current sound. He loves to experiment, even veering into modal territory when the situation calls for it, and "Plaza Real" is one of his greatest showoff pieces from the new album, Without a Net.

RIVERSIDE - CELEBRITY TOUCH

Riverside is a somewhat overlooked Polish band that does a great job of mixing prog with hard/heavy metal. There is a bit of Porcupine Tree influence,  but they also take cues from Rush and Pain of Salvation among others. Packed full of swaggering solos, headbanging riffs, and clean melodic sections, "Celebrity Touch" proves these boys know how to mix it up.

STEVEN WILSON - THE HOLY DRINKER

The final 1:30 of this song alone is awesome enough to put this song on the list. Those doomsday scales backed by Marco Minneman's manic drumming is one of the greatest musical passages ever blogged about on this site. But the rest of the song is no pushover either, as a healthy serving of flute, organ and guitar solos complement Wilson's story about a religious thinker gone astray.

DARKTHRONE - VALKYRIE

Longstanding prodigies Darkthrone may no longer practice black metal on a daily basis, but there's still plenty to love. This old school blast of metal is impressive instrumentally, but even more absorbing is the classic fists raised attitude that is mostly missing from modern metal. And it's also tough to argue with the haunting acoustic intro. 

HOW TO DESTROY ANGELS - AND THE SKY BEGAN TO SCREAM

Dissonant and anguished soundscapes have never been new territory for Nine Inch Nails's Trent Reznor, but his new side project How to Destroy Angels does give him a chance to manifest his downbeat vision in new ways. Muted ambiance and creeping electronica replace the loud drums and guitars of NiN, while Marquieen Maandig steps into the spotlight with her smooth, sensual voice.

YOUTH LAGOON - PELICAN MAN

Trevor Powers draws influences from all over the map, and it's hard to think of music that's been this honest and down to earth in quite awhile. "Pelican Man" combines the humbleness of Animal Collective, the confessional nature of Tune Yards, and the playfulness of Sufjan Steven's The Age of Adz. All the while, the warped, wacky nature of the track suggests Powers might not quite be in the right frame of mind.

DAVID BOWIE - THE STARS (ARE OUT TONIGHT)

Bowie's re-entry into the field was sudden and dramatic, following the surprise announcement of the English rocker's excellent 24th album, The Next Day. The guitar crackles and the rhythm section is smooth, but if there was any question if Bowie is still capable of capturing your attention then it's time to put it to rest. He's still every bit as charismatic and enrapturing as ever, comfortably taking his place as one of rock's elder statesmen. 

KVELERTAK - BRUANE BREN

Norwegian hardcore/metal outfit Kvelertak sound like they would be a hell of a fun group to hang with. At least, their music does a great job of giving off that vibe. Lead vocalist Erlend Hjelvik's voice bears similarity to Anders Frieden and Speed from Soilwork, but his band knows how to let their hair down better than almost anyone else. With an abundance of bluesy solos and a shoutalong chorus,  Kvelertak have delivered your next soundtrack for getting shitfaced.

A$AP Rocky shows he's not to be trifled with on major label debut

Anyone who considers themselves a rap enthusiast must be encouraged by the influx of new talent streaming in. Harlem rapper Rakim Mayers, better known as A$AP Rocky, is making a strong push toward the front of the line. He's establishing himself in the industry the way many of his brethren are: with mixtapes. Kendrick Lamar and Frank Ocean, most notably, have presaged highly successful albums with independently released mixtapes. Most notable is Rocky's $3 million record deal with Sony/RCA subdivision Polo Grounds Music, the fruit of which is his full length debut, LongLiveA$AP.

One thing this album does not do is try to be intellectual. In strong contrast to recent albums predicated delivering sociopolitical messages, like Killer Mike's R.A.P. Music, or albums with strong thematic elements like Kendrick Lamar's Good kid m.A.A.D. city, Rocky's record doesn't make an effort to be lyrically deep. Rocky himself puts it best on album closer "Suddenly," declaring "don't view me as no conscious cat, this ain't no conscious rap/Fuck the conscious crap, my mac'll push your conscious back."

What LongLiveA$AP does do is display Rocky's boundless skill as a rapper. His delivery is loud, forceful and clear; he is able to spit rhymes with great rhythm and flow. It also serves as a great showcase piece for the youth rap movement. LongLiveA$AP rounds up most of the key names being shouted now within the indie community (with the obvious exception of the Odd Future collective).

But it doesn't take long to find Odd Future parallels. Album opener "Long Live A$AP" is an ominous and foreboding track that shows off Rocky's sense of paranoia. He asks, "who's that looking in my window with a pistol to my curtain?" With its stripped back beat and its introspective nature, it is reminiscent of Tyler, the Creator's "Yonkers." It features a surreal falsetto chorus that gets downright creepy near the end when a chorus of children's voices join in.

Lead single "Goldie" was a great choice as a teaser, as it highlights many of Rocky's critical strengths. The lyrics are not the most inventive of all time; it's mostly just him bragging. But the track succeeds not due to the subject matter, but because of how Rocky presents himself. He comes across as very focused, determined, and charismatic.It's not hard to believe he deserves the lavish praise, even though he's the one heaping it on himself. The flute beat is also great;  it gets out of the way and lets Rocky do his job but is distinctive enough to give a tangible coloring to the track. It makes Rocky feel outside the box and inventive, something many people disillusioned with the current state of rap are looking for.

Unfortunately, his penchant for unmemorable lyrics continues on the next track, "PMW (All I Really Need), which stands for pussy, money, weed. This is one of the most blatant, sexually explicit rap tracks since Kanye's My Beautiful Dark Twisted Fantasy. The verses have that sort of loud, in your face club quality that was best captured by Sean Paul. Schoolboy Q's guest appearance here is very effective,  as both rappers prove themselves as talented emcees. But lyrically however, there is no debating that this is one downright vulgar track.

One of the album's biggest strengths is that very few songs sound the same. On "Lvl" he mellows out considerably, slowing things down with a beat not unlike Aphex Twin's "Xtal," while "Hell" features Santigold sounding a bit like M.I.A. on the chorus hook. The song has a ravey beat, but it's slowed down and subdued to the point you wouldn't notice if you're not paying attention.It's like the record label wanted him to have a dancey club beat on a song, but he was embarrassed so he slowed it down and spliced it around hoping you wouldn't notice.

The seventh track, "Fuckin' Problems" is one of the most star studded on the album. 2 Chainz powers what is most certainly the catchiest hook on the album, while superstars Drake and Kendrick Lamar join Rocky in putting on a solid but not stellar performance  All three have dropped better verses in their career, and given the collection of talent one must wonder if they were more concerned with trying to wow their audience with name brand than they were with constructing the caliber of verses that won them name recognition in the first place. Yet even despite this, the song is still an easy album highlight.

Yet no track is more star studded than "1train," an effort that features so many guest rappers it would be too much to even list them all here. There is no hook, just six minutes highlighting the best up and coming talent in indie hip hop. The piece does an outstanding job of establishing the personality of each individual rapper, and in that regard it bears great similarity to Eminem's D12 pieces such as "Purple Hills" or "Under the Influence." All parties involved do a fantastic job, but honors for best verses go to Kendrick Lamar, Danny Brown, and Big K.R.I.T.

"Wild for the Night," featuring the always sensational Skrillex, is about as subtle as dropping a dishwasher on the listener's head. The real highlight, though, is Rocky's blistering spitfire verses. "Fasion Killa" is easily the lowlight of the album. His penchant for being fashion conscious  a common theme in many of his interviews, comes to full fruition here. He spends the entire time name dropping top shelf designers that no one outside of the Hamptons cares about or is impressed by. The lame hook doesn't help either.

Album closer "Suddenly" is the album's most startling song. It is very surreal, reflecting on how he went from living in the hood to all of a sudden being famous. The beat is almost nonexistent. In the background you have what sounds like TV cartoons from the 1950s playing, along with a chorus of singers from the the big band era. The first verse is slow and meandering but on the second verse he starts spitting faster and the effect, contrasted with the first verse, is pretty clever. Rocky has managed to bookend the album with two very mystifying, unsettling tracks.

Thinking back to the kids in high school who listened to Lil' John and Ludacris, it isn't hard to think their seventeen-year-old selves would be into something like this. However, to blanket lump him into this category would be selling Rocky short. LongLiveA$AP often sounds like it could be played at a club, without sounding specifically tailor made for that type of environment. He shows a great deal of creative potential, demonstrating that he can spit fast while mixing it up with a slew of mid-tempo tunes, and he often intersperses mellow R&B hooks throughout. He possess great command of his flow, while doing a supreme job of establishing a sense of personality.

But there is room for improvement. His lyrics could use some work, as the best of them do little to move rap forward and the worst are downright silly and sophomoric. He also has a tendency to rely on downpitched vocals too often, and some of the album drags. Ultimately, LongLiveA$AP  does not place him at the head of the young hip hop class, but does demonstrate he's a force to be reckoned with.

Score: 74/100

Totally Unauthorized's Most Anticipated Albums of 2013

As satisfying as it is to close the page on another year, it's never too soon to start surveying what the new year will bring us. This year doesn't boast as impressive a list as the one we had at this time last year, but there are still more than a few heavy hitters primed to get music fans salivating. In no particular order:

Arcade Fire - TBA

Montreal indie rockers Arcade Fire can lay claim to having released one of the most revered albums of the previous decade with 2004's Funeral. But their contributions to the current decade are none too shabby either. 2010's The Suburbs was one of those rare albums that bridged the gap between the Pitchforky indie world and that of the mainstream, having snagged the coveted album of the year award at the Grammys in what was a colossal breakthrough for the entire independent universe. Few details have been unveiled about its encore, except that the band is aiming for a end of year release. It would be no surprise if it was an album that once again redefines the status quo.

Atoms for Peace - Amok
February 26

Radiohead's Thom Yorke has never been one to sit idly by. Following the mixed reception of 2011's King of Limbs, he's gotten back to work with a new side band, Atoms for Peace. But he's hardly the only heavy hitter involved in the project, which also includes Chili Peppers' bassist Flea and producer Nigel Goodrich. "Default," the album's lead single, indicates a very chill electronic vibe (not surprisingly), but its B-side, "Watch What the Eyeballs Did" exposes a bit more experimentation with a wall of brass horns providing a subtle mood and coloring, while an infectious bassline roars beneath. With this exotic lineup, Atoms for Peace seems primed to deliver one of the first big blows of 2013.

Nine Inch Nails  - TBA

Among the many accomplishments Nine Inch Nails's Trent Reznor can point to is that he popularized an entire genre of music and brought it to the mainstream with with a series of releases beginning in 1989 and culminating a decade later with The Fragile. He hasn't confined himself to Nine Inch Nails however. With his quality work with various side projects, as well as the praise he's garnered for his film score work, Reznor has established himself as a one of a kind mind in the music industry and cementing a place for himself within its annals. Now, it appears more NIN work is headed our way, possibly sometime around summer. It will be a point of great interest to see what direction Reznor's creative juices will flow following the band's hiatus that occurred after their supposed final tour in 2009.

My Bloody Valentine - TBA
Pretty much any day now

Remember Loveless by My Bloody Valentine? Remember how influential it was at the time, how dizzying it all was? How it summed up not just a genre, but an entire subset of a generation as a whole? Remember how they never followed it up? There's a good chance you don't. Many of today's hip youngsters weren't even born when that disc was released in 1991, but now the band is on the cusp of finally releasing new studio material. They've been deliberately opaque about an actual date or details, but perhaps that's fitting for a band that's been shrouded in the mist of history and expectations as My Bloody Valentine have been. The mastering stage is apparently complete, so it shouldn't be long before the band breaks its silence.

Steven Wilson - The Raven that Refused to Sing (and other Stories)
February 25

It takes no small level of trust to insert Mr. Wilson on this list, given that the last several releases he's been involved with are somewhat spotty, but he must be given his due. The announcement of the oddly titled "The Raven that Refused to Sing (and Other Stories)" came as a bit of a surprise given that his last solo album, Grace For Drowning hit shelves just over a year ago. "The Raven that Refused to Sing (and Other Stories)" will mark his third solo release in five years, and is said to focus on supernatural themes and lyrics. The 12 minute lead single "Luminol" is largely instrumental and is bolstered by a flowing infectious bassline, while offering a heavy helping of solos on almost every instrument imaginable. 

Bad Religion - True North
January 22

As a band that's been around since the Reagan era, Bad Religion have long ago cemented their principles. They helped reign in the era of pop punk that dominated the 90s and have stuck around long enough that most people aren't sure what constitutes punk today, or if it even still exists. What is certain is that the band's 2010 album, The Dissent of Man, was a tasty concoction consisting of driving melodic rock and roll complemented by politically conscious lyrics. The title song of True North has been issued as its lead single and promises more of the same.

Earl Sweatshirt - Doris
TBA

When they aren't grabbing critical acclaim they're at least grabbing headlines, and Odd Future isn't looking to let up in 2013. Since there's no telling when Tyler will deliver Wolf, or if it will be worth the wait, Earl Sweatshirt has positioned himself as Odd Future's best hope going forward. The 18-year-old rapper certainly has a lot on his mind, as evidenced by the introspective lead single "Chum." Earl's emergence has signified an infusion of new blood into hip hop, and his ideas are already shaking up the scene.

Autechre - Exai
March 4

Out of all their IDM contemporaries, Autechre have always been the most experimental, dissonant, and challenging. Often described as being heavily influenced by computers and technology, Autechre's output has often sounded like something you would physically have to be a computer to enjoy. However, the British duo have typically found a way to extract method from the madness, and the crackling cacophony tends to morph itself into something beautiful. There is no other artist on earth who does anything quite like Autechre and they'll be doing plenty of it in 2013, given the announcement that Exai will clock in at an astounding 2 hours.

Yeah Yeah Yeahs - TBA
Spring 2013

Yeah Yeah Yeahs have been through quite an evolution. They started off with a very grimy, low key indie rock sound with an obvious Brooklyn flair, before morphing into the shimmering electro-pop found on 2009's It's Blitz! Not may details are known about their upcoming fourth full length album, but if Karen O is successfully able to work her magic once again it will be an extravaganza you won't be able to take your eyes off of.

A$AP Rocky - Long Live A$AP
January 15

The hype for A$AP Rocky has been building since his high profile signing with RCA in 2011, and has been riding the mixtape circuit while his fame and fanbase increases every day. He possesses a veteran presence and savvy on the mic that belies his youth, and his debut LP features plenty of today's best and brightest stars. Kendrick Lamar, Drake, Skrillex, and Big K.R.I.T. are but a few guest stars he's brought along. Add to that the hype Long Live A$AP has already garnered, including a best new music tag from Pitchfork, and it appears certain that this will be the first key release of 2013.

Orphaned Land - TBA
TBA

For Orphaned Land, it's been a long journey from their dusty black metal roots to progressive metal. For their fans, it's usually a long journey from one record to the next, as the acclaimed Israeli metal outfit usually takes about five or six years between albums. This time around, though, they appear to be bucking the trend, as recording has already commenced on the followup to 2010's The Never Ending Way of ORwarriOR. That album snagged this site's album of the year award that year. The new album will be the first since the departure of guitarist Matti Svatizky, who left last year for what he termed as personal and professional reasons. Orphaned Land is aiming for a midyear release.