It may be bit early for “Best of 2013″ lists, but it’s the middle of 2013 and we’re excited to share our most-repeated new albums from the last six months. Read about some of WVAU’s favorite records released in 2013.

I’m a big fan of letting things speak for themselves, music being no exception. Right now, pause whatever you’re doing and listen to the first track off my favorite album of 2013 so far: “From the Sun” on Unknown Mortal Orchestra’s II.

“From the Sun” sets the stage for what makes this album so great. While themes of subdued retro-pop are easily identifiable, there’s nothing gimmicky about II. In fact, the stark dark to light contrast of the lyrics to the music is what first drew me to UMO. Melancholy and lugubrious words marked by heavy feelings of yearning (“From the Sun” delivers us “I’m so tired but I can never lay down my head / I’m so tired but I can never quite reach the phone,” while “Swim and Sleep (Like a Shark)” features the crooning of “I wish I could swim and sleep like a shark does / I’d fall to the bottom and I’d hid till the end of time”), contrasted against guitar riffs and basslines that sound the way laying in the grass on your back, watching clouds pass the path of the sun, on a warm day feels.

Plenty of albums were sad this year, and it was a disservice to many of them. II is the rare exception, however, as the band members have a wealth of skill to keep the music interesting and fresh. Example: 1:25 of “From the Sun” marks a transition from dreamy, sweet goodness to a groovy bassline.

What makes UMO stand out in a sea of Portland based, retro-pop inspired groups is their incorporation of funk beats from “From the Sun” to “Secret Xtians” — tracks that move the album into pop perfection.

Like its predecessor, UMO’s self-titled 2011 record, II is home-recorded. There’s a similar production style, but this sophomore album reaches much greater lengths than UMO’s debut. Take the first single “Swim and Sleep (Like a Shark),” which features deliciously bright surfer-rock riffs, in contrast with “So Good at Being in Trouble,” an almost painfully soulful jam. II does exactly what it’s supposed to do for the trio: It both solidifies them as a band and brings the sound into their own. There are times when we’re left wondering if they’ve reached their full potential, but that only makes me even more excited for the next release.

By Joanna Dressel

It may be bit early for “Best of 2013″ lists, but it’s the middle of 2013 and we’re excited to share our most-repeated new albums from the last six months. Read about some of WVAU’s favorite records released in 2013.

Kai Campos and Dominic Maker are intimidating because they are honest. On their second full-length, Mount Kimbie stays strong in the unpredictable electronic world by camouflaging as humble and motiveless while calculated tactics are slyly wining them the game. In the midst of countless acts brought forth since the burst of electronic music in the US in the 2000′s, Mount Kimbie plays their cool as an earlier-formed artist. For these British fellows, making music has always been serious work, and Cold Spring Fault Less Youth makes Mount Kimbie’s ambitions very clear.

Identity always seems to come up when talking Mount Kimbie, yet their answer stays constant. Notably self-aware, Campos and Maker make it a point to vocalize their disapproval of genre labeling in almost every interview as well as through their constantly developing music. Having paid close attention to their early EPs, live sets and 2010′s Crooks & Lovers more than I have to most anything, the brilliance of Mount Kimbie was always still a mystery. But with Cold Spring I have begun to uncover what makes it one of the best. Rather than categorizing their style and growing from it, Mount Kimbie on Cold Spring found success like they have since the start: through experimentation and soft confidence.

Mount Kimbie’s vocal route on Cold Spring not only turned the heads of many at first (myself included), but it made listeners chuckle and nod soon after. To acknowledge any false doubt of the two musicians is to reaffirm the confidence listeners have in Mount Kimbie’s talent. Kai and Dom seem to never fail at pleasantly surprising. The forward-thinking collaboration with King Krule, not only enhances this record’s more introspective feel but it allowed for Mount Kimbie to introduce personal vocals as well as their lifelong appreciation for hip hop. I consider these self-sung lyrics a privilege for they offer fans a new glimpse into the artists’ souls.

Considering this year’s incredible releases, it is comforting that one of the best electronic artists has been able to keep its feet on the ground and still stand tall above many. Mount Kimbie is by no means an underdog, but they respect themselves enough to make only the sounds that feel right, even if that means testing risky ideas and taking time to remodel how they produce their sound. Still a softly sensual dance record, Cold Spring’s confidence in a new direction has definitely taken Mount Kimbie down the right path. To where that is we still cannot be sure. Perhaps King Krule knows, as he sings “I hope this road takes me as far from here as I can go.”

Australian band, The Rubens: (from left to right) Zaac Margin, Sam Margin, Scott Baldwin, and Elliott Margin.

Summer means festival season and this year The Governors Ball Music Festival on Randall’s Island in New York City has an interesting lineup with a variety of artists from different genres. Many of the bands playing this year are quite new, having formed and released a debut album in just a few short years. One of these fresh, new bands include The Rubens, a four-piece from a tiny town just an hour south of Sydney. Comprised of three brothers Sam, Elliott and Zaac Margin and their friend, Scott Baldwin, The Rubens shot to national prominence in Australia after they debuted on Triple J’s Unearthed radio station and their single “Lay It Down”, was voted #57 most favorite track on Triple J’s Hottest 100 in 2011.

The cover art for their debut album, The Rubens

The Rubens recently celebrated only its second anniversary, having formed in early 2011. After receiving positive reviews on their Triple J debut, the band managed to snag the attention of American producer, David Kahne, known for his work with artists such as The Strokes, Paul McCartney and Regina Spektor. Their eponymous debut album was released in 2012 and was recorded in New York City. Released through Ivy League Records, an Australian record label based in Sydney and home to artists like Alpine and Sparkadia, the album saw national success, peaking at #3 on Australian album charts and getting a gold certification from the Australian Recording Industry Association (ARIA).

Sam Margin, lead vocalist and songwriter, stands out with his undeniably soulful, simmering voice. On their official first single, “My Gun,” Margin’s unblemished voice glides through the track, carried by his bandmates strong instrumentals. With a steady, uncomplicated drum line and a catchy electric organ line that unifies the track, “My Gun” rightfully represents the bluesy rock sounds this band has skillfully created. It’s no wonder that The Rubens have been heavily compared to The Black Keys, a band that has greatly influenced them and one they opened for in New Zealand.

Another stand-out track is “Never Be the Same,” marked by a wistful piano line and Margin’s detailed vocals, his range showing more on this track as he flits up to the higher reaches of his range. It’s a carefully optimistic song and though it isn’t lyrically complex, the powerful, layered instrumentals more than make up for it. The instrumental break in the middle shifts the pace of the song, going from cautious to confident, guitars and hi-hats ablaze. Music and lyrics fit together as the progression of instrumentals matches Margin’s words: “I was forced to change / I’m not sure who to thank / Yeah I was such a waste / I’ll never be the same…”

Lastly, “Elvis” is another favorite with its driving bass line and guitar hook, Margin singing along with sweetly hopeful lyrics: “Truth be told / I want to grow old with you / ‘Cause what we’ve got / Is all that I want it’s true…” Though the production of their overall album is quite slick and polished, it doesn’t take away from the honesty of Margin’s singing and his band members earnest playing.

At Gov Ball, they’ll be playing on Saturday, June 8th at 12:45 pm. If anyone is going, make sure to check them out! And just to further persuade you, here’s footage from a recent live performance.

By Teta Alim