Beginning their set with “That Old Black Hole” and “Stranger”, I was initially unconvinced. But then the band launched into “The Breeze”, and the entire crowd began singing word for shining word. It was then clear that while this show was about the band, it was actually the crowd’s devotion that made the show memorable. This is an obvious statement, I acknowledge — but I haven’t seen such a passionate loyalty and reverence for a band since Robert Plant and the Band of Joy’s performance at the 2011 Hardly Strictly Bluegrass Festival. “The Ark” was another throwback to Dr. Dog’s 2008 album, the aptly named Fate; again, I wasn’t enthralled in the beginning, but as soon as guitarist Scott McMicken launched into what can only be described as a solo of legendary rigor, I found myself smitten with this band and their curious surprises.

Likewise, bass player Toby Leaman came out of his shell during “Do The Trick”, revealing himself as the true singing spirit of Saturday night’s show, especially given McMicken’s seemingly overwrought and strained voice. The band members had a habit of singing much too loud for the setting, perhaps not realizing that the microphone, speakers, and the Regency’s echo were carrying their songs much farther than an outdoor venue. Be the Void‘s “Lonesome” was definitely meant to electrify the outside air and be sung aloud by hundreds of more people.

The instrumentals continued to define the performance, with the lyrics taking backseat; “Vampire” was a beautifully woven story, an effective example of being expressive with instruments rather than word. Even the band’s stage setup was symbolic and theatrical, decorated like they were performing in their living room. There was a pot of flowers, Grandma’s embroidered blankets thrown over speakers, and the band members themselves performing on ethnic rugs. Perhaps that’s their way of bringing Home along with them on tour; it was a testament to the “little things”, and it only enunciated the sense of familial companionship felt by this well-performed and artfully conceived group of performers.

Setlist:
That Old Black Hole
Stranger
The Breeze
The Ark
Do The Trick
Lonesome
Mirror, Mirror
Vampire
My Friend
Someday
I Only Wear Blue
Hang On
Heavy Light
These Days
The Rabbit, The Bat and The Reindeer
The Beach
Shadow People
Shame, Shame

Vocalist/guitarist Scott McMicken sums up Dr. Dog’s sound on that first single when he sings, “I don’t rock the boat, but it’s always unsteady.” They haven’t done anything that hasn’t been done before, but the new members add welcome variety to Dr. Dog’s retro-mania. Drummer Eric Slick kicks off opener “Lonesome” with a thumping beat, anchoring Be the Void as much as he moves it forward, like a shark. Slick holds back on “Get Away” to let bassist/vocalist Toby Leaman whine about being “old and in shambles,” breaking into a gallop only when he sings, “the bottle is broken, the ghost has escaped.” Together with Manos’ percussion and Leaman’s bass on “Heavy Light”, Slick maintains polyrhythms similar to Afropop purveyors Givers and Vampire Weekend (McMicken’s voice even sounds a lot like Ezra Koenig’s).

The band’s aforementioned love of music from the 1960’s still comes across as strongly, if not more than ever, despite their newer sonic elements. No band can elude its obligatory “Beatles-esque” moment and ensuing critical finger-pointing forever, but “the members of Dr. Dog cheerfully acknowledge the debt they owe to classic rock,” according to an interview with The New York Times’ Kelefa Sanneh. Sure enough, Leaman howls like Macca on “Vampire” (and twangs like Dylan on “Big Girl”), and the sitar student becomes the master on “Turning the Century”. “Warrior Man” epitomizes ‘70s glam rock with its languid enunciations, organ blips, and meta-narrative about incongruous things like “ancient warrior clans,” being a “computer man,” and “hubcaps and soda cans.”

This disparity between lyrics unfortunately does hinder the album. On “Do the Trick”, McMicken sings, “I’ve burnt the candle on every side, I’ve long since run out of wick/Will you be my flame tonight? Will you do the trick?” prefaced with “You could say I’m a lunatic” and followed by “Man, this fog is so thick.” It is impressive that McMicken rhymed with the same sound through the entire song, but in a “Look, Ma! I memorized the thesaurus!” sort of way. Upon closer listen, however, this sort of trickery emphasizes a lack of emotional depth and vulnerability. If he tackled something deeper instead of empty questions, songs like “How Long Must I Wait” would actually convey the sadness in those minor chords.

As a fellow CoS writer noted, “it’s still very Dr. Dog, and it should be damn fun live.” For all the band’s efforts to switch things up, tighten up, and grow up, Be the Void sounds like another Dr. Dog album, and Dr. Dog remains, above all else, a great live act. At this point in their five-album, decade-long career, it’s unlikely that McMicken will psychoanalyze himself beyond his favorite random anachronisms. It’s hard to teach an old Dr. Dog new tricks, after all.

Essential Tracks: “That Old Black Hole”, “How Long Must I Wait”, and “Lonesome”

Conan’s on a two-win streak right now. After shedding some spotlight on Alabama Shakes Tuesday night, Team Coco cleared the stage for Pennsylvania’s own Dr. Dog on Wednesday. Out supporting their seventh LP, Be The Void, which hit stores this week, the psychedelic rockers knocked out a stormy cut of “That Old Black Hole”. Despite the song’s lyrics, there certainly weren’t any eggshells on the stage floor; in fact, you can consider this new material primed for the road. Check it out below, courtesy of The Audio Perv.

PS. If anyone knows where to buy that Mickey Mouse guitar strap, please comment below. Too funny.

Be The Void is out now via ANTI- Records. Stream it now via Team Coco.

The third annual Hangout Music Festival runs May 18-20th on Alabama’s Gulf Shores. As previously reported, Jack White will top this year’s lineup and he’ll joined by Dave Matthews Band and a soon-to-be-announced third headliner. Update: Red Hot Chili Peppers have been confirmed as the third main stage headliner.

Other heavyweights include Wilco, String Cheese Incident, The Flaming Lips, who will perform Pink Floyd’s Dark Side of the Moon, Chris Cornell, Skrillex, Dispatch, and Steve Winwood.

Also playing are Randy Newman, STS9, Coheed and Cambria, Flogging Molly, M. Ward, Dr. Dog, Alabama Shakes, Dawes, Cage the Elephant, Gogol Bordello, Young the Giant, Mavis Staples, Big Freedia, Shpongle, Michael Franti and Spearhead, Gary Clark Jr., G. Love and Special Sauce, Allen Stone, Zeds Dead, Paul Oakenfold, Yelawolf, Mac Miller, Hey Rosetta!, Paper Diamond, and Sleeper Agent. Additional acts will be announced in the coming weeks.

Three-day and VIP passes will be available starting Friday, February 10th at Noon ET. Visit the festival’s website for more information.

In one week’s time, Dr. Dog will return with their much anticipated seventh LP, Be The Void, via ANTI- Records. It’s the follow up to their CoS Top Star-earning 2010 LP Shame, Shame. Stream it now at Team Coco.

Other albums available for in early spin (in addition to Sharon Van Etten, Paul McCartney, and Heartless Bastards’ latest efforts):

– Mark Langegan Band will release their first album in eight years, Blues Funeral, on February 7th via 4AD. Stream it now at Exclaim!. Also, check out their new video for “The Gravedigger’s Song” here.

– A Place to Bury Strangers drop their new EP, Onwards To The Wall, on February 7th via Dead Oceans. Stream it now, and read our interview with the band, here (via The Hype Machine).

– Blondes release a new self-titled EP on February 7th via RVNG Intl. Stream it now at Drowned in Sound.

Philadelphia’s own Dr. Dog make a interesting form of folk-inspired psychedelic rock. For insight into their creative process, the band held a wacky recording/practice session in the proper music video for “That Old Black Hole”, the second track from next month’s Be The Void. This particular ses (as they call it in the biz) features wacky costume changes, the consumption of what appears to be spaghetti and pizza, lots of beanies and hats, and the destruction of instruments. Remember: you can’t make hit records without any of that in the studio. Watch the video below.

Be The Void hits stores February 7th via ANTI-. Peep the album’s tracklist and band’s spring touring schedule below.

Be The Void Tracklist:
01. Lonesome
02. That Old Black Hole
03. These Days
04. How Long Must I Wait
05. Get Away
06. Do The Trick
07. Vampire
08. Heavy Light
09. Big Girl
10. Over Here, Over There
11. Warrior Man
12. Turning The Century

Dr. Dog 2012 Tour Dates:
02/01 – Columbus, OH @ Newport Music Hall
02/02 – Lawrence, KS @ Granada Theatre
02/03 – Boulder, CO @ Boulder Theater
02/04 – Salt Lake City, UT @ Urban Lounge
02/06 – Phoenix, AZ @ Crescent Ballroom
02/07 – Solana Beach, CA @ Belly Up Tavern
02/10 – Los Angeles, CA @ The Music Box
02/11 – San Francisco, CA @ Regency Ballroom
02/13 – Portland, OR @ Crystal Ballroom
02/14 – Seattle, WA @ TBD
02/17 – Minneapolis, MN @ First Avenue
02/18 – Chicago, IL @ The Vic
02/19 – Cincinnati, OH @ 20th Century Theater
03/01 – Pittsburgh, PA @ Mr. Smalls
03/02 – Louisville, KY @ Headliners
03/03 – Nashville, TN @ War Memorial
03/04 – Atlanta, GA @ Buckhead Theatre
03/05 – Birmingham, AL @ Workplay Soundstage
03/07 – Shreveport, LA @ Riverside Warehouse
03/09 – Austin, TX @ Stubb’s
03/10 – Houston, TX @ Fitzgerald’s
03/11 – Dallas, TX @ Granada Theatre
03/15 – Asheville, NC @ Orange Peel
03/16 – Washington, DC @ 9:30 Club
03/17 – Baltimore, MD @ Rams Head Live
03/22 – Boston, MA @ House of Blues
03/23 – New York, NY @ Terminal 5
03/24 – Philadelphia, PA @ Electric Factory
03/25 – Philadelphia, PA @ Electric Factory

When you compile a list like this, you start to tremble at how much you’re really going to absorb in the ensuing months. This doesn’t even cover the misses and surprises. If you’re a casual listener, you might get through an album a day. Okay, maybe two. If you’re a fanatic, you’re spinning discographies left and right. Still, after 365 days, either person is buzzing. One’s just a little louder with the phonetics.

As I wrote back in December, in a year, you’ll have your next roundup of favorite albums. You’ll have a new favorite song. You might even have a new band you’re obsessed with. It’s far too early to tell anything right now, but I’m willing to bet at least two or three of the records on this list will make up everyone else’s come December. At the very least, they’ll get people talking.

Hold me to it, if you want.

-Michael Roffman
President/Editor-in-Chief

Porcelain Raft – Strange Weekend

What we know: The debut record from Porcelain Raft is the sum of Mauro Remiddi’s 27 years of traveling across Europe, recording hundreds of tapes, and working on sundry, eclectic musical projects. It’s pregnant with personal history and influences from across the globe, not just some upstart hazing up his bedroom with a MIDI processor.

What CoS says: It’s a lush and most excellent dream pop record that stretches into the past while continuing to blaze into tomorrow. They’re on tour with M83 and can fill the spaces with the same amount of sound. –Jeremy D. Larson

Due out: January 24th via Secretly Canadian [Pre-Order]

Grimes – Visions

What we know: Indie-major label 4AD called them up from the sticks to release Visions, and the mystical gaze of Claire Boucher’s music does what a few of her gauzy contemporaries have a hard time doing: Her songs float out of the bedroom and onto the dance floor.

What CoS says: It’s easy for music like this to turn from daze to doze in a flash, but Grimes seems to know when to pop it up. –Jeremy D. Larson

Due out: January 24th via 4AD [Pre-Order]

Grimes – “Genesis”

Leonard Cohen – Old Ideas

What we know: The esteemed singer-songwriter and poet will grace fans with his first studio album since 2004. No stranger to grappling with heavy concepts within his lyrics, the 10 songs on this new record will deal with “the most profound quandaries of human existence – the relationship to a transcendent being, love, sexuality, loss, and death.” The announcement of the album described it as “the most overtly spiritual” of Cohen’s career.

What CoS says: Cohen is one of music’s greatest living poets, and if anyone could craft a beautiful song from such solemn subjects, it would be him. His albums have usually proven worth the wait, and Old Ideas should hopefully be no different. –Austin Trunick

Due out: January 31st via Sony [Pre-Order]

Air – Le Voyage Dans La Lune

What we know: With both a Sofia Coppola score and a diverse catalog to their credit, Jean-Benoît Dunckel and Nicolas Godin of Air are no strangers to blissfully abstract accompaniment. Expect this century-old silent film re-release come February, and if the “Sonic Armada” sampler was any indication, those schooled in Tangerine Dream have nothing to fear.

What CoS says: As it just so happens, Le Voyage Dans La Lune is much like Air itself — quietly influential and undoubtedly French. If you thought the Reznor/Ross dynamic was spaced-out, this project may very well take The Orb’s place on your iTunes playlists. –David Buchanan

Due out: February 6th via Astralwerks [Pre-Order]

Air  feat. Victoria Legrand - “Seven Stars”

Dr. Dog – Be the Void

What we know: On their seventh full-length, these Philadelphian psych-rockers trade symphonic for rollick. Even the tracks harkening most back to 2010’s orchestral Shame, Shame find moments of stomp, and folksy strums have largely given way to rocking blares. Though the good Dr. is still very much in, this “cathartic rock ‘n’ roll” record may be the loudest and heaviest thing they’ve ever put out.

What CoS says: With a catalog of consistent quality and the fact that their last two albums earned CoS Top Star honors, this one’s a no-brainer. The true test will be seeing where contributions from new full-time members drummer Erik “Teach” Slick and multi-talented Dimitri Manos take the band’s sound. –Ben Kaye

Due out: February 7th via ANTI- [Pre-Order]

Dr. Dog – “That Old Black Dog”

of Montreal – Paralytic Stalks

What we know: Across 10 albums, Kevin Barnes has played with all kinds of lysergic bliss, and their 11th LP sounds like a blend of former acid-pop songs and latter-day avant-electronic stretches. Its closest cousin is David Bowie’s Low, which is a great thing.

What CoS says: Beneath the vaporous instrumentals and glitchy funk, we could really use a good single this time around. –Jeremy D. Larson

Due out: February 7th via Polyvinyl [Pre-Order]

of Montreal – “Dour Percentage”

Sharon Van Etten – Tramp

What we know: To escape from the corner of a coffee shop can take some years, but with an indie debut as powerful as Van Etten’s 2010 album, epic, it only took a short amount of time for her to get noticed by The National’s Aaron Dessner. Tramp includes collabos with Dessner, Matt Barrick (Walkmen), Zach Condon (Beirut), Jenn Wasner (Wye Oak), Julianna Barwick, and more.

What CoS says: With a little help from her friends, Tramp more than gets by. Look forward to some roots rock and poison-tipped lyricism from this young talent. –Jeremy D. Larson

Due out: February 7th via Jagjaguwar [Pre-Order]

Sharon Van Etten – “Serpents”

Islands – A Sleep & a Forgetting

What we know: Montreal indie rock outfit Islands stripped down for its 2009 breakthrough record, Vapours. With A Sleep & a Forgetting, the band’s fourth album, the aesthetics and sensibilities are torn apart even further to reveal the rawest nerve, resulting in an LP of potent, minimalist instrumentation and low-key, yet sultry, lyrical content about falling out of love and listening to the radio. Even with so much of the band and frontman Nick Thorburn exposed, they’ve never seemed as powerfully succinct or alluringly lethal.

What CoS says: You’ll be hard-pressed to find anyone doing so very much with so very little in 2012.  –Chris Coplan

Due out: February 14th via ANTI- [Pre-Order]

Islands – “This Is Not a Song”

Sleigh Bells – Reign of Terror

What we know: Noise pop duo Sleigh Bells set the blogosphere aflame with Treats and its cranked-to-11 hooks and reckless abandon. As a follow-up, Reign of Terror will seemingly hone the pair’s sound, as evidenced by the return of producer Shane Stoneback and the shred-tastic bombast of lead single “Born to Lose”. Stock up on your extra-strength earplugs posthaste.

What CoS says: Why fix what ain’t broke? The group has a fresh enough sound to ride through at least this record before something may have to give musically. –Chris Coplan

Due out: February 21st via Mom+Pop Music [Pre-Order]

School of Seven Bells – Ghostory

What we know: Ghostory is more gothed out than anything School of Seven Bells has done before. The record pulses with dance beats reminiscent of Front 242 death disco, the duo’s signature misty sound, and more ghost imagery than you can shake a proton pack at. Singer Alejandra Deheza spells “P-R-E-D-A-T-O-R” breathily on record centerpiece “Low Times”, a moment that’s as terrifying as it is beautiful.

What CoS says: It should be interesting to see how SVIIB fares as just a core duo without vocalist Claudia Deheza, singer Alejandra’s twin sister. Claudia left the group abruptly in 2010, so it should be interesting to see how her departure might affect its songwriting, lyrically and structurally. –Paul de Revere

Due out: February 28th via Vagrant/Ghostly International

School of Seven Bells – “The Night”

Andrew Bird – Break It Yourself

What we know: It’s been almost three years since Andrew Bird’s last outing, 2009′s Noble Beast. He’s accomplished a lot over that time (including a recent installment at Chicago’s Museum of Contemporary Art), though he’s waited this long to produce a proper LP. Surprisingly, he’s had the material all along. Based on the album’s tracklist for Break It Yourself, we’ve heard up to at least six of the 14 tracks live, already: “Desperation Breeds…”, “Danse Caribe”, “Give It Away”, “Lazy Projector”, “Lusitania” (feat. St. Vincent), and “Hole in the Ocean Floor”.

What CoS says: Bird has proven he’s a virtuoso five times over. He doesn’t need to shatter any barriers this far into his career. So, if this stuff sounds as familiar to you as it does to us, then you’re probably not too surprised. If you’re looking for something new, well, let’s see how the other tracks fare. Whatever the case, it’ll be a very cozy listen. –Michael Roffman

Due out: March 7th via Mom + Pop Music [Pre-Order]

Bowerbirds – The Clearing

What we know: Phillip Moore and Beth Tacular have always bounced their sound off of the roots of American music, and while their LP3 echoes with similar tones, it’s a richer production this time around. “Tuck the Darkness In” earns its crescendos, flips a catchy melody into the air, and stays rooted.

What CoS says: Bowerbirds take the faux out of the folk that’s around these days and get down to the core of their songs without cluttering it with smoke and mirrors. Here’s hoping they can still make the wounds as well as salve them. –Jeremy D. Larson

Due out: March 6th via Dead Oceans

Bowerbirds – “Tuck the Darkness In”

Ceremony – Zoo

What we know: For their first record with the famed Matador Records, California hardcore outfit Ceremony enlisted producer John Goodmanson (Bikini Kill, Simple Plan) with an aim to “refine their jagged sound while continuing to pursue themes of exurban alienation and confinement.” To give listeners a taste of the new record ahead of its official release date, Ceremony will release “Hysteria” b/w “I’m a Bug” (Urinals cover) on February 7th.

What CoS says: If “Hysteria” is any indication, Zoo will be a tamer—if no less enjoyable—affair than their previously more abrasive albums. –Harley Brown

Due out: March 6th via Matador

Ceremony – “Hysteria”

The Magnetic Fields – Love at the Bottom of the Sea 

What we know:  Stephin Merritt says he’ll be returning to more synth-heavy and acoustic arrangements on The Magnetic Fields’ 10th LP—their first with Merge since 1999’s classic collection 69 Love Songs—with his usual cast of collaborators: Claudia Gonson, Sam Davol, John Woo, Shirley Simms, Johny Blood, and Daniel Handler (aka Lemony Snicket!). Signature amusing and quirky song titles abound— “All She Cares About Is Mariachi”, “Infatuation (With Your Gyration)”, and “I’ve Run Away to Join the Fairies”.

What CoS says: More inventive and endlessly catchy pop treasures from the man responsible for some of the greatest pop records of the last 20 years. –Lainna Fader

Due out: March 6th via Merge [Pre-Order]

The Men – Open Your Heart

What we know: The kind of volume that was on Leave Home, their previous album released not eight months ago, is hard to eclipse. But leave it to The Men to plumb even deeper into their milk crates to continue moving forward with their sound. There’s a bit of country, a bit of kraut-rock, and some ’70s AOR, and the whole thing still stays jagged in the best ways.

What CoS says: It’s a short turn-around time, but nothing on this album sounds tossed off. Even if some of the razors are less sharp this time around, it works. –Jeremy D. Larson

Due out: March 6th via Sacred Bones

The Shins – Port of Morrow

What we know: It’s been a solid five years since their last album. James Mercer is the only original member in the lineup. They’ll release it on his new label, Aural Apothecary. So, things have changed. But so far, based on three of the album’s 10 tracks (which includes the recently unveiled “Simple Song”), The Shins remain intact.

What CoS says: Despite the shake up in the lineup, there really isn’t much working against this album. Sure, Broken Bells wasn’t an awe-inspiring juggernaut, but it had its moments. With Mercer at home now, and seemingly alone (at least in the studio), one has to believe this will be, at the very least, a solid follow-up to Wincing the Night Away. –Michael Roffman

Due out: March 20th via Aural Apothecary and Columbia Records [Pre-Order]

Spiritualized – Sweet Heart, Sweet Light

What we know: When he debuted some new songs at Royal Albert Hall in October, Jason Pierce had a choir and orchestra in tow. He’s said the album “encompassed all I love in rock ‘n’ roll music. It’s got everything from Brötzmann and Berry right through to Dennis and Brian Wilson.”

What CoS says: The seminal Ladies and Gentlemen We Are Floating in Space is an intimidating high-water mark. It sounds like his heart’s in the right place for this to rise to that level. Dicey live recordings of new material aren’t the best gauge, though, so we’re still holding out for a studio preview. –Jeremy D. Larson

Due Out: UK on March 19th via Double Six. U.S. release is set for sometime in March via Fat Possum

“Hey Jane” (Live):

Alabama Shakes – TBD

Photo by Ben Kaye

What we know: With a hearty co-sign from Patterson Hood of The Drive-By Truckers, Alabama Shakes are off to inject the soul of the south into the mainstream with their first official studio LP.

What CoS says: To prove Alabama Shakes can ride longer waves than those created by the press lauded upon them at CMJ and subsequent live shows, the Dap-Tone/Muscle Shoals acolytes are going to have to show the world they can write some memorable songs.  – Jeremy D. Larson

Due out: April via ATO Records

Tyler, The Creator – Wolf

Photo by Heather Kaplan

What we know: The veracity of his pull-quotes is always dubious, but Mr. Tyler Okonma told SPIN that his new album Wolf will be due out in April. He said of his third LP, “Talking about rape and cutting bodies up, it just doesn’t interest me anymore… What interests me is making weird hippie music for people to get high to. I’ll brag a little more, talk about money and buying shit. But not like any other rapper, I’ll be a smart-ass about it…”

What CoS says: If Tyler wants to make a psych-rap record, that’s at least interesting, but I have this nagging feeling that he’s going to be an insufferable smart-ass about it. –Jeremy D. Larson

Due out: April (?)

Regina Spektor – What We Saw from the Cheap Seats

What we know: Regina Spektor continues her reign as one of the best goddamn singer-songwriters of her era. The new record’s title is perhaps an indicator that she’s continuing her music’s frequent theme of plucky underdog-isms.

What CoS says: Except for a live record, Regina Spektor was awfully quiet over the last two years. In November, she announced the release of What We Saw from the Cheap Seats without much indication of what it’ll sound like, but her signature cute quirks will likely abound. It will be her sixth studio full-length, her latest since 2009′s Far. –Paul de Revere

Due Out: May

Bruce Springsteen & the E Street Band – TBA

What we know: Surprisingly, very little. A producer has yet to be confirmed, same with the E Street Band. The Boss’s follow-up to 2009′s The Promise remains a slight mystery. Based on the album’s announcement – “We want you to know that the music is almost done (but still untitled), we have almost settled on the release date (but not quite yet), and that we are all incredibly excited about everything that we’re planning for 2012″ – there’s a heavy use of “we,” so one has to believe this will again be an E Street effort.

What CoS says: With the loss of Clarence Clemmons, already this will be a fairly controversial effort for Springsteen. On that note, it should also be quite emotional. If you know your E Street history, you’ll remember it’s only been a little over four years since the death of Danny Federici as well. Throw in another political race next year, Occupy Wall Street, and half a dozen recent collaborations… well, this album could go anywhere. Fingers crossed The Boss doesn’t pen a follow-up anthem titled “King of the Supermarket”. –Michael Roffman

Due out: Spring

Dirty Projectors – TBA

What we know: Figurehead David Longstretch took a Vernon-esque approach with this Bitte Orca follow-up. Sequestered for the most part alone in an unoccupied house in rural New York, Longstretch crafted creepy songs “about horror and fear,” including the “Thriller”-esque “About to Die”. He’s also said the record leans towards the band’s stripped-down Björk collaboration, Mount Wittenberg Orca.

What CoS says: Bitte Orca was a breakthrough, filled with lively and eccentric musicality. It rightfully earned a perfect score in our review almost three years ago. Fingers crossed that this apparently subtler and more haunted effort still shares qualities with their adored previous release. –Ben Kaye

Due out: Spring

Rufus Wainwright – Out of the Game

What we know: Rufus Wainwright’s last two projects have been an opera and a dramatic album performed start-to-finish as a song cycle. It seems appropriate that he should follow with an excursion back into pop, and his upcoming Mark Ronson-produced album promises to be Wainwright in all his mass marketable glory. Featuring backup from the Dap-Kings, Wilco’s Nels Cline, and Wainwright’s equally talented sister Martha, “there’s this kind of anchor of guys sitting around jamming. And it’s very sexy,” Wainwright told Stereogum.

What CoS says: Wainwright’s had a turbulent few years, including the death of his mother and the birth of his daughter. To see all that energy channeled into pop music will be interesting, and to hear it belted out by one of the marquee voices of our time will surely be enthralling. Wainwright is a consummate showman, and with this supporting cast, Out of the Game has miles of promise. –Megan Ritt

Due out: Spring

How to Destroy Angels – TBA

What we know: This past fall, How to Destroy Angels had originally planned on releasing a full-length LP, at least according to Reznor. The most fans received was a Brian Ferry cover and, well, a 174-minute soundtrack for David Fincher’s The Girl with the Dragon Tattoo. Shortly after the soundtrack’s release, Reznor told Rolling Stone that a new LP was due out “[probably] in the first quarter of next year.” As far as direction goes, Reznor says they “were influenced by early Cabaret Voltaire – it’s very deconstructed rhythmically and more textural.” Vague, but something.

What CoS says: Reznor works in mysterious ways. He also never stops working. So, it’s likely that we’ll see this pop up while we’re sleeping sometime, or perhaps when we’re on a lunch break. Who knows? If it’s anything like their recent soundtrack work – hey, it’s essentially the same team – one can expect something wild. Or just another helping of music to carry you from the gym to the train, from the coffee shop to the sadistic caretaker to the… wait, what? –Michael Roffman

Due out: ”First Quarter”

Animal Collective – TBA

Photo by Frank Mojica

What we know: Notorious for touring on largely new, unrecorded material, it’s entirely possible that songs from AC’s ninth album (and their first since 2009′s Merriweather Post Pavilion) have been floating around in various states of gestation in bootlegs. That said, Dave “Avey Tare” Portner let a few details slip in interviews promoting his solo work, including the fact that they’ve got at least 10 songs written and that they’re having fun “jamming.” He’s also described their recent live shows as a “more immediate… hard-hitting set with more rhythm.” But these are the guys who brought you ODDSAC, so you never quite know what’s coming next.

What CoS says: As a band that seems to evolve more organically and dramatically from disc to disc than almost any other, it’s hard to imagine Animal Collective sticking too closely to the formula that made Merriweather such a crossover smash. Either way, moving from cult heroes to indie megastars over the past 10 or so years means that both the demand and the stakes have never been higher. –Adam Kivel

Due out: TBA

Atoms for Peace – TBA

What we know: Back in October, Thom Yorke spun some heads when he told Rolling Stone there would be an Atoms for Peace record by the end of the year. As is the case with most records on here titled TBA, that wasn’t the case. His excuse for the delay then was that “it’s not good enough yet.” Longtime collaborator and Atoms member Nigel Godrich added, “The idea was to generate the music, then record the band. We did that. Some of it worked. We also went back to some of the electronic stuff. It’s still in flux. We’re waiting for the lightning bolt to strike.” Since then, it’s been clear skies, apparently. To get an idea of what they worked on, take a listen to “Judge, Jury, and Executioner”, which the band premiered during their 2010 tour – their first collaborative track.

What CoS says: It’s been a long time coming. Someone stand outside the studio with an umbrella, please.  –Michael Roffman

Due out: TBA

The Avalanches – TBA

What we know: This will they/won’t they tension bullshit is getting older than a bad sitcom. But this tweet is the closest thing we’ve had to something yet. Keep the dream alive.

What CoS says: Teasing this album is getting less funny as the years go on. But as with most myths, if you stop believing in it, it dies. –Jeremy D. Larson

Due out: TBA

Best Coast – TBA

What we know: Surf-rock romanticists Best Coast may have recently released drummer Ali Koehler, but they also previously managed to nab legendary producer Jon Brion (The Crystal Method, Kanye West) for album No. 2 (seems like a fair trade). For this record, frontwoman Bethany Cosentino has promised less “melodrama” and more maturity thanks to her drastically different lifestyle. That sentiment, mixed with Brion’s avant pop style, should make for one decidedly fresh take on young love and all its ups and downs.

What CoS says: The band’s sound on Crazy for You caught people’s attention despite the decided immaturity of the album’s lyrical content (or perhaps that helped). We’re interested to see how their cutesy sound holds up with an infusion of adulthood. –Chris Coplan

Due out: TBA

The Beach Boys – TBA

What we know: Brian Wilson has returned. So has Al Jardine. Even David Marks. It’s a full-scale reunion, all for the group’s 50th anniversary. While we’ve only heard a re-recording of “Do It Again”, Beach Boys sessions veteran Eddie Bayer says, “Brian’s new creations are just unbelievable.” What’s more, Mike Love, who has a long storied history of opposing Wilson, agreed, stating, “He hasn’t lost the ability to do what he does best.” So, there’s a positive outlook on this.

What CoS says: For the past few years, Wilson has been issuing covers albums (including last year’s abysmal Disney record). However, his last solo record, 2008′s That Lucky Old Sun, was a sugary-sweet classic that shines bright in his highly celebrated discography. If Wilson’s been holding out on songs for this LP and he’s supported by the vocals of Love, Bruce Johnston, Al Jardine, and even David Marks, then we’re in for a tasty, nostalgic treat. Let’s just hope it isn’t Stars and Stripes, Volume 2. –Michael Roffman

Due out: TBA

Cat Power – TBA

What we know: It’s been four years since Chan Marshall’s last album, Jukebox, a collection of mostly covers that furthered the transition from the raw, minimal Cat Power of the ’90s to a polished, blues-evoking sound. In a 2010 interview with Rolling Stone, Marshall revealed that she was attempting to play all the instruments herself on the next Cat Power release, and a recent Facebook posting intimated that the new album is almost finished.

What CoS says: If the smoky soul exhibited in the new songs debuted on her 2011 tour or the seven-minute, eerily echoed reinvention of “King Rides By” are any indication, then the new Cat Power should prove well worth the wait. –Frank Mojica

Due out: TBA

Cibo Matto – TBA

What we know: Cibo Matto split in 2001 after two albums, but Yuka Honda and Miho Hatori joined forces again in December 2010 for Honda’s 50th birthday and three months later for a tsunami benefit concert. A reunion tour was subsequently announced, along with news that a new album would surface sometime in 2012. As of press time, the new album does not have an official title or release date.

What CoS says: A reunion that results in new songs and not just a trip down memory lane? Yes, please. During their brief “YEAH BASICALLY” tour, the duo mixed two new songs, “Tenth Floor Ghost Girl” and “Check In”, into the well-received sets, hinting that the magic that made Cibo Matto so fun 16 years ago has not been lost. –Frank Mojica

Due out: TBA

D’Angelo – TBA (Working Title: James River)

What we know: If the neo-soul genre had a Holy Grail, it’d be D’Angelo’s third album. With the release of the immensely powerful Voodoo in 2000, the world has been waiting with bated breath ever since for the follow-up, which frequent collaborator ?uestlove has recently confirmed is in the home stretch of completion. But after D’Angelo’s various, er, extracurricular activities have led to a decade-long cycle of delays and other such promises, the music world’s left hoping for a miracle. How fitting would it be if this record FINALLY arrived just in time for the End of Days?!

What CoS says: While probably not a part of the final tracklist, a demo of D’Angelo covering Soundgarden’s “Black Hole Sun” recently surfaced. Not only was it weird and catchy, it helped generate a lot of buzz. Ya know, like the kind used for promoting something… –Chris Coplan

Due out: TBA

Daughter – TBA

What we know: Elena Tonra, aka Daughter, set pulses racing in 2011 with two delicious taster EPs. A full debut album is expected to follow later this summer or fall. She and her band are hoping to hit a UK studio for their first set of sessions in early spring.

What CoS says: Daughter has a number of new songs up her sleeve and, reviving the long held rock tradition of getting it together in the country, has hired a tiny cottage in a hidden corner of SW England this month to begin to work them up. The album should contain new material with perhaps a couple of reworked songs from the earlier EPs. –Tony Hardy

Due out: TBA

Fiona Apple – TBA

What we know: Rare live performances with preferred collaborators and several benefit and cover songs here and there have more than whetted the appetites of any Fiona Apple fan over the recent years; they must be a ravenous and wary bunch, considering her last album, Extraordinary Machine, almost never saw the light of day after its demos leaked. Rumors swirled for an album last year, fueled by those claiming to have heard it – more concrete news comes from Apple herself, jokingly admitting onstage last November that she had trouble remembering any new songs because “they’ve been done for a fucking year.”

What CoS says: Around the turn of the millennium, this powerhouse singer-songwriter was omnipresent, crooning her unique brand of melancholy, ruffling feathers at award shows, and upholding a strong musical integrity at such a young age. Now, more than a decade later, and only one album under her belt since then, Apple would have to stand distinct and tall next to her current imitators, both good and bad, to make any mark at all. –David DiLillo

Due out: TBA

Grizzly Bear – TBA

Photo by Heather Kaplan

What we know: Psych-folk outfit Grizzly Bear literally rewrote the rules of indie music and its cultural spread and impact with 2009′s Veckatimest, so it’s no surprise that the band would want to take their time with the follow-up. However, since announcing work on the album in May 2011, it’s been all but radio silence from Camp Grizzly save for apologies for delays (blame multi-instrumentalist Chris Taylor’s CANT side project and frontman Ed Droste getting married). However, with a new year comes a new Facebook message of dedication, and the band is looking to make 2012/2013 the Year of the Bear.

What CoS says: Can lighting strike twice for the boys from Brooklyn? Lots of bands would crumble underneath such pressure, but Grizzly Bear seem to have a more solid foundation of devoted fans to keep them afloat. The real question, though, will be whether they stick with the Veckatimest formula or go for something brand-new sonically, thus expanding their skill set while also increasing the risk of an unsatisfied public. –Chris Coplan

Due out: TBA

Kanye & Friends – G.O.O.D Music Album -TBA

What we know: One of three albums West might be dropping this year (the others being his sixth solo album and a second full-length with Jay-Z), G.O.O.D. Music will also feature his G.O.O.D. Music kindred Big Sean, Kid Cudi, John Legend, Common, Pusha T, and others. However, it’s not yet known how the album will be carried out; maybe we’ll get a bunch of posse cuts, like what pervaded West’s pre-My Beautiful Dark Twisted Fantasy G.O.O.D. Fridays series.

What CoS says: If G.O.O.D. Music is similar to MBDTF or West’s 2011 Jay-Z team-up, Watch the Throne, expect ostentatious greatness. –Mike Madden

Due out: TBA

The Knife – TBA

What we know: Though it’s provided one of the most single-handedly influential records of the last decade, The Knife has taken six years off since the release of their 2006 opus, Silent Shout. The Dreijer siblings have kept rather busy during their time off, though, between Karin’s acclaimed debut solo outing as Fever Ray, Olof’s stint as a minimal electro producer under the name Oni Ayhun, and the pair’s turn as operatic songwriters on 2010′s Tomorrow in a Year.

What CoS says: There isn’t too much to go off of yet, but all signs point to an effort as ghoulishly delightful as Silent Shout and Fever Ray. –Mike Madden

Due out: TBA

Lotus Plaza – TBA

What we know: Having released an impressive split 7″ in 2011 to compliment his Lotus Plaza alias’s hazy, but beautiful, first LP from two years prior, Deerhunter guitarist Locket Pundt remains stoic and reserved as ever. An upcoming Atlanta show in March, recent Twitter buzz of mastering company The Lodge “having way too much fun working on Lotus Plaza”, and Kranky Records stating bluntly on Facebook “any day now,” however, all point towards an imminent sophomore album.

What CoS says: Both Deerhunter’s and fellow noisemaker Bradford Cox’s most recent albums excelled because of their embrace of the eerily straightforward; with any luck, Pundt will mine some of his more decipherable ideas featured on The Floodlight Collective and put them to exquisite use. –David DiLillo

Due out: TBA

Madlib & Freddie Gibbs – TBA

What we know: Back in late November at Madlib’s Medicine Show tour stop in San Francisco, the producer revealed plans for a new collaboration with L.A.-based, Gary, Ind.-raised gangsta rapper Freddie Gibbs, starting with a six-track Thuggin’ EP on Madlib’s Madlib Invazion label. It’s yet another killer joint venture for Madlib—see DOOM (Madvillainy), the late J Dilla (Jaylib), and Strong Arm Steady (In Search Of Stoney Jackson)—and a chance for Gibbs to explore new territory post-Cold Day in Hell before the release of the album he’s finishing for Young Jeezy’s CTE imprint. The duo’s as-of-yet untitled album is scheduled for early 2012.

What CoS says: If the EP’s first single is any indication, expect to hear Gibbs’ rugged rhythms detailing brutal tales of the young, desperate, and reckless over Madlib’s masterful mix of swirling psychedelia and deep soul grooves on MadGibbs’ debut album. –Lainna Fader

Due out: TBA

Mumford & Sons – TBA

What we know: In a recent interview with Rolling Stone, band member Ted Dwane described Mumford & Sons’ much anticipated follow-up to Sigh No More as “doom folk, kind of Black Sabbath meets Nick Drake.” There may be a degree of mischief in that remark that’s matched by comparative silence from the band’s record label. However, judging from new songs like “Ghosts” and “Lovers Eyes” debuted live in 2011, the new album is not likely to stray that much from the band’s core territory.

What CoS says: Even with a planned shift to the darker side of the musical spectrum, the band has a lot to celebrate after a giant-sized last couple of years. That dichotomy should be interesting to absorb when the record hits stores. –Tony Hardy

Due out: TBA

Nas – Life Is Good

What we know: Rumors about Life Is Good, Nas’ 10th studio album and his last at Def Jam, have been flying around for a while, but the only detail known for certain about it is that the previously released single “Nasty” will be on it. Anything else you’ve heard about the album – like, say, that AZ will be on it or that RZA will have a major hand in the production – is probably mere speculation.

What CoS says: If “Nasty” and Nas’ recent Common collaboration “Ghetto Dreams” are indicators, Life Is Good could be one of the Queens legend’s best albums of late. –Mike Madden

Due Out: TBA

Nas – “Nasty”

No Doubt – TBA

What we know: The last No Doubt album, Rock Steady, hit stores in December 2001 (does it not feel waaaay longer, though?). Even with the band at work on the album since May 2010, details are still decidedly sparse: The album promises to be another poppy synthesis of reggae and ska, resulting in song titles like “Settle Down” and “One More Summer”, all heaped together by a returning Mark “Spike” Stent (who also produced Rock Steady). Collaborations with dance hall wunderkinds Diplo and Switch show signs of some new life, but how those will work in tandem with the band’s tried-and-true stuff is as big a mystery as the remainder of this LP.

What CoS says: The more things change, the more No Doubt seemingly stays the same. That musical homogeneity is comforting in a way, like an old blanket or an ex-girlfriend you can’t get rid of. –Harley Brown

Due out: TBA

Pearl Jam – TBA

Photo by Jeremy Larson

What we know: This and that. Last March, Jeff Ament told Billboard, “We did a whole bunch of demos and everybody’s got a disc of 25 [songs] right now,” stating the band would hit the studio the next month and that they hoped “to get something done this year.”

What CoS says: That didn’t happen, but do you blame them? With a festival, a book, a documentary, a soundtrack, and late-night appearances, it’s no surprise we’re not listening to Pearl Jam’s 10th studio LP already. But with the festivities now over and a looming European tour, one starts to believe they’ll need something new to promote. Like, say, 12 of those aforementioned tracks? We’ve already heard a potential track with “Olé”. Or, maybe that was just a birthday anthem. You never know… –Michael Roffman

Due out: TBA

Peal Jam – “Olé”

Phoenix – TBA

What we know: Last we heard from the Franco-pop savants, they were recording an as-yet-untitled fifth album with a release date to be announced. We do know that Phoenix has been playing with “the dad of a friend’s orchestra” in Byron Bay, AU, to expand their percussive range. According to frontman Thomas Mars, “Drums are the DNA of our music, ‘cause we’d like to go somewhere else, we’d like to change that DNA.” He also said that so far the album can be analogized to the high-speed French commuter rail TGV.

What CoS says: Mars has been covering LP #5′s bases with catchall descriptors “nostalgic,” “futuristic,” “experimental,” and “minimal.” Considering the pressure to follow Wolfgang Amadeus Phoenix’s Grammy Award-winning success, it’s no wonder he’s playing it safe. –Harley Brown

Due out: TBA

Queens of the Stone Age – TBA

What we know: Rockaholic Josh Homme spent the better part of 2011 touring behind the re-release of Queens of the Stone Age’s eponymous 1998 debut, including a double shot at the PJ20 Festival. He also found some time apparently with the QotSA lineup as it stands to record their sixth album, their first in nearly five years since Era Vulgaris. When it will be out is anyone’s guess; hanger-on Alain Johannes tweeted in November that he “can’t say exactly when… but it’s a really good start.” 

What CoS says: Homme told BBC Radio 1 around Glastonbury that QotSA doesn’t “feel they have anything to prove,” implying it’ll probably be more of the same old, same old from them. When it’s loud, badass rock, though, we’re more than OK with this. –Gilles LeBlanc

Due out: TBA

Sigur Rós – TBA

What we know: Well, if we round up all the adjectives from each respective member (culled from an interview with The Wall Street Journal, of all places), we know Sigur Rós’ sixth LP is: “ambient”, “introverted”, “floaty”, “minimal”, and essentially a “slow takeoff toward something.” So, it’s another offering from Sigur Rós. Here’s a fun little tidbit: The band recorded in a studio that was once occupied by a swimming pool. Could we add “aquatic” to that list? We’ll see come spring.

What CoS says: The group’s last studio LP, 2008′s Með suð í eyrum við spilum endalaust, found the Icelandic troupe taking a few turns, even adding some English to the mix. It still worked splendidly. Everything else that’s followed since – Jónsi’s 2010 solo LP, Go, Jónsi’s Cameron Crowe-assisted soundtrack, We Bought a Zoo - has left nothing but a ruby-colored, bloody trail. One that doesn’t taste like nickel, but rather sophisticated cakes. Much like the trio’s lyrics, that right there is pretty incomprehensible. But, it still gets the point across. Rest assured, we’ll be soundtracking our lives to the new LP by summer. –Michael Roffman

Due out: Spring

Soundgarden – TBA

Photo by Karina Halle

What we know: New material from Soundgarden has been rumored ever since Chris Cornell tweeted they were coming back on January 1st, 2010 from an extended hiatus. Things really started to heat up last February when the band stated that their goal for 2011 was to “make a record.” After a retrospective compilation (Telephantasm), Record Store Day exclusive, live album (Live on I-5), and an acoustic Songbook solo effort from Cornell, it looks like we’re actually going to get something fresh from the Seattleites as soon as this spring.

What CoS says: The grunge revival love-in is sure to continue for a good while yet, although guitarist Kim Thayil has tempered expectations that the album may not exactly be of the genre Soundgarden helped pioneer. We will keep our ears open with interest. –Gilles LeBlanc

Due out: TBA

WHY? – TBA

Photo by Jeremy D. Larson

What we know: In the summer of 2011, WHY? announced a series of shows played on a baby grand piano, where they would be testing out material for an upcoming album. A hand injury forced many shows to be rescheduled or canceled, but some fans were lucky enough to catch the new songs onstage in December of last year.

What CoS says: As Eskimo Snow was recorded during the sessions for the acclaimed Alopecia, this will be the first collection of all-new material WHY? has recorded in four years. Yoni Wolf’s songwriting seems to improve with each album, and we’re eager to hear how he’s developed over that time. –Austin Trunick

Due out: TBA

The xx – TBA

What we know: The xx seems to have retreated back into the void from which it burst forth with mind-blowing, CoS Top Star-earning debut XX, emerging (with the exception of Jamie xx, who’s appeared on anything from Take Care to We’re New Here and remixed everything else) only to say that, yes, they really are recording a sophomore album, and here’s demo “Open Eyes” to prove it.

What CoS says: There’s been a two-year buildup and the danger of a sophomore slump, but no pressure, guys. Take your time. –Harley Brown

Due out: TBA

The xx – “Open Eyes” (demo)

Yeasayer – TBA

Photo by Carson O’Shoney

What we know: Loads of bands like to worry about one album per release cycle. Brooklyn psych-pop crew Yeasayer isn’t like other acts in more than a few ways. Discussing the group’s third album with Spin recently, frontman Chris Keating said the group recorded some 22 songs, which may be split up over two separate albums, “one that’s the real album with three-and-a-half to four minute pop songs, and another that’s more like a soundtrack and released on the Internet.” Even better still, Keating described the material recorded as a “demented R&B” album, like an “Aaliyah album if you played it backwards and slowed it down. Or David Bowie’s Lodger. Those two are major influences.” Whether that last bit’s a joke or not (perhaps even a half-truth?), the band continues to redefine how appealing being weird can truly be.

What CoS says: Based on 2010′s Odd Blood and these newsy tidbits, the outfit is getting closer and closer to a more complicated sound. With every catchy hook and pop-tastic beat they record, the songs become further entrenched in their own sense of intricacy and obscurity. LP #3 should be a shining example of that dichotomy. –Chris Coplan

Due out: TBA

One day after revealing the first taste of their new album, Be the Void, psych-rock crew Dr. Dog have laid out plans for a spring tour. The two-month trek kicks off in Columbus, OH on February 1st and concludes with a pair of shows in the band’s hometown of Philadelphia on March 24th and 25th. Check out the tour schedule below, followed by their new video for “That Old Black Hole”.

Be the Void is out  February 7th via ANTI- Records, and pre-orders are now ongoing for both CD and vinyl editions.

Dr. Dog 2012 Tour Dates:
02/01 – Columbus, OH @ Newport Music Hall
02/02 – Lawrence, KS @ Granada Theatre
02/03 – Boulder, CO @ Boulder Theater
02/04 – Salt Lake City, UT @ Urban Lounge
02/06 – Phoenix, AZ @ Crescent Ballroom
02/07 – Solana Beach, CA @ Belly Up Tavern
02/10 – Los Angeles, CA @ The Music Box
02/11 – San Francisco, CA @ Regency Ballroom
02/13 – Portland, OR @ Crystal Ballroom
02/14 – Seattle, WA @ TBD
02/17 – Minneapolis, MN @ First Avenue
02/18 – Chicago, IL @ The Vic
02/19 – Cincinnati, OH @ 20th Century Theater
03/01 – Pittsburgh, PA @ Mr. Smalls
03/02 - Louisville, KY @  Headliners
03/03 – Nashville, TN @ War Memorial
03/04 – Atlanta, GA @ Buckhead Theatre
03/05 – Birmingham, AL @ Workplay Soundstage
03/07 – Shreveport, LA @ Riverside Warehouse
03/09 – Austin, TX @ Stubb’s
03/10 – Houston, TX @ Fitzgerald’s
03/11 – Dallas, TX @ Granada Theatre
03/15 – Asheville, NC @ Orange Peel
03/16 – Washington, DC @ 9:30 Club
03/17 – Baltimore, MD @ Rams Head Live
03/22 – Boston, MA @ House of Blues
03/23 – New York, NY @ Terminal 5
03/24 – Philadelphia, PA @ Electric Factory
03/25 – Philadelphia, PA @ Electric Factory

“That Old Black Hole”:

Philadelphia’s own Dr. Dog will release their next album, Be the Void, on February 7th via ANTI- Records. Our first taste is a music video for the song “That Old Black Hole”. The rollicking track is standard Dr. Dog affair: psych-rock lite with loads of quirk and a healthy dose of experimentation spliced within. Its accompanying visuals are equally energetic, featuring a brave little mouse running his wheel over and over again (which reminds us that we should go to the gym more). Check out the video below, followed by the album tracklist.

Be the Void Tracklist:
01. Lonesome
02. That Old Black Hole
03. These Days
04. How Long Must I Wait
05. Get Away
06. Do the Trick
07. Vampire
08. Heavy Light
09. Big Girl
10. Over Here, Over There
11. Warrior Man
12. Turning the Century

Philadelphia psych-rock act Dr. Dog‘s last album, 2010′s Shame, Shame, rightfully earned a CoS Top Star with its meticulous, symphonic sound. On February 7th, 2012, ANTI- Records will release the band’s follow-up LP, Be the Void.

Whereas its predecessor was orchestral in its maneuvers, Be the Void is described as a “cathartic rock ‘n’ roll album played with near reckless abandon and passion.” The band attributes this shift in sound to the inclusion of two new members, drummer Eric Slick and electronics-percussionist-guitarist Dimitri Manos. With a a reinvigorated creative sensibility, the band hit the studio (Meth Beach) this past fall. “It was reminiscent of when we were starting out and were these fearless weirdos in a basement, so confident and reckless and bold,” guitarist-vocalist Scott McMicken said. “It was really liberating.”

Stay tuned for more on Be the Void as details are announced. In the meantime, check out the album tracklist below. Just after that is a live version of Shame, Shame‘s “Nobody Knows Who You Are” featuring footage from two years of touring.

Be the Void Tracklist:
01. Lonesome
02. That Old Black Hole
03. These Days
04. How Long Must I Wait
05. Get Away
06. Do the Trick
07. Vampire
08. Heavy Light
09. Big Girl
10. Over Here, Over There
11. Warrior Man
12. Turning the Century

Dr. Dog – “Nobody Knows Who You Are” (Live):

The post-Bright Eyes dates kick off at the WHYY Connections Festival in the group’s hometown of Philly. They’ll also have spots at the HFStival in Maryland and the inaugural Orlando Calling Festival as they tour throughout November. Knoxville, TN will play home to their last scheduled gig on the 16th. Ticketing information can be found on the band’s website.

But that’s not all. Dr. Dog’s label, ANTI-, insists that a new album will drop sometime early next year, so stay tuned for more information. In the meantime, check out the band’s current itinerary below, along with a live version of “Nobody Knows Who You Are” featuring footage from two years of touring.

Dr. Dog – “Nobody Knows Who You Are” (Live)

Dr. Dog 2011 Tour Dates:
08/30 – Providence, RI @ Lupo’s Heartbreak Hotel *
08/31 – Brooklyn, NY @ Williamsburg Waterfront *
09/01 – Poughkeepsie, NY @ Mid-Hudson Civic Center *
09/03 – Philadelphia, PA @ WHYY Connections Festival
09/17 – Columbia, MD @ HF Festival
10/02 – Cleveland, OH @ Beachland Ballroom
10/04 – Bloomington, IN @ Bluebird Nightclub
10/05 – St. Louis, MO @ The Firebird
10/07 – Tulsa, OK @ Cain’s Ballroom
10/08 – Fayetteville, AR @ George’s Majestic Lounge
10/09 – Oxford, MS @ Proud Larry’s
10/10 – New Orleans, LA @ Tipitina’s
10/12 – Orlando, FL @ Orlando Calling
10/14 – Charleston, SC @ The Music Farm
10/15 – Athens, GA @ 40 Watt Club
10/16 – Knoxville, TN @ Bijou Theatre

* = w/ Bright Eyes

The mystery is over; the lineup for the inaugural Orlando Calling music festival is here. Set to take place November 12-13 at Orlando’s Citrus Bowl Park, the festival will feature an eclectic mix of modern and classic rock, R&B, and country, with acts like The Killers, The Raconteurs, Pixies, The Roots, Kid Rock, and Bob Seger & the Silver Bullet Band topping the bill.

The festival’s first day will feature mostly modern rock and indie acts. Joining The Killers, The Raconteurs, Pixies, and The Roots will be The Avett Brothers, Iron & Wine, Pete Yorn, Local Natives, Dr. Dog, Gogol Bordello, Jenny & Jonny, Drive-By Truckers, and The Felice Brothers.

Day two will offer a classic rock and country school slant, with Kid Rock and Bob Seeger performing alongside the likes of The Doobie Brothers, Buddy Guy, Warren Haynes, Robert Randolph & the Family Band, Blake Shelton, Blues Traveler, Justin Townes Earle, Michelle Branch, Chris Isaak, and Brandi Carlile.

Check out the entire confirmed bill at our Festival Outlook.

General admission field and reserved seat tickets go Saturday, July 23rd at 10 AM EDT via the festival’s website. Prices are $85 for single day tickets and $150 for both days, and $165/$265 for VIP seats and amenities.

Photo by Lauren Guagno

As far back as 2009, Conor Oberst has strongly hinted that Bright Eyes’ seventh LP The People’s Key would also be its last. But speaking recently with NME, the acclaimed singer-songwriter backtracked from the notion of the band’s imminent break-up: “We don’t have any immediate plans, I guess, after this year. [But what I said] sounded pretty final, but I don’t remember the quote – you can look it up. I think I meant it that day…”

Continuing with the good news, Bright Eyes have also announced another round of North American tour dates. The late summer/early fall leg kicks off in Detroit on August 25th and runs until the band’s appearance at Austin City Limits on September 16th. Opening acts for this stint include Titus Andronicus, Dr. Dog, and First Aid Kit.

Find all of Bright Eyes’ upcoming tour dates below, as well as the video for “Jejune Stars”.

Bright Eyes 2011 Tour Dates:
07/12 – Gateshead, UK @ Sage +
07/13 – Leeds, UK @ Academy +
07/14 – Manchester, UK @ Academy +
07/15 – Suffolk, UK @ Latitude Festival
07/27 – Lewiston, NY @ Art Park ( Free Show) #
07/28 – Belknap, NH  @ Meadowbrook Pavilion #
07/29 – Shelburne, VT @ Ben & Jerry’s Concerts on the Green at Shelburne Museum #
07/30 – Montreal, QC @ Osheaga Festival
07/31 – Baldwinsville, NY @ Paper Mill Island Amphitheater #
08/03 – Grand Rapids, MI @ Meijer Gardens & Sculpture Park #
08/04 – Indianapolis, IN @ Egyptian Room #
08/05 – Chicago, IL @ Lollapalooza
08/06 – Columbia, MO @ The Blue Note
08/08 – Des Moines, IA @ Val Air Ballroom
08/09 – Boulder, CO @ Boulder Theater
08/11 – Salt Lake City, UT @ Twilight Concert Series
08/14 – East Hampton, NY @ Music to Know Festival
08/25 – Detroit, MI @ The Majestic
08/26 – London, ON @ London Music Hall
08/27 – Ottawa, ON @ Ottawa Folk Festival
08/28 – Holyoke, MA @ Mountain Park *
08/30 – Providence, RI @ Lupo’s ^
08/31 – Brooklyn, NY @ Williamsburg Waterfront ^
09/01 – Poughkeepsie, NY @ Mid Hudson ^
09/03 – Norfolk, VA @ Norva $
09/04 – Washington, DC @ 9:30 Club $
09/05 – Baltimore, MD @ Rams Head Live $
09/07 – Myrtle Beach, SC @ House of Blues $
09/08 – Athens, GA @ Georgia Theatre $
09/09 – Birmingham, AL @ Sloss Furnaces $
09/11 – Orlando, FL @ House of Blues $
09/13 – New Orleans, LA @ House of Blues $
09/15 – Dallas, TX @ Palladium $
09/16 – Austin, TX @ Austin City Limits

+ = w/ Jenny and Johnny
% = w/ Dawes
> = w/ M. Ward
# = w/ The Mountain Goats
* = w/ Titus Andronicus
^ = w/ Dr. Dog
$ = w/ First Aid Kit

Regardless of your opinion of DMB, there’s no denying their work ethic. The dudes even work during a hiatus! As previously reported, Dave Matthews Band will hold four three-day music festivals across the United States this summer, the first of which takes places June 24-26 at Bader Field in Atlantic City, NJ.

In addition to three headlining sets by DMB, the lineup for the NJ edition of the “Dave Matthews Band Caravan” features The Flaming Lips, Bassnectar, Dr. Dog, Ray LaMontagne, Amos Lee, Thievery Corporation, Michael Franti and Spearhead, Warren Haynes Band, Grace Potter and the Nocturnals, Delta Spirit, David Gray, and O.A.R.

Other confirmed acts include Damian Marley, Guster, Lotus, Rebelution, Fitz and the Tantrums, Carolina Chocolate Drops, Lisa Hannigan, Punch Brothers, From Good Homes, Big Gigantic, Alberta Cross, Mariachi El Bronx, TR3, Vusi Mahlasela, The Budos Band and Bobby Long and special performances by Dave Matthews Band members Carter Beauford and Stefan Lessard plus a Dave Matthews & Tim Reynolds acoustic set. The festival will also include a number of late night shows at Atlantic City venues, but details are still forthcoming.

Tickets, which will be available as three-day passes only ($195), go on sale to general public on Friday, March 25th at 10AM EST via DMBCaravan.com. Also, an online ticket request period for the festival begins Monday, March 14th, at 10:00 AM ET and concludes Monday, March 21st, at 10:00 AM ET at warehouse.davematthewsband.com.

The midwest edition of the “Dave Matthews Band Caravans” is set for July 8-10, though its location and lineup are still forthcoming. As of yet, there are no further details on the other two caravan stops.

If you thought Usher ripping off the Simpsons was weird, then try this one on for size. The Village Voice‘s Zach Baron points out the striking similarities between Kanye West’s recently revealed “Monster” video and Dr. Dog’s 2008 clip for “The Ark”. Namely the way the disembodied heads and hands are presented in each video. And adding further fuel to the fire is the above screen shot, featuring stills of Dr. Dog’s video posted by West on his blog in 2008. When reached for comment, Adam Kurland, the director of “The Ark” video, did note Kanye’s clip’s “eerie similarity.” “It’s at least a very odd coincidence,” Kurland said. “It’s great that Kanye looks to independent music and artists. His blog has had some amazing content over the years and if in fact Kanye did use this video as some form of inspiration, I’m flattered. But next time he should just reach out. I would love to work with him on something.” Compare the two clips below. Dude’s been hanging out with Chris Martin too much.

We could sit here and reminisce on everything of prominence over the past 365 days, and all of you gracious readers that strapped us into the #1 Music Blog position on About.com could bask in nostalgia’s glorious sun shower. In the essence of practicality, while revisiting landmark albums like Exile On Main St. and Pretty Hate Machine, dismantling Consequence of Kanye at the culmination of his Dark Twisted Fantasy, and doling out five stars to Arcade Fire, we had the chance to compile this lovely Top 100 list for your critiquing and commenting pleasure.

This is the cream of the crop from all walks of genre, sub-genre, and fused genres alike. This is the definitive mark, two-thousand-ten’s best album releases, summarily graphed — and generously bled for — by your favorite Web site’s dedicated writers and contributors. So much has happened in such a minute expanse of time, we could not feasibly compress it all into a single article, but nonetheless, here lies the certifiable superlative one-off for 12 months’ worth of music.

[cue the confetti strands and silly string]

Significant moments leave a deep impact during December; we start wondering if things were given due justice. Questions arise as to why certain obligations might have been neglected (did you listen to even half of the albums on our list yet?). Perhaps many will silently renew devotions for the sake of a new year. Personally, I try not to guilt myself too harshly; After all, humans are imperfect creatures. Forget about making some last-minute proclamation of weight-loss goals and nicotine withdrawals. Why not focus on enjoying that year-end martini? If you want to lose pounds or finish your novel, do it for your own reasons, not because it’s the standard.

Make 2011 a time of positive build, not redundant letdown. Other usual goal selections are still worthy causes, but nothing is ironclad. If another passing birthday has taught me anything, it is that life is too short to bitch and moan. Think of the positives instead of the negatives, and you will find that the music sounds much sweeter than it did. The rose tint is absent, the naggers are quieted — What remains is the soothing remedy of a happy medium, the way it makes sense for you.

Welcome to the end of 2010 — May your resolutions be fruitful, may your Armageddon be swift, and may your record collection exponentially grow in value. May Chinese Democracy be your how-to guide for overhype. May the last lone Walkman live long and prosper. And may your iTunes gift card see plenty of use.

In bowing out, we implore you… pop the Scroll Lock from your keyboard — it’s obsolete now.

-David Buchanan
Senior Staff Writer

100. Black Label Society – Order of the Black

Ozzy Osbourne and Zakk Wylde have both released albums this year: the former’s Scream, the latter’s latest Black Label Society disc, Order of the Black. While Scream seems to have fallen from grace (despite being entertaining enough), Black Label Society have risen from the grave. With old school rising to the nth degree, Order of the Black is definitely one of the best heavy metal albums all year. Is it favoritism if Wylde shares a birthday with my daughter? -David Buchanan

99. Avi Buffalo – Avi Buffalo

High school must have been a trip for this fresh-out-the-suburbs band that only recently graduated. Following in the ’60s-recalling footsteps of fellow indie poppers MGMT, Avi Buffalo’s self-titled debut gives us innocence on mushrooms, and plays like their own personal summer of love. “Truth Sets In” and “Five Little Shits” show the craftsmanship behind the music is top-notch. Noodly guitars form flower-child pop rock with forays into folk and country as on “One Last”. The lyrics may be a little high school, but Avi Buffalo write music like pros. The guitar work alone sounds 20 years older, as they work through one sunny jam after another. Avi Buffalo couldn’t have come at a better time, what with so many throwback rock bands making their mark in the past year. While timing is everything, so is having a solid record where every track stands out. With an album like this, it sounds like the next generation will be all right. -E.N. May

98. The Gaslight Anthem – American Slang

Nowadays, rock and roll music is married to a lot of different genres, be it rap, pop, various forms of world music, etc. Rare is the truly good album that is just plain rock and roll. However, The Gaslight Anthem proved rock can still just be rock, with the down-on-their-luck punk rock of American Slang. Pain and frustration roar through the speakers, all on the backs of big, booming guitar and tight-as-it-comes drumming. The album showed that while rock music is drifting further away from its glory days, there’s still tons of room for the good, old-fashioned stuff. -Chris Coplan

97. Caribou — Swim

When an artist makes a turn towards pop, one wonders whether the artist has actually improved or simply tricked the listener into accepting the music. I wondered this after hearing Merriweather Post Pavilion and The Suburbs, but 48 listens later each, I’m pretty sure those are both still good albums. Like, 90 percent sure, but I didn’t need to be converted. Caribou sparked these same questions for me with Swim, and going with my instinct was the right choice. It’s hard to put this down, as they used to say when albums were physical objects. Even if you’re not on drugs, Swim will make you feel like you are. It’s not just for dance music junkies though — Caribou has much more to offer than a beat and some synth fiddling. -Harry Painter

96. Tokyo Police Club – Champ

After a somewhat disappointing debut LP in Elephant Shell, which failed to capture the spark of their A Lesson in Crime EP, Tokyo Police Club returned in 2010 with Champ. Like its name would suggest, the album feels triumphant in that it reintegrates that catchy vibe and also sees the band expand their lyrical concepts by adding a dash of worldly cynicism and diversifying their sonic output with lots of effects and improved instrumentation. Consider this the band’s musical equivalent of Rocky making it to the top of the stairs. -Chris Coplan

95. Mike Patton – Mondo Cane

Mondo Cane in one sentence: Mr. Bungle meets ’50s Italian pop with a backing orchestra. Seriously, it’s Mike Patton! Weird is not his calling card — it’s his genetic makeup, and I look forward to more operatic productions in the future. At the very least, a Mr. Bungle reunion? Pretty please? -David Buchanan

94. Cotton Jones – Tall Hours in the Glowstream

Not many records do an artist’s influences perfect justice, creating something strangely fresh without sounding like imitation. But Tall Hours in the Glowstream, Michael Nau’s dreamed out, smoky, hazy exploration of country’s golden age, is exhilarating in both its authenticity and dreamy beauty. -Drew Litowitz

93. Laurie Anderson - Homeland

Homeland is a sprawling and desolate quasi-sequel to Laurie Anderson’s first breakthrough 1984 performance piece, United States Live. This revisiting of America rides on the back of economic desperation, global unrest, and the new electronic reality. It’s a fascinating and haunting perspective on our day and age, from America’s greatest performance artist. -Cap Blackard

92. Weezer – Hurley

On Weezer’s eighth full-length album, Hurley, the band did what they do best; they made a Weezer album. And as always, Rivers Cuomo kept it close to the heart. He and the guys rehashed the glory days “back when Audioslave was Rage” on the Jackass sing-along “Memories”. Rivers kept the power pop Weezer alive too, with “Ruling Me” and “Hang On”, but also wrote some personal and emotional songs like “Trainwrecks” and “Time Flies”. No matter how many releases they have, Weezer showed us that all they will do is rock. At least as long as they have the limbs to do it. -Ted Maider

91. The Besnard Lakes – The Besnard Lakes Are the Roaring Night

Shoegaze and ’70s AOR make for a strange combination, but together they make The Besnard Lakes‘ sophomore LP, The Besnard Lakes Are the Roaring Night, which sees the band continue to sharpen their sound with lush, slow-burning jams. Jace Lacek’s classic guitar work and resonant voice fit perfectly with Olga Goreas’ acidy soprano. Turn it up, bang your head, and vibe out. -Jeremy Larson

90. Antony and the Johnsons – Swanlights

More a step sideways than a step backwards, the new album by Antony and the Johnsons doesn’t quite reach as many high points as his previous two albums, but it doesn’t have many low points either. It’s another very solid effort from one of the most unique voices in modern music. Adding more guitar-based songs gives this album a wider palate than before, but the highlights are still Antony and his piano. His voice, like always, is the main attraction, and his lyrics are just as affecting as ever. The centerpiece of the album is the title track, a mysteriously sprawling song that is simultaneously one of the strangest songs Antony has ever produced and also one of his best. If his self-titled effort was an introduction, I Am a Bird Now was his breakthrough masterpiece, and The Crying Light was the solid followup to a near perfect album, then Swanlights proves that Antony is here to stay. -Carson O’Shoney

89. Los Campesinos! – Romance is Boring

Singer Gareth Campesinos! wants to talk to you about sex. And death. And fighting. And football. And everything in between. Seems like a lot of material to shove into one album, right? Yet, not only does Romance is Boring cover all of this and more, it does so in a dramatic, sarcastic, and anthemic fashion. The sprawling, 15-song effort is full of tasty moments to digest over multiple listens. The band covers sparse arrangements, noise rock, and even what the casual observer may call a hit song. Numbers like the title track, “There Are Listed Buildings”, and “Straight in at 101” are certainly highlights, but this is a record you should hear from beginning to end. Romance may be boring, but Los Campesinos! is anything but dull. -Joe Marvilli

88. El Guincho – Pop Negro

The man who has been hailed the “Panda Bear of Spain” followed up his immensely successful sophomore album, Alegranza!, with yet another album of his curiously eccentric brand of pop music. Although this release did not receive the same acclaim as its predecessor, it was, without a doubt, one of the most enjoyable pop albums of the year. Opening track “Bombay” proved not only to be perhaps the sunniest, most memorable track on the album, but also provided one of the coolest videos of the year. El Guincho stayed true to form on Pop Negro, losing absolutely no integrity, having instead created yet another enjoyable work from his zany imagination. Spanish speaker or not, everyone will be able to understand the obvious musical prowess showcased on this album. -Winston Robbins

87. The Thermals – Personal Life

It ain’t easy squeezing a respectable catalog out of three chords. Few bands do it well, but The Thermals have thankfully stepped up to join the ranks of artists like The Bouncing Souls and Bad Religion as the modern day torch carriers of power punk. Unlike their earlier work, Personal Life displays more new wave tendencies, with lovelorn, bass-heavy tracks like “Only for You” and “Never Listen to Me” owing more to The Cars than The Germs. But mellowed out or not, 10 perfect songs in under 35 minutes is an equation that can’t be beat, even by their younger, rabble-rousing selves. -Dan Caffrey

86. Interpol - Interpol

Even though Carlos D was in the studio for Interpol‘s fourth go-round, the self-titled LP will always be associated with the visible bassist’s departure soon after its release. This is not completely unfair; If it weren’t for Paul Banks’ distinctive monotone, it would be hard to recognize this as an Interpol album. True, it’s not the Interpol we remember and expect, and it’s no Turn on the Bright Lights. But, my, did this LP not deserve to be ignored the way it was. This is more an album of scattered standout moments than one of constant pop perfection, but given repeat listens, those standout moments are worth the time. It’s hard to give Interpol the benefit of the doubt at this point, but here’s hoping the future improves for the New Yorkers. -Harry Painter

85. Four Tet – There Is Love in You

It turns out that 2010 was an amazing year for emotional, powerful electronic music, but none is more emotionally strong than Four Tet‘s There Is Love in You. It’s a powerful album where a baby’s heartbeat is turned into an actual beat. The vocals, the beats, the atmosphere — it’s all beautiful. -Evan Minsker

84. Delorean – Subiza

Spanish quartet Delorean know what they’re doing. Subiza offers layer upon layer of samples, synths, and catchy melodies that result in an uplifting, atmospheric album sure to have your toes tapping. Repeated, airy vocals entrance the listener and add even more depth to the already complex and varied soundscape. The album plays like a DJ set, songs flowing in and out of one another, keeping true to the band’s Balearic roots. Animal Collective references aside, Delorean has forged a home in today’s overpopulated realm of electronic pop music. Whether it’s the ,majestic single “Stay Close” or “Warmer Places”, with its anthemic repetition of “Never settle, never settle, never settle”, Subiza does no wrong. -Caitlin Meyer

83. Pete Yorn - Pete Yorn

Before the drowsy acoustics of 2009′s Back and Fourth and a bubbly collaboration with Scarlett Johansson, Pete Yorn was roughing it up in the garage with producer Frank Blank. At the Pixies frontman’s behest, Yorn swiftly recorded his eventual sixth album in 2008, giving his usual classic rock stylings a newfound sawtooth urgency. Pete Yorn‘s first half is pared down to nothing but crunchy distortion, with power pop nuggets like “Velcro Shoes” and “Badman” recalling a scrappier T. Rex, while the more jangled second half pays tribute to R.E.M. and Big Star. “Come on wheels, take this boy away,” he croons in the twangy closing track. As long as it’s back to where he started, we’ll all be in good shape. -Dan Caffrey

82. Charlotte Gainsbourg – IRM

Inspired by Charlotte Gainsbourg’s brush with death and subsequent time spent in an MRI scanner, IRM reveals Gainsbourg’s continued evolution and maturation as a singer. Through producer and co-writer Beck’s diverse instrumentation which ran the gamut between lush and minimalist, Gainsbourg’s distant, barely there whisper offers the occasional peek behind her mystique. The collaboration between Gainsbourg and Beck is a match made in heaven, with both artists bringing the best out of each other. Who else but Beck could replicate the pulsating rhythm and sense of claustrophobia produced by the machine, and turn it into such captivating music? IRM is two artists nearing 40 exploring and reflecting upon death, and the result is the best Beck album since Sea Change. -Frank Mojica

81. Belle & Sebastian – Write About Love

A new Belle & Sebastian album is a welcome outcome in itself; Such is the band’s track record. This latest offering doesn’t disappoint, but requires repeat plays to really sink in. Once there, it’s hard to escape the conclusion that B&S have delivered yet another first-class pop album — bright, breezy and accomplished, both vocally and in the tight, rich ensemble instrumentation. -Tony Hardy

80. Damien Jurado – Saint Bartlett

On his ninth LP, the grossly undervalued alt-folk lion continues his decades-long odyssey into the broken heart of America, working with friend and producer Richard Swift to deliver a collection steeped in vintage sounds and ideas. Damien Jurado‘s work on Saint Bartlett is timeless and penetrating, at once a sonic nod to mid-century production techniques and a reminder of the importance of storytelling in an age that increasingly has little appetite for nuance and reflection. Indeed, his thoughtful, literary tales and troubled, but familiar characters have never seemed so vital. -Ryan Burleson

79. Wild Nothing – Gemini

Upon listening to “Summer Holiday”, the first single from Wild Nothing’s debut full-length Gemini, it would be too easy to lump the band and its principal actor Jack Tatum in with other bands currently feeding on ’80s nostalgia pop, like the Pains of Being Pure at Heart. In fact, tracks like “O, Lilac” do sound as if they came out of the Pains’ playbook. However, the album as a whole is a bit more diverse. Not simply relying on fuzzy tones or shrilly synths as a crutch, Wild Nothing also owe something to early ’90s indie pop for its sound. The more I listened to Gemini, the more I also heard elements of the Drop Nineteens and the Swirlies (or other bands from the early SpinArt roster), especially in the way Tatum plays his guitar. Everything is utilized loosely to help highlight the wistful haze surrounding Wild Nothing’s particular approach to dream pop. The carefree jangle theand gorgeous vocal harmony on “Our Composition Book” is like Galaxy 500 on caffeine. “Bored Games” has an underlying dance beat that is akin to some of the sounds found with IDM artists on Ghostly International, and “Chinatown” is simply a strong pop song oozing with dreaminess. -Len Comaratta

78. Fang Island – Fang Island

Give credit to these punks. They’re punks in the true sense because their style and sound is something at odds with the status quo. The frugality that 2010 favors in its music is laughed at by Fang Island’s three part guitar harmonies and the band’s exuberant vocal power. Their sound is that of a band incubating until they someday find themselves in a stadium or an arena. You’d be hard-pressed not to have people tell you it’s prog, but underneath there’s a rich cushion of the history of rock, metal, and strong arena melodies. In other words, they make what they do sound authentic — the highest form of currency in 21st century music listening. -Jeremy Larson

77. The Drums – The Drums

If there was a perfect pop album from cover to cover this year, a strong argument could be made for the Drums‘ self-titled full-length. Coming off the success of 2009’s Summertime EP, the Drums returned with a strong, vibrant album that captured elements of ’60s pop melodies and blended them with the jaded post-punk/new wave attitude of many U.K. bands from the late ’70s. The full-length featured a few repeats from the 2009 EP, including a re-recording of “Let’s Go Surfing”, the hot single that started it all; But newer tracks like “Forever and Ever Amen” and “Best Friend” demonstrate that the band has for-real potential. Their look and sound is vintage U.K. new wave and if they were to be subjected to a time machine accident dumping them out on the streets of post-Punk Revolution London or Glasgow, nobody would bat an eye. With that in mind, the Drums are in no way derivative and they do for the pop sounds of the era what bands like Bloc Party and Franz Ferdinand did for the post-punk/dance punk sounds of bands like Gang of Four and Wire. -Len Comaratta

76. of Montreal – False Priest

Coming off their proggiest album, 2008′s Skeletal Lamping, of Montreal could have gone any direction with this release. Fans and critics alike criticized Skeletal for being too nonsensical and tough to grasp, which are spot on analyses. Fortunately, of Montreal stuck to their guns for False Priest, expertly cranking out infectious psych-pop. But, of course, in true of Montreal fashion, the sound of the music did not remain static. This album incorporated the usual Prince/David Bowie influences, but also a largely unexplored territory for the psych-rockers: R&B. Citing Stevie Wonder as a major influence for the record, front man Kevin Barnes deliberately included appearances from longtime friend and psych R&B darling Janelle Monáe, as well as Solange Knowles, the younger sister of pop enigma Beyoncé. In the end, the record wasn’t their strongest, but it was a return to the youthful, lovable of Montreal we’ve all become so enamored with. -Winston Robbins

75. My Chemical Romance – Danger Days: The True Lives of the Fabulous Killjoys

My Chemical Romance made its name on vampire songs and screamy music for sad kids. This will only take you so far in terms of earning critical respect, though. They followed up 2006′s heavy-handed concept album The Black Parade with 2010′s Danger Days: The True Lives of the Fabulous Killjoys. This is another concept album, to be sure, but it’s one that rings true and doesn’t overwhelm the music. The album takes us through a radio show piloted by pirate DJ Dr. Death through a post-apocalyptic wasteland controlled by a mysterious corporate behemoth. Luckily, alter-egos the Killjoys are on the loose, providing us with death-defying escapades, corporate defiance, and, of course, some of MCR’s best music to date. It’s still guided by Gerard Way’s snarly, self-indulgent punk vocals, but this time, they’re layered over the top of some solid rock music. Danger Days takes the best of MCR’s skill set and combines it with incredibly listenable, textured rock tunes that will lend MCR some much-needed cultural relevance for many years to come. -Megan Ritt

74. School of Seven Bells – Disconnect from Desire

For School of Seven Bells, creating atmosphere is what it’s all about. On their second album, they do more than succeed at that lofty goal. Each track transports you to a new location, one that’s different, yet still familiar. It turns from the high-pitched, rhythmic vocals of “Windstorm” to the rave-inducing “Dust Devil” and back to shoegaze without any jarring transitions. The duel vocals of twin sisters Alejandra and Claudia Deheza move between angelic and haunting within the same song. Meanwhile, guitarist Benjamin Curtis brings up a whole array of effects that he masterfully uses to his advantage. My recommendation? Lie back, close your eyes, and lose yourself in this album. You won’t regret it. -Joe Marvilli

73. Goldfrapp – Head First

These days, there are a ton of bands who readily make use of the musical cash cow that is the 1980s. However, none do it as skillfully as Goldfrapp on their fifth LP, Head First. Full of shiny synths, melodies like sweet ear candy, and coming off like ABBA meeting Olivia Newton-John on some glorious dancefloor in paradise, the album is everything most people loved about the ’80s with an update, thanks to some kicking house and dance music. Plus, you don’t have to wear shoulder pads or neon to enjoy it. -Chris Coplan

72. Miniature Tigers – F O R T R E S S

It was going to be hard to top Tell It to the Volcano, but Miniature Tigers did just that on the followup to their 2008 debut LP. F O R T R E S S was greatly overshadowed by the hype surrounding Arcade Fire’s The Suburbs (which was released a week later), but music fans who overlooked this album missed one of 2010’s brightest nuggets of precision-crafted pop and a timeless collection of songs that our own E.N. May called “so close to perfect, it hurts.” -Ray Roa

71. GAYNGS – Relayted

GAYNGS’ debut LP led to The Purple One attending (and almost playing at) their first show ever, but what Relayted really accomplished was giving us something to chill to without having to call it “chillwave.” Filled with bowel-shaking low end and airy vocals, the 11-track effort from this super collective – which features members of Bon Iver, Megafun, and Solid-Gold – was surely the soundtrack to many a joint-smoking session. -Ray Roa

70. PS I Love You – Meet Me at the Muster Station

PS I Love You‘s album was a pleasant surprise this year — a rock ‘n’ roll record without pretensions or frills from a band who broke through with one single. Paul Saulnier churns out some instant hits here: “Facelove”, “Breadends”, and the title track all come to mind. Killer rock, no gimmicks. -Evan Minsker

69. Revere – Hey Selim!

Revere is an eight-piece London outfit that skilfully blends rock and orchestral instrumentation to create a lush and majestic sound. This fusion, attached to some great songs and an expressive lead vocal, is an explosive mix. This debut album provides a glimpse of the intensity of the band’s live performances through epic songs like “The Escape Artist”. The group is still relatively unknown outside the U.K., but the impact of this album has already led to an invitation to SXSW in 2011. -Tony Hardy

68. Rufus Wainwright – All Days Are Night: Songs for Lulu

All Days are Nights: Songs for Lulu finds Rufus Wainwright in an intense place, both musically and personally, as the album was written as his beloved mother succumbed to cancer. This album, full of love songs to the dark muse, represents a major evolution for the songwriter. He’s dark without being morose (“Zebulon”, “What Would I Ever Do with a Rose”), he’s heartbreakingly earnest (“Martha”), and respectably well-read (“A Woman’s Face”, “Shame”, and “When Most I Wink”, all adaptations of Shakespearean sonnets). The resulting album — performed on tour in a grand, uninterrupted song cycle — is a moving collection of 12 tracks that represents some of Wainwright’s most well-composed and executed work to date, music to be remembered by. -Megan Ritt

67. Liars – Sisterworld

This dank, echoing gem of an album accomplishes something I didn’t think possible: It comes close to the glory that was Drum’s Not Dead. And Liars achieve greatness on Sisterworld with string arrangements as they did on Drum’s with feedback. Angus Andrew, Aaron Hemphill, and Julian Gross masterfully produce dark, powerful rock without delving into the overt theatrics of metal or the macabre-for-the-sake-of-it aesthetics of goth material. The disc plays out like the soundtrack to an expressionist horror film yet to come. Not the slasher “he’s right behind you!” type, but the eerie, “what’s going on here” type. -Adam Kivel

66. Torche - Songs for Singles EP

If Mastodon has its passion for epic themes, and ISIS was Tool with a twist, Torche is most likely a candidate for the second coming of Kyuss and Beaver. Strapped with a wall of stoner metal fuzz, ethereal vocals, and a drummer on speed, 2010′s Songs for Singles EP keeps up the tradition of ’08′s Meanderthal — short bursts of Torche awesomeness that leave ringing in your ears. -David Buchanan

65. Everybody Was In The French Resistance… Now! - Fixin’ the Charts, Volume 1

Known for his work with Art Brut, Eddie Argos combined forces with his girlfriend, Blood Arm member Dyan Valdes, and came up with a unique concept for an album: make responses to famous pop songs. Whether it’s telling Bob Dylan that ex-girlfriends should think twice or playing the part of Billy Jean’s bastard son, Argos and Valdes crafted a concept album that isn’t weighed down by its concept, instead being free to be smart and funny and appealing without being overly cerebral. Pop music ain’t perfect, but they’re the best maintenance team we could ask for. -Chris Coplan

64. These New Puritans – Hidden

Tighter around the frame than its predecessor, mixing elements from trip-hop, theatrical music, jaunty keyboard, and avant-garde, Hidden is what future critics will undoubtedly label as These New Puritans‘ 2010 magnum opus. Regardless of who is right or wrong, this Immediate Music meets Interpol for the Dead Man’s Bones fans (the handful left) will stay stuck to your brain, sobriety be damned. -David Buchanan

63. Cee-Lo Green – The Lady Killer

Known for being a member of Atlanta-based rap group Goodie Mob, Cee-Lo Green returned with his third solo album like he was the blaxploitation version of James Bond. The Lady Killer was drenched in the sounds of soul, R&B, and top-40 radio from the ’70s, every song about being done wrong by a she-devil. With a voice to match, Green demolished a lot of preconceived notions and forged himself an album of the best vintage sounds he could cull, and that’s as one-of-a-kind as the introverted and bombastic singer himself. In a phrase, he killed it. -Chris Coplan

62. The Chemical Brothers – Further

The Chemical Brothers‘ seventh studio album holds a special place in the electronic genre. With the romantic swirl of “Snow” and “Escape Velocity” giving way to the soaring highs of “K+D+B” and “Wonders of the Deep”, the Brothers Chemical showed on Further that electronic music can be cool, slick, technical, danceable — and most importantly — emotional, moving, even almost religious. The results are an endlessly listenable album that transports the audience to a higher place. -Megan Ritt

61. The Walkmen – Lisbon

Lisbon plays out like the music a civil war-era punk band might conjure up, if time, technology, and knowledge permitted. With click-clacking trashcan drums, minimally vintage electric guitar, occasional strings, lush brass, and, of course, Hamilton Leithauser’s reedy howl, Lisbon takes The Walkmen sound deeper into the past. By imitating the sounds of yesteryear with contemporary instrumentation, Lisbon sounds like something entirely new. -Drew Litowitz

60. Ryan Adams – Cardinals III/IV

In a year where Ryan Adams released a bunch of crappy demos and a metal album, the realization of the long-awaited Cardinals III/IV was a sight for sore ears. While Adams’ journey into the mythology of metal was a fun distraction, this two-disc album demonstrates what Adams does best: He makes rocking, folksy music with a down-home appeal and lots of deviation and experimentation, songs that, at their core, are universal and eat their way into your bloodstream. It’s good to have you back, Mr. Adams. -Chris Coplan

59. Avey Tare – Down There

In 2010, Camp Animal Collective has been the fodder for the TMZ of indie rock, with every critic and fan pouring over relationship updates (Is Deakin back in the band?),and impatiently waiting for a sequel to the surefire decade list-topper Merriweather Post Pavilion. Meanwhile, Avey Tare (Dave Portner) quietly released this slightly minimal album of electronic textures, full of repetitive journeys through the aural equivalent of a hellish swamp. The dark vibes on Down There were inspired by dark times (his sister’s cancer scare, family deaths), but there’s also a joyful release to the mournful music, like a tripped-out New Orleans funeral march. We’re still impatiently waiting, but this is one hell of a holdover. -Ryan Reed

58. Peter Gabriel – Scratch My Back

Cover albums are often forgettable or regrettable, but when a massively influential artist like Peter Gabriel steps up to the task of reimagining some of his favorite songs, the result is nothing short of amazing. The music is simple, somber, and stripped of any bells and whistles, leaving only raw intentions, pure lyrics, and Gabriel’s passionate voice. This collection of tracks, culled from everyone from Paul Simon to Radiohead, are laid bare, exposing just what makes the originals beautiful and brilliant while lifting them up to an emotional catharsis they may have never intended to go to. What’s more, Scratch My Back is part of a double-album concept in which the artists Gabriel covers return the favor by covering him. If the moons align, the reciprocal follow-up compilation, I’ll Scratch Yours will be out next year. -Cap Blackard

57. The Radio Dept. – Clinging to a Scheme

Hailing from Sweden, relative unknowns (except to a very small, devout following) The Radio Dept. have kept a low profile for the majority of their career, which began back in 1998. And that’s where they’d like to stay, I believe. Does that mean they have to make bad music to stay out of the eye of the masses? Absolutely not. They have released dozens and dozens of tracks that are as solid as any indie pop out there, only they haven’t marketed the music to those selfsame masses. Due to very minimal touring and virtually no deliberate public accolades, The Radio Dept. has remained relatively low key. Clinging to a Scheme is their third official studio album, but was the first heard for many individuals. The album is a testament to a band who has honed in on their craft and made it everything it can/should be. Don’t be surprised if The Radio Dept. continues to release good music, but also don’t be surprised if Scheme becomes their magnum opus. The perfectly placed vocal samples, the wonderfully ethereal musicianship, and the pop mastery are hard not to like, and make for The Radio Dept.’s most polished work. -Winston Robbins

56. The Soft Pack – The Soft Pack

The Soft Pack‘s opening track “C’mon” coaxes listeners to sing along and dance — and with the band’s straightforward, high energy, ridiculously catchy brand of punk rock, they don’t have to try too hard. The simplicity of The Soft Pack‘s sharp lo-fi is what makes their music so charming; You know all of the lyrics to the choruses halfway through the songs, and can’t help but sing along. The album is reminiscent of a night of drunken debauchery with its rapid tempo, atonal vocals and, honestly, endless fun. There’s no profundity in the lyrics, no pretension in the instrumentation. The Soft Pack isn’t out there to hide meaning in their songs, they’re there to make you dance. This honesty and straightforward approach is refreshing, and the result is a downright addictive 30 minutes of punk bliss. -Caitlin Meyer

55. Menomena – Mines

On their fourth release, Menomena take everything that worked so well on Friend or Foe standouts like “Muscle and Flow” and spread it all over the place. The Portland, OR trio’s homebrewed approach to music-making can be heard in the playfully layered loops of spontaneous riffs and bangs on tracks like “Tithe” and “Oh Pretty Boy, You’re Such a Big Boy”. Mines gets haunting on “Dirty Cartoons” and “Killemall”, while bringing elaborate rock on “TAOS.” One of their best to date, Brent Knopf and crew have created an accessible record that stays unabashedly unconventional. -Ben Kaye

54. B.o.B – The Adventures of Bobby Ray

B.o.B had some serious all-star power behind his highly anticipated and fulfilling debut. Hayley Williams, Eminem, Bruno Mars, Rivers Cuomo, and more helped make B.o.B’s dreams come true with one of the best albums of the year. It was a big year for hip-hop, and this album stands as one of the best. The hit single “Airplanes” was everywhere this summer, and “Nothin’ on You” featuring Bruno Mars netted a Grammy nomination. B.o.B shows all of his talents on this album and his vocals are just as good as his raps. The Adventures of Bobby Ray is as entertaining as it is impressive and proved that it was highly worth the wait. -Kevin Barber

53. Superchunk - Majesty Shredding

Waiting nine years between albums is a potentially lethal move. But for indie royalty Superchunk, their unique blend of boyish ache and super sweet chops proved that time means nothing when you’ve still got something to say. Despite being in their 40′s, the guys and gal of Superchunk prove on Majesty Shredding that their nervous, awkward ways can still translate into relatable, rocking songs that transcend any generational gap. The album’s so good, we’d consider waiting another decade for the next one if necessary. -Chris Coplan

52. Phosphorescent – Here’s to Taking It Easy

Phosphorescent‘s last album was a full-length of Willie Nelson covers, so it was relieving to discover Matt Houck and company still had the goods on Here’s to Taking it Easy. His fifth album may be so refreshing because his company is more stable this time around. As Philip Cosores pointed out, it’s Houck’s first time recording an album with a traditional band, and this is reflected in the sound. It feels like we’re experiencing an assault of alt country and folk rock, but Phosphorescent has been under the radar for too long and this record would shine in any era. -Harry Painter

51. Local Natives – Gorilla Manor

This record is a paradigm of artistic collaboration, with the band members sharing creative duties on nearly every aspect of its formation. The resulting indie smorgasbord is alive with ethereal tones and charging rhythms that expose impressive craft for a young debut. Simply masterful harmonies reflect on lost family members and European excursions from an almost Keatsian perspective. Gorilla Manor reveals a group so talented and thoughtful, you’ll wish you’d spent time in the house of the title, waxing poetic about past loves and future possibilities. -Ben Kaye

50. Hans Zimmer & Johnny Marr – Inception: Original Motion Picture Score

Equal parts Bernard Hermann and Elliot Goldenthal, Hans Zimmer and Johnny Marr‘s encapsulating score to this summer’s strongest film, Inception, echoes of sleek, silver-lined decadence. From the strictly lucid start (“Half Remembered Dream”) to the heart-thudding finale (“Time”), it’s easy to understand why the film lingers in people’s minds, even five months later. In a recent episode of South Park which parodied Christopher Nolan’s film, one of the characters starts mimicking the score in the corner of a room. It’s an incredibly coarse imitation, but the score’s become so iconic and memorable that it’s impossible to be lost on the joke. That says something. It also means South Park‘s reaching pretty far these days. Sheesh. -Michael Roffman

49. Mavis Staples – You Are Not Alone

Mavis Staples‘ album You Are Not Alone, recorded with Jeff Tweedy, is everything it should be — an amazing showcase of both talents. The title track is a gorgeous ballad written by Tweedy and expertly sung by the soul legend. The disc also includes a series of amazing gospel tunes. This is the roots album cure for “too much T-Bone Burnett”-itis, and it’s a pure delight to listen to from front to back. -Evan Minsker

48. Jukebox The Ghost – Everything Under the Sun

Prog rock is a wasteland of complicated musical creations built for boys. However, thanks to the infusion of happy, piano-powered rock and lyrical sentiments about life as a 20-something on Everything Under the Sun, Jukebox the Ghost found an oasis in the grandiose sound for anyone to come and drink of the sweet water of frenetic, overjoyed pop rock. And, oh, how sweet it tasted. -Chris Coplan

47. Frog Eyes – Paul’s Tomb: A Triumph

Paul’s Tomb is the definition of the word epic. Carey Mercer’s already acrobatic, wild voice has an added growl to it, another trick to add to his repertoire. The fuzzed out, clanging guitar that opens the album on “Flower in a Glove” is the standard-bearer of the pomp and destruction within. Drummer Melanie Campbell’s maniacal thumping and guitarist Ryan Beattie’s lightning-bolt stabs lend tracks like the concussive “The Sensitive Girls” and the expansive title track a conquering air. Mercer’s songwriting just keeps getting stronger, tighter, more insular, and more powerful. -Adam Kivel

46. Foals – Total Life Forever

Foals‘ 2008 release, Antidotes, revealed a debut full of rapid percussion, rhythmic guitars, melancholy, and, interestingly enough, an undeniable urge to dance. Two years later, Foals have returned with Total Life Forever, grown and matured. Vocals receive more of a focus in this second outing, and as opposed to competing with entrancing rhythms and guitar, they work together superbly. Furthermore, instead of giving us the beat up front, “Spanish Sahara” and “Blue Blood” make us earn it — and we love every second of it. Sporadic touches of funk bring to life tracks such as “Miami”, the juxtaposition of styles truly allowing both to shine. Each song is markedly different, yet Total Life Forever fits together seamlessly to create a thoroughly engaging, enjoyable record; hopefully this is indicative of future releases from this young band. -Caitlin Meyer

45. Linkin Park – A Thousand Suns

Before its release, Mike Shinoda described A Thousand Suns as genre-busting. It doesn’t quite reach that level, but it does blow away any restraints on what Linkin Park could be. This is not the same band that showed up 10 years ago as part of the nu-metal movement. Instead, A Thousand Suns features a more mature, experimental Linkin Park, one that took the best parts of their first three albums and threw them into a blender with Pro Tools. After two and a half albums of screaming lyrics about his own life, singer Chester Bennington has joined Shinoda in looking outwards. The band really stepped up their game for this one, making a statement loud and clear — they’re going to make the music they want and they’re here to stay. -Joe Marvilli

44. Warpaint – The Fool

Warpaint was subject to some sudden focus this year thanks to the band’s live performances of tracks from its still unreleased debut full-length album, The Fool, so its October release elicited unfounded worries of sucktitude. Needless to say, it did not suck; In fact, it’s safe to say this was the best debut album by an all-female indie rock quartet this year. Heh, kidding. But while Emily Kokal’s voice borders on whiny at times, The Fool is every bit the brooding art rock gem that tourmates The xx’s debut was in 2009, and Warpaint will likely have similar overbearing pressure to follow it up. -Harry Painter

43. Laura Marling - I Speak Because I Can

I Speak Because I Can is a record that impacts immediately, yet has such depth that you grow fonder of it over time. It marks a true coming of age as Laura Marling goes beyond cataloging the trials of young love and speaks maturely as she explores the roles and responsibilities of full womanhood. The quality of the songwriting is astonishing, as traditional folk sensibilities are seamlessly worked into a modern thesis. Musically, the songs are subtly embellished, yet space is left for Marling’s exceptional vocals to rule. -Tony Hardy

42. Wolf Parade – Expo 86

Recently, Wolf Parade concluded a Toronto performance with the announcement of the group’s indefinite hiatus. With the sheer energy and masterful avant-pop of Expo 86, I doubt many people saw it coming. On their latest — and potentially last — outing, Krug, Boeckner, and the rest of the pack have created yet another collection of songs bursting at the seams with the coked out, danceable gloss of glam, the intricate song structures of prog, the quickfire licking of math, and the catchy synths of electro. If they are indeed signing off, they bow out with the utmost grace. -Drew Litowitz

41. Kylesa – Spiral Shadow

To consider an intersection between mathcore, punk, and metal is to define the very essence of “heavy.” Kylesa is a pulsating breed of sophisticated, a haunting juggernaut on the verge of scaring you senseless, and 2010′s Spiral Shadow fleshes them out completely. Think you’ve heard everything? Give standouts like “Drop Out” and the title track a try, and whisper, “There’s no place like home.” -David Buchanan

40. Grinderman – Grinderman 2

Nick Cave has always been a badass. For years now, he has been pumping out dark and terrifying rock, and his new outfit, Grinderman, has continued the assault with reckless abandon. Their sophomore album, Grinderman 2, took a bit of a more psychedelic turn, but still was able to creep you out and make you want to thrash all over the damn place. With strong lead singles “Heathen Child” and “Mickey Mouse and The Good-bye Man”, Grinderman 2 punched you in the throat, picked you up, did it again, and then you still came back and asked for more. As elder statesmen, Cave and his bandmates continue to push forward and keep consistent, where bands half their age falter and stumble under the pressure. -Nick Freed

39. Dr. Dog – Shame, Shame

Dr. Dog is part of the modern cache of bands that have spent quite some time perfecting its craft. What once was a band of dual personalities finally came together on Shame, Shame. Combining the styles of Scott McMicken and Toby Leaman, the album gives the band one sound meshing McMicken’s Beatles style pop rock with Leaman’s bluesy growl. The harmonies are flawless, and the song writing certainly has its moments of genius. This isn’t anything new for Dr. Dog however, this is just how they’ve always make records. -E.N. May

38. Broken Social Scene – Forgiveness Rock Record

Nary a moment of bloat during its 63 minutes, Broken Social Scene’s fourth album is a joyfully poignant, slow-burning collection of indie pop and post-rock anthems. More cohesive and less chaotic than in the past, the Canadian supergroup continues to epitomize the indie rock collective ideal with the special guest-laden Forgiveness Rock Record. It may have been five long years since their last album, but Forgiveness Rock Record was worth the wait. -Frank Mojica

37. No Age – Everything in Between

The duo that is No Age made one of the most sonically interesting records of the year with their third album, Everything in Between. The drumming builds and builds throughout every song, while the guitar work sounds totally unique. The opener, “Life Prowler”, is a fine example, with guitar loops building upon and crushing one another, all as the drums set the mood. There’s also plenty of punk shredding, with tracks like “Fever Dreaming”, “Shred and Transcend” (which comes complete with whaling feedback), and the despair of “Valley Hump Crash”. But at the same time, there is plenty of artistic instrumental work with tracks like the longing “Positive Amputation”, the choppy “Dusted”, and the constant aural change of “Chem Trails”, a finale that will keep this album on your stereo for weeks to come. -Ted Maider

36. Eminem – Recovery

After a couple of confusing and aggravating releases, Eminem returned this year to release Recovery, and the title could not be more fitting. He kicked his drug addictions, ditched the annoying voice impersonations, and put his focus back on creating witty, quick, and hilarious rhymes, all while producing his best album since 2002’s The Eminem Show. The inspiring single “Not Afraid” and the Rihanna featuring “Love the Way You Lie” both spent multiple weeks at number one. Not only did this release bring Marshall Mathers back into the spotlight, it also revitalized a gifted artist who had lost his ways for years. It’s safe to say, Eminem has truly recovered. -Kevin Barber

35. Free Energy - Stuck on Nothing

In the opening moments of Stuck On Nothing, lead singer Paul Sprangers optimistically affirms “we’re gonna start a new life, see how it goes.” It’s a fitting allusion to a new musical beginning for a band that formed out of the ashes of Minneapolis rockers Hockey Night. But if Free Energy is an attempt at rock and roll redemption, it appears, then, that this Philadelphia-based quintet has grabbed their second chance by the horns. Stuck on Nothing offers ten throwback songs of freewheeling 70’s-influenced rock seemingly posed to force its way into the ranks of today’s great bar-rock bands. -Max Blau

34. Owen Pallett – Heartland

Trading the Final Fantasy moniker for his birth name, Owen Pallett has fully come into his own with Heartland. Incredibly intricate string arrangements, dynamic and compelling in their own right, nicely complement Pallett’s vocals, syncopated rhythms and synths bouncing between headphones. All of these result in a beautifully complete, complex album, perhaps Pallett’s most accessible work to date. The album is a story, but also a study in song construction and pop perfection. The masterful “Lewis Takes Off His Shirt” epitomizes the strengths of Heartland, with upbeat percussion, full orchestral crescendoing, and a triumphant repetition of “I’m never gonna give it to you”, which, like the rest of the album, keeps toes tapping and humming going for hours after listening. -Caitlin Meyer

33. Jason Boesel – Hustler’s Son

As the drummer for indie rock darling Rilo Kiley, Jason Boesel has spent his time making albums that flirted with a kind of country, folk-y feel. For his debut solo effort, though, Boesel dives head first into the heartache like a modern day Kris Kristofferson or Don Henley, living life in the desert and recounting every painful scar on his acoustic guitar. Jenny Lewis had Johnny, but Boesel’s debut shows there’s life outside RK. -Chris Coplan

32. Ted Leo & The Pharmacists – The Brutalist Bricks

It’s easy to forget that Ted Leo was once a mainstay of hardcore music. The energy on The Brutalist Bricks reminds us of Leo’s punk past while maintaining the diverse style that’s made him legendary. On the opening track, “The Mighty Sparrow”, Leo declares that he’s “coming to” and, although this track is classic Leo, that is how the remainder of the album feels, like a reawakening. Lately, the vocalist has expressed his frustration with the music industry and, more specifically, his own career. Perhaps that’s where the sense of urgency heard in this album comes from. Regardless of its source, it is certainly welcome. -Michael Cromwell

31. Sufjan Stevens - The Age of Adz

Fuck the 50 States. The Age of Adz, while not as consistent or unanimously life-altering as 2005′s obvious opus Illinois, is an even more important album for Sufjan Stevens. Side-stepping a musical identity crisis (in which he questioned the entire point of releasing another album), Stevens does the long player another service, indulging up to his eyeballs in auto-tune, analog synths, and a boatload of brass and woodwinds. “Fucking around” never sounded so good. -Ryan Reed

30. OK Go – Of The Blue Colour Of The Sky

With Of the Blue Colour of the Sky, OK Go have become something so much more than Internet video darlings. True, they’re still pulling out all the stops with their visual accompaniment, but musically, they’ve evolved into so much more. Of the Blue Colour of the Sky is pure art rock – fun, soulful, funky, with just enough cynicism to keep things raw. Their matured sound is built on the backs of greats like The Pixies, Talking Heads, and Prince, but ultimately the sound is their own, and OK Go have now joined their ranks. Between the album, the videos, forming their own label, and endless hi-jinks both on the road and at cutting-edge arts festivals, 2010 has proven that OK Go are true musical artists. -Cap Blackard

29. Deerhunter – Halcyon Digest

Halcyon Digest isn’t the album Deerhunter will be remembered for—that award goes to 2008′s Microcastle, which immediately usurped its widespread acclaim with bold, surprisingly direct soundscapes and a handful of hooky anthems, downplaying the raw experimentation of their previous work. Halcyon Digest is ultimately more of the same: focused instrumental textures, headphone engulfing production, and occasionally accessible melodies. So while it doesn’t arrive with such a resounding jolt as Microcastle, the quality of the songs proves it to be well more than a step sideways. Working with producer Ben Allen (who helped introduce Animal Collective to this pesky thing called “bass” on Merriweather Post Pavilion), Deerhunter creates a slightly more reserved album, casually revealing its gently crafted charms over time. From the crawling, minimalist psychedelia of opener “Earthquake” to the collage of borderline tribal rhythms in the euphoric closer “He Would Have Laughed” (a dedication to recently deceased comrade Jay Reatard), Halcyon Digest is built for the long haul, their most consistently compelling collection yet. -Ryan Reed

28. The Black Keys – Brothers

Thanks to Brothers, it’s obvious now how much working with Danger Mouse has had an effect on The Black Keys‘ songwriting. Their debut record, The Big Come Up, rose straight from the wax of Junior Kimbrough, weathered and distorted as Dan Auerbach piped his delta blues revival through a beat up bass amp. It’s been a long time since the blues sounded that heavy. That was 2002, and over the past eight years the duo that is The Black Keys have evolved from a two man blues band into a pop rock band with soul. Brothers is the culmination of that evolution, taking what they started with on Attack and Release and finishing it. Now they are as far removed from the garage rock scene as it gets, yet The Black Keys remain exactly who they were from the beginning: a couple of guys obsessed with the blues. From the start, “Everlasting Light” is full of that dug up soul sound, doo-wop back up singers and all. The crunchy guitar and heavy blues riffs remain constant. Added instruments on “The Only One” and “Never Gunna Give You Up” turn The Keys into an R&B band. This move to broaden their sound was exactly what the band needed, and Brothers makes it sound effortless. That’s what made this record great, and it’s what will keep The Black Keys that way into the future. -E.N. May

27. Best Coast – Crazy for You

I saw posters for this album long before I ever heard it, and the artwork made me assume it to be silly. But it’s not silly; It’s sort of joyful in that little kid way that makes you want to color outside the lines. Best Coast combined Kim Deal’s voice and the Beach Boys’ musical chops to create Crazy for You, one of the best half-hours/catchiest indie records of the year. Tracks like “Boyfriend”, “Goodbye”, “Happy”, and “When the Sun Don’t Shine” stick in your brain on repeat with their catchy chords and simple lyrics. It’s fun when it’s easy to sing along. Meanwhile, there are more mood altering numbers, like the longing “Summer Mood”, the grungy snarl of “Bratty B”, and the despair of “Honey”, the longest track on the album, which barely cracks three minutes. If you’re lucky, you got the bonus track, “When I’m With You”, a catchy 50s style tune that will play in your stereo for days. Basically, this album was an enjoyable and simplistic breeze; It lasted a second, but left a positive impression. -Ted Maider

26. Les Savy Fav – Root For Ruin

With labels like post-hardcore and art rock attached, you’d expect something loud and stuffy from the likes of Les Savy Fav. However, for the band’s fifth studio album, and the first since 2007′s Let’s Stay Friends, the NYC-based indie rock outfit takes itself less than serious, crafting an album full of sarcasm and a sense of humor. Doing away with a lot of their previous effort’s aims to expand musically, the group have opted instead to make a straight-forward rock album. The record’s comfortable feel stems from the act finally reaching a happy place regarding their sound, free of the demands of innovation and able to truly take advantage of that frenetic, sweaty vibe that hangs over a lot of its live shows. The ragged sensibilities that the band had held on to for much of its existence also seemingly soften, without coming off as the band giving up or losing their edge. And that ain’t no joke. -Chris Coplan

25. Neil Young – Le Noise

In the past 20 years, Neil Young has done work that’s been less than thrilling. There were some total jams on Fork In The Road, but come on, an entire album about an electric car? That’s why Le Noise, Neil’s atmospheric opus helmed by Daniel Lanois, was such a delight. “Walk With Me” and “Hitchhiker” anchor the album with boisterous, barking autobiography. “Angry World” gets into that whole political thing, but this time, it’s not as preachy as it was on Living With War, or in his documentary CSNY: Deja Vu. And to top it all off, Lanois adds this sonic atmosphere that’s absolutely entrancing. It’s one of Young’s best in recent memory and it competes with some of his best from his heyday. -Evan Minsker

24. Joanna Newsom - Have One On Me

A good portion of listeners who have given Have One on Me a spin have surely given up mid-rotation. A member of this group might be a guy who normally listens to, you know, all the stuff other hip dudes listen to these days — The National, Arcade Fire, LCD Soundsystem, Kanyizzle. So, as our imaginary hip listener browses the tubes for music news throughout the year, he undoubtedly comes across Joanna Newsom enough times to pique his curiosity — Who the hell is she and what’s so good about her? And what the fuck has she done to deserve a tribute album? Our friend hits up Grooveshark, finds Newsom’s new album, assuming he’ll love it, and after three or four songs, is confused, angry, bored out of his mind, or all three.

It’s not easy music, and there are no easy answers to our hero’s questions. We’re talking about a dolphin-voiced harpist from an inconsequential town in Northern California who has put out three albums of sleepy, almost nauseatingly pretty harp tunes, and this time around she’s given us two hours and 18 tracks that often clock in around 10 minutes (and this is supposed to be her accessible album!). Not exactly a recipe for popular approval, but we’re largely not talking about a work of pop music; We’re talking about a work of anti-pop that makes Björk sound like Britney. This is no criticism of Björk, of course; It’s simply to say that in a still rock-dominated world, Newsom has made it (sort of) big ignoring everything that goes into the conventional rock formula. The result is not something to bob your head to as much as gape in awe at. If Have One on Me is the peak of her creativity, she should not feel shame. -Harry Painter

23. Wavves – King of the Beach

While Astro Coast may have the upperhand thanks to less gimmickry, there’s no denying the fact that the super baked music of Wavves belongs toward the top of the list thanks to one simple fact: it isn’t Wavvves. Unlike the previous LP, and thanks to the inclusion of the former backing band of Jay Reatard, the project of Nathan Williams became more than just a stoner in his basement making the most unrefined, nihilistic fuzz rock; It became a real band. The album saw the addition of more complicated musical constructions, songs with more subtlety, chord progressions, melody, varied speeds, and a range of influences from ska to punk to doo wop, all without losing Wavves’ sense of dread and stripped-to-the-core sound. As a lyricist, in front of new band members Stephen Pope and Billy Hayes, Williams grew by leaps and bounds, leaving behind some of the trademark anti-social tendencies to talk about love and growing up, once again without losing the minimalism the band was known for. No other follow-up album from a band was so vastly different and yet so unbelievably familiar than Wavves’ third offering. Not bad for a guy who was probably stoned out of his gourd 90% of the time. -Chris Coplan

22. Deftones – Diamond Eyes

In 2008, the Deftones had been in the middle of writing Eros, their highly-anticipated follow-up to the underrated experimental album Saturday Night Wrist, when bassist Chi Cheng was involved in a tragic car accident. Eros was halted indefinitely while the band had the difficult decision of what to do next – disband in honor of the critically injured Cheng, or continue doing what they do best: making music. The Deftones ended up soldiering on and recorded Diamond Eyes, and we’re glad they did. The result is one of the best rock albums of the year. From the crunchy, melodic waves of the opening title track and the angry, demanding ride of “Cmnd/Ctrl”, to the intense urgency of “Rocket Skates” and the beautifully written push and pull of “Risk”, there isn’t a weak track to be found. The haunting notes and Chino Moreno’s stirring vocals on the last track “This Place is Death” is the perfect closer to an emotional ride. This album is what the Deftones are all about. It may not be too brave in the sense of musical deviation, but the fact that the Deftones were able to put out such an undeniably solid album in the wake of tragedy shows the band’s braveness in a different way. Cheng would be proud. -Karina Halle

21. Janelle Monáe – The ArchAndroid

Following up on her initial plans to create a comprehensive piece of work based on her alter ego in a science fiction universe, Janelle Monáe celebrate 2010 with one of the year’s quirkiest and most listen-able albums. Utilizing the friendships she’d made over the past few years (namely Big Boi, Diddy, and of Montreal), Monáe dropped her much anticipated debut, The ArchAndroid, to universal critical praise. Her album sits at the number three position for the year on critical aggregating website metacritic, behind only Bruce Springsteen and Kanye West. Not bad for a debut. But all things considered, it makes absolute sense. Her off-the-wall themes, impressive lyricism, tight musicianship, and even more impressive vocal capability all exceed the mark on this release. What’s more, to do it all on an R&B concept album (very few of those, historically) that can be performed live is more than noteworthy. Her live show (which opened for of Montreal this summer/fall) may be the only thing that exceeds the glory of the studio recording itself. Monáe has always sworn by the free-thinking mentality, and given her successes thus far, the only way up for Miss Monáe is up. It’s a career that we’ll all have our eyes on closely, and we advise you do the same. -Winston Robbins

20. Hot Chip – One Life Stand

Live energy is a powerful ally, but when you can harness that into studio form, it speaks volumes. Hot Chip remains wildly present here on One Life Stand, a record that feels louder, cleaner, and sharper than anything I’ve heard from the band previously. Whether it’s on the discotheque-inspired “We Have Love”, “I Feel Better” meets evangelical “Brothers”, the tongue-in-cheek malaise of “Thieves In The Night”, or the classy jangle of “Hand Me Down Your Love”,  One Life Stand‘s final product feels ready to take on every nightclub in the 50 states, and then some (not to mention the band’s creative lead in music videos to rival OK Go).

Having a lead singer who looks like Wayne Coyne on a techno beat with the classiest lounge/electro band at his side doesn’t hurt, either. -David Buchanan

19. Robyn - Body Talk

It’s easy to give pop music nowadays a bad rap. A lot of it is watered down and derivative, produced as if it were processed by a mainstream Hits Factory. That doesn’t mean, however, that pop music has to be ignored, and we’re not talking about poppy indie music. Yes, uber saccharine, top 40 music can be just as important and vital as any Arcade Fire LP. That is, of course, if and only if it comes from Swedish songbird Robyn. With two releases toward the beginning of the year, the aptly-titled Body Talk Pt. 1 and Body Talk Pt. 2 combined to make Body Talk toward the end of the year, Robyn has made pop music light and airy, full of nymphomaniacal sex appeal, loneliness, and devastation, all with a beat that demands to be moved to. Unlike other pop vixens, the transition from heart-wrenching ballads crying out for a lost love to hyper-sexualized gimmicks involving ripped pantyhose don’t feel quite as artificial. Robyn has mastered the art of being seemingly invulnerable, a disco valkyrie, still damaged and open, picking and choosing moments of depth as she pleases, readily tossing them aside for frivolity at a moment’s notice. There’s a lot, emotionally, throughout the course of the collected songs, but one thing’s for sure: it’s all fucking real. -Chris Coplan

18. Big Boi – Sir Lucious Leftfoot

A lot of things could have happened with Sir Lucious Left Foot:The Son of Chico Dusty. Big Boi could have fallen into the trap of unnecessary, lackluster collaborations with every name in the game. He could have ended up with the auto-tuned, kick drummed, drug-ridden monotony that plagues today’s generic rap. He could have eulogized the Outkast days. None of these scenarios knows Big Boi.

Instead, we’re given “one half of the Outkast return like ghost of Christmas past”, 80′s synths, stellar guest appearances, and an album that is, seriously, so fresh and so clean. His clever verses paired alongside excellent production make you want to put it on repeat for hours at a time. Each song offers something different, keeping Sir Lucious a constantly engaging listening experience. Dancing to “Shutterbugg”, driving to “General Patton” with full bass, going out to “Tangerine” — there’s a little bit of everything and it’s all executed masterfully. Even the questionable components of the album, such as Vonnegutt’s chorus on “Follow Me” or Yelawolf’s appearance on “You Ain’t No DJ” are quickly countered, respectively, by layered, irresistible synths and Big Boi’s refrain and killer beat. For a man who has been in the game for so long, with Sir Lucious Left Foot, Big Boi has once again seduced us with something new and potent. -Caitlin Meyer

17. LCD Soundsystem - This is Happening

While it will be extremely difficult, if not impossible, for James Murphy to top “All My Friends” on any given individual track, he doesn’t have to on This Is Happening. If cohesive albums are the measure, then the third time’s a charm for LCD Soundsystem. The group has demonstrated their versatility throughout their career, ranging from disco-punk to sprawling anthems and everything in between. But This Is Happening brings it all together into one fluid masterpiece. “Dance Yrself Clean” blows the doors open with a dynamic nine-minute entrance, while “Drunk Girls” brashly maintains their sardonic perspective. “I Can Change” showcases LCD Soundsystem at the most sentimental, and “Home” closes shop with Murphy’s nod to The Talking Heads’ “This Must Be The Place (Naïve Melody)”. LCD Soundsystem has visited all these places at one point or another, but This Is Happening brings it together like never before. -Max Blau

16. Yeasayer – Odd Blood

2010 was a big year for a lot of bands. It was the year to put up or shut up, and for Yeasayer, well, it was us that shut up. Odd Blood is a new beginning for the band, one that scrapped any notion of who they were and shifted the focus to who they could be. It was exciting and very fresh; Peter Gabriel should be proud. They switched from a loser jammy bohemian sound to tightly constructed electro-jams, ditching most of the traditional instruments for computer programs and other electronics. It worked so well, but only because they kept their original essence found on their debut All Hour Cymbals that got them noticed in the first place: a free form feel that, no matter how carefully constructed the song actually may be, the ideas still feel natural and freaky. Chris Keating and Anand Wilder sound amazing on the bohemian disco track “O.N.E”, with Keating, at four and a half minutes in, providing the band’s first big dance hook. The Prince style funk of “Mondegreen” is an energized, sexualized romp with its horn section and sleazy guitar solo. All the tracks are exercises in vocal gymnastics as well, and as we hear on “Madder Red”, they nail every move. It was one of the first hyped records, and now at year’s end, it has more than proven itself worthy of a year’s worth of spins with many more to come. -E.N. May

15. The Dead Weather – Sea of Cowards

The Dead Weather‘s followup to their 2009 debut, Horehound, took Jack White and Allison Mosshart’s “Evil Twin” relationship and ramped it up a few notches. If they were a playful duo before, in Sea of Cowards they’re skirting the edges of madness together, egging each other on in a slinky showdown that’s dramatized by the album’s schizophrenic mix of blues, soul, and psychedelic rock. The album kicks off with the throbbing grooves and twang of “Blue Blood Blues”, while White sings “shake your hips like battleships”. The album moves on to the dark and vibrating single “The Difference Between Us” and the disorienting thump of the psychotically-tinged “I’m Mad”, where Mosshart gets to show off her convincing cackle. The dizzying showdown culminates with the quickly rattled fuzz of “Jawbreaker” and the haunting “Old Mary”, a track that closes the album with a sense of unease and claustrophobia. At times during Cowards you can’t even tell which one of the two is singing (or yelping or snarling), which makes you wonder if they are indeed mirrors of each other or perhaps two people in one, battling to rise above the fury. If anyone walks away a winner though, it’s the listener, for having heard one of the most interesting and defiant rock albums of 2010. -Karina Halle

14. The Tallest Man on Earth – The Wild Hunt

Inherently, achieving notable differentiation within folk music is pretty difficult. The idea is that this music is for the folk by the folk, so, virtually anybody can play it. Thus, while a lot of the genre’s sounds are beautiful, passionate, and authentic, innovation–especially aesthetic in nature–tends to contradict the genre’s very basis. That’s where wailing Swede Kristian Matsson, better known as The Tallest Man on Earth, comes in. His innovation shines through his stunning songcraft, a style that feels at once familiarly folked-up and almost entirely novel. Over frenetically masterful acoustic fingerpick/strum combinations, Matsson’s hair-raising vocals borrow from Dylan as much as they do contemporary pop, R&B, and pretty much everything else. On The Wild Hunt, his voice soars even higher and cuts even further into his impeccable fingerwork. The record comes off like a collection of brilliant, but undiscovered pop songs, found and reworked by an incredibly gifted folk singer so that they suit the genre. As the record progresses, Matsson’s gravelly voice gallops through vivid metaphorical imagery, expressing some of the most complex of human emotions beautifully, passionately, and, of course, authentically. -Drew Litowitz

13. Surfer Blood – Astro Coast

I’ve said it before and I’ll say it again: 2010 is the year of surf rock. No other sub-genre had as much impact and appeal within the indie rock community than the uber sweet lyrics and jangly guitar sound of surf rock. Countless acts took the lo-fi blast of sonic destruction that was so big in 2009 and infused within it the feel-good vibes of youthful abandonment and heartache. But while Wavves was busy blowing people’s minds with noise and melodies, and Best Coast was making us sullen with her Sixteen Candles-esque feelings of girly forlorn, Surfer Blood was one of the first acts of the year to show the power of the genreitself. Done without quite as many gimmicks and substantially less sunshine, Astro Coast is the angry, witty brainchild of a group of lads reared on the Pixies, pop culture, and a love of the very basic framework of surf rock, adorned with the trappings of worldly influences, lyrical maturity without losing the heartache, and a dash of much-needed oomph. With the band recently signed to Warner Bros., it’s clear that their kind of music was the big kahuna in an ocean of seemingly-identical competitors. -Chris Coplan

12. Devo – Something for Everybody

It’s hard to believe that Devo had not released an album since 1990’s Smooth Noodle Maps, a mediocre album at best that left a bleh taste in the mouths of Devo fans around the world, leaving us longing for another Freedom of Choice. When word came down that the boys had recorded a new album, needless to say, I was not thrilled. I half expected some regurgitated retro mess of new wave synthesizer sounds buzzing chaotically, or, at best, a once great band trying to re-capture some element of its previous grandeur. I was wrong. Completely and totally wrong. The album begins with a hard driving synth-drum combo and, immediately Devo takes off as if 1986-2009 never happened (or hadn’t happened yet). The opener, “Fresh”, and the following number “What We Do” are somewhat autobiographical with lines like “So fresh, it’s giving me a second life” and “What we do, is what we do, it’s all the same, there’s nothing new.” As the album plays out, it becomes pretty obvious that Devo are being Devo. They haven’t changed anything of what they do, other than perhaps using a more contemporary means of production and recording. Devo looked at what worked for them, went back and created an album that could fit perfectly within the frames of Freedom of Choice and New Traditionalists, all while maintaining a relevance to today’s audience. In a decade marked by a resurgence of sounds from the 80s and the new wave movement in particular, I find it most appropriate that the decade ends with a release from a band that was in part responsible for the stereotypical sounds of the era. -Len Comaratta

11. Sleigh Bells – Treats

A lot of bands broke new ground 2010, but Treats was the golden shovel. How can this album sound like everything you’ve ever heard and alternately like nothing you’ve ever heard? It’s a noisy, hooky, abrasive 35-minute ride fit for everything from impressing your metal friends to en bloc blackout nights at the club. So many bands make their two-person rock duo sound broken and cheap, but Sleigh Bells carve their sound from the richest and purest of elements, creating perfect gems. Opener “Tell ‘Em” is their ubiquitous standard-bearer, “Rill Rill” shows they can craft a pop hook fit for tween television, and “Infinity Guitars” may contain the most rocking moment of the year in its final verse. Alexis Krauss and Derick Miller find success with their vulgar production and copious use of lyrical repetition, blurring the line between dance and metal. Krauss’ vocals are just as unpredictable as Miller’s guitar work. Will she be cooing, rapping, or letting out a banshee scream? Will he be shredding, synth-ing, or letting out a banshee scream? And did I mention all of the hooks? -Jeremy Larson

10. The Roots - How I Got Over

In a year of gigantic hip-hop releases from the likes of newcomers Drake and Nicki Minaj and heavyweights Big Boi and Eminem, The Roots‘ ninth LP is easily the one that came in under the radar of many fans and industry insiders. Despite the lack of comparative buzz, the album easily out-punches its competitors. Full of technical skill thanks to ?uestlove and the band, the rhymes of Black Thought and guest MCs like Dice Raw get a high-energy, live feel that adds a bright sheen to the dreary rhymes about everything from religious experiences to life in the street and on the grind. With heavy, heavy influences of soul (especially with the addition of John Legend), blues, and even funk, the album hits the standard benchmarks of black music while experimenting with indie elements, thanks to cameos by Jim James and Joanna Newsom. No other hip-hop release had as much sonic diversity, production value, innovation, lyrical depth, or catchiness as How I Got Over. Plus, it wasn’t even the band’s only release of the year. Apparently, hard work is the answer for getting over. -Chris Coplan

09. Jónsi – Go

What’s gotten into Jónsi over the past few years? As frontman for critically lauded Icelandic art-rock giants Sigur Rós, he’s layered his angelic falsetto into some of the most majestic, transportive tunes of the decade. But for all the weeping audiences and descriptions like “god weeping tears of gold in heaven,” Jónsi and company have never exactly been known for their good humor. That is, until 2008′s Með suð í eyrum við spilum endalaust, their most accessible, upbeat release to date, with a handful of legitimate pop songs (and even one minor toe-dip into English lyrics).

Go marks Jónsi’s first adventure into solo material, and it’s an actual adventure. The last Sigur Rós record was just a preview of the sonic carpe diem explosion that weaves its wondrous way throughout these nine tracks. Working with arranger extraordinaire Nico Muhly, boyfriend/multi-instrumentalist Alex Somers, and Swedish percussionist Samuli Kosminen (aka unexpected God of Drums), Jónsi creates a musical landscape of truly unlimited possibilities. In the sort-of title track “Go Do”, he sounds positively enthralled in the sounds and feelings, his childlike plea surging over a flurry of woodwinds and tidal wave percussion: “We should always know that we can do anything!” On his excellent debut, he pretty much does. -Ryan Reed

08. Flying Lotus – Cosmogramma

According to Steve Ellison, or Flying Lotus, cosmogramma is the relationship between the universe and the hereafter– heaven and hell. It’s a cosmic drama. It’s something he learned from his great aunt, Alice Coltrane, and his relationship with the space-jazz queen comes across on Cosmogramma, which, as he says, sounds like a cosmic drama. It’s a mostly-instrumental album with a pointed soundscape, but with a lot of different sounds– glitches, clicks, drums, weird voice samples, scat, horns, and beats, to name a few. Cosmogramma sounds like an adventure, a love story, a drama– an epic. Sure, it could be called “trippy,” but it’s so much more than that. It’s an album that creates its own universe without needing to bother telling a story.

The supporting cast of the album only adds to the drama: the jazz tinges of Ravi Coltrane’s horns, Thundercat’s bass, Laura Darlington’s smokey vocals, and Thom Yorke’s album-stealing guest shot on “…And The World Laughs With You”. But the star here is obviously Ellison, whose work hearkens back to those “Space Is the Place” jazz days of the ’70s (there are songs on here called “Arkestry”, “Satelllliiiiiteee”, and “Galaxy in Janaki”) while maintaining its own post-Dilla vibe. This isn’t an album to be used as incidental music at a gallery or in the kitchen– this is an album to really get lost in. -Evan Minsker

07. Beach House – Teen Dream

Look at how far Beach House has come between over the past two years. Devotion was bleak, lonely and mysteriously beautiful, hazily drifting from song to song. Melancholic? No question. Beautiful? Definitely. But it lacked purpose. On their third record, Teen Dream, lead singer Victoria Legrand and guitarist Alex Scally found the resolve that was lacking throughout Devotion on both a lyrical and musical level. This time around, Beach House finally peaked outside the constraining doors of their bedroom dream-pop, awakening from the demons haunting them throughout their earlier work. In doing this, Teen Dream makes a subtle, yet pivotal progression.

Legrand’s serene voice has always remained the focal point of Beach House. That’s still the case on Teen Dream, but the pieces have come together around her to round everything out. Scally’s layered guitars no longer exist as background accompaniments, instead providing prominent staples of their wearily drifting warmth. The slide guitar acts as an equal counterpart to Legrand’s heartrending croon on “Silver Soul”, while Scally also places his musical fingerprints all over “Norway”. More importantly, acoustic percussion has largely replaced the lo-fi drum machines of Beach House’s past, a change evident from the first moments of the album opener “Zebra, a track laced with shimmering, crashing cymbals and timely syncopation. All the pieces come together gloriously on “10 Mile Stereo”, as Beach House awakens from its customary dreaminess, ascending into an astounding climax that stands as their finest work to date. For a band previously known for their minimal, lo-fi dream pop, Teen Dream represents one gigantic step forward. -Max Blau

06. The National – High Violet

Perfection is a dangerous word to use when it comes to something as subjective as music. When you say an album or song is perfect, you’re just asking for a fight. Well, you know what? Bring it on. To me, High Violet is a perfect album from beginning to end. The National have been building towards this moment for a long time, ever since they broke through with Alligator. While both that record and Boxer are incredible, their latest effort distills the band’s formula into its most essential state. The 11 tracks within use every trick the group has shown us before, plus some new ones thrown in for good measure. For one thing, it gains so much power in its restraint. There’s nothing as aggressive as “Abel” or as straight-forward as the chorus of “Fake Empire”. Instead, all the emotion is barely kept hidden behind the curtain, until those moments when the band does cut loose, when it floors you.

Most people have probably heard the big songs like “Terrible Love” and “Bloodbuzz Ohio”, but the deeper cuts are what hold the album together. Listen to the grinding guitar in “Little Faith”. Hear how Matt Berninger gradually loses control as he coughs out the ending of “Afraid of Everyone”. The piano from “England” takes you down the Thames on a gentle, rainy day. As for “Conversation 16”, hell, just take in everything that the track has to offer. You’ll be hard-pressed to find many other albums that are as strong from front to back as High Violet. It’s beautifully fragile, lyrically haunting, and musically ambitious throughout every second. There’s only one word that comes to mind for an album like this. Perfect. -Joe Marvilli

05. Titus Andronicus – The Monitor

An important thing: this album isn’t about The American Civil War. I mean, no more than Julius Caesar is about The Liberators civil war in 42 B.C. Rome. Shakespeare wrote Julius Caesar in anticipation of the growing Protestant/Catholic tensions arising from Queen Elizabeth’s frequent capping of Protestants. Titus Andronicus and their poet laureate Patrick Stickles aren’t interested in telling you the tale of the famous ship the album gets its title after. There are more important matters at hand, both micro and macro. There are binary relationships and post-modern nihilist philosophy, Bret Easton Ellis and Bruce Springsteen, whiskey and cigarettes, punk and rock & roll, and the pursuit of the American dream in a place so absurd as America.

What The Monitor is is a kind of punk manifesto. At its most extroverted, there are rallies around the flag, cries of unity against “them,” and two warnings as to the ubiquity of the enemy. Conversely, the album revels in public solitude, as Stickles continually airs his personal grievances. But even at its most introverted, the album reaches out to the listener by ripping pages out of music’s greatest books. A chapter from The Boss, a little Pogues, and some Minor Threat all build the pretense that The Monitor is just one shout chorus after another, but underneath it’s a meticulous and existential look at our/his bleak and irrational world, perfectly couched in punk anthems. Stickles leads by example, putting his heart, mind, and country into the abyss of self-analysis. And while it ain’t always a pretty site, it’s what our forefathers fought for, and it’s what we should continue to fight for in 2010 and beyond. -Jeremy Larson

04. Gorillaz – Plastic Beach

It took five years for the Gorillaz to return to our stereos, the charts, and concert venues with a new album, but it was obviously worth the wait, as Plastic Beach went on to be one of the finest pop/rock records of the year. Damon Albarn’s songs were some of the sharpest his animated side project has ever been accounted for, showing that his craftsmanship is only improving with time. And Jamie Hewlett provided a new Gorillaz aesthetic to their videos, their album art, and their live show display. But it was the tunes on Plastic Beach that made this disc so memorable.

Snoop Dogg joined the brigade for the first time, a match made in heaven, for the track “Welcome to the World of Plastic Beach”. The Gorillaz stocked their band up with a little celebrity status by adding members of the Clash on the title track, and on their tour. Lou Reed even made a vocal appearance on the acclaimed track “Some Kind of Nature”. Albarn composed a few gems with his memorable vocal style, including the ever-catchy “Rhinestone Eyes”, and the serene “On Melancholy Hill”. The Gorillaz kept the dance and hip-hop elements at an all-time high with bizarre numbers with De La Soul (“Superfast Jellyfish”), Michael Jackson-esque grooves and high pitched vocals (“Empire Ants”) and, of course, a super poppy, rap gem that everyone could bump in their stereos. This obviously refers to the Mos Def and Bobby Womack featured song, “Stylo”.

“All we are is dust,” the cartoon band sang on one of this year’s finest records. We all may be dust, but this record is solid musical gold. Cheers. -Ted Maider

03. Arcade Fire – The Suburbs

Every so often, an album comes along that speaks from the collective consciousness of a generation. The Suburbs was made specifically for this moment in time, for the twenty-somethings of 2010. The world as we know it is changing. The Suburbs isn’t just a portrait of restless former suburbanites and the listless teenagers they used to be, but of the world that this generation was the last to know, and what’s already been left behind. The digital age has come. Everything is instantaneous, no one is truly lost anymore, and it’s easy to feel lost in memories for a pre-Internet existence that seems like a lifetime ago.

The Suburbs marks the efforts of Arcade Fire’s previous albums combined – the darkness and rich musical layering of Neon Bible, and Funeral’s dream-like hopefulness in spite of the world. It doesn’t place suburban sprawl and teen angst on a pedestal, nor does it condemn them. As a concept album, it embraces the full scope of angles and emotions, keeping the songs from choking on their own sentimentality. What makes The Suburbs stand out amidst other teenage snap-shots is that it’s not just a simple photo, it’s a panorama. And it belongs to us. -Cap Blackard

02. Kanye West – My Beautiful Dark Twisted Fantasy

At this point, all there is to be said about Kanye West‘s My Beautiful Dark Twisted Fantasy has been said, and then some. We’ve seen praise and hate, album reviews that all but declare him as the second coming of Christ, and college essays explaining how he is actually the real-life incarnation of the devil. Some, like our Mike Denslow, declare West’s fifth LP “hands-down the most ambitious mainstream rap album ever made.” Others say you can’t review it without taking into context West’s well-publicized meltdowns and, for that, can we truly bestow him with such praise?

At the end of the day, however, I think the most insightful thing I read regarding My Beautiful Dark Twisted Fantasy came during a late night troll on a message board dedicated to the rapper, as I awaited one of those G.O.O.D. Friday tracks to drop. Someone wrote that the album is great because it’s a culmination of West’s previous four studio albums, taking each of their strengths — the soul of College Dropout, the pop of Late Registration, the electronics of Graduation, and the art of 808s & Heartbreak — and making a greatest hits album of sorts, only the content is entirely new. While The College Dropout may forever be known as West’s best album, My Beautiful Dark Twisted Fantasy is the one which will likely best reflect his self and his ideals when it’s all said and done. It’s innovative, it’s risk-taking, it’s charming, it’s frustrating (people still complain about the mix), and, most of all, it’s plentiful, which I think might be the word that best describes Kanye West. Just as Kanye never stops, this album never stops. Even on the 15th or 25th listen, there’s something new to discover between the time Nicki Minaj’s fake British accent introduces us to “Dark Fantasy” and Gil Scott-Heron’s spoken-word “Who Will Survive in America” leaves us as confused as Kanye is.

No, Kanye is not the greatest ever and, yes, he still needs to work on his manners, but if My Beautiful Dark Twisted Fantasy proves anything, it’s that one can be innovative while still being accessible. “Runaway” and “All of the Lights” are two of West’s most ambitious feats to date, but they’re also two of the album’s biggest hits. “Power” is as exposing as it is appropriate for Monday Night Football, and “Blame Game” is smart beyond its years, while still leaving us with room to laugh. Regardless of your perception of him, if you think he’s only an average lyricist or that the album is overhyped, there’s no denying how beautifully put together this album is, how much work went into it, and how at the end of the day it will likely influence generations to come. The only question now is what he’ll do next. -Alex Young

Buy: My Beautiful Dark Twisted Fantasy

01. Vampire Weekend – Contra

Leave it to Vampire Weekend to release the year’s best album. Wait! What? Believe us, we were surprised, too. When we first sat down to hammer out this list, most of us came to the table with arguments supporting the latest from Kanye West or Arcade Fire or even the Gorillaz. But, then we started to think. You see, once you start playing the Devil’s advocate, it’s hard to return to your original argument. It’s sort of like that episode of Seinfeld, where Costanza buys a cashmere sweater for Elaine, and it looks beautiful and quite a bargain…until someone points out the glaring, red dot to him. Throughout the episode, naturally, the running gag is that every time Costanza attempts to pass the sweater off as a gift, someone notices the dot. And once it’s seen, the whole thing’s fucked. ANYWAY, after four hours of debating, none of us felt comfortable with our choices. That is, until someone muttered two words:

Vampire. Weekend.

People respect redemption tales. They cherish epics. But, above all, they love success stories. Now, it’d be ridiculous to assume that Vampire Weekend is indie rock’s Rocky Balboa, or Coach Gordon Bombay (depending on your preference of fictional sports characters with remarkable comebacks), but turn the clock back a year and you’ll find the band in a very unfavorable position. They weren’t underdogs per se – after all, they were roping in thousands of fans per festival gig – but they were sailing on some rough wake of hype. What would happen with their sophomore record? Just about every indie blog from here to Australia pegged ‘em for disappointment. In certain respects, everyone waiting for the sophomore slump preceded the actual music that would end up on Contra.

But all that went away. Instead of a jarring, forgettable, or even taxing listen, Contra added up to be, well, one of the better sophomore albums in recent memory (The Strokes’ Room on Fire comes to mind). What started with their self-titled debut sure enough continued here. The sunny Afro-pop still intact, frontman Ezra Koenig vacationed within his perspicacious lyrics, digressing on subjects that, at the time, felt typical of his background. Only now, some 12 months later, they come off just downright smart…fitting even.

Music is all about escape. It should take you places. With Contra, Koenig plays the part of a “friend with access” more than the chic aristocrat that so many make him out to be (myself included). He makes sure there’s room in the backseat, so you can hear about “how the other private schools had no Hapa Club” or realize “there’s nowhere else to go.” Some might argue most of his stories are irrelevant, one-sided, or even pretentious. But, at face value, this band makes no secret about either its identity or its influences. You don’t walk in expecting to relate to these guys, you walk in surprised at how much you do relate to them. Also, who doesn’t love a pop song with references to Futura font?

By far the most appealing aspect to Vampire Weekend, and something that’s evolved greatly since the band’s debut, is how cognizant and well versed they are in terms of instrumentation. This isn’t the sound of your typical “indie band.” It’s the result of a real band, who has fully realized its potential and continues to expand. Anyone still tossing out the Paul Simon comparisons aren’t truly listening. This goes far beyond Graceland. A song like the genre-spanning “Diplomat’s Son” sounds nothing like the driving indie rock of “Giving Up the Gun”, yet they blend seamlessly into one another. And, as if to throw the finger at those that felt they only had “A-Punk”, they did one better and issued even stronger singles with “Cousins” and “Holiday”, two songs that perfectly capture how witty and musically sincere this band can be.

In their review of Contra, NME called Vampire Weekend “one of the most unique bands on the planet.” We don’t necessarily agree with them all the time, but they’re absolutely on the money there. In a year that’s seen the market flooded with buzz band after buzz band, it’s important to acknowledge the New York scholars. They removed themselves from the muck (an agreeable and enjoyable muck at times, sure, but, nevertheless, still a muck). Instead, they braved the storm, nullified all odds, surged ahead, and issued not only a stellar sophomore album, but this year’s most solid release. If we’re to assume there’s a holy brethren of releases this year, then for us, we can’t think of any other leader than Contra. -Michael Roffman