Idolator Editors' 10 Favorite Albums of 2013

Sky Ferreira—a hugely talented pouty-lipped waif with an old soul—wrested what was to be her debut full-length away from her label and convinced them to grant her a do-over. The result was recorded in less than three weeks, then mixed and released in a whirlwind of alchemy. *Night Time, My Time* is an impressive and muscular collection. After a series of singles and EPs, Ferreira exudes her L.A. cool all over *Night Time*, from her nude photo on the cover to her edgy delivery. Her dusky throat and pop-be-damned attitude puts her squarely between artists like Yeah Yeah Yeahs and Icona Pop, swerving between an injured coo and a bad-kitty snarl with smooth deftness. Whether she\'s belting out the wistful ballad “24 Hours” or the stomping hissy fit “Nobody Asked Me,” there’s an appealing anthemic quality to these songs, written by Ferreira and a songwriting team that incudes producer Ariel Rechtshaid (Charli XCX, Usher, Haim). She strays into Madonna’s fertile territory on tunes like “I Blame Myself” and reaches into the icy underworld of ‘70s postpunk pioneer Alan Vega on “Omanko,” a clear measure of her intentions. The girl’s got it.

This talented three-sister act received what felt like years of hype with its advance EPs before finally releasing its debut album, *Days Are Gone*—which sports a title seemingly aware of how much time passed while fans were waiting. With such expectations, *Days Are Gone* delivers on the hype, with self-penned songs so perfectly performed that it feels unfair that Haim has received so many comparisons to Fleetwood Mac, no matter how kind and worthy. A catchy tune like “The Wire” is so immediately likable that it\'d throw the rest of an album by a lesser act off balance. Except Haim is the real deal, and even the very next songs—“If I Could Change Your Mind,” “Honey & I,” “Don’t Save Me”—exhibit fresh excitement of their own propulsion. Producer Ariel Rechtshaid (Usher, Vampire Weekend) helped these songs flow with their identities intact. The album features the best attributes of \'80s pop; while those who lived through that era might feel a sense of untraceable déjà vu, everyone should marvel at the catchy, unforced fun heard throughout this remarkable debut.

At just 16 years old, New Zealand pop singer Ella Yelich-O’Connor—d.b.a. Lorde—captured the top of the pop charts with the smart and wise-beyond-her-years single “Royals,” where she trashes modern pop and hip-hop’s obsession with materialism in favor of a world of love, friendship, and ideas. It’s the best Morrissey song he never wrote. Her earlier *The Love Club EP* primed audiences for what they’d be hearing, but nothing could prepare one for the actual excitement of her debut album’s best cuts. Lorde’s co-conspirator/producer/writer Joel Little ensures that songs like “Tennis Court,” “Ribs,\" and “Buzzcut Season” never lose their way. This is sharp, inspired pop music that knows how much fun it can be to play up to type and then spin things on their heads for a new conclusion.

Britain\'s Charli XCX can be regarded as the power behind Icona Pop\'s fantastic girl-power anthem \"I Love It\" (she cowrote it with two producers). And that song\'s considerable muscle and sass easily set it apart from music by scores of other female pop artists. While the 20-year-old professes a love for classic Spice Girls and Britney (and, we suspect, Madonna), she\'s nurtured a slightly edgier vision that puts her more in the camp of artists like Marina & The Diamonds. Synths, drums, more synths, pounding dance floor beats, and a husky voice capable of both withering heat and alluring warmth turn what could be humdrum dance pop tunes (like \"Take My Hand\" and \"Black Roses\") into something bigger that rattles more than your ankle bones. The sultry, winsome \"Nuclear Seasons\" rings with the memories of Talk Talk\'s \"It\'s My Life\" and murkier memories of Duran Duran, while the snarl of \"You (Ha Ha Ha)\" hints at the power of \"I Love It,\" though it sparkles and pinwheels on a sweeter bed of synth notes. Watching Charli XCX stretch out into new pop spaces is guaranteed to be a fun ride. 

Kacey Musgraves knows how to wrap an intriguing story around an ear-snagging hook while capturing the rhythms of small-town life. Songs like “Silver Lining” and “Step Off” are notable for their delicate balance of hope and realism; “Stupid” and “It Is What It Is” face up to the hard truths behind romance with remarkable clarity. This is smart, superbly crafted, and truthful to its tuneful core.