The list-giving season continues with Pitchfork’s Top 50 Albums Of 2010. The big surprise for people, I think, will be a Pitchfork year-end Top 10 without the Arcade Fire. That, maybe, and a Top 10 with Joanna Newsom via the better-than-people-gave-her-credit for Have One On Me. It’s not surprising old-time P4K favorites the Hold Steady only appear as a passing reference in another band’s blurb — Heaven Is Whenever was lackluster, to be kind — but it does point to a changing of the guard. For instance, break out the hankies Spoon and of Montreal fans. As mentioned in the introduction to our own Top 50 Of 2010 — “stranger,” or at least more abstract and largely electronic music prevailed this year via Oneohtrix Point Never, How To Dress Well, Emeralds, Forest Swords, Matthew Dear, James Blake, etc. For my two cents, nice to see the aforementioned along with some other 2010 favorites like Kylesa, Crystal Castles, Zola Jesus, Titus Andronicus, Wild Nothing, Abe Vigoda. But wait, no Agalloch? No Salem? No Antony? No Burzum? (I kid.) I don’t love OFF!, but they scored BNM recently and aren’t on there either (punk is dead?). I’m not surprised by the exclusions. Just as I’m not surprised by the hip hop albums that made it. Or the fact that Wavves and Best Coast can finally hold hands on a year-ender. You should be able to guess No. 1 with your eyes and ears and mouth and, etc., closed.
50 Wavves – King of the Beach
49 Wild Nothing – Gemini
48 Forest Swords – Dagger Paths
47 Women – Public Strain
46 Matthew Dear – Black City
45 Gil Scott-Heron – I’m New Here
44 Kylesa – Spiral Shadow
43 Tame Impala – Innerspeaker
42 Drake – Thank Me Later
41 Delorean – Subiza
40 Abe Vigoda – Crush
39 Best Coast – Crazy For You
38 Rick Ross – Teflon Don
37 Zola Jesus – Stridulum EP
36 Emeralds – Does It Look Like I’m Here?
35 Gorillaz – Plastic Beach
34 Crystal Castles – Crystal Castles
33 The Tallest Man on Earth – The Wild Hunt
32 Tyler, the Creator – Bastard
31 Woods – At Echo Lake
30 The-Dream – Love King
29 The Fresh & Onlys – Play It Strange
28 The National – High Violet
27 Four Tet – There Is Love in You
26 Twin Shadow – Forget
25 Sufjan Stevens – The Age of Adz
24 Hot Chip – One Life Stand
23 Das Racist – Sit Down, Man
22 Girls – Broken Dreams Club EP
21 The Walkmen – Lisbon
20 Oneohtrix Point Never – Returnal
19 How to Dress Well – Love Remains
18 Erykah Badu – New Amerykah Part Two: Return of the Ankh
17 Caribou – Swim
16 Sleigh Bells – Treats
15 Robyn – Body Talk
14 Flying Lotus – Cosmogramma
13 No Age – Everything In Between
12 Janelle Monae – The ArchAndroid
11 Arcade Fire – The Suburbs
10 Titus Andronicus – The Monitor
09 Ariel Pink’s Haunted Graffiti – Before Today
08 James Blake – The Bells Sketch EP / CMYK EP / Klavierwerke EP
07 Joanna Newsom – Have One on Me
06 Vampire Weekend – Contra
05 Beach House – Teen Dream
04 Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty
03 Deerhunter – Halcyon Digest
02 LCD Soundsystem – This Is Happening
01 Kanye West – My Beautiful Dark Twisted Fantasy
Read the accompanying blurbs over at Pitchfork.
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Titus Andronicus in the top 10 makes me very very happy.
http://ithp.org/articles/top50albums.html
I know these lists are all subjective, but the fact that The National was not even in the Top 25 is just kind of ridiculous. Oh well, whatever…
Couldn’t agree more… I don’t think there is anything particularly wrong with this list, either. But it seriously discounts what, truly, is/was an enormously engrossing album. High Violet is the best record the National has put out (and that is saying a lot).
It’s a good record. And it’ll have it’s chance to become as overrated as the Boxer as the lists keep coming. Somebody will rank it number 1.
Wheres K$sh?!!?! Just kidding. I think The Drums should be on here. I just really thought that was a fun album.
pretty good list, but I’m sad Owen Pallett didn’t make it on.
“Heartland” was so powerful, not to mention effing catchy.
also, that Woods album is nice but best of the year? c’maan
I agree, Owen Pallett definitely should’ve made the list.
I’ve listened to that Woods albums over and over, etc. That have mastered that art of coming up with an amazing overall sound that links all the songs together… (think old Modest Mouse)
Rick Ross is just a fat Lil’ Wayne, he shouldn’t be there.
Swap out Surfer Blood for Rick Ross at least. Much more deserving in my eyes.
kanye makes me ill.. not the good “ill”.
1. LCD
2. Suburbs
Stereogum seems intent on reposting everyone’s Top 50 List, well, almost everyone. They forgot a list that actually has a few good points to make. And to kick it off, cokemachineglow’s first line of their Kanye write-up: “Uh-oh, yup, Kanye did it. He’s won. Sorry, guys, but let’s be honest, that shit wasn’t even close.”
50. Glasser – Rings
49. No Age – Everything In Between
48. Pop Winds – The Turquoise
47. Velella Velella – Atlantis Massif
46. Titus Andronicus – The Monitor
45. Baths – Cerulean
44. Big K.R.I.T. – K.R.I.T. Wuz Here
43. Salem – King Night
42. Swans – My Father Will Guide Me Up a Rope to the Sky
41. Ikonika – Contact, Want, Love, Have
40. Villagers – Becoming A Jackal
39. New Pornographers – Together
38. Erykah Badu – New Amerykah, Part Two (Return of the Ankh)
37. Wolf Parade – Expo 86
36. Books – The Way Out
35. Owen Pallett – Heartland
34. Oneohtrix Point Never – Returnal
33. Walkmen – Lisbon
32. Four Tet – There Is Love In You
31. Sufjan Stevens – The Age of Adz
30. Gonjasufi – A Sufi and a Killer
29. Waka Flocka Flame – Flockaveli
28. Grass Widow – Past Time
27. Freddie Gibbs – Str8 Killa EP
26. Robyn – Body Talk
25. Curren$y – Pilot Talk / Pilot Talk II
24. Gorillaz – Plastic Beach
23. Drake – Thank Me Later
22. Black Milk – Album of the Year
21. Arcade Fire – The Suburbs
20. Warpaint – The Fool
19. Gil Scott-Heron – I’m New Here
18. Deerhunter – Halcyon Digest
17. Future Islands – In Evening Air
16. Yellow Swans – Going Places
15. Grimes – Geidi Primes / Halfaxa
14. Sharon Van Etten – epic
13. Emeralds – Does It Look Like I’m Here?
12. Janelle Monáe – The ArchAndroid
11. Menomena – Mines
10. Blue Hawaii – Blooming Summer EP
09. Surfer Blood – Astro Coast
08. Teebs – Ardour
07. Das Racist – Sit Down, Man
06. Women – Public Strain
05. Frog Eyes – Paul’s Tomb: A Triumph
04. Flying Lotus – Cosmogramma
03. Beach House – Teen Dream
02. Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty
01. Kanye West – My Beautiful Dark Twisted Fantasy
Meh, this list has too many great albums missing, like High Violet for one.
I would personally put Age of Adz above Kanye. But that’s just, like, my opinion, man.
If you’re a hip-hop fan, I accept your opinion; if you are not, then your words mean nothing…
Did anyone see the reply
http://ithp.org/articles/top50albums.html
I’m not sure if Gorilla Manor counts as a 2009 or 2010 release (2009 in Europe, 2010 in America), but I feel like it has been snubbed pretty hard regardless. I don’t think LCD Soundsystem should be in the top 5. Definitely in the top 50, but not top 5. I’m surprised Sufjan is way down at 25, that album was fantastic. Sufjan and Soundsystem should swap places (pardon the alliteration).
I really don’t need to comment now, you just said everything I wanted to say.
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While I agree The Suburbs is overrated Sufjan Stevens vocals are so bad on Age of Adz.
Anyone who offers opinion as fact can’t be taken seriously.
does anyone have a zip of the pitchfork top tracks? adam from madison, where are you?
strikegently.com
I can’t get over the fact Kanye’s album is #1 on Stereogum, Pitchfork, Spin, Rolling Stone… it is a very good record, but it’s reception has been so insanely positive, maybe a bit over-hyped.
I would have felt the same…but I bought it and listened to it and it opened/expanded my creative horizon to embrace hip hop…which I’m still in the closet about
But truth be told, its quite a revelatory hip hop/pop/electro/arty record and I think that’s one of the reasons its so quickly embraced. In a basically creatively sterile genre, Kanye has taken hold of it with a tighter creative grip then most..and its a very HUMAN and emotive record, lyrically and creatively which is why it will probably be regarded as the OK Computer of hip hop in years to come. A well deserved number #1 of 2010 for those reasons in my humble and slightly biased opinion;)
OK Computer of hip hop?!? That sir, is blashphemy!
Kanye, apparently has charisma but one thing he does not have is talent.
He does, however, have a good ear and this is why he can bring together some interesting musical ideas. Combine that with excellent production you have something listenable – UNTIL he opens his mouth.
Kanye West doesn’t have talent? That, my friend, is more alarming to me than Ke$ha’s popularity.
I did say “probably regarded as the OK Computer of hip hop” *sweats nervously*
If I could like your statement a million times I would, Eric. That Kanye album is nothing more than slightly above average hip-hop, and for that he gets all this credit? Its as if modern hip-hop is held to such an embarrassingly low standard that as soon as any sign of creativity is introduced, its the “OK COMPUTER OF THE GENRE.” A decent album, as far as hip-hop is concerned, but when compared to the rest of the music world that’s not saying much in my opinion. I don’t even think its HIS best album.
I also bought the album with the same open mind and intentions you speak of, and found it to be boring even by hip hop standards, and one of the most overrated mediocre albums I have ever heard in my entire life. 3 good songs, some ok production (when compared to hip hop), and “emotional lyrics.” But bitches and ho’s are still bitches and ho’s no matter how “Artful” you swing it.
And I even liked the album. I just think it is sinfully overrated and it makes me fear for this generation.
Calling Kanye’s album over-hyped is getting over-hyped.
MBDTF is probably getting a slight bump because it’s so new, but even if it had come out in September and the hype had died down by now, it’d still be in the Top 5 of all these lists, and it still would have nabbed its fair share of #1s. So, at worst, it’s getting inflated by 2-3 slots.
Besides, has there been a bigger or more memorable album, culturally, this year? Outside of Brooklyn, 2010 is not going to go down as The Year Teen Dream Came Out. So it makes sense that the biggest album of the year, which crazily enough was actually good enough to live up to the hype, gets the consensus #1 pick.
“Calling Kanye’s album over-hyped is getting over-hyped.”
Nice! On point, my friend.
Pretty sure Kanye is #1 in BK, too…
Another year Wolf Parade-related acts get left out. I loved Expo ’86 even if (for the record I wasn’t expecting it to be) another Apologies. I feel like between Krug’s and Boeckner’s side projects that they’ve been one of the most consistent acts around.
Was also weird that their indefinite-hiatus got so little coverage from most sites. Color me
I felt expo 86 was a good album, but their albums have not been as awesome as Apologies was.
Also, Contra in the top 10 kinda threw me off for a loop. It is a good album, but nowhere near top 10 of the year.
I didn’t expect Contra to be that high eitherl. It was great, but not top 10 material. Pitchfork does love some Vampire Weekend though, so I guess I’m not too surprised.
sufjan top five for sure. pitchfork is just too far up illinois’ ass. best live acts of the year, sufjan stevens and lcd soundsystem
LCD Soundsystem is the best act that I’ve ever seen… but I also loved going to see Phish, so take that as you will.
I saw LCD Soundsystem at Sasquatch, and Sufjan in Seattle this year. I would definitely have to agree with your statement.
Why isn’t Broken Social Scene on a single year end list? I am truly amazed by that.
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HA! Yeah, I’m sure.
I’ll just let the thumbs up/thumbs down count do the talking.
Fuck right off, prizefighter
1. Teen Dream – Beach House
2. The Wild Hunt – The Tallest Man On Earth
3. The Suburbs – Arcade Fire
4. The Age of Adz – Sufjan Stevens
5. Down There – Avey Tare
6. Ecailles de Lunes – Alcest
7. Have One On Me – Joanna Newsom
8. My Beautiful Dark Twisted Fantasy – Kanye West
9. The Monitor – Titus Andronicus
10. Halcyon Digest – Deerhunter
11. Before Today -Ariel Pink’s Haunted Graffiti
12. Cosmogramma – Flying Lotus
13. Sir Lucious Left Foot – Big Boi
14. Forget – Twin Shadow
15. Expo 86 – Wolf Parade
16. High Violet – The National
17. Swim – Caribou
18. There Is Love In You – Four Tet
19. Love Remains – How To Dress Well
20. Treats – Sleigh Bells
21. The ArchAndroid – Janelle Monae
22. The Winter of Mixed Drinks – Frightened Rabbit
23. This Is Happening – LCD Soundsystem
24. Lisbon – The Walkmen
25. Odd Blood – Yeasayer
Honorable Mentions: Local Natives, Owen Pallet, Pantha du Prince, The Roots, Vampire Weekend
great list:)
muchas gracias
top 5 on your list is spot on
Agreed! For me, this is a better list – much better than Pitchfork’s.
Beach House and Suburbs have great staying power.
I am still listening to them both frequently.
I think Newsome gets better with each release.
Both lists leave out the Black Keys – I’d have that one in the top 20.
Hip-hop seems to be dying.
I felt that Big-boi was the best of the lot – by a lot.
Kanye is not a visionary – he has a few interesting ideas because he is a hip-hop artist who actually listens to music other than hip-hop. But just because you listen to Thom Yorke, Daft Punk and Bon Iver, etc. – doesn’t make you a genius. It just means you have a pretty good ear for music.
many thanks – i probably listened to teen dream the most this year, but i also think it’s the best. didn’t try the black keys album, but i have “rubber factory” and wasn’t all too excited about it.
big boi is just a tremendous rapper, it made me actually go check out some older hip hop like the tribe and outkast…i was surprised by how much i liked kanye’s record since i have always dismissed him…but i enjoyed the musical compositions on twisted fantasy.
Kanye’s album is fantastic. It is more comprehensive, complex, and emotional than any thing else released this year. That alone warrants the praise its received. As an added bonus the music is ridiculous. He stands alone as an artist, you may not like him or his work, but you can not downsize his vision or effort. Period.
Learn up on his process, Noah Callahan-Bever provided tremendous insight in a great article for Complex.com…
http://www.wineandbowties.com/music/project-runaway-inside-kanyes-beatiful-dark-twisted-fantasy/#more-21008
Now onto what’s really F’d with this list… no Black Keys? For shame Pitchfork, you crapped the bed on this one.
Agreed on the Black Keys.
i will give you some of that stuff, but the most emotional record of the year? you must not know about any of the acts on enemies list recordings, check out have a nice life’s Time Of Land EP.
In my mind the emotion behind this album was the need for acceptance and approval. There was a serious dose of ‘resurrection needed’ in MBDTF. But to your point, no I don’t know any of the acts on Enemies List Home Recordings. Just listened to a few clips/tracks, it’s not my style. To each their own.
“Need for acceptance and approval” is not an emotion
Joanna Newsom’s album is way better than Vampire Weekend. It would be nice to see pitchfork give the top spot to a woman or group with a female lead singer for once, especially in a year were so many of the best albums came from women.
Agreed 100%.
Also, the Kanye record is good, but it’s not that good.
I loved Local Natives (if we’re in agreement that it came out this year), Spoon, and Surfer Blood this year. I know Astro Coast made the Honorable Mention catagory, but I think it should have ranked in there somewhere. Also, Arcade Fire, The National, and Best Coast deserve to be higher than where they are ranked. Am I the only person on earth who doesn’t like Ariel Pink?
I didn’t know anybody other than music blogs liked Ariel Pink.
Easily the most over-rated band of the year.
I agree so much. I also feel the same way about Titus Andronicus which is a shame because that is such a cool name.
I’d like Titus Andronicus if I could get into the singer’s voice. But Ariel Pink just isn’t good.
wow…agreed on both counts. Blog worthy buzz records make me wanna piss razorblades
I agree with everything here. But am I the only one who feels like all of the west coast/best coast/surfer/wavves stuff sort of started blending together after a while?
Ariel Pink – I tried many times to listen to it. Into the bin with Kanye.
I am the one who likes Ariel Pink, the blogs are writing for me.
But seriously I think it was good, a lot better than some of the stuff on pitchfork’s lists – it’s like forgotten music that you might find on an AM radio station in your car at night… but contemporary and fresh
whycome no one has any love for the gangrene album? alchemist and oh no go hard and its way better than tyler the creator. i feel like indie blogs only like big boi, kanye, wayne, maybe curren$y, and p4k loves that trap music for some reason but just gloss over some crazy good hip hop
yeasayer – odd blood. most original and interesting album of the year, with loads o’ catchy songs. best coast, wavves, janelle monae, titus a., surfer blood….. all soooooooooooooooo boring. I can’t believe what this worlds coming too. I’m going to hide in a hole if this is what is considered good music nowadays. pap. no soul. no originality. thank god for big hitters like joanna newsom, big boi, and arcade fire, keeping something alive with youse blog folks.
I think half of Odd Blood was excellent. The other half sounded like bad 80s dance music. I was really excited for it when I heard Ambling Alp and O.N.E. before it was released, but when it came out I was a little disappointed. That being said, it still should have broken the top 50. Drop Wavves and add Yeasayer.
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just bookmarked brooklynvegan, thanks
Pitchfork is huge and a lot of people take their word without consideration, agreed. So it’s easy to bash them. But there is a reason for their popularity; p4k’s writing is well-researched, interesting, and in a significant number of cases, spot-on. Dare I say that pitchfork is the new york times of music?!
what about Stereogum?
I’m happy Abe Vigoda came in where it did. I wasn’t even expecting it to make the Top 50 altogether since the score was just okay and they hadn’t made much a fuss over them lately.
Deerhunter would have been my #1. Kanye wouldn’t have been on my list. LCD would have much lower.
I have to admit, though I don’t necessarily disagree with Kanye being #1, and I certainly loved the record myself, I guess I don’t really get how it seems to top lists across the board? I mean it’s a good and solid album, but it didn’t really capture me in the way that I’d consider it hands down the BEST of 2010 (plus there were G.O.O.D. Friday tracks I actually liked a lot more).
That said, if we’re making a list of top 2010 twitter accounts, Kanye takes ALL the awards, and then some.
Christian Dior Denim needed to be on that album. and GOOD FRIDAYS the song was incredible, but probably wouldn’t have fit on the album.
Overall not a bad list, BUT…
1. The Suburbs not being in the top 10 is just incorrect.
2. Excluding of Spoon and Wolf Parade from the entire list is a huge mistake.
3. The National should have been much higher.
4. Kanye’s record is great, but not the year’s best.
#1 – absolutely
#2 – absolutely
#3 – absolutely
#4 – I wouldn’t call it great – good but not great.
Kind of like an R Kelly who can’t sing.
Does anybody here listen to Big Boi? maybe I just don’t pay enough attention hip-hop. But Big Boi in the top five?
yes.
nope. I went to pitchfork festival and he was proper boring.
If you’re using the phrase “proper boring,” I don’t think you ‘get it.’
only had it in my car for most of the summer
Also, I’m surprised James Blake made it in without releasing a proper album. In fact all three EPs were judged as one piece? nothing against his music though.
i haven’t seen two door cinema clubs album on any of these lists and thats one of my favorite albums of the year, no love for broken bells?
I enjoyed both of those albums. Good point, Broken Bells has been ignored on nearly every list.
don’t get me wrong, i love lcd soundsystem. a favorite band of the last five years. however, i think pitchfork is off on them this time around. this is happening is enjoyable, but probably not the second best album of the year.
however, the greater head-scratcher is the placement of the “i can change” (#3) and “all i want” (#12) on the singles list. really? REALLY? fine songs, but they do realize “dance yrself clean” and “home” were on that album, no?
I have yet to see Hot Chip’s “One Life Stand” on any year end list? This came out in February right?? This album was fantastic…
nevermind… 24s too low
agreed, but I was just glad to see someone was behind the album. Easily top 5 for me.
don’t get me wrong, i love lcd soundsystem. a favorite band of the last five years. however, i think pitchfork is off on them this time around. this is happening is enjoyable, but probably not the second best album of the year.
however, the greater head-scratcher is the placement of the “i can change” (#3) and “all i want” (#12) on the singles list. really? REALLY? fine songs, but they do realize “dance yrself clean” and “home” came out this year, no?
I agree with their choice of “All I Want” but definitely not “I Can Change.” “Dance Yrself Clean” would have been a much better choice.
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Truthfully, “I Can Change” was one of my favorite songs from the first time I heard it. I really think it’s breathtaking. Very few songs can compete with it this year (maybe “Excuses” by Morning Benders or “Blood Buzz Ohio” or “All Of The Lights” or “Sprawl pt. II”).
What’s with Kanye getting every top spot imaginable? Am I actually gonna have to listen to this record?
Aside from Kanye, the rest of the list is pretty great. Definitely agree with LCD as number 2.
yes, yes you are
I’m probably happier with this list than I expected to be, but there really aren’t too many surprises there. I feel like I listened to a ton of music this year, but there’s still so much out there that I didn’t get around to. Can’t listen to everything, I guess.
I always qualify my own list as “my favorites” as opposed the “best of…” It’s just the stuff I enjoyed listening to the most. I think I posted this once before, but of the stuff I did listen to, my final ranking was:
1. Titus Andronicus – The Monitor
2. Deerhunter – Halcyon Digest
3. the Morning Benders – Big Echo
4. the Besnard Lakes – The Besnard Lakes are the Roaring Night
5. the Walkmen – Lisbon
6. Free Energy – Stuck on Nothing
7. Miles Kurosky – the Desert of Shallow Effects
8. the Black Keys – Brothers
9. the Drums – The Drums
10. Arcade Fire – the Suburbs
LCD Soundsystem’s definitely too high. A very good record, but not the second best of the year. Pitchfork is too deeply in love with James Murphy.
And is it just me, or was their placement of “Runaway” at number 2 and “POWER” at number 6 tracks of the year awful? “So Appalled,” “Monster,” “All of the Lights” and “Devil in a New Dress” are all SO much better.
I guess it’s like that sometimes–I mean redickalous.
actually when I heard “Runaway” for the first time as i listened to the LP, I was held speechless…PHENOMENAL track and hypnotic…seriously, that’s when I knew MBDTF was really deserving of the hype and/or hip;)
I think they nailed the top 5, but there are certainly other parts of this list that are a bit mehh.
http://www.fellinlovewithadrummer.com/
Neon Bible didn’t even crack the Top 20.
it did. In 2007.
No one cares about Jónsi
I know!
Isn’t it great?
It’s really frustrating how forgotten Fang Island already seems to be. To listen to that album is to love it. I guess the problem with it is the fact that it’s got guitars in it and apparently, in indie rock anyway, the guitar is a dead instrument unless it sounds like shit.
Also, the Sufjan Stevens and Joanna Newsom just continue to grow and get better and better.
Fang Island makes me want to run around shouting “Fuck yeah!!”. I wish I could use a better word than “happy” to describe it, but it just makes me feel really happy, so I’ll stick with that. It definitely should have cracked the top 50.
Seriously, this was such a good album that deserved a lot more attention this year. Even I forgot about it for a few months, only to recently pick it up again and remember how great it is.
Here’s a list of the albums that were BNM’d and not included, as well as the non-BNM albums that made Pitchfork’s top 50.
http://vs.bygonebureau.com/post/2350634420/p4k2010
It’s worth mentioning that the biggest problem with their reviews is that one writer trying to be a hero can make or break the reception of the album. Another writer probably wouldn’t have dropped a 10.0 on Kanye, other BNMs might not have been given the honor by a different writer, etc. I don’t know how they calculate their top 50, but it’s worth mentioning with regards to non-BNM albums making the cut/BNM’s albums not included.
Also crazy that one of the albums on the list wasn’t even reviewed by the site.
Was this the Odd Future kid’s album? It was the only album I didn’t remember reading a review for.
It’s Tyler the Creator.
But as it turns out, Pitchfork has been pretty consistent with BNM over the past eight years. Here’s some data that illustrates just how consistent they’ve been:
http://vs.bygonebureau.com/post/2392133155/nick-i-hope-you-like-bar-graphs-i-thought-we
I think the weirdest thing on this list is the Girls EP above Sufjan and The National…
Absolutely. I don’t think it’s even fair to group EPs in with full-length albums.
I just hate Girls…and I wish they would go away. The National’s High Violet for me I have new found love for and it certainly was a hell of a lot more emotive and relevant then Girls.Let the flaming begin
Am I the only person in the world who thinks Wavves’ album was better than Best Coast’s?
Just an honest question.
No, you aren’t. I really liked that Wavves album. Moreso than the first one. And I want to like Best Coast, but it just doesn’t do anything for me. I’ve seen them twice and I just can’t get into it.
Agreed. I mean, the Best Coast songs were pretty catchy the first couple times around, but the novelty just sort of wore off on me quickly. Like you said, it’s not something you could just totally get into.
To each his own, I suppose.
i’ve never disagreed with the year-end lists to such an extent as i do this time around. my favorites:
1. deerhunter – halcyon digest
2. flying lotus – cosmogramma
3. lcd – this is happening
4. titus andronicus – the monitor
5. the war on drugs – future weather ep
6. white denim – last day of summer
7. tyler, the creator – bastard
8. crystal castles – crystal castles ii
9. arcade fire – suburbs
10. phantogram – eyelid movies
at whomever mentioned fang island, i totally agree
one of the best albums of the year
and amongst the most cheerful of the decade
but it is just me or do they remind you of explosions in the sky?
in fact, they sound so alike fang island should score ‘Friday Night Lights’!
The Explosions In the Sky thing is a joke, right? And, no, I’m not trying to be snarky. Just saying that if you think that Fang Island sounds like them you need to pull your old Explosions In the Sky records out and give them some more listens. The sound isn’t even in the same neighborhood.
Can we talk about how much Round and Round did not at all deserve the number one spot? I was expecting it to go to something off of This is Happening. Speaking of, This is Happening has a ton of really great songs, but it falls kind of short as an album, and definitely doesn’t deserve to be in the top 5. Those are my two major complaints, High Violet should have been higher, The Tallest Man on Earth should have been higher, Joanna Newson should have been lower.
I was just saying today how I think “Dance Yrself Clean” might be one of the greatest songs I’ve ever heard.
I agree with everything said here. Right on.
Cannot get into Ariel Pink. At all. Really.
I loved the new Ariel Pink album, but there are a lot of other songs on that album that are better than “Round and Round”. I can’t say that I get PFork’s love of that one.
Really surprised with no mention of Owen Pallett, even in honorable mentions. Lame.
Surprised but indifferent to omissions of Local Natives, Antony, Morning Benders and Broken Social Scene
It’s pointless arguing with lists at this point, but I have just one concern about this one…
Where is THE RADIO DEPT.? Clinging to a Scheme was phenomenal.
I couldn’t agree more. That album is so on point in terms of sound and emotion. The songs all have an overarching sound to them but each one has a distinct quality as well. I think I actually said “WHAT THE FUCK” aloud when I didn’t see them on there, and when I saw Vampire Weekend at fifth best of the year.
Let’s all face it – - – Pitchfork gives no love to “it” bands of yesteryear. For the most part the bands that get the most love are their favorites or brand new acts. i.e. Why is Sufjan so low? Where is Broken Social Scene? Not even a mention of Wolf Parade. I’m calling snicklefritz.
welcome to 21rst century blogosphere
Wolf Parade deserves so much credit for Expo 86, and Sufjan should be top 5, but the BSS album was sadly underwhelming. Also, Radio Dept got an honorable mention (which is better than nothing, like Wolf Parade).
My top 10
The Suburbs-Arcade Fire
High Violet-The National
Halcyon Digest-Deerhunter
Teen Dream-Beach House
This Is Happening-LCD Soundsystem
Treats-Sleigh Bells
Vampire Weekend-Contra
Caribou-Swim
The Monitor-Titus Andronicus
The Wild Hunt-The Tallest Man On Earth
I can’t believe how low The National were and the fact they referred to them as dad rock also All I Want was the greatest song this year, almost as good as All My Friends.
Good list – spot on. I’d place Teen Dream above Halcyon but that’s a great top 4.
I liked Dance Yrself Clean even more than All I Want
I agree totally with your National comment – see Charles Barkley immediately above you.
totally agree about the National, High Violet is easily as good as Boxer, and Boxer was 17 in the year In Rainbows and Person Pitch came out. So Bizarre
The only thing that makes me mad about any of this (because what they like best doesn’t matter to me all that much) is that the blurb they wrote about Kanye’s MBDTF (their #1 album) says nothing (I mean nothing) about the music on the record. I understand that it holds a lot of significance within pop culture, but if you’re going to pick it as your #1 record of the year at least say something about the music on the record that made it so great. Even in the review of the album (and not just Kanye’s) 90% of it is about back story and context. Context is worth mentioning but it shouldn’t take up 90% of the article, only leaving 5% for real insight, and another 5% for comic anecdotes to make the writer feel clever. Almost all pitchfork reviews are like that and they are not even the worst culprits.
PS sorry about this post I’ve been holding that one in for a long time.
PPS I also really did love the new Kanye Album.
I know they didn’t event mention why they placed it at number 1. I also question exactly why had they given the album a 10/10? Don’t get me wrong it was a great album, but that was the first 10/10 they’ve given since Wilco’s Yankee Hotel Foxtrot, thats like 8 years I would have expected something absolutely incredible.
I can’t agree more – it’s like they wanted this album to be a landmark, era-defining album so much that they gave it a 10.0 without really justifying themselves.
Frustrating, as there is so much they could have written about it.
It seems to me like they give some artists undue credit for circumstances or actions that are incidental to their talent rather than examples of it–as if so often being a hypocritical, conflicted egomaniac who has to constantly make amends contributes to Kanye’s talent as an artist. It certainly makes him more interesting as a pop culture phenomenon, but I don’t think he’s aiming at achieving artistic greatness (nor does he reach it) by those means.
He’s just incidentally a batshit crazy guy who can’t handle the spotlight, but produces some excellent rap music. The fact that he e-mailed some chick a picture of his dick and caused a scene during the VMAs doesn’t somehow make his music greater than it is. And while production on the album is stellar, there are some great guest appearances and Ye’s flow has never been better, you’ve got to acknowledge that the lyrical content is extremely lacking when he rarely ever says anything more compelling than “No more drugs for more–religion and pussy is all I need.”
Chris Rock alone should have dropped it from a 10.0 to a 9.0.
Also, I get kindof shocked that everyone talks about Kanye’s stunts so seriously. We all realize of course that these are just advertising, right? A man in Kanye’s position doesn’t just do things like this. It’s all calculated. It’s part of the New Celebrity. You stay in the news and on people’s radar by doing ridiculous things in public, and then people talk about it at work and then watch to see what you do next. And then you make an album that focusses harder on your made up persona than a Coke ad does on Ice and Bubbles.
There are good songs on this album, and it is well constructed, but lauding it to the heavens does absolutely no good for the progress of music, the respect of musicians as artists as opposed to human industries, or for helping hip hop on the path to being seen as a progressive artform capable of breaking free from it’s cliche’s.
I agree about the Chris Rock skit. It’s absolutely awful.
But I honestly don’t think all the stunts Kanye has pulled have been about free advertising and hype. The “all press is good press” trope is only accurate to a certain point; I have no doubt that his interruption of Taylor Swift had a significantly negative effect on his sales right away. He canceled an enormous tour with Lady GaGa–I’m sure because her agents realized this would be a horrible career move on her part following Kanye’s VMA incident.
And sales of his album, while strong, are about on par with his numbers for “808s and Heartbreak,” but nowhere near those of “Graduation” and “Late Registration” so far. I think if he weren’t such a polarizing figure, he probably could have smashed his sales numbers for those albums.
All good points.
I still think Kanye has a constructed persona. I didn’t say it was a good idea. And whether it was all successful or not doesn’t much matter. I would base the low sales for 808s on the fact that 808s wasn’t that good, or at least wasn’t what the public was wanting. The low sales of this album could simply be based on backlash from being burned on that last album. Just wait, “Power” will come out in some super hero movie some day, and this album’s sales will shoot through the roof.
I definitely agree that he at least attempts to construct a persona. I’m sure he’s aware of how he’s perceived by the public and does try to feed into it sometimes–but just because he’s aware of his persona and at time feeds into it doesn’t mean he’s fully in control of it. I don’t think his persona has been fully constructed by him, aware of and expecting how he will be reacted to–I think a good deal of it is just him reacting to how he’s perceived and, in response, trying to take control of his persona.
If his life is like a circus and he’s the ringleader, I don’t think he’s successful at orchestrating everything, because once in a while something will happen like a lion gets bewildered and bites someone’s hand off or the clown juggling flaming pins will accidentally catch one on the flaming end.
Anyways, good debate, BTW. You’ve made many good points and been entirely civil, so I think this has been rather productive all around.
I actually like this list better than any of the others I’ve seen but…what is this new trend about mixing indie and mainstream rap/hip-hop to the exclusion of all else? Metal gets a brief nod in the form of Kylesa but that’s it despite Pitchfork using the slot to hype Georgia’s psych-metal scene; but, nothing too out there like any black metal or whatever. No country despite Jamey Johnson getting almost universal praise from just about every other media outlet. No “mainstream” or classic rock. Does Bruce’s The Promise count? It contained unreleased tracks. Dance music got minimized to mostly trend sub-genres.
Yet Drake, The-Dream, Kanye, Rick Ross, and Rhianna have appeared in varying combinations on most indie rock blog’s best-of singles and albums lists. I can understand including guys like Freddie Gibbs and Jay Electronica since they’re “indie” rap but what’s with the sudden love of Top 40 radio? And if we’re suddenly loving it, why only small portions of it?
Isn’t it incredibly juvenile to dismiss something just because it has a mainstream audience? Good music is good music. Indie sure in the hell doesn’t equate to good.
You’re missing my point entirely; I’m actually making the same exact point. I was asking why one one subset of mainstream music is being recognized to the exclusion of all others.
I think it’s because only certain parts of mainstream music, especially hip-hop/rap, are actually deserve the recognition. I like to compare it to movies, because there will be blockbusters like Inception which are actually decent mainstream movies, but then there are also a lot of movies like Transformers which are garbage. Just as in mainstream music we have people like Kanye who make very ambitious mainstream records, but at the same time artists like post-drug addiction Eminem who put out really bad music.
Personally I think the indie music blogs do a fairly good job of recognizing mainstream acts.
inception was terrible. i walked out.
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I couldn’t disagree more. As far as Deerhunter goes, I wasn’t a huge fan of Cryptograms. It was all right, but I didn’t feel like it deserved all of the hype it got. However, I think they had a more solid release in Microcastle/Weird Era. Then they released Halcyon Digest, which is a fantastic album. It should be above LCD Soundsystem in my opinion. And Sleigh Bells is pretty awesome. However, I can definitely understand when people find them annoying. They’re one of those bands that no one thinks is just okay, you either like them or hate them. To each his own I suppose.
The artist I understand least on this list is Robyn. Maybe I haven’t given Body Talk a fair shot (I’ve only heard a few of the tracks) but I feel like it all sounds the same. I can’t hear the difference between that and the lame pop hits on the radio. It sounds like I’m listening to “Every Time We Touch” over and over. However, like I said, I haven’t really given it a fair shot. Can someone explain her greatness to me?
I don’t really like Robyn either but I finally gave her new one a listen and though it starts off slow by the end of it you’re won over. It’s not really that different than what’s on top 40 radio but thats just cause electronic influence has heavily influenced pop/ hip hop more than it has to do with Robyn being generic. It’s also interesting because of the whole Europeans doing American music thing makes otherwise common music/genres sound different enough while still being in the pop palette. It’s also kind of funny to hear Snoop sound relevant which I think he does on U Should Know Better.
i feel the same way. i reluctantly bought body talk against my better judgment…just sounds like angsty girl pop to me. maybe i need to give it a few more spins.
funny, i kinda enjoyed cryptograms. thought it was ok. microcastle/weird era i thought was hit or miss. the hits were solid but the misses were very bland. aside from what you might call the ‘lushness’ of halcyon digest’s sound, it’s really very boring to me. the tempo is about the same on every song, the singer’s voice never really strains itself, and when i do understand what he’s saying, his lyrics are kinda boring. i do enjoy the last four songs as background music, but yeah, opinion.
Deerhunter’s earlier albums haven’t really done anything for me, but “He Would Have Laughed” is my favorite song released this year. And “Desire Lines” and “Coronado” are both absolutely amazing. If “Desire Lines” had been the new Arcade Fire single, or “Coronado” had been released by The Strokes people would be all over those things.
I agree I thought Deerhunters release was better than both LCD and Kanyes release, I also love Treats, and couldn’t get into Robyns release at all after about 4 listens through and through.
I think this is the best pitchfork end-of-year list I’ve seen. I like the changing of the guard – I don’t particularly love the electro stuff. I like James Blake, but it didn’t change my world. But I was a bit bored with the same artists appearing year in, year out. Many of the old faves still appear, just not all crammed into the top 10 rather spread out across the 50. Or not there at all.
Decent list, but Pitchfork left out Local Natives. And the ArchAndroid is a masterpiece. Easily should be in the top 3 at least.
My list is better: http://swagexpress.com/2010/12/17/top-20-albums-of-2010/
My mind = BOGGLED.
How did Rick Ross make it on that list, but The Roots got snubbed for HIGO? Come on…..
Yes, The Roots were snubbed.
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the kids who drive hip hop sales hopefully are NOT buying Kanye because for once in the stagnant realm of hip hop, we have a contradictory artist who is more focused on making timeless art then anything else.Even if he can be a d-bag
That’s funny, because I’m 26, grew up with hip-hop, and I think Kanye’s album is very, very, very good. Please stop acting like a music snob and the knower of all great music, because you’re not.
If you think this album is a piece of sh*t, you really know little to nothing about hip-hop.
I have to back Ryan. I grew up disliking 90% of hip-hop, still dislike 50% of it, and think that this album fantastic. I think people let Kanye’s childish public antics and pompous personality distort their opinion of his music. Maybe it doesn’t deserve the #1 spot, but come on, it far from being a “piece of sh*t” album.
I think one of the problems is that, like you mentioned briefly, people have a problem separating personal lives from music. I could care less what any artist does outside of the studio (unless they kill someone), as long as they make something that I can replay over and over.
Kanye being this supposed asshole has nothing to do with me, and it sure as hell isn’t affecting my life in any way….so why should I let his antics distort my view of his music? The production is top notch, and the lyrical content in this album is incredible. I’m not exaggerating when I say I’m constantly finding something new the more I listen to MBDT. That’s all that matters.
i hope you dont mean me:P because you should research my glowing posts about his album. I’m just saying.
WARNING: What you are about to read is, apparently, a very uncool list:
1. Leatherface – The Stormy Petrel
2. The Joy Formidable – A Balloon Called Mourning
3. Teenage Fanclub – Shadows
4. Weekend – Sports
5. Superchunk – Majesty Shredding
6. Allo, Darlin’ – s/t
7. Best Coast – Crazy For You
8. The Soft Moon – s/t
9. Love Is All – Two Thousand and Ten Injuries
10. Wild Nothing – Gemini
Love is All, Best Coast, and Superchunk all made my top 25.
weekend is awesome
Definitely glad to see Joanna in the top ten, she deserves it.
but WHAT HAPPENED TO RUFUS WAINWRIGHT!?!?!?! All days are nights, songs for lulu is some of the most fantastic songwriting of the year. His growth as an artist through this album was exponential. I’m really bummed his incredible work is so easily forgotten by the musical powers that be
So, according to P4k…
Girls – Broken Dreams Club EP > The National – High Violet ?
…and…
Sleigh Bells – Treats > The Tallest Man On Earth – The Wild Hunt ?
SRSLY ?
I guess I should be happy P4k didn’t include Salem’s King Night on their list.
That Kanye album is great, deserves the praise. My number one was still Arcade Fire. I think I got over being upset with lists a few years ago. Just enjoy it and check out some new music.
Did everyone just forget that Romance Is Boring came out this year, or is it just really bad and no one is telling me I’m not allowed to enjoy it?
I totally agree. Romance Is Boring is the best LC! record yet. I think it got snubbed mostly cause it came out on the same day as Teen Dream, and it got lost amidst the onslaught of great albums this year. It still finished as my #2 album this year, if you’d like to read my list. http://bit.ly/eqWFwp
Also, I’m curious as to why so many people are all of the sudden saying they’ve been listening to Ariel Pink for years. No one once mentioned him prior to Before Today, yet it seems like after June 8, everyone has been into him since the beginning. Did I miss something? (For the record, I gave Before Today several listens and I still don’t get it)
I had never heard of Ariel Pink until everyone went bananas over Before Today. I don’t necessarily like the album that much, but for some reason I can’t stop listening to it? I might need help. And I do agree with Pitchfork that Round and Round is a killer song. I don’t know if I’d put it at number one, but I definitely listened to it A LOT when it first came out.
One of my few problems with music ranking is that sometimes fans that make their own list only rank by their favorite bands and not by the strength of the album from a musical standpoint. When I made my list, I omitted a lot of my favorite artists because the albums as a cohesive project, wasn’t strong. I break down the elements of musical composition, song-writing, structure, innovation.. all of those components come into play.- for inclusion and ranking. And just because I like a certain band or because it is the flavor of the month doesn’t mean it’s going to make my list. And on the flip-side, artists who I might not necessarily like or listen to that much are going to be included if they produced a strong quality album. For example, I’m not a big R. Kelly fan, but he produced one of his best albums in years- and guess what- it made it on my list. Because it was raw talent, strong song-writing- and not cheap gimmicks, an aesthetic cool, or a flavor of the month. Just good ole fashion quality music.
Pitchfork has really gone down hill. They put Kanye at number and don’t even inclde the best album of the year Josh Ritter – So Runs The World Away.
Holy Cow, who is downvoting this? People need to listen to Josh Ritter and then post judgements based on merit, because within it’s genre that thing is just as much a masterpiece as everyone is claiming Kanye’s is for Hip Hop. And I would argue that it takes more talent and effort to write and perform a song like “The Curse” than it does to make something like “Monster”.
You definitely got it right placing Deerhunter’s Halcyon Digest in the Top 5 but where is The Black Keys Brothers’ album ? Not even on the list ? That is a masterpiece…..
Call me boring, but Arcade Fire, National, Wolf Parade, The Walkmen all deserve top ten placement (along with LCD, Deerhunter, Sufjan, Kanye).
-Morning Benders deserve more love, and same with Owen Pallett.
-I still believe that Sleigh Bells = Len + NuMetal
-Foals’ record is insanely underrated. Wow.
-And Damien Jurado deserves much much more love (as usual). The man knows how to write a song.
Music is good.
THANK YOU for mentioning the Foals album. in my top 3 of the year. Then again, why I am reading a Pitchfork list?? NME’s list is the only one i’ve read that includes Foals
Three things,
Been said, but no Owen Pallett even in Honorable mention? Absurd.
Crystal Castles this year > Woods, The-Dream, and this year’s Hot Chip. I even thought this year’s album from them was an step up from their last one and that one ranked at 15 above Made in the Dark, which imho is significantly more interesting than One Life Stand. Oh well
Also, Emeralds>Oneohtrix Point Never for me, but whatever, glad to see them getting attention regardless.
Overall though, 2009>2010. Or at least, the good albums were not as depressing, everyone having a melancholy year or something?
It seems like Canada got snubbed this year. Arcade fire outside the top 10, no Wolf Parade (although not as bad a Sunset Rubdown’s absence last year), Owen Pallet, and worst of all in my opinion, no Broken Social Scene! I don’t know about anyone else, but that was my favourite album of the year; it was very moving and beautiful. Foals and Local Natives seem overlooked as well.
On the other hand, I TOTALLY agree with Round and Round as top track of the year, that song really holds up well.
Surprised not to see Villagers & Josh Ritter not mentioned anywhere. Thought they put out pretty darn good albums. Just me I guess.
Black Noise by Pantha Du Prince would be the album I listened to most this year.
Pitchfork has a history of disrespecting Josh. You just sortof get numb to it after a while.
Best albums of the year for me (of what new music I listened to)
Arcade Fire – The Suburbs
Caribou – Swim
Vampire Weekend – Contra
Matthew Dear – Black City
…come to think of it, most of the music I listened to this year wasn’t from this year. It always seems to be like that.
i should also say Kanye’s g.o.o.d friday output was good…christian dior denim flow, the joy, were both great songs. and his new album is good, but i’m not sure how good yet. will it be a classic? for me, i’m not sure. It usually takes a couple of years to judge these things properly. If it sticks with you that long and if with each listen it gets better or deeper, then it may be a classic.
Kayne at the top and Broken Bells nowhere to be found? Phooey. Arcade Fire song for song and the way that it is expertly built around a theme (do you know how insanely difficult that is?) rockets it to #1.
Small Black’s omission is sad, but easier to understand than selling out with Kayne at #1
Selling out? Who talks like that anymore??
Top 10 for me:
1. Beach House – Teen Dream
2. Sleigh Bells – Treats
3. Surfer Blood – Astro Coast
5. Vampire Weekend – Contra
5. Arcade Fire – The Suburbs
6. Spoon – Tranference
7. Deerhunter – Halcyon Digest
8. Caribou – Swim
9. Local Natives – Gorilla Manor
10. Titus Andronicus – The Monitor
The fact that Pitchfork gave Round and Round song of the year is a crime. Dance Yrself Clean is the song of the year for sure
Good list! I also really can’t stand that Ariel Pink song. I think “Dance Yrself Clean,” “All I Want,” “I Can Change” and “Home” could all easily be #1.
Aloe Blacc’s “Good Things” should have been somewhere on the top 50 list.
there’s so much good music that doesn’t make it for review on Pitchfork. I feel Popmatters end-of-year lists are much more comprehensive. Also, I’m really liking this album, “Start a New Life”, by Slacker, which received very little press, but is really an extraordinary electronic release. Also, Avey Tare’s record is astonishing for it’s originality….I couldn’t care for Kanye or most mainstream hip-hop… for my money, Joanna Newsom (and Have One on Me) is music that will still resonate for decades to come/unlike alot of transient music on these lists in general…
i also loved avey tare’s record…put it at number 5 for the year i think
Songs
1. All Delighted People – Sufjan Stevens
2. You Fucking People Make Me Sick – Swans
3. Keep the Dog Quiet – Owen Pallett
4. Not In Love (ft. Robert Smith) – Crystal Castles
5. Lemonworld – The National
6. The Last Prom on Earth – Gayngs
7. 10 Mile Stereo – Beach House
8. Mouthful of Diamonds – Phantogram
9. On Melancholy Hill – The Gorillaz
10. Yulia – Wolf Parade
Albums
1. Teen Dream – Beach House
2. High Violet – The National
3. Heartland – Owen Pallett
4. My Father Will Guide Me Up A Rope To The Sky – Swans
5. Plastic Beach – The Gorillaz
6. The Suburbs – Arcade Fire
7. All Delighted People – Sufjan Stevens
8. My Beautiful Dark Twisted Fantasy – Kanye West
9. The Wild Hunt – The Tallest Man On Earth
10. Big Echo – The Morning Benders
for the life of me, i don’t understand why i can’t get into owen pallett…i respect his music like crazy, but i just can’t enjoy it
“Lemonworld” is the best song on High Violet, but that is a very tight race.
However, I would challenge that the best song Sufjan released this year was “Djoharia”. If you can get past the womanizing wife beating dead beat guitar solos drown out the beginning you will find Sufjan with the best vocal performance of his career addressing a topic that is fresh, personal, poignant, and beautiful and it’s all constructed out of a repeating incoming tide of melody that defines Sufjan’s mastery of unstructured songwriting. It really is more of an art exhibit than an entertainment piece, but sometimes thinking and feeling is more enjoyable than dancing to the latest boom-boom-tis on the radio.
Plastic Beach was one of my absolute favorite albums this year. I’m really happy to see it getting some recognition on these lists.
good song choices above!
http://thebrokenspeaker.com/
a very good/very Canadian top 40
I think my favourite thing about the end of year P4K list every year is the stereogum discussion after. For my money, Joanna Newsom was the best release this year by a mile.
That album was so boring. Even for some of her most hardcore fans. I think Have One on Me is the perfect example of being overly-ambitious and taking things so far over the top, that instead of being genius, it falls flat.
am i the only person that thought interpol deserved a mention?
I was glad to see Girls “Broken Dreams Club” EP on here. One of the best releases this year, despite it only being an EP. “Carolina” is a breathtaking song.
I personally loved Band of Horses – Infinite Arms, that woulda made the top 25 for me. I’m also surprised to see Jonsi, Dead Weather, and Grinderman omitted from this list. Overall, most of the music on this list means nothing to me, and that’s unfortunate.
Anyone else think if James Murphy produced an Arcade Fire album it just may very well be the greatest album of the century?
I realize I’m in the minority on this, But I find Arcade Fire more tiresome with each album they put out.
http://ithp.org/articles/top50albums.html
By: A.D
50. Tom Petty & The Heartbreakers-Mojo
I couldn’t imagine a better way to kick off this list than with a Petty album. With this being Petty’s twelfth studio album along side The Heartbreakers and fifteenth if you include his solo work it would be understandable to assume the man might have lost his edge over the course of the last 35 years. This album plays like it was released in 1978 with a blues based classic rock that sounds vintage even for Petty. I’ve always admired Petty’s discography because you could play me this album and I’d have no idea where to put it chronologically amongst his other works. Petty has stayed true to his sound throughout the course of his career and here’s to hoping for another summer tour.
49. Cotton Jones-Tall Hours in the Glowstream
If you’ve ever seen the first Back to the Future you know how wild dances used to get back in the 1950s. In listening to this album I can’t help but picture this band playing for a crowded gymnasium in honor of the class of 1955’s Senior Prom. The wispy southern vocals play over the slow harmonic rhythms to create a folk/pop mixture that sounds like an import from 55 years ago.
48. Warpaint-The Fool
Debut albums commonly lack a since of identity. It’s a common cliché to note that a band has a lifetime to make their debut album and only a few months to record the follow up. While this is commonly used to point out the amount bands are rushed to produce a follow up, it also points out that most debuts are packed with music written over the course of the bands existence, which could naturally lead to a bit of an identity crises on the album. The Fool is an exception to this train of thought. The band appears focused and the sound remains tight creating blend of Psychedelic and Art Rock that smoothly transitions throughout the nine tracks.
47. Robyn-Body Talk Pt. 1
When it comes to dance music, Europe wins. On her fifth studio album the Swedish recording artist returns with a collection of dance floor burners that utilize hard bass lines and plenty of hooks. Robyn also finishes close second to Cee-Lo Green for funniest refrain to scream out when drunk with: “Don’t Fucking Tell Me What to Do.”
46. Phantogram-Eyelid Movies
It’s easy to argue that singer Sarah Barthel is the strength behind Phantogram. Her insightful lyrics can stay in your head all day, her ambient melodies on the keyboard complement her vocals, and…she’s pretty hot. I would counter with Josh Carter’s contribution on the guitar. Every track is defined by his catchy melodies that drive the album from start to finish. His vocal contributions must also be dually noted on several of the electo-pop duo’s debut album that comes across as danceable as it is listenable.
45. Damien Jurado-Saint Bartlett
Damien Jurado plays a George Harrison style of folk music. Layered with rock and pop influences, Jurado crafts an album that captures the listener’s attention with its accessible sound and maintains interest with his folk based lyrics. He remains accessible to the average listener due to his rock influences that drive the rhythms of the album.
44. Male Bonding-Nothing Hurts
Grunge music hasn’t just died, it has completely vanished. This isn’t to say that people don’t look back on the 90s and reminisce over the golden age while listening to the classics. But as a current genre its up and evaporated from the scene. Male Bonding could bring it back. On the band’s debut album they combine distorted vocals and guitars with poppy bass lines to make….well, grunge. The songs are short and fast. In a little under theory minutes the listener is left wondering why music like this ever lost the spotlight.
43. Beach Fossils-Beach Fossils
2010 was undoubtedly the year of lo-fi surf rock. Besides Beach Fossils, three other albums grace this list with their “lets hit the beach on a Wednesday” sound. However, compared to their counterparts, Beach Fossils appears slightly more genuine. The lo-fi sound seems natural amongst the nineteen sixties psychedelic guitar riffs and simplistic drums. The result is that warm sound the sixties were known for and a perfect sunny day soundtrack.
42. The Black Keys-Brothers
The Black Keys play heavy music. Not heavy in a since of metal’s thundering guitars or house music’s booming drum kicks but heavy in its abrasive rough around the edges sound. Brothers is a drummer’s album. Each song is heavily dictated by the rhythm of the drums with the bass and guitar playing off its lead. The album successfully fuses blues and rock as The Keys have done throughout their career. Despite a few filler tracks on the back end, the album flows as smoothly as any individual piece.
41. Surfer Blood-Astro Coast
The members of Surfer Blood grew up surfing in South Florida. They make music that lives up to this image, never trying too hard or overpowering the songs on their debut album. There’s plenty to like about the upbeat single “Swim,” which serves as a surfer anthem and is far and away the highlight of the effort.
40. Cee-Lo Green-The Lady Killer
Cee-Lo Green has come a long way from Goodie Mob. These days he’s become R&B’s answer to indie rock. This is a role Green has readily accepted after his work with indietastic producer Danger Mouse on the Gnarls Barkley project and he appears to stay to form here by closing the album out with an extremely well done Band of Horses cover. The lead single, “Fuck (*Forget*) You” is as well produced as any song this year and is sure to have as much lasting power as “Crazy” did.
39. Mumford and Sons-Sigh No More
It’s hard to take Mumford and Sons seriously. What the band lacks in authenticity they clearly compensate for through their songwriting abilities and vocal harmonies. The problem is the lack of sincerity that comes through in their lyrics. They lack a human feel and come across as manufactured. It’s like they are trying to convey some unearned wisdom. It’s not hard to imagine lead singer Marcus Mumford as a pretentious Classics student at The University of Edinburgh. It is, however, much harder to ignore his outstanding songwriting abilities and band’s vocal harmonies that are reminiscent of Fleet Foxes 2008 album.
38. MGMT-Congratulations
Expectations, they’re a bitch. Just ask Greg Oden or Barack Obama. At the early stages of this record band members Ben Goldwasser and Andrew VanWyngarden were faced with an almost impossible question: How do you follow up an album you hate without either isolating your entire fan base or sacrificing your artistic integrity? The easy answer is, you can’t and the duo may have lost some fans in the process. This album shows moments of sincerity (“Congratulations”), moments of stupidity (“Siberian Breaks) and moments of almost brilliance (“Flash Delirium”). The problem with “almost brilliance” is that brilliance tends to be an all or nothing investment. When shooting for it, anything that comes short sounds…really, really strange. Here’s to hoping MGMT’s third album is slightly more refined, a lot more focused, and builds off the massive potential shown here.
37. Brian Eno-Small Craft on a Milk Sea
If it weren’t for Brian Eno, David Bowie would have never recorded the Berlin Trilogy. The Talking Heads would have never released a string of groundbreaking albums at the end of the nineteen seventies. Radiohead wouldn’t have half their influences and thus three quarters of the albums on this list would sound entirely different or would have never been released. In 2010 the godfather of all things pop and rock returned for a solo instrumental album that is reminiscent of his early experimentations into ambient music. The album combines elements of industrial rock with Eno’s trademark ambient sounds to create an extremely thought provoking listening experience.
36. The Hold Steady-Heaven is Whenever
It’s only appropriate for The Hold Steady to be one of the hardest working bands in music. Their blue color southern sound fits the image of a band on the grind day and night. A large portion of The Hold Steady’s fifth studio album was written while the band was on tour. It’s not hard for me to imagine them riding in the tour bus at night crafting the piano driven ballads that are graced with lyrics that are as blunt as they are insightful.
35. Vampire Weekend-Contra
Vampire Weekend had no trouble developing a niche. In the wake of their first album the band garnered a cult following that embraced their 21st century Paul Simon sound. With their sophomore effort, Contra, the band expanded their listener base with an album loaded with radio ready songs. The band also makes an attempt to slow down on many of their tracks and change up the sound enough to keep fans interested. In the wake of this release, which debuted at number one on the Billboard charts, it goes without saying that Vampire Weekend’s following has grown a long ways from the niche it started from.
34. Neil Young- Le Noise
Some voices can only be described legendary. At 65 years old, singer/songwriter Neil Yong has placed himself on my shortlist of vocalists next to Lou Reed and Bob Dylan. This is album showcases the emotion in Young’s voice with ballad driven songs that hang Young’s heartfelt vocals over a storm of distorted guitars. The end result is one of Young’s most personal albums, yet one that places emphasis on the powerful lyrics that the singer has penned.
33. The Walkmen-Lisbon
The Walkmen have a knack for creating massive musical climaxes in their songs. This has never been seen clearer than in their newest album’s lead single, “Angela Surf City.” The song is everything I imagine a Walkmen song could be: emotional, energetic, and built up to a specific moment. Throughout The Walkmen’s sixth studio album it becomes clear that the band has fully refined their craft. Every sound is perfectly placed and the band appears to have a full grip on their identity. The result is the most complete album of their career that serves as a blueprint for everything they have done over the last ten years.
32. Wavves-King of the Beach
Being king is fucking awesome, but no one said it was easy. For bandleader Nathan Williams the strains of being a rock star became all too real last year leading to his now infamous on stage meltdown in Barcelona (“Mixing ecstasy, valium and xanax before having to play in front of thousands of people was one of the more poor decisions I’ve made”). It’s pretty hard to miss the self-loathing on Wavves third album, ironically titled King of the Beach. Williams sings “I’d say I’m sorry/but it wouldn’t mean shit” when discussing the friends he’s isolated over his rise to the top. The now clean(er) bandleader returns on this up beat surf rock album for one of the most unexpected comebacks of the year.
31. The Roots-How I Got Over
The Roots are the hardest working band in music. With a solo album released this year, a collaboration with John Legend and a day job to hold down on Jimmy Fallon the Philadelphia natives kept as busy as anyone in 2010. For a band that will do pretty much anything to make a quick buck, the band has avoided the almost inevitable branding of “sell out” that has been placed on almost every nineties rap artist still producing music today (cough Dr. Dre). What’s more, the band remains culturally relevant including up and coming stars Joanna Newsome and Jim James on this genre crossing album.
30. Portugal. The Man-The Satanic Satanist
Possibly the most slept on band in music right now is Portugal. The Man. The band has released a sting of excellent albums over the last five years but hasn’t seemed to receive the critical acclaim many of their counterparts have enjoyed. On their latest release they mold their signature blues based sound with an electronic synth driven accent. As the band’s sound continues to develop, their hooks become catchier and the albums play out tighter. It should also be noted that “When the War Ends” is an absolute jam.
29. Matt & Kim-Sidewalks
Sidewalks is Matt & Kim’s most fun album yet…and that’s saying something. Each song delivers another catchy melody courtesy of Matt and drum beat from Kim that is eerily similar to the work of Meg White. The Synthpop duo bring a level of energy that seems unobtainable for a band that’s been on tour for the better part of two years promoting their previous release Grand. This album is the band’s most loaded top to bottom and never grows tiresome with seven or eight songs that could easily end up in the next iPod commercial.
28. The Morning Benders-Big Echo
There are few names that fit a band’s image better than The Morning Benders. They play a slow, harmonizing sound that mirrors the feeling of the dreaded morning after. Big Echo was produced by Grizzly Bear bassist Chris Taylor, and it is easy to draw comparisons between the two band’s sounds. The band uses vocal harmonies to build up energy on hooks, but then quickly brings the mood of the music back down to the melancholy feeling that their name suggests.
27. jj-n3
There were few moments when an album made me smile this year like the opening track of jj’s second studio album predictably titled n3 (n1 was an EP). After making a name for themselves on their previous effort by releasing a single that directly sampled Lil Wayne’s “Lollipop” the group opened their follow up with a slowed down acoustic rendition of The Game’s “My Life.” jj doesn’t take themselves too seriously and that certainly comes through in their spacey pop music. This short album clocks in at just over 27 minutes, but makes use of its time by packing in short, catchy, and ambient pop singles.
26. Belle & Sebastian-Write About Love
Some formulas work so well it seems foolish to ever change or develop into something new. Belle & Sebastian have found one of these niches. There is plenty to like about Belle & Sebastian’s eighth studio release in the same way the rest of their discography has shined. This isn’t to say the band has failed to develop at all over the course of their career. Their songwriting has improved, and features some of their most upbeat music, which is when they are at their best.
25. Broken Bells-Broken Bells
Brian Burton can do no wrong. In the last two years he has been on the production end of Beck’s Modern Guilt and The Black Key’s Brothers and now he has assumed a more proactive role as half of Broken Bells. Burton’s use of organs and synthesizers layered over drum loops that are reminiscent of his work on Modern Guilt produce a perfect framework for James Mercer’s vocals and guitar. Mercer’s role on this album can be directly compared to 2004 Matt Lineart on USC: There are a lot of people who have the talent to take his place, but they couldn’t make it look nearly as good.
24. Caribou-Swim
The bass lines were the first thing to garner my attention. Producer Daniel Snaith creates a collection of funky dance epics on his latest release Swim. Snaith’s work is reminiscent of James Murphy’s with LCD Soundsystem, due to his drawn out dance anthems that develop from slow starts to powerful rhythms. Caribou appears to take more influence from the world music scene with a South American feel that shares many characteristics with the work of dub step producers.
23. John Legend & The Roots-Wake Up
With the number of similarities in the roots (pun intended) of both gospel and hip-hop music, collaboration between the two would seem more common. It could have to do with the lack mainstream gospel musicians in music today or the fundamental differences between most mainstream rap artists and the nature of gospel music in general. Regardless, this is one of the first times I have heard the two genres mixed and the result is outstanding. John Legend belts out heartfelt hooks alongside an overqualified backing band in The Roots to being the project together. There are just enough guest cameos to keep things interesting. Overall, the album mixes well with some of the best work of John Legend’s career.
22. Revere-Hey! Selim
It’s tough for British bands to get noticed in America. Hell, it took the Beatles three albums before anyone in America paid them any mind. Muse has been on the grind for almost twenty years and they are only now getting the same headliner treatment in the United States that they’ve enjoyed in the UK for almost a decade. Revere has a long road in front of them before developing a following in America, but albums like Hey! Selim are extremely helpful to the process. Although it sounds like an unfair comparison to make, Revere combines the emotional pinnacles Arcade Fire obtains in their songs with the dark subdued sounds of Muse to create an outstanding release.
21. Broken Social Scene-Forgiveness Rock Record
If you are currently unfamiliar with Broken Social Scene’s most recent release, then on your next sunny day drive, I implore you to bring this album along for the ride. I like to picture all of members of BSS recording this music in the studio with massive smiles on their faces the entire time. The album is bright, happy and all around smile inducing with playful guitar riffs and build-ups where the massive nine-person band comes together to jam in perfect harmony.
20. Big Boi-Sir Lucious Leftfoot…The Son of Chinco Dusty
There are some rappers that I could listen to reciting the phone book and be completely content. Tu Pac is one, Big Boi is another. On what’s almost impossible to believe is his first solo release, the southern rapper brings a smoothly flow over the quick drumbeats laid out for him by an army of producers. Big Boi brings along an all-star cast of support that surprisingly only feature Andre 3000 on a single production credit. Big Boi uses this album as a creative explosion after playing bridesmaid for years with his debatably crazy counterpart from Outkast. Although there may have been doubt about his career solo, fifteen tracks later listeners are convinced Big Boi will be fine on his own.
19. Deerhunter-Halcyon Digest
Deerhunter didn’t sell me on Microcastle. I was a fan of their spacey dream rock but they never stood out past the thousands of other alternative rock bands floating around the Internet. This album legitimizes their hype for me. The music takes influence from the psychedelic pop of the late sixties. The band combines this with their characteristic Shoegaze sound to create an album that distinguishes them beyond the other bands soliciting your online interest.
18. Janelle Monae-The ArchAndroid (Suites II and III)
Janelle Monae is a sick flow away from being the reincarnation of Lauryn Hill. She blends influences from R&B, hip-hop and the late 1930s sounds of boogie-woogie over the course of her debut album. If you played me “Oh, Maker” and told me it was a demo for Lauryn Hill’s latest comeback, I’d be convinced. She hits the rights notes and has emotion in her voice when discussing Ms. Hill’s favorite subject, love. Monae shows off her ability to distinguish herself amongst a hip hop song on lead single Tightrope featuring Big Boi which could hopefully lead to a few interesting collaborations in the upcoming years.
17. Jonsi-Go
Solo projects have a way of sounding just like the original band, only not as good. This is natural considering the same person is writing the songs, but they don’t have the help of talented musicians surrounding them. On Sigur Ros’ lead singer Jonsi’s solo effort, Go, he steps out of the norm to provide a more upbeat pop inspired album. Go still shares many of the orchestral characteristics Sigur Ros is known for, but there is a distinct difference between this album and the band’s catalog. The songs have been simplified and striped down to become more accessible for new fans without sacrificing too much from the artist’s past work.
16. Local Natives-Local Natives
It’s hard for a band to sound fresh in alternative rock these days. When attempting to win over new fans, indie bands are required to sell them on an entire album as opposed to single songs that major labels may push on their artists (See: Kings of Leon). Local Natives don’t do anything on their debut album that hasn’t already been done before. They just do it with consistency that’s rare for rookies such as themselves. The album never lags and doesn’t rely on one or two singles, even though “Airplanes” is pretty catchy. This completeness proves their songwriting ability and shows that Locals Native are here to stay past the hype of single or two.
15. Crystal Castles-Crystal Castles II
There are few bands that can take the listener to a place of pure euphoria quite like Crystal Castles. On this sequel to their similarly titled debut album the duo return with a product that out shines the original. Alice Glass’ vocals convey emotion though the heavily distorted sound and harmonizing synthesizers. Their music is dark and almost frightening but they energy behind it empowers the listener, especially when they’ve had a few.
14. Best Coast-Best Coast
The crown for surf rock in 2010 goes to Bethany Cosentino and her Best Coast cohorts. Best Coast delivered an album of short and energetic rock songs that played out like a teenager’s diary set to California surf rock. The album does an excellent job of conveying the nostalgia of growing up in summer time through the simplistic guitar riffs and lo-fi recordings. To all those critics who complained about the simplistic lyrical content: The Beatles first five albums make Bethany look like Immortal Technique and no one gives them any shit for it.
13. Sufjan Stevens-The Age of Adz
When Jay-Z announced the death of auto tune, there were several exceptions, Kanye West was one of them, Sufjan Stevens was another. The Age of Adz is Sufjan’s most personal album to date. The track listing itself was sure to turn several heads with 11 tracks and almost 75 minutes featuring the epically composed “Impossible Soul” that clocks in at just over twenty-five minutes. That track alone takes listeners though layers upon layers of Sufjan’s creative brilliance transforming and evolving over its gradual development. It is the perfect climax for an album that pushes the limits of Sufjan’s diverse catalogue.
12. Dr. Dog-Shame, Shame
“When you can’t be yourself, there’s just too much to be” sings Scott McMicken on Shame, Shame, Dr. Dog’s strongest album to date. This is a problem Dr. Dog know all too well. Developing an identity was something the band struggled with early in their careers. It wasn’t until their previous album, Fate, they begin to find their convert zone and it is fully realized on this follow up. The band successfully uses multiple songwriters in a way that few modern groups have done to amplify their creative output and produce their trademark folk inspired music that embraces the harmonizing ability that comes with having multiple lead singers.
11. The Drums-The Drums
With catchy sixties California pop reminiscent of the early work of the Beach Boys, The Drums win the award for best debut album of 2010. The Brooklyn band released an album full of wholesome, vanilla beach rock straight out of the nineteen sixties. The album shows variety from a upbeat start with “Best Friend” and “Lets go Surfing.” It evolves to demonstrate heartfelt anthems such as “Down by the Water.” The album sounds like nothing that was released this year and hopefully they can continue to develop this untapped sound in the future.
10. Titus Andronicus-The Monitor
If the nineties were the decade that rocked, the upcoming ten years has the makings of the one whimpered. These days bands are afraid to rock. It’s a sensitive subject that commonly gets looped together with either the over heavy sounds of death metal or the sensitive subject of being branded “emo.” Titus Andronicus rocks like bands used to back in the nineties. From the opening chords of “A More Perfect Union” the band sets the tone for the rest of the complex, loosely concept based album. The loose affiliation with the civil war throughout the album fuels the energy of the songs and builds up suspense for the upcoming music between the tracks.
9. The Tallest Man on Earth-The Wild Hunt
Kristian Matsson isn’t actually that tall, in fact according to his homeland of Sweden’s standards he’s actually rather short. But folk music has roots in fables and if Matsson chose to belt out the story of how he lost his height over an acoustic guitar in the future, I’d have a tough time not believing him. The Wild Hunt is the most personal album of 2010 with simplistic acoustic guitar tracks driven by Marsson’s vibrant voice. It’s difficult to not be moved by his screeching vocals stretching out quivering notes as long as he can over the gentle guitar riffs. It’s natural to make comparisons to the great Bob Dylan and Matsson even gives the legend a shout out on the stand out track “King of Spain” calling for his “boots of Spanish leather.” The similarities between the two don’t appear as numerous as first listen would imply. Matsson never uses a political agenda to guide his lyrics, which are much more based on personal experience than social commentary. Through the peaceful nature of his songs, Matsson’s conveys the emotion and storytelling ability that have been cornerstones in folk music since its inception.
8. Miniature Tigers-Fortress
Albums are long, and easy to mess up. Suppose a band really nails six of the eleven songs on their album, while this might be considered outstanding in baseball and acceptable for free throws it’s rather disappointing in music. On Fortress Miniature Tigers never loose their edge. There isn’t a single misplaced guitar riff or song that runs on for a little longer than needed. Slow songs transitions for fast ones, lows are perfectly matched with highs and production is outstanding. The album is sharp, start to finish and never lags proving quick movement from track to track. The sound builds off oriental influences to create a unique sound that results in one of the strongest alternative rock releases of 2010.
7. Gorillaz-Plastic Beach
When all is said and done, how will Damon Albarn be remembered? As the pretty boy front man of Britpop princes Blur, or the crazy genus that created the most successful animated band ever (suck it Alvin & the Chipmunks). In the United States the answer is clear. Albarn’s ability to craft a mixture of pop, orchestral, and hip-hop music on Plastic Beach might have taken more creative ideas than the entire Britpop movement ever produced. Albarn cast his album perfectly, placing an outstanding supporting cast of vocalists throughout the track list, each providing their own dimension to the final product. The lead role was saved for Albran himself and he delivered, turning solo tracks “On Melancholy Hill” and “Rhinestone Eyes” into highlights that showcase the singer’s ability as a rock and roll star.
6. Joanna Newsome-Have One on Me
If you haven’t yet had time to give a good listen to Joanna Newsome’s triple album Have One on Me wait for a rainy day, brew a pot of your favorite tea, turn on this album and drift away on the two hour journey provided by Ms. Newsome. The term beauty gets thrown around a lot in music, mostly without much merit. Have One on Me can safely be described in this category in the same way that Sigur Ros’ Ágætis byrjun and Fleet Foxes’ debut album earned the title. Newsome’s vocals flutter gently over captivating musical arrangements that are predominantly led by her work on the harp. The album’s title, which is humorously ironic based on the effort placed into such an ambitious release, also alludes to the personal nature of the lyrics. The album is remarkably relatable and can evoke memories and feelings for any listener. When Newsome opens the second disk with the heartfelt “On a Good Day” it is impossible no to be moved by her ability to capture the difficulties of remaining hopeful amidst the worst of things.
5. The National-High Violet
How big can The National get? Three year ago the Brooklyn based band broke into the national spotlight with Boxer. Today they may be the best band in music. It’s only appropriate the blue color musicians grew to fame the hard way: by releasing a string of brilliant albums and then touring the hell out of them. High Violet is the culmination of The National’s hard work; it is the finished product of a sound that they have been refining for the last decade. Where Alligator had trouble sustaining listeners and moments of Boxer seemed forced, High Violet never lays off its heartfelt appeals to the struggles of being normal. The cold and dark sounds associated with their previous work remain, which leads us back to the original question of: How big can The National get? The great Bruce Springsteen found ways seamlessly fuse radio ready songs with the heavier ballads that provided the heart and soul of his albums. When modern band Modest Mouse attempted to replicate this feat they lost the sincerity that had been the foundation of their previous albums. This the fundamental problem for bands like The National and without universal tastes changing drastically, there will never be a place for their ghostly ballads on top 40 radio.
4. Beach House-Teen Dream
Buzz bands have a way of growing insignificant quickly. Whatever niche they temporally filled can grow tired with the insistent annoyance of their single on repeat week after week. It’s uncommon for a buzz band to spend much time developing their sound, instead they traditionally take whatever got them there and ride it out until no one can stand to listen. Most importantly, it should be noted that buzz bands never match their first album. I used to think Beach House was a buzz band, but Beach House didn’t follow this format. They steady developed over the course of their last three albums to craft a masterpiece that provides a collage of perfectly layered sound. Teen Dream surprised me in the same as imagining Passion Pit releasing an album of this caliber four years from now. This album shows Beach House is a sustainable force in the music world, relaying on their skill as songwriters and musicians as opposed to a few catchy songs that placed them in the limelight.
3. Kanye West-My Beautiful Dark Twisted Fantasy
I wanted to see Kanye West fail. I avoided his Friday downloads like the plague, telling myself I wouldn’t like them. When he announced the working title of Good Ass Job I took joy in making light of the various ways to read the name and when he switched the title to My Beautiful Dark Twisted Fantasy I thought it sounded even dumber. The first time I heard “Runaway” performed at the VMA’s, I convinced myself it was a dumb cry for attention with a catchy beat. But upon hearing the rapper/producer/singer/everything-musically-related’s fifth studio album, I couldn’t ignore it anymore.
This is the best work of Kayne’s career. Better than his hit heavy Graduation even better than his throw back debut The College Dropout. This album will do to the next ten years of hip-hop what The Blueprint did in 2001 and what Illmatic did in the mid nineties. Every subsequent release in the genre will be influenced by his work in some way. His collaboration with dozens of artists leads to an album that could have seven or eight radio singles. There has never been a better produced hip-hop album, ever. Every moment is perfectly refined to sound exactly as Kanye intended, hell it’s of some value to note that Kanye sucks at singing, but you wouldn’t think it based on the production of the album. This is the comeback story of the year and the reason why Kanye’s ego is, at times, warranted.
2. Arcade Fire-The Suburbs
For Arcade Fire’s third studio album they chose to release a concept driven sixteen-track effort that examines the nature of mortality by relating it to the image of a childhood in Middle American suburbs. To say it was ambitious would be a massive understatement. Keep in mind Arcade Fire are at about the same point in their careers as southern rockers Kings of Leon were when they started writing songs about how their sex was on fire. With that being said, they are also in a similar position Radiohead was in when they released OK Computer.
The concept behind The Suburbs is complicated, but in short the album uses the insatiable desire to return back to one’s childhood to demonstrate the impending mortality of life. While this concept is remarkably heavy, it finds lead singer Win Butler in his most human form. On the closing track when the front man finds himself begging to have back all the time he wasted, just so he could waste it again, he has one of the most relatable moments of his career.
The easy complaint found in The Suburbs is the length, clocking in at just over an hour. The album flows together with dual tracks leading into each other and a constant message driving the music. There are no tracks that I would feel comfortable removing from the hour-long album without potentially weakening the message. This message aims to show that human life should be treasured and we can’t waist our time getting too pissed off that youth is indeed wasted on the young. While this album finished second this year it very well may grow into a classic and ten years down the line, I just might fancy it’s chances in a re-vote.
1. LCD Soundsystem-This Is Happening
There are two ways to look at the title of LCD Soundsystem’s latest release This is Happening. The first is the straightforward approach. After three long years of waiting James Murphy and Co. have completed the well-documented creation of the front man’s self proclaimed retirement album. This is indeed happening, the album is finally being released, and the dream is over. This take seems a little too egotistical to be Murphy’s main inspiration. The second approach would be to consider the subject matter of the album. This is Happening is the most narrative of LCD’s works and it’s lyrical content evokes the feelings of doubt, discouragement, and desperation that come with the realization that life doesn’t always go as planned. In choosing the title This is Happening, Murphy illustrates the realization that one day we will grow old, and it can be difficult to accept.
Murphy himself is one of the most interesting elements of LCD Soundsystem’s music. The forty-year-old musician has no reservations in writing songs that play off his toughest moments. At an age where most people begin to loose their musical relevance Murphy is producing the best work of his career due to his ability to sincerely express the issues of a middle aged man that few pop stars have experienced. If it wasn’t for Murphy’s background, his songs wouldn’t carry the same power. In the same way that it would be hard to take Vampire Weekend’s rendition of “Fuck tha Police” seriously, listening to Justin Bieber beg for someone to give them a last chance at love would not evoke the same emotion that Murphy evokes when he pleads his significant other to give him another chance on standout stack “I Can Change.”
Musically the album shows LCD Soundsystem at their best. The songs infuse pop music greats like David Byrne, Brian Eno, and David Bowie together with modern dance music to create an uncommonly vintage feel for a dance record. “All I Want,” the sixties glam rock ballad, emphasizes this by borrowing the distorted guitar riff directly from Bowie’s Heroes and using it as the foundation of the song. In looking at how this album relates to the rest of Murphy’s work it is arguable that this is a more complete album than 2007’s Sound of Silver and more focused than the band’s self titled debut. If this truly is the end of James Murphy’s LCD Soundsystem, they can be confident that they went out at the top of their game.
pure shite mate
Just would like to say that while I’m thrilled to see Portugal.The Man on another list (I’m a huge fan), “Satanic Satanist” came out last year. This year’s album was “American Ghetto.”
Maybe you should look into getting your own blog…
Has anyone even heard of The Limousines? Loved Get Sharp and I feel like literally no one knows it.
Isn’t that Strong Bad’s favorite band?
Haha, +1. Limozeen. I wish they put out an LP in 2010. Them or Peacey P.
i’m surprised by the omission of Beach Fossils on most of the lists. they were getting a ton of hype and got pretty good reviews, but everyone seems to have left them out. I thought it was one of the catchiest albums of the year.
there were allot of records you released this year you know. I think many of you stereogummmers suffer from buyers remorse. Yea I bet thats true I bet none of you are arguing for records you downloaded. mainstream indie geeks .
I’m guessing Beach Fossils didn’t make many lists because they’re a new band and newbies don’t typically make it very high up on year-end lists. It’s kind of a king of the hill thing. There have been exceptions, though, like Sleigh Bells.
I love end of year lists, because it goes with my theme of catching up constantly and always having new stuff I didn’t here about throughout the year.
Couple thoughts.
Sufjan Stevens – Age of Adz: Really ambitious, but after I while I get worn down by it. I mean it’s a great listen but hasn’t anyone felt exhausted after listening to it.
Spoon – Tranference: This is nowhere near the quality of Ga Ga Ga…there are some quality tunes and maybe I’m not enough of a long time listener, but they have much more than Transference gave.
Laura Marling – I Speak Because I Can: This doesn’t necessarily appeal to the Titus Andronicus people if I lumped you a proverbial stereotype, but for all the hype Mumford and Sons get, this girl is for real. I really dismiss female singer/songwriters at times, but this album is so excellent, I don’t even need to listen to all the other stuff out there to make up my mind this is a supremely underrated record. I’ll lose a few man credits to keep this record in my queue for awhile.
So surprised Avi Buffalo and Beach Fossils were pretty absent from any year-end list. Seems criminal.
I felt the Arcade Fire album was the best of the year along with High Violet. But I can barely listen to the latter without falling asleep anymore. Although Teen Dreams was my album of the year, I can’t be mad at Kanye’s album being number simply because I can envision more people being partial to it more than the other contenders (lcd, arcade fire, deerhunter et al) albeit not everyone lauding as their personal favorite but EVERYONE lauding it nonetheless. Which can’t be said for the for most of the albums and to some degree that justifies to its top positions (along with it being stupendous and all).
I can’t believe they failed to mention Jónsi on this list. It should atleast be in the top 50.
Sometimes I think I’m the only person who isn’t impressed by Kanye.