Here are the releases that just missed the final list. In alphabetical order.
After 2008’s Los Angeles, one had to wonder whether Steve Ellison would just be a flash in the pan. Not to take anything away from L.A., it was a cool collection of off-the-wall beats, but it felt like it was just that: a collection. I’m happy to report that on Ellison’s second LP, Cosmogramma, he has created an electronic album that stands a true cohesive statement.
Honorable Mentions:
Adam Green - Minor Love
Autre Ne Veut - Autre Ne Veut
Avey Tare - Down There
Deftones - Diamond Eyes
The Dillinger Escape Plan - Option Paralysis
Electric Wizard - Black Masses
Emancipator - Safe in the Steep Cliffs
Erykah Badu - New Amerykah Pt. 2
Ewan Pearson - We Are Proud of Our Choices
Foals - Total Life Forever
Four Tet - There Is Love in You
Jen and Johnny - I'm Having Fun Now
Lindstrom and Christabelle - Real Life Is No Cool
OFWGKTA - Radical
Rosetta - A Determination of Morality
Sun Araw - On Patrol
Twilight - Monument to End Time
Twin Shadow - Forget
Villagers - Becoming a Jackal
Yeasayer - Odd Blood
Without any more waiting, here are the 50 best albums (and one DJ mix) of 2010.
50. Shed - The Traveller
After the super essential Shedding the Past, Shed returns with another potential classic, though not in the way you would think. Whereas shedding is Shed's interpretation on techno, tinkering with 4/4 rhythms but making them as disjunct as possible, The Traveller is more of an expression of himself, unbounded by genre tags and expectations. Like Actress' mind melting album this year, it doesn't really follow any particular formula and moves like it were created day by day and altered in sequence depending on what ever mood or mindset he had been in. I had someone once told me that the allure of reading prose is that it gets you inside the artist's head and gives you a taste of his true vision unfiltered, and I'd say this album does that no questions asked. You are the traveller within the warped and exciting world of the one and only Shed. ---wantabodylikeme
49. Canvas Solaris - Irradiance
Sure, progressive metal is either for fuckin' Asperger's victims or fat cunts, but Canvas Solaris is an often underappreciated act that are deserving of much more praise than they receive. The music they play is all instrumental, but the absence of vocals is made up for by having highly memorable and technically proficient musical sections. The instrumentation is clean and tight, much unlike your arse, and it's music a musician and music fan alike can enjoy. If you like your prog it's essential listening. Even if you don't like prog, it's still recommended you hear it. ---UberKvltPancake
48. Janelle Monae - The ArchAndroid
With the album being 69 minutes long there was always going to be criticism about it being too long and dragging by the end. Well "FUKK DA HATERZ", no criticism here about it because what I like most about this album is that just when you think the album might get boring, something catches your attention and drags you back into the listen. The album really gets going with single (and my personal favourite track) "Cold War", showing off Monae's range throughout. Another positive aspect of the album is that the sound changes throughout, exploring something different with the listener not knowing what is coming up next. It would be very easy to skip tracks to songs such as "Cold War", "Tightrope", "Come Alive" and "Make the Bus", but the album has so much going on it would be a waste to miss something. The album ends with much less energy than earlier on but still keeps you interested to the very end. ---SorboFTW
47. Ryan Adams - Orion
Ryan Adams, the man who has been pissing all over artists like Jeff Tweedy by being more prolific, more heartfelt and generally a superior alternative country artist, has released a Sci-Fi metal concept album. I don't think much more needs to be said then that, except that one has to understand this isn't so much a metal album, as an album about metal, made with love from someone who is a huge fan. The album explores everything from robot spiders to intergalatic conflicts. All that aside, how much can you hate an album containing songs titled "Defenders of the Galaxy" and "Ghorgon, Master of War?" ---deadlikeethan
46. The Chemical Brothers - Further
The Chemical Brothers return to prime form on Further for the first time since Come With Us (or even their late-90s material). Starting with an aura of uncertainty as faint drones and bleeps escalate into a beautiful chorus, the album really takes off with "Escape Velocity". From here on out, The Chemical Brothers are back to frying minds and kicking ass. Unlike the trancy Come With Us, the poppy Push the Button, and the uninspired We Are the Night, Further feels like it actually pushes these guys "further" ahead with a sound that's unique. Songs like "Swoon" are genuinely one of the best dance songs you will find anywhere this year. It's incredibly well produced like always, it's full of ideas that seem to flow in and out of each other like a strong DJ set does. This seems like the comeback album everyone slept on. Wake up and dance, this is The Chemical Brothers at their best, in case you hadn't noticed. ---deaconzonday
45. Gorillaz - Plastic Beach
When I first heard this album, featuring everyone from Mos Def to Mark E. Smith, I sincerely wished I could attend Damon Albarn's birthday party because it would probably be the most hip thing ever. The love of every genre under the sun is shown here, and while sometimes an album can suffer from being to eclectic (making it directionless or just sound like a mess) the Gorillaz experiment and mix and match tastefully releasing an album whose versatility is only matched by its tastefulness. ---deadlikeethan
44. Counterstrike - X-Mas Therapy Session
An absolutely stunning display of the finest darkstep drum and bass out there. Therapy Session mixes are centered around drum and bass that is absolutely filthy, heavy and angry as all hell. If I were to sum up what this particular mix sounds like, I would have to compare it to a dude under the influence of meth butchering people with a meat cleaver while screaming his lungs out. Counterstrike is a duo that consists of two dudes from South Africa and this offering seems like it would be highly attractive to pill popping fucktards and sexually perverse deviants alike. You can be assured that somewhere in Europe this mix is pumping in some sort of BDSM dungeon where the smell of jizz and vaginal flesh conquers your senses. ---UberKvltPancake
43. Daughters - Daughters
Daughters have evolved into a completely different beast with their self titled release, but the music is still driven by the same maniacal dynamism and insanity that helped gain their previous LPs underground success. Where previous releases showed the band using angular grindcore riffs to create a maelstrom of psychopathic rage, the band tightens up their entire package, stretches out the songs to over three minutes, and even makes their music more accessible in the process. But this is still Daughters, the same group that can tear the roof off of a building with the sheer volume and energy they know how to produce. Protect your kids. ---deacon zonday
42. Robyn - Body Talk
Robyn is the most popular artist without really being well known. A few of her songs have crossedover to mild rotation and I'd say about a small section of the American masses have probably heard one or two songs from her, but what really bothers me is that what she is doing with electropop is a lot more forward thinking while still staying universal than her more popular counterparts (gaga, kesha, et al). And where those kind of records are led by their mega hits, Robyn's albums contain songs where every song can potentially be those. I have not heard a bad Robyn song and within the type of music she is doing, that is a huge accomplishment. Body Talk is a compilation of all that ambition she continues to exude and also a reminder that when it comes to contemporary pop music, she is unrivaled. ---wantabodylikeme
41. Caribou - Swim
When Dan Snaith, the sole member of Caribou started making the tracks that would become Swim, he thought about releasing them under some other project because of how different they sounded. Eventually he realized that Caribou is not a band that really has a singular distinct sound and thus he released Swim under the Caribou moniker. Swim is quite different from the other work that Snaith has done with Caribou in that it is made for the dance floor. Sure, you still have the psychedelic flourishes and catchy pop aspects of earlier Caribou albums, but when the first song on the album, “Odessa”, starts up you can’t help but shake dat ass. Snaith doesn’t fall into any kind of current trends in dance music, this stuff blends what he was doing with Caribou’s previous styles and creates a distinct sound that you can still get down with on the dance floor. An impressive feat, no doubt, but we’re already getting used to Snaith’s ability to reinvent himself in novel ways with each release. So really, who’s all that surprised? ---Paul
40. Of Montreal - False Priest
I'm in a minority that thinks Of Montreal is on some creative wave that didn't die with Hissing Fauna, but rather only began. With this album (and Skeletal Lamping) I think Of Montreal has proven themselves to be masters of creating songs that are both creative and interesting, while also being funky and catchy as hell. Even if you don't buy that, I think it's obvious that Kevin Barnes has created a world that has walls of sounds which contain thankful boyfriends, kinky sex, and someone with a damn good record collection.
---deadlikeethan
39. Melechesh - The Epigenesis
Many panicked over the thought of Melechesh releasing a new album. People were left thinking "What if they're not the same band?"; "What if they fall off the wagon?". Well, thankfully the latest Melechesh offering was an album that the people wanted. When you're in a group like Melechesh that makes music based around Sumerian themes the biggest challenge is to find a strong formula. If your discography is going to be based around the same theme you have to make sure that every song composed is strong enough and vibrant, for fear that you may bore the listener completely. Thankfully, Melechesh managed to cement a solid formula and all their efforts are badass and awesome as shit. Though the album is a little lengthy at 72 minutes, the first 25 minutes will be some of the most involving musical pieces on the album. 'Sacred Geometry' will be sure to have you air guitaring like a homo in an instant. ---UberKvltPancake
38. Stars - The Five Ghosts
Nobody could ever call Stars a happy band. They are the indie epitome of "breakup band", though on The Five Ghosts they lace it with optimism. Its not reveling in heartache and depression, but explores the more difficult part...moving on. Even if they are a bit hammy, The Five Ghosts might be the most heartfelt album in 2010. "All I've known is that there is an end, that you can begin again." Its refreshing to see a different outlook on the familiar relationship themed lyrics, and the backing music is terrific and sophisticated pop. ---Joe
37. Warpaint - The Fool
The debut album "The Fool" from experimental rock band Warpaint came with much hype off the back of the "Exquisite Corpse EP" and it definitely has lived up to the hype. The soft vocals from singer Emily Kokal, matched with the almost post rock sounding drums and guitars, leads to an album that is part dream pop, part psychedelic rock. The opening track "Set Your Arms Down" my personal favourite track. The opener starts the album off showing its dream pop qualities and beautiful drumming. The mood through the first track is very somber, one that is continued throughout the album. ---SorboFTW
36. Envy - Recitation
This isn't Envy's best release, however it's still an Envy release and the juxtaposition of screamo and post-rock is beautiful. However, while musically I would say this is Envy's most competent release, the screaming can be a bit awkward in places. Still, it's rare that an explosive force of energy and beauty hits the world like this. Envy show themselves to be at the top of their game, and there are moments on this album can make you melt.
---deadlikeethan
35. Teebs - Ardour
Doing these lists is funny cuz once you find a thing that sounds similar to another thing, you kind of just replace said thing with the other thing as some sort of representation of "that thing". And before you get totally confused reading this, I'll just compare this to buying an ipod and finding out a zune does other certain things that you favor much more than the ipod you originally bought, so you just say fuck it and go buy a zune. This record takes all the good stuff you like about Flying Lotus and Four Tet and your third favorite ambient artist and makes a lush, alluring aural potpourri out of it. One could call this too samey, but that's the thing, its power lies in its saminess so that it can ingrain in your head its distinct sound design. At the same time, it only seems that way because it hypnotizes you, challenging you to not fall under its spell and only asks (not urges) you to notice the subtleties of diversity that the album actually has. It's consistent, soothing ear candy for the heart and soul, and the brain too but shhh..don't tell him, he doesn't know about it. ---wantabodylikeme
34. Phantogram - Eyelid Movies
Phantogram were born in the same smokey room as Portishead, but in the sixteen years that seperates Dummy and Eyelid Movies, it seems the owners have installed a disco ball. Trip hop sank into its own stagnant waters after 1998, leaving the outdated Massive Attack trying and failing to recreate their former glory with numerous guest stars and Portishead themselves abandonding the genre to do something new...again. Suddenly, across the sea, a glittery phoenix rises from the ashes in the form of Joshua M. Carter and Sarah D. Barthel. If the Strokes were the NYC night life in 2001, Phantogram is here to catch the NYC night life up to 2010. It may seem odd to call them haunting for they hold no property in the desolate pit of despair that trip hop normally settles into, but their haunting more in the way of an adventure through NYC with a mysterious and sexy woman...and when you wake up alone in the morning you're unsure whether it was a dream or a reality. ---Joe
33. Mark McGuire - Living with Yourself
I have this soft spot in the pit of my heart for personal records or at least ones that appear to be personal. I think the risk of looking super self-indulgent or mad corny is one worth willing to take for the sake of keeping the creator honest and happy about his work. Imagine taking the amazing sound pallet of Emeralds and making it more organic, more warm n' fuzzy, and ultimately more human. A lot of artists believe that electronic music has more range than regular instruments in what they can achieve, and maybe they are right, but no matter how much things can replicate a certain sound, a good listener can always hear and actually feel the difference between what's synthetic and what flows with lifeblood. Living With Yourself is a record about memories and nostalgia and McGuire trying to grasp back at his own through music; like a photo album containing emotions instead of photos. ---wantabodylikeme
32. Black Rebel Motorcycle Club - Beat the Devil's Tattoo
So first album without the drug riddled fuck Nick Jago behind the drums, does this mean much for this album? No cause at the end of the day it's still Black Rebel Motorcycle Club making psychedelic rock as good as ever. This album shows glimpses of older stuff with "Conscience Killer" bringing back memories of some of the great tracks off "Baby 81" and BAS track "Sweet Feeling" taking us back all the way to the debut album. Once again the weird mix of Country and Blues (each being a preferred choice of Hayes and Been) came together to make another great Black Rebel album with "River Styx" being my personal favourite track. ---SorboFTW
31. Liars - Sisterworld
Liars are never comfortable to spend too much time in any one particular sound. Their first album was intense post-punk with a monster rhythm section, and then they got all experimental with us on their next two releases. Their last self-titled album blended what they had done previously but made it a bit more accessible. Sisterworld continues this approach in some ways but in a more cohesive “album experience” sort of way that’s more akin to what they did on Drum’s Not Dead. Sisterworld is a menacing and mysterious album. Jagged sounding guitars bare their teeth to the listener throughout and the songs alternate from brooding to straight up brutal. The album keeps the listener on their toes never quite knowing if a song is going to go right for the throat or be more content to hover ominously in the background. Creepy stuff all around. ---Paul
30. Kylesa - Spiral Shadow
Kylesa return to the studio to, instead of get even heavier (which at this point was probably impossible), develop a repertoire of psychedelic, tribal, and atmospheric metal songs. Some, like "Tired Climb", show an immense promise to become metal giants. Others, like "Don't Look Back", are practically as catchy as a pop tune. While many of Kylesa's fans have to be confused by the stylistic change, it's one that separates them from the pack of Neurosis-imitators and makes them their own band. You have to give them credit for trying out something so radically different and even succeeding most of the time. ---deacon zonday
29. Plebeian Grandstand - How Hate Is Hard to Define
Of all the metal albums released in 2010, I would have to say that this one is the most overlooked, really. For the hordes of Converge and Dillinger Escape Plan fans out there, I suggest you listen to this album. I recommend this because a number of the musical ideas thrown around on How Hate Is Hard to Define sound sorta like what the aforementioned bands have achieved. This isn't to say that Plebeian Grandstand aren't original, because I would have to say that they're one of the more refreshing acts that I have heard in recent times, and they're fucking angry as hell. This album throws you against a brick wall, rips off your shirt, force feeds it to you and makes you shit it out. Now that's totally fuckin' metal. ---UberKvltPancake
28. The National - High Violet
High Violet is not anything radically different from what The National bring to the table, but then The National have never been that kind of band musically. They continue their conquest as purveyors of the college-graduates-struggling-to-figure-out-life crowd, this time professing their angst and frustration in a way that translates more to the atmosphere of their music. It surfaces in the songs, which open and swell and fade and ring out like a long hazy fog. It's like being stuck in a black cloud, but in the most enjoyable way possible. ---deacon zonday
27. Killing Joke - Absolute Dissent
2010 should be known as the year that really old and innovative fuckers from the 1980s came back with arguably the strongest and most consistent album of their respective careers. I refer to, of course, Swans and Killing Joke. Neither really went away, but both slipped under the radar. Gira, of course, with Angels of Light and Killing Joke with a pretty forgettable album. Truth is its only been four years since the last Killing Joke album but as fast as music moves nowadays its felt much longer. Whereas their last album found them in a creative slump, Absolute Dissent finds them once again melding scorching metal with tribal post-punk. They finally sound alive again, which is ironic because there is a sadness that lies atop the songs from bassist Raven's death. But rather than make it depressing, it just adds a level of gorgeousness to the characteristically heavy songs. Killing Joke have made the sound of the earth vomiting a little more pretty. ---Joe
26. Vampire Weekend - Contra
"Hi, we're Vampire Weekend. We posed questions about 'Oxford Commas' and chanted 'ey ey ey'. We appeased indie hipsters and radio whores alike, and we're back, except we decided to skip that whole sophmore slump phase and just make another album that's catchy as fuck and still vintage while being modern. With our third album, we plan to be a full blown epidemic." ---deadlikeethan
25. Negura Bunget - Virstele Pamintului
Not many people got excited about this release and I would like to know why. Some fagboys out there complain and say "Meh, it's no OM", but those guys are dickheads. If anything, I find that Negura Bunget are one of the only black metal acts out there to push the musical boundaries and atmosphere of their breed of black metal. Their 2010 effort has only further proved to me that this is one of the black metal bands out there that need to be heard, what with their lush atmosphere, interesting guitar work and brooding synths. Definitely gets two thumbs up from me. You probably have a thumb up your arse. ---UberKvltPancake
24. Surfer Blood - Astro Coast
As Astro Coast opens with the triumphant and exuberant chords of "Floating Vibes", it'd be hard to ignore the intense summer vibes jumping off of this album. Reminiscent of classic surf rock, and maybe even old school Weezer or the Pixies at times with the guitar interplay, this album brings the future of mainstream indie rock to fruition in the most emphatic way possible. As a result, their take on it all manages to feel incredibly inviting and unrivaled, despite the band's ability to brazenly wear their influences on their sleeves. Their new surf rock production also seems to be making a revival within the indie scene. If anything, Astro Coast was the first catalyst of the revival bands this year, and possibly the best one at that. With a major label deal actually happening, look out for Surfer Blood to flood your airwaves with their infectiously sweet melodies. ---deacon zonday
23. Wavves - King of the Beach
Nathan Williams gets together with the backing band for the deceased Jay Reatard and releases one of the catchiest albums you'll hear all year. When this guy named dropped Nevermind as his favorite album, he wasn't shitting with you. Songs like "Linus Spacehead" and "Super Soaker" are perfected worship of alternative rock, and others like "Post Acid" and "King of the Beach" are tributes to the best of classic pop punk records. But where this album excels is in the production. Melodies previously unrecognized by fuzzy lo-fi aesthetic of Wavvves have been almost completely erased so these hooks can shine through in your face. It allows Wavves to be more than just a one-trick pony. Songs like "Baseball Cards", "Mickey Mouse", "When Will You Come", and "Green Eyes" all scale the gamut of alternative/indie rock and show the potential he has to work with on future records. I think Nathan will be much better off lyrically when he stops giving a shit about the initial haters, because this album proved that the guy is capable of making it in the business. ---deaconzonday
22. Efdemin - Chicago
I find it baffling that the most played out criticism for Efdemin's Chicago is that it's too long. I think as music listeners we've become too impatient with albums, we don't want to wait for things to happen. Intimidated by its length, no wonder listeners aren't motivated to attentively explore this worthy successor of Efdemin's essential debut in 07. I think the long lasting albums are ones that unfold slowly and meticulously. You feel disconnected on initial listens. I believe albums, just like books, have an underlying subtext that you don't normally pick up on at first. It's not enough to deliberately focusing your attention on an opening to connect with, it actually takes a commitment and faith that an album will provide you with such if you just keep listening. As label mater Pantha expanded his pallet to a more hipster friendly sound, Efdemin digs back classically, inspired by past and comfortable house that we've all known but turning it into something much more intangibly fresh, whose power can only be rewarded to the patient. ---wantabodylikeme
21. Deathspell Omega - Paracletus
Packed with aggressive, dissonant riffing and a swirling maelstrom of blast beats, Paracletus shows that Deathspell Omega still has balls. Surprisingly, the album isn't a 70 minute experience like one of their former albums, 'Si Monumentum Requires, Circumspice', yet it still covers the sound of their previous efforts, and sums up the Deathspell Omega experience in a convenient 42 minute package. Many songs contain a comfortable balance of insanity and beauty, wherein the avant garde riffing breaks into peaceful and serene interludes that are pulled off with overwhelming sincerity. Invert those crucifixes and slap on that corpsepaint before listening, 'cause Deathspell Omega's sure to fuck your shit up. ---UberKvltPancake
20. Sleigh Bells - Treats
TWENTY YEARS FROM NOW I'LL BE ABLE TO TELL MY KIDS THAT I WAS THERE WHEN CHEERLEADER METAL STARTED. SLEIGH BELLS FILL THE GAP BETWEEN NINE INCH NAILS AND KATY PERRY, EXCEPT ONE MILLION TIMES LOUDER. I'M PRETTY SURE I LOST HALF MY HEARING THIS SUMMER FROM PLAYING THIS SO DAMN MUCH ON ROAD TRIPS.
Rill Rill is a nice song. ---Joe
19. Titus Andronicus - The Monitor
The Monitor is a big album. The songs are long, the guitars are in your face, the vocals are shouted and bleated, and the arrangements are anything but spare. Subtlety is not a word that should be used when discussing this album. Don’t get it twisted though, this ain’t prog rock. What we have here is punk rock in its grandest form. Completely raw, emotive and intense music that doesn’t make any concessions to what your conception of what punk rock really is. It’s not often that we see albums that are this unafraid to make bold statements with utter disregard to what indie rock or punk rock (or whatever the hell you want to call these guys) is “supposed” to be like. So when they turn up with this kind of quality you better stand up and pay attention. ---Paul
18. No Age - Everything In Between
No Age returned to the studio with a new sound, poised to keep evolving their brand of "ambient punk". This is the same No Age you've grown to love, but instead they cleaned up the noisy lo-fi vibe of their earlier work, essentially improving upon what they were working at on Losing Feeling last year. Songs like "Glitter" and "Fever Dreaming" are among the best things they've done to date, stripping most of the sprawling ambiance in favor of a polished and glimmering soundscape of feedback drenched guitar layering. It makes what No Age are doing more instantly apparent and easy to understand, but it doesn't strip the magic from what these guys create. It reveals the elements of their music you may not have noticed on Nouns. From their catchy guitars to everything in between, this is a classic album from start to finish. ---deaconzonday
17. Joanna Newsom - Have One On Me
Ys was considered a masterpiece of modern music, it was avant-garde and thoroughly original. What Have One on Me lacks in innovation, it makes up for with its aesthetics. Tracks like '81 show Joanna, while lacking some of her trademark idiosyncrasies, at her most beautiful, and also most refined. Have One on Me isn't Ys, and it doesn't have to be. With this album Newsom shows she can continue to be as ambitious as ever (though at times, tedious may be an apt word to use) without repeating herself. ---deadlikeethan
16. Future Islands - In Evening Air
You know there were a lot of innovative records released this year and the more time progresses, the more broad the creations and possibilities of music becomes with ever-growing technological advancements and artists around the world thinking, imagining, and creating things totally beyond limitations. And naturally when you're an art magnet, you hold novelty ahead of most things because there will always be derivatives overpopulating the world. But there's one thing that trumps any kind of new idea or freshness and that is total honesty. One of my favorite quotes is from Pablo Picasso who said "Good artists copy, Great artists steal". While artists struggle to do something different, to be unique, to separate from the banal, In Evening Air searches for intuition and pure feeling first before novelty and in doing so ends up achieving both while staying true to themselves. This is one of the records you just can't live without, it is pure, unadulterated evocative power. Yes on paper they are just mere descendants of New Order and other synth pop groups, but when actually experienced, they become perfect examples of what Picasso meant, taking what you learned from being fans of music and artists you looked up to, and molding it into beautiful artistic ingenuity. It's that cyclical nature, taking inspiration from others and giving inspiration to others that's what keeps art alive and In Evening Air is the quintessential example of just that. ---wantabodylikeme
15. Best Coast - Crazy for You
The perfect album this year to sit lazily in the summer's HEAT and listen to is this one. The debut album from surf pop band Best Coast is every bit mesmerizing, with its throw back pop sound throughout, making it perfect to listen to whenever in a mood to just chill...bra. Nothing about this album for me is particularly amazing, but it all works in a way that doesn't seem boring to listen to even though it sounds the same the whole way through the album. The part I like the most is that the lyrics are believable and not like they were written by some balding fat guy in an flashy office sitting on a seat made of cash from shitty pop songs made for artists who were gone fast. The songs are all around the 2 minute mark so never outstay there welcome which with an album like this is just what is needed. Favourite track "Goodbye". ---SorboFTW
14. Swans - My Father Will Guide Me Up a Rope to the Sky
Its not that Michael Gira wasn't busy between Soundtracks for the Blind and My Father Will Guide Me Up a Rope to the Sky, a fourteen year gap, but when you release something under the Swans moniker, it carries certain connotations that none of his other projects ever could. So its not like Gira actually went anywhere, but this is still a comeback album, considering its his best album since...the last Swans album. Its not quite as dense as their '90s work and its not anywhere close to being as brutal as their '80s material, but it does a very nice job of bridging the gap. Longtime fans may miss Jarboe, but her absence only allows Gira's genius to shine all the brighter. ---Joe
13. Marcel Dettmann - Dettmann
If the Future Islands provided the heart of this year, then Marcel Dettmann becomes the mind of 2010. A record that feeds off its detachment in order to penetrate your skull, leaving you with a sensation as dizzying as it is hypnotic. Let it swallow you in its engulfing sound world, as it gives you an experience of spaced out head room and a desire to never wanting to pause it. This is club music where even aliens get alienated, where it may not be danceable in a traditional human sense, but I bet you a 2 dollar bill that your brain neurons are c-walking like it was cinco de mayo in Chico Hills. Many music geeks like to pull the "you just don't get it" defense, but with this album in particular, I hold it near and dear to myself because like others who have a deep affinity towards it, had to work their way up hard to finally obtaining a connection. At first I was like, but then I was like, and after that I was still like, and then I left for a month came back and then I was like, and then yeah ok now this rules. If I were to give a word of advice for others who have shrugged shoulders and itchy scalps still trying to understand Dettmann, I would say to not even try to understand anything and just let it take you over, and just feel the one and only Dettmann experience. ---wantabodylikeme
12. Crystal Castles - Crystal Castles
Crystal Castles have improved upon Crystal Castles with their new album Crystal Castles (See what I did? I made a joke about how all their albums are self-titled. I so funny.) This album is darker, has better production, is more cohesive and shows the duo are still able to consistently create a solid electronic atmosphere. However, it lacks some of the stand out moments present on the debut. Still, it's Crystal Castles and whether you're dancing, or having an epileptic fit they're one of the best soundtracks to be playing. ---deadlikeethan
11. Flying Lotus - Cosmogramma
Cosmogramma somehow achieves the difficult task of sounding like it’s all over the place and completely unhinged yet able to put you in a trance with its grooves and catchy beats. You’ll hear all sorts of live instrumentation sampled from horns, guitars, spaced out synths, and even harps and the songs are frequently more free-form than one would expect from a producer commonly associated with hip hop. Yet unlike on Los Angeles, the album always sounds coherent. Songs like “Do the Astral Plane” feature a smattering of samples, yet you can’t help but bob your head to the sounds he creates.
Cosmogramma features guest vocals from Thom Yorke, Stephen Bruner and Laura Darlington. All of these contributions work as more of complimentary roles. If you’re expecting Radiohead as produced by Flying Lotus you might be surprised to hear how “The World Laughs With You” merely uses Yorke’s voice as another random ghostly addition to the sounds that Ellison combines throughout Cosmogramma. This goes more in line with how Yorke wished to utilize his vocals on Kid A, where they were just another instrument. Ellison was wise to not devote too much attention to making these guest spots the core focus of the album as it would have gone against the melting pot nature of the LP.
With Cosmogramma, Ellison has proven that he is not a mere beat-maker but an artist unto himself with a grand scope and a bright future. He has said that he is already working on a follow-up to Cosmogramma, and considering the promise that he has shown (and delivered on) on his first two LPs, that has me very excited for 2011. ---Paul
10. Menomena - Mines
With Mines, Menomena return to the indie spotlight once again to do what they do best, and that's write catchy songs enveloped in tasteful instrumentation and perfect timing. Mines erupts at all the right moments, rocks at all the right times, and isn't afraid to step back and let the pianos and fragile voices carry the tremendous weight of the LP as far as they can go.
It still carries much of the same bouncy playful youth of their earlier albums, but Mines comparatively just flat out rocks harder. It's been awhile since an indie rock album has felt as genuinely anthemic as it does, and not been bloated with excess and overindulgence. This is stripped down rock 'n roll in its most pure and most powerful at its best.
That isn't to say the sound of Mines isn't dark and brooding like much of their previous work. Thick walls of noise engulf many of the tracks, as the bass shines through like a beacon of hope while drums clatter emphatically around it all. Mines may even be chaotic, and at times claustrophobic, but it never once feels boxed into anything. This is grand indie rock. It's purpose or meaning may not be as easily apparent, but that's apart of what Menomena have been working towards their entire careers. If anything, Mines could be considered their swan song. ---deacon zonday
It still carries much of the same bouncy playful youth of their earlier albums, but Mines comparatively just flat out rocks harder. It's been awhile since an indie rock album has felt as genuinely anthemic as it does, and not been bloated with excess and overindulgence. This is stripped down rock 'n roll in its most pure and most powerful at its best.
That isn't to say the sound of Mines isn't dark and brooding like much of their previous work. Thick walls of noise engulf many of the tracks, as the bass shines through like a beacon of hope while drums clatter emphatically around it all. Mines may even be chaotic, and at times claustrophobic, but it never once feels boxed into anything. This is grand indie rock. It's purpose or meaning may not be as easily apparent, but that's apart of what Menomena have been working towards their entire careers. If anything, Mines could be considered their swan song. ---deacon zonday
9. Ariel Pink's Haunted Graffiti - Before Today
One thing is noticeably different about Ariel Pink's new album, Before Today. It's glaring and unavoidable even 30 seconds in. It's the production.
After spending over a decade in obscurity with an impressive collection of tracks both self released and through Paw Tracks, the guy has more than made a name for himself as a lo-fi songwriting genius. So then, you have to wonder how well his songs would actually hold up under the microscope of fabulous and authentic production techniques and equipment that he finally found himself this time in the studio. What's impressive is that he not only used Before Today to combine all of his discography's greatest moments into a convenient package, but he also goes out of his way to show off his production mastery.
Let's be real, Ariel Pink is far from a gimmick. If he were, I doubt his peers would respect him so greatly. To prove it, with all this studio trickery up his sleeves for this release, he more than out does himself, showcasing the most genius choruses from 30 or 40 years ago that have all but been since forgotten. Songs like "Round and Round" are undeniably phenomenal creations of epic retro proportions.
At the end of the day, it's nothing groundbreaking in the Ariel Pink catalogue, but with this guy, you have to take in to account his forte is in lo-fi bedroom quality demos that end up sounding like they were lost 60s relics. So after getting all the tools to finally make his landmark accessible masterpiece, he still comes out on top. The man deserves some major respect. ---deacon zonday
After spending over a decade in obscurity with an impressive collection of tracks both self released and through Paw Tracks, the guy has more than made a name for himself as a lo-fi songwriting genius. So then, you have to wonder how well his songs would actually hold up under the microscope of fabulous and authentic production techniques and equipment that he finally found himself this time in the studio. What's impressive is that he not only used Before Today to combine all of his discography's greatest moments into a convenient package, but he also goes out of his way to show off his production mastery.
Let's be real, Ariel Pink is far from a gimmick. If he were, I doubt his peers would respect him so greatly. To prove it, with all this studio trickery up his sleeves for this release, he more than out does himself, showcasing the most genius choruses from 30 or 40 years ago that have all but been since forgotten. Songs like "Round and Round" are undeniably phenomenal creations of epic retro proportions.
At the end of the day, it's nothing groundbreaking in the Ariel Pink catalogue, but with this guy, you have to take in to account his forte is in lo-fi bedroom quality demos that end up sounding like they were lost 60s relics. So after getting all the tools to finally make his landmark accessible masterpiece, he still comes out on top. The man deserves some major respect. ---deacon zonday
8. Kanye West - My Beautiful Dark Twisted Fantasy
Review after review talk about how great this album is because of Kanye's personal life, but why does that fucking matter? Its not the music. Fortunately, this is cutting edge hip hop. Its simultaneously stripped down and grand, and it utilizes a lot of interesting ideas and an ambition that is missing from a lot of modern hip hop. Really though, this album isn't that beautiful, dark, twisted, or fantastical, but Kanye did a good ass job. See what I did there? ---Joe
7. Agalloch - Marrow of the Spirit
Two years is a long time to wait for any piece, let alone four. To satisfy the fervent fans Agalloch have regularly (it’s all relative) released EPs, but none have been as rewarding as the full album. So when the product of many years labour is at last released, both artist and fans share anticipation and nervousness. Fortunately, Marrow of the Spirit does not disappoint.
Agalloch again venture into unknown territory, yet all the while maintaining their signature sound of desolation. It is undoubtedly their most dense and eclectic of albums, with influences ranging from Ulver to Godspeed You! Black Emperor to Swans; even to Bela Tarr’s masterpiece Werckmeister Harmonies. I’ve heard more casual listeners describe the album as noisy and a mess, and it is for these reasons that I think the album deserves multiple listens. The harmonies and sheer emotion truly reveal themselves and resonate within after several reoccurrences.
Like always, the atmosphere is ever encompassing and immersing. The opening instrumental immediately informs the listener what they’re getting into with its sombre, wailing melody. The next track makes perfect disparity in structural composition, upping the tempo and resembling something found within the Black Metal scene in Norway, while inexplicably evoking a sense of tranquillity and preserving the solemn mood. It is these juxtapositions and seemingly contradictory contrasts that best depicts the album, I think. Despairing yet melodic. Aggressive yet peaceful. It is an emotional maelstrom.
The vocals are, clichés aside, heartfelt. This is most prominent in the 17 minute experimental epic "Black Lake Nidstang", when John Haughm does a fantastic Depressive Black Metal impression. As usual, the instrumentation is superb, with the dual guitars often overlapping, complimenting each other. The drumming has improved dramatically with the addition of Aesop Dekkar, although the use of blastbeats are occasionally overused. At the length of 65 minutes (with each song averaging almost 11 minutes), the album is long, perhaps even a little overlong and meandering at times, though it is an ultimately gratifying experience. ---The Grimp
Agalloch again venture into unknown territory, yet all the while maintaining their signature sound of desolation. It is undoubtedly their most dense and eclectic of albums, with influences ranging from Ulver to Godspeed You! Black Emperor to Swans; even to Bela Tarr’s masterpiece Werckmeister Harmonies. I’ve heard more casual listeners describe the album as noisy and a mess, and it is for these reasons that I think the album deserves multiple listens. The harmonies and sheer emotion truly reveal themselves and resonate within after several reoccurrences.
Like always, the atmosphere is ever encompassing and immersing. The opening instrumental immediately informs the listener what they’re getting into with its sombre, wailing melody. The next track makes perfect disparity in structural composition, upping the tempo and resembling something found within the Black Metal scene in Norway, while inexplicably evoking a sense of tranquillity and preserving the solemn mood. It is these juxtapositions and seemingly contradictory contrasts that best depicts the album, I think. Despairing yet melodic. Aggressive yet peaceful. It is an emotional maelstrom.
The vocals are, clichés aside, heartfelt. This is most prominent in the 17 minute experimental epic "Black Lake Nidstang", when John Haughm does a fantastic Depressive Black Metal impression. As usual, the instrumentation is superb, with the dual guitars often overlapping, complimenting each other. The drumming has improved dramatically with the addition of Aesop Dekkar, although the use of blastbeats are occasionally overused. At the length of 65 minutes (with each song averaging almost 11 minutes), the album is long, perhaps even a little overlong and meandering at times, though it is an ultimately gratifying experience. ---The Grimp
6. The Tallest Man on Earth - The Wild Hunt
To many poets, painters and other artists, nature is the greatest muse, and the power and beauty of the natural world has been evoked in all different forms. Kristian Matsson has proven his ability to do this time and time again. The talent with which he does this is incredible, particularly given his sparse materials. Composers have used entire orchestras to show what the grass beneath your feet feels like, or to sit in a canyon and admire the size of it all. Matsson with just a guitar and his voice paints these scenes over and over and over.
The Wild Hunt shows Matsson building on the soundscape he created with Shallow Grave. In every way this album marks an improvement, his singing is more capable, his lyrics as poetic and Romantic as ever - and the same, nimble-fingered, guitar-playing (which can alternate between delicate and beautiful finger-picking to intense strumming that makes me want to drive my car very fast or, even, fist-pump depending upon how drunk I am. This is particularly evident in the second track, Burden of Tomorrow, which has such a running energy to it I can't help but feel lifted while listening to it.)
However, despite Matsson remaining true to his general skeletal approach to music, there are moments of instrumentation. The title track features a banjo, and the closing track, Kids on the Run, features a piano as the source of instrumentation instead of the guitar. This track sticks out, but not so much like a sore thumb as a lover's finger. It's nostalgic and virginal, while simultaneously being reflective and wise.
Ultimately this is an album of summer, autumn, winter and spring. In the opening and title track, Matsson proclaims that he's given his heart to the Wild Hunt, that great European myth of everything from Odin to the dead, and with the evocative lyrics and the aesthetics of this album, one would believed this is what Matsson has dedicated his art to.
The Wild Hunt shows Matsson building on the soundscape he created with Shallow Grave. In every way this album marks an improvement, his singing is more capable, his lyrics as poetic and Romantic as ever - and the same, nimble-fingered, guitar-playing (which can alternate between delicate and beautiful finger-picking to intense strumming that makes me want to drive my car very fast or, even, fist-pump depending upon how drunk I am. This is particularly evident in the second track, Burden of Tomorrow, which has such a running energy to it I can't help but feel lifted while listening to it.)
However, despite Matsson remaining true to his general skeletal approach to music, there are moments of instrumentation. The title track features a banjo, and the closing track, Kids on the Run, features a piano as the source of instrumentation instead of the guitar. This track sticks out, but not so much like a sore thumb as a lover's finger. It's nostalgic and virginal, while simultaneously being reflective and wise.
Ultimately this is an album of summer, autumn, winter and spring. In the opening and title track, Matsson proclaims that he's given his heart to the Wild Hunt, that great European myth of everything from Odin to the dead, and with the evocative lyrics and the aesthetics of this album, one would believed this is what Matsson has dedicated his art to.
---deadlikeethan
5. Beach House - Teen Dream
Have you ever read a review of Beach House were they go "Oh it's like a Monet; the details all blurred but the idea is still there." Or "Oh it's like a dream" and all you could think was "stop starting your sentences with Oh you pretentious asshole. Of course it's like a dream, they're dream pop." I have, but the weird thing is in trying to review this those are easy cliches to fall back on, because the album is so ethereal.
With this release, Beach House have become more accessible then ever before. There's less darkness then on previous releases. In addition to that, the production of Chris Coady (TV On the Radio, Yeah Yeah Yeahs, Blonde Redhead, Grizzly Bear's Yellow House) has made the instruments more clear and distinct. Beach House have always been pop experts, and I think those factors and their ability as songwriters explain why this is their most successful release yet.
Beach House have been improving with every album, I think they have the potential to release the next Pet Sounds. It's become apparent with every release that they're masters of creating dreamy soundscapes and when listening to them I think I need a map, cause I get lost (+1 for using bad pick up lines on albums.) Just kidding, but I do think this albums from Tennessee. ---deadlikeethan
With this release, Beach House have become more accessible then ever before. There's less darkness then on previous releases. In addition to that, the production of Chris Coady (TV On the Radio, Yeah Yeah Yeahs, Blonde Redhead, Grizzly Bear's Yellow House) has made the instruments more clear and distinct. Beach House have always been pop experts, and I think those factors and their ability as songwriters explain why this is their most successful release yet.
Beach House have been improving with every album, I think they have the potential to release the next Pet Sounds. It's become apparent with every release that they're masters of creating dreamy soundscapes and when listening to them I think I need a map, cause I get lost (+1 for using bad pick up lines on albums.) Just kidding, but I do think this albums from Tennessee. ---deadlikeethan
4. Matthew Dear - Black City
Matthew Dear is no stranger to the electronic scene and has made music under aliases such as Audion, False and Jabberjaw. The music made under his own name, though, seems to concentrate a lot more on pop music composition rather than focusing on ideas that are strictly for the club. That's not to say that he abandons his dancy rhythms and makes songs that are only suitable for cardigan wearing dickheads that talk about Joy Division, as Matthew Dear manages to still add his own quirkiness into the mixture.
From the very beginning of the journey right through until the end, it's apparent that Matty D is one of the most fresh, vibrant and skilled songwriters in the electronic music scene. "Honey" is a moody way to introduce the album upon the listener, with its steady hi-hat groove and sultry bassline and vocal combination. "I Can't Feel" immediately makes the listener feel a lot less paranoid and, instead, lures in them into a scene filled with what seems like funk music played by aliens. Really, Dear has excelled himself and put himself on grounds where many musicians in the electronic music industry haven't dared stepped. It's always nice to see somebody trying to be innovative, but it's nicer still that the innovative music in mention happens to be masterful at the same time. If it isn't evident already, it's clear that Matthew Dear is the future of the electronic scene; in a time where it seems music has reached a plateau, he's just the type of person the world needs to show that new discoveries are still yet to be made. ---UberKvltPancake
From the very beginning of the journey right through until the end, it's apparent that Matty D is one of the most fresh, vibrant and skilled songwriters in the electronic music scene. "Honey" is a moody way to introduce the album upon the listener, with its steady hi-hat groove and sultry bassline and vocal combination. "I Can't Feel" immediately makes the listener feel a lot less paranoid and, instead, lures in them into a scene filled with what seems like funk music played by aliens. Really, Dear has excelled himself and put himself on grounds where many musicians in the electronic music industry haven't dared stepped. It's always nice to see somebody trying to be innovative, but it's nicer still that the innovative music in mention happens to be masterful at the same time. If it isn't evident already, it's clear that Matthew Dear is the future of the electronic scene; in a time where it seems music has reached a plateau, he's just the type of person the world needs to show that new discoveries are still yet to be made. ---UberKvltPancake
3. LCD Soundsystem - This Is Happening
With this release, Murphy and co. show they know dance like Stephen Hawking knows black women, I mean black holes. Whatever. They know how to simultaneously reference the eighties, while still sounding experimental and fresh as ever. There's a juxtaposition of nostalgia and innovation that keeps shit interesting all the way through.
It's hard to say anything negative about this release, but so easy to say everything positive. The synthesizers harken back to days gone by, the vocals are always emotive and the lyrics can make a serious statement and then turn around and make you question what you just heard and oh man, the production is top notch. The tracks are so complex, but still accessible and immediate.
It's a pop/dance/post-punk/pop again/brien eno epic. It's over an hour long, and the average song is about seven minutes long, the album flys by in no time at all. An hour feels like a single; and one hip movement is a song. Is that cheesy? Sorry, I can change I can change I can change I can change. ---deadlikeethan
2. Big Boi - Sir Lucious Leftfoot: The Son of Dusty Chico
The ambassador of trunk music, the infamous Big Boi of Outkast fame, a man who needs no introduction within the world of hip-hop, now has a solo masterpiece of an album under his heavy weight belt.
It's easy to talk about the success behind Big Boi's journey to Sir Lucious Leftfoot. After Outkast broke up, everyone was speechless. The possibility that the rap game could be forever without a release by either giant was devastating. That the two refused to work together made it apparent that their brand of Southern hip-hop was all but going to die. In many ways, Sir Lucious Leftfoot is more than just a return to the prime form Outkast used to regularly grace us with every so often. It is entirely a Big Boi album. The creation of a man who has constantly brought rap new slang and countless chart hits with what seems like everything he touched.
It is both the future of hip-hop and the past at once. The production on songs like "General Patton", "Shutterbugg" and "Shine Blockas" are benchmarks for the year in hip-hop, and on both of those songs, Big Boi absolutely kills it as if he never left the game. The biggest surprise about Sir Lucious is how poised and on point Big Boi is, despite the seemingly infinite hiatus he took before it. Everyone who acted like they were the ones on top while Big Boi was away are relegated to take a seat and think about what they've done. (You know who you are, don't make him come after you.) On top of the fabulous production and Big Boi being Big Boi, the guest spots all impress. Even Gucci Mane shines on his chorus hook in "Shine Blockas" (but then what doesn't glow as much as shine on that song).
Even when you talk about the other things that went into the year's most celebrated hip-hop album upon release, like the feud with the label that Big Boi had to endure, nothing can diminish how impressively well constructed and impeccably consistent this album is. It more than surprised a bunch of people; it completely shattered what we expected from the man in the first place. Sir Lucious Leftfoot is quite possibly the best thing that could've happened in any circumstance, even one involving an Outkast reunion. Sorry to fans of 3K, but don't try and block his shine, because he deserves it. ---deacon zonday
It's easy to talk about the success behind Big Boi's journey to Sir Lucious Leftfoot. After Outkast broke up, everyone was speechless. The possibility that the rap game could be forever without a release by either giant was devastating. That the two refused to work together made it apparent that their brand of Southern hip-hop was all but going to die. In many ways, Sir Lucious Leftfoot is more than just a return to the prime form Outkast used to regularly grace us with every so often. It is entirely a Big Boi album. The creation of a man who has constantly brought rap new slang and countless chart hits with what seems like everything he touched.
It is both the future of hip-hop and the past at once. The production on songs like "General Patton", "Shutterbugg" and "Shine Blockas" are benchmarks for the year in hip-hop, and on both of those songs, Big Boi absolutely kills it as if he never left the game. The biggest surprise about Sir Lucious is how poised and on point Big Boi is, despite the seemingly infinite hiatus he took before it. Everyone who acted like they were the ones on top while Big Boi was away are relegated to take a seat and think about what they've done. (You know who you are, don't make him come after you.) On top of the fabulous production and Big Boi being Big Boi, the guest spots all impress. Even Gucci Mane shines on his chorus hook in "Shine Blockas" (but then what doesn't glow as much as shine on that song).
Even when you talk about the other things that went into the year's most celebrated hip-hop album upon release, like the feud with the label that Big Boi had to endure, nothing can diminish how impressively well constructed and impeccably consistent this album is. It more than surprised a bunch of people; it completely shattered what we expected from the man in the first place. Sir Lucious Leftfoot is quite possibly the best thing that could've happened in any circumstance, even one involving an Outkast reunion. Sorry to fans of 3K, but don't try and block his shine, because he deserves it. ---deacon zonday
1. Deerhunter - Halcyon Digest
1. Deerhunter - Halcyon Digest ---SorboFTW
