Consequence of Sound’s Summer Tour Guide will lead you to the darkest, dankest (not every venue has a ventilation system, folks) concerts where you can dance the night away after spending too many hours in the sun. From Dirty Projectors to Phish to the Diplo/Grimes/Skrillex extravaganza that is the Full Flex Express, we’ve listed the best and brightest artists that are touring new or as-of-yet unreleased albums, touring around festival appearances, or just touring because it’s damn fun.

-Harley Brown
Associate Editor

Feature artwork by Mike Zell.

Beach House

Photo by Phillip Roffman

Who: Beach House

When: May-July

Support: Wild Nothing

Key Dates: July 13th at Forecastle Festival // July 23rd at Central Park Summer Stage

What CoS Says: Baltimore dream-pop duo Beach House are supporting their expansive, haunting new LP, Bloom, and the floating, wonder-drenched tunes therein will echo majestically through many concert halls. The disc is likely to hit at or near the top of many best of the year lists, and this will be your chance to see things unfurl in person. -Adam Kivel

Dirty Projectors

Who: Dirty Projectors

When: July – August

Support: Purity Ring and Wye Oak

Key Dates: July 10th at Brooklyn’s Prospect Park // July 13th at Pitchfork Music Festival

What CoS Says: Dirty Projectors may have produced their masterpiece on 2009′s Bitte Orca, but on this tour they’ll be playing tunes from their first attempt to top that, Swing Lo Magellan. The early sounds from the disc suggest we’re in store for more hocketing and other multi-part vocal insanity that needs to be seen produced live to be believed. -Adam Kivel

Fiona Apple

Who: Fiona Apple

When: June – July

Key Dates: June 24th at New York’s Governors Ball Music Festival // July 10th at the Chicago Theatre

What CoS Says: After drawing eyes and ears from critics everywhere at this year’s South by Southwest, Fiona Apple hit the road for a select number of intimate gigs, all to critical acclaim. Most reviews championed this unspoken, newfound energy in her performances, where she twisted and turned some of her older tracks like “Criminal” or “Extraordinary Machine” into urgent personal affairs. With her forthcoming LP – The Idler Wheel... – due out June 19th, Apple will have plenty to get off her chest once and for all. In other words, expect something emotional. -Michael Roffman

Full Flex Express Tour

Who: Skrillex, Pretty Lights, Diplo, Grimes, KOAN, and Tokimonsta

When: July

Key Dates: July 14th at Ottawa Bluesfest // July 15th at Montreal’s Parc Jean Drapeau

What CoS Says: If Grimes is Janis Joplin, would Diplo or Skrillex be Jerry Garcia? The comparisons might not be entirely fitting, but either way, this bumpin’ tour featuring three of the best beat-making songwriters in the game today might just give the original Festival Express a run for its money. -Harley Brown

Hot Chip

Photo by Cap Blackard

Who: Hot Chip

When: July – September

Key Dates: July 14th at Pitchfork Music Festival // September 9th at Hollywood Bowl (w/ Passion Pit & Omar Souleyman)

What CoS Says: Leaving longtime label DFA doesn’t seem to have put a crimp in Hot Chip’s high step, if their dance-tastic new cuts are any indication. Close to the release date of In Our Heads, this extensive summer tour provides the first chance to hear the fivesome’s fifth installment of technolectronica hot off the vinyl presses. -Harley Brown

The Into The Wild Tour

Who: El-P, Mr. Muthafuckin’ Exquire, Killer Mike, and Despot

When: June – July

Key Dates: June 23rd at Austin’s The Mohawk // July 6th at Chicago’s Bottom Lounge

What CoS Says:  All four guys guest on the majority of each other’s tunes so I feel bad for them on this tour — no one’s going to get a break for too long off stage before they have to come and guest on another verse. Bad for them trying to read a book backstage, but incredible for the audience who are sure to see “Tougher Colder”, “Hail No”, “Butane”, and possibly “The Last Huzzah”. Also, do play the “What liquor will eXquire’s crew spray on the crowd?” betting game for kicks! -Jeremy D. Larson

Japandroids

Photo by Karina Halle

Who: Japandroids

When: May – July

Key Dates: May 31st at Primavera Sound // July 13th at Pitchfork Music Festival

What CoS Says: A Japandroids show is essentially that feeling of screaming yourself hoarse to rock music in your car with the windows down and the radio cranked to the max, only everyone at the show is doing that and you’re all on the same page because Japandroids make you feel young again, dammit. Help out Brian King and David Prowse with those “Ohhhs”from the back of the club — you won’t be the only one. -Jeremy D. Larson

My Morning Jacket and Band of Horses

Photo by Ryan Mastro

Who: My Morning Jacket and Band of Horses

When: August

Key Dates: August 3rd-4th at Red Rocks Ampitheatre

What CoS Says: Ask anyone who’s seen them live (Bonnaroo 2008, anyone?): My Morning Jacket is hands down one of the best contemporary live acts on the circuit(al). Band of Horses, who opened MMJ’s MSG show in December, are hard at work on new material with the legendary Glyn Johns. Put the two acts together, and you’ve got a southern rock fan’s wet dream. -Ben Kaye

Phish

Photo by Debi Del Grande

Who: Phish

When: June-September

Support: Only our resident Phan, Rob.

Key Dates: June 10th at Bonnaroo Music Festival // July 3rd-4th at Jones Beach Theatre

What CoS Says: Bust out the tape recorder and Grateful Dead bong, Phish is hitting the road again this summer. The Vermont jam gods are slotted to headline Bonnaroo alongside Radiohead, marking the first time Thom Yorke will have ever smelled Patchouli. –Bryant Kitching

Refused with OFF!

Who: Refused and OFF!

When: July

Key Dates: July 18th at Williamsburg Summer Garden // July 19th at Riot Fest East (Philadelphia)

What CoS Says: It’s been almost a decade and a half since Refused toured America, and that ended with the police breaking up a Virginia basement show. No one ever thought their classic The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts would see the light of a stage again, but after an appearance at Coachella, fans across the map have a chance to witness the songs in all their glory. The fast and furious kick-assery of punk supergroup OFF! is just the sweetest icing this reunion cake could have, so eat up. -Ben Kaye

Sigur Rós

Who: Sigur Rós

When: July-September

Key Dates: August 3rd at Osheaga // August 5th at Lollapalooza

What CoS Says: It’s been four years since the Icelandic export hit the States. That’s a long time for an act as sweeping and majestic as Sigur Rós to be off the map. But, with time comes reason, and their latest album, Valtari, is an agreeable excuse to trot around the globe. The LP expands upon their sound in dense, circuital ways; as a result, the band will come stocked with an arsenal of new melodies and emotions to levitate that heart of yours into any summer night. Actually, it might be the only festival act that has you packing tissues. -Michael Roffman

Sleigh Bells

Photo by Lauren Guagno

Who: Sleigh Bells

When: July

Support: Class Actress, Jel, Hot Chip, James Murphy, Dave P, and Sammy Slice

Key Dates: July 20th at Philadelphia’s Penn’s Landing (w/ Dave P & Sammy Slice) // July 22nd at Merriweather Post Pavilion (w/ Hot Chip & James Murphy)

What CoS Says: Sleigh Bells have come a long, loud way since Treats, building a stadium-sized sound behind their Top Star-earning Reign of Terror with their trademark wall of Marshalls. Good thing as they get bigger, they also get better, so be sure to catch them while you still can. -Harley Brown

System of a Down with Deftones

Who: System of a Down and Deftones

When: August

Key Dates: August 5th at Jones Beach // August 12th at HEAVY T.O.

What CoS Says: With System of a Down fresh off a five-year live hiatus and Deftones gearing up for a new album, this is a prime double-header. In fact, there’s no better bill this summer for anyone who likes their rock hard, loud, and fist-pumpingly furious – and who doesn’t? -Ben Kaye

Wilco

Photo by Heather Kaplan

Who: Wilco

When: June – September

Support: Andrew Bird, Dr. Dog, Lee Ranaldo, Lee Fields & the Expressions, and Blitzen Trapper

Key Dates: July 23rd-24th at Brooklyn’s Prospect Park (w/ Lee Fields & the Expressions and Lee Ranaldo) // September 30th at the Hollywood Bowl

What CoS Says: With no new album to tour behind (they trekked across the globe for most of last year in support of their eighth LP, The Whole Love) you can expect Tweedy & co. to pull out some deeper cuts this time around. Our fingers are crossed for either “Kingpin” off their 1996 folk-rock opus Being There or “I’m Always In Love,” the unsung hero off 1999’s Summerteeth. –Bryant Kitching

“A little nonsense now and then is relished by the wisest men.” -Willy Wonka

Bruce Springsteen – “Rocky Ground”

Typical Springsteen images of urban decay and social struggle are given a new context behind the hip-hop flavor of Wrecking Ball‘s second single.

CHAPPO – “Hell No” (NSFW)

I would have loved to see the Craigslist casting call CHAPPO put out for this video.

Hot Chip – “Night and Day”

Now I know what all those trailers for Prometheus were missing – intergalactic dance competitions! Although supermodel Lara Stones isn’t exactly hard to look at either. Take note Ridley Scott for your next flick.

Light Asylum – “Heart of Dust”

Somebody better get these guys a towel.

OFF! – Live at Whiskey a Go Go

Here we have a rare two songs for one video deal. However, that’s easy to do when both of your songs as well as your pre-song banter only clock in at about 90 seconds.

Pop. 1280 – “Bodies in the Dunes”

This video loosely takes its inspiration from a Long Island serial killer, who killed prostitutes and dumped their bodies in, you guessed it, sand dunes by the beach. Not surprisingly, it’ll probably be one of the more morbid things you’ll see all week.

Sleigh Bells – “Demons”

It might be hard to tell amidst the shaky camera work and intense strobe lights, but this video actually features live footage from Sleigh Bells recent shows in Omaha, Oklahoma City, Dallas, and Houston.

The Spring Standards – “Watch The Moon Disappear”

You’ve got to hand it to The Spring Standards. It’s not often that you discover an actual use for floppy discs in the year 2012.

Teen Daze – “Treten”

No, these aren’t outtakes from Wes Anderson’s The Life Aquatic with Steve Zissou, it’s actual footage from a couple of marine documentaries shot back in the ’60s.

Tenacious D – “Low Hangin’ Fruit”

There’s not actually any nudity in the D’s latest video, but if any of this weeks selections deserves a NSFW stamp, it’s this one. Never in my life have I felt so bad for a piece of fruit.

In which Reggie Watts, actor Terrence Stamp, and supermodel Lara Stone find themselves involved in a strange intergalactic dance-off. Watch the Peter Serafinowicz-directed video for Hot Chip’s “Night and Day” below.

Hot Chip’s new album, In Our Heads, arrives June 12th via Domino.

Hot Chip were back on Later… with Jools Holland on Friday night. Following their Tuesday night performance of “Night and Day”, the band showcased two more tracks from their upcoming LP In Our Heads. Below, watch them perform “How Do You Do” and “Don’t Deny Your Heart” for the first time.

In Our Heads arrives June 12th via Domino Records.

In Our Heads Tracklist:
01. Motion Sickness
02. How Do You Do
03. Don’t Deny Your Heart
04. Look At Where We Are
05. These Chains
06. Night And Day
07. Flutes
08. Now There Is Nothing
09. Ends Of The Earth
10. Let Me Be Him
11. Always Been Your Love

In support of their new album, In Our Heads, Hot Chip appeared on the newest episode of Later… with Jools Holland. Replay their performance of “Night and Day” below.

In Our Heads arrives June 12th via Domino Records.

Consequence of Sound’s Summer Music Guide contains a comprehensive breakdown of the season’s biggest albums, complete with artwork and audio preview when available. These are the albums that you won’t be able to quit. They’re worthy of deluxe pre-orders, long email chains discussing their place in music today, and soundtracks to balmy summer nights. We hope you find it useful, and please share your most anticipated albums in the comments below.

-CoS Staff

Artwork by David Stanley.

Beach House – Bloom

Fortune surrounds Beach House’s fourth studio offering. Teen Dream producer Chris Coady is back at the helm, the album was mixed at New York City’s legendary Electric Lady Studios, and the already-revealed cuts (“Myth”, “Lazuli”) could be described as no less than divine. It’s far too early to write any year-end lists just yet, but here’s a hypothesis: It’s doubtful we’ll shake off Victoria Legrand’s balmy, dreamy vocals by winter. -Michael Roffman
Due Out: May 15th via Sub Pop 

Beach House – “Lazuli”

Best Coast – The Only Place

With Jon Brion (Kanye West, Fiona Apple, of Montreal) on board as producer, some might be expecting a departure from the endlessly endearing surf pop that earned Best Coast’s 2010 debut our Top Star recognition. Fear not, because while Brion’s more polished and refined touch can certainly be felt on The Only Place (a string quartet actually makes an appearance on a couple of tracks), Bethany Cosentino still keeps her feet firmly planted in her signature fuzzy lo-fi punk sound. -Bryant Kitching
Due Out: May 15th via Mexican Summer

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Garbage – Not Your Kind of People

Nineties alt-pop darlings Garbage go for a surrealist escape in the lead single off their first album in eight years, Not Your Kind of People. The video for the song, “Blood for Poppies”, shot by L.A. cinematographer Matt Irwin, is a shaky, black-and-white montage of space-age black magic and sunny So-Cal scenes. Musically, it’s classic sneer-and-wink Garbage: chainsaw guitars, wonka-wonka bass, and a pop-delicious hook that rushes into the chorus like a gust of wind, and that can only bode well for the rest of the album. -Katjusa Cisar
Due Out: May 15th via STUNVOLUME

Garbage – “Blood for Poppies”

Killer Mike – R.A.P. Music

Some of the first words shot out by Killer Mike on R.A.P. Music reference KRS ONE’s “9mm Goes Bang”. He shouts, “Wa da da dang, wa da da da da dang/listen to my Kimber .45 go bang.” These lyrics could serve as a summary for the whole album: old-school nods that pack more fire power. Killer Mike’s flow keeps it anachronistic like Slick Rick meets Chuck D, but El-P’s production–as always–keeps the whole record avant. It will tear as big a hole in the space-time continuum as it will in your speakers. -Jeremy D. Larson
Due Out: May 15th via William Street Records

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Tenacious D – Rize of the Fenix

After the commercial nonsuccess of 2006′s Pick of Destiny, the greatest rock band in the world is set for the biggest resurgence in music history! In the works since at least 2007, Rize of the Fenix once again sees “Hollywood” Jack Black and Kyle “Rage Kage” Gass teaming up with ex-Nirvana drummer Dave Grohl, and despite the sentiments of album track “Rock Is Dead”, the metal is still righteous. The album is replete with the raunchy humor and outrageously spun stories of sex, rock-n-roll, and friendship The D is known for. Hell, Val Kilmer took a bullet for this record. -Ben Kaye
Due Out: May 15th via Columbia

[soundcloud url="http://api.soundcloud.com/tracks/40722504" iframe="true" /]

El-P – Cancer for Cure

No lie: After pressing play on my promo download of Cancer for Cure, El-P’s first album since 2007′s I’ll Sleep When You’re Dead, I stared at my computer screen, practically slack-jawed, for almost 10 minutes. But what does the greatest and most epic left-field rap full-length of the year so far actually sound like? In essence, it’s a full-on assault of sprawling, 22nd-century boom-bap juxtaposed with justly garrulous and truly cerebral 16s that never cease to impress. El Producto es el genio. -Mike Madden
Due Out: May 22nd via Fat Possum

El-P – “Tougher Colder Killer” (feat. Killer Mike and Despot)

Mount Eerie – Clear Moon

Phil Elverum’s haunting brand of black metal proved intriguing on 2009′s Wind’s Poem, and since then he’s kept rather quiet, save for an archival collection and a couple of singles. This year he returns with two albums: Clear Moon and Ocean Roar. Based on the hazy, driving “House Shape”, the former’s first single, Elverum remains in the darkness, but there’s just enough light to keep us moving. -Michael Roffman
Due Out: May 22nd via P.W. Elverum and Sun, Ltd.

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Edward Sharpe and the Magnetic Zeros – Here

Edward Sharpe and the Magnetic Zeros exploded onto the scene in 2009 with their shakable brand of hippie-soaked indie folk. Three years later, they’re ready to return with a vengeance. Here is actually the first of two albums due this year, birthed from exploring “a wide variety of subject and sound” upon their return to the studio. The lead single, “Man on Fire”, burns slow and warm, the kind of comforting, uplifting stuff that made their Up From Below debut so welcoming. -Ben Kaye
Due Out: May 29th via Community Music/Vagrant

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Lemonade – Diver

After sashaying onto the scene with 2009′s self-titled debut, Lemonade return with their long-awaited sophomore effort, Diver. Constructed from “sounds of the past synthesized with contemporary dance music buoyed by the most immediate matters of the heart,” the album arrives just in time for summer. If you’ve already got your toes in the sand, label True Panther Sounds has gone ahead and released first single “Neptune” along with remixes by various artists. -Harley Brown
Due Out: May 29th via True Panther Sounds

Lemonade – “Neptune”

Regina Spektor - What We Saw from the Cheap Seats

Currently embarking on a tour through the U.S. with Tom Petty and the Heartbreakers, Regina Spektor has already revealed to us nearly one-quarter of her upcoming album What We Saw From The Cheap Seats. The cute, earnest “Small Town Moon” and reworked, jumpy “Don’t Leave Me (Ne Me Quitte Pas)” showcase Spektor in her most accessible, but the cryptic (and a tad awkward) video for  “All The Rowboats” may make you wonder why it was chosen to be the lead single. We can expect a solid sixth record from Regina, and we’ll be looking for those gems undoubtedly buried within the songs yet unheard. -David Dililo
Due Out: May 29th via Sire/Warner Bros. 

[soundcloud url="http://api.soundcloud.com/tracks/44365980" iframe="true" /]

The Walkmen - Heaven

The Walkmen, with the help of producer Phil Eck and a guest spot by Robin Pecknold, returns with a rich album, a sound not previously heard from the band. With Heaven, that nervous energy is gone, but what has been left in its wake is a group comfortably growing old. In doing so, they’ve compiled their most personal collection of tunes. As clues into the rest of the sprawling LP, the first single and title track provide insight into the bucket of hooks there to unpack when the album is finally unleashed. -Ryan Staskel
Due Out: May 29th via Fat Possum 

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Sigur Rós - Valtari

Sigur Rós can take their records off the shelf, polish it, repackage it, and send it resounding through the snow fields and white-capped mountains of Iceland until the end of time for all I care. But what sets Valtari apart is its leap into cosmic reflection in contrast with the more neo-natal wonderment of their previous work. It dares to create even larger post-rock expanses and does so without the crutches of tension and release. Instead, Valtari is all about riding for the feeling. Of course it’s still cinematic, but now it’s less Vanilla Sky and more Tree Of Life, which is unequivocally a good thing. -Jeremy D. Larson

Due Out: May 29th via EMI/XL

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Big K.R.I.T. – Live From the Underground

Over the course of some seven years, Mississippi rapper/producer Big K.R.I.T. has manned the boards for everyone from Ludacris to Freddie Gibbs, all while releasing an increasingly influential and captivating series of mixtapes. Though the temptation for change undoubtedly abounds, expect his debut LP to continue on the same trajectory as his back catalog: spiritually aware, socially conscious raps backed by a soulful, retro-centric production style, created by a man who’s never forgotten his Southern roots or sense of duty. In essence, as the album’s title cleverly summarizes, K.R.I.T. will look to entertain throngs of new fans without leaving the confines of the underground bunker he’s worked so hard to fortify. It’s taken nearly a decade to get here, but K.R.I.T.’s more than well equipped to handle the Big Show. -Chris Coplan
Due Out: June 5th via Def Jam 

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Japandroids – Celebration Rock

Fans of Brian King and David Prowse’s Post-Nothing debut shouldn’t have a problem with their second LP. Of course, there’s the previously released single “The House That Heaven Built”, the monstrously fuzzed-up bro-down that doubles as contender for song of the year. But jams like “Younger Us” (also previously released), “Fire’s Highway”, and “Evil’s Sway” will hold up just fine on those long-sought summer nights, too, exuberant and flat-out fun in their catharses. Cheers to post-adolescence, once again. -Mike Madden
Due Out: June 5th via Polyvinyl 

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Liars - WIXIW

Liars have never been predictable, producing over the course of their 12-year tenure both a concept record about creativity and doubt and an album inspired by German legends about witchcraft, among others. Despite these disparate influences, they’ve always hewed to the same dance-inspired punk and drum machine-based songwriting; WIXIW, however, is “simultaneously the most accessible and most challenging release from these iconoclasts, it is both a summation of Liars’ work up to now, and a complete break from anything you’d ever heard the band do previously.” They’ve pretty much covered all the bases with that, leaving listeners with “No. 1 Against the Rush” to guess at what it means. -Harley Brown
Due Out: June 5th via Mute

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Neil Young & Crazy Horse – Americana

Last year’s Buffalo Springfield reunion came sans new recordings, but Neil Young devotees will be satiated when he drops his first album with the complete Crazy Horse lineup (Billy Talbot, Ralph Molina, and Frank “Poncho” Sampedro) since 1996’s Broken Arrow. The material is comprised of classic folk tunes like “This Land Is Your Land” and “She’ll Be Comin’ Round The Mountain”, which will disappoint fans aching for new material. Still, these guys getting back together is nothing to scoff at. Besides, a second record is coming this fall, so let this one tide you over. -Ben Kaye
Due Out: June 5th via Reprise 

Neil Young & Crazy Horse – “Oh Susannah”

PUJOL – United States of Being

With United States of Being, his full-length 12-track debut, Daniel Pujol ropes in his gritty-yet-catchy brand of garage rock. It would be wise to take the title literally, as Pujol states, “love can be a pretty subversive thing. It’s 12 neoliberal love songs for you and the significant Other.” How sweet. -Michael Roffman
Due Out: June 5th via Saddle Creek

PUJOL – “DIY2K”

Guided By Voices – Class Clown Spots a UFO

The classic GBV lineup is back for a victory lap with the album Class Clown Spots a UFO. No doubt, it will be a run through the lo-fi playground that Robert Pollard has called home for more than two decades. Let’s Go Eat the Factory, the inaugural album by the returned classic lineup brought us a sprawling 21 track brilliant mess, and with Class Clown Spots a UFO we have every reason to believe the band of merry drunkards will bring the goods one more time. -Ryan Staskel
Due Out: June 12th via Fire Records

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Hot Chip – In Our Heads

Hot Chip might not be putting out their fifth LP, In Our Heads, on longtime label DFA, but that doesn’t mean things are going to be any different. According to the band, whose myriad side projects (The 2 Bears, New Build) have been shelved for the greater good of dance floors everywhere, the new album will be “an unadultered delight of an album bursting with dynamic dancefloor-movers, instant yet enduring hooks, and verbose synth-fuelled love songs.” That sounds like everything they’ve ever done before, but, fortunately for Hot Chip, they always pull it off with Alexis Taylor’s bittersweet quaver between bumpin’ percussion. -Harley Brown
Due Out: June 12th via Domino

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Redgrave - National Act

It’s a rock renaissance out there in 2012, and Redgrave fills a perhaps unseen vacancy. The Chicago duo takes Sleep’s Holy Mountain, PJ Harvey’s Rid of Me, and The Dead Weather’s Sea Of Cowards and melts them all down into a five song EP that just incinerates everything in its path. Singer Angie Mead’s lupine bellow hits blue note after blue note over her dirge guitars and Stephen Howard’s economic drum work. National Act is a rare moment where something brash and ostentatious creeps slowly in the night, low to the ground, unseen but certainly not unheard. -Jeremy D. Larson
Due Out: June 12th via Lovitt Records

The Tallest Man on Earth – There’s No Leaving Now

Kristian Matsson arrived more or less fully formed when he released his first EP under the Tallest Man on Earth moniker in 2007. Since then, the actually-kinda-short Swede has continued to pump out sophisticated, yet totally natural and happily bare-bones folk that has translated to a pair of great-to-excellent LPs: 2008′s Shallow Grave and 2010′s The Wild Hunt. With There’s No Leaving Now, the usual shtick is to be expected, but so is a little (relative) experimentation; think “The Dreamer”, from ’10′s Sometimes the Blues Is Just a Passing Bird EP, featured some electric guitar, a then-unprecedented move for the usually acoustic-and-pipes Matsson. -Mike Madden
Due Out: June 12th via Jagjaguwar 

Usher – Looking For Myself

Though Usher has proclaimed his seventh LP, Looking For Myself, to be a revolutionary blend of pop, EDM, and R&B, the first three tracks indicate less soul-searching and more rehashing of past hits. There’s a baby-makin’ anthem (the Diplo-produced “Climax”), followed by the always-bangin’ club hit (“Scream”), and the most recent preview, the prerequisite rap collabo (the Rick Ross-aided “Lemme See”). Still, one can’t blame the guy for sticking to what works, with each subsequent effort a shinier, more succinct piece of pop craftsmanship. That, in a way, is far more rewarding than even the most meaningful of personal revelations. -Chris Coplan
Due Out: June 12th via RCA

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Fiona Apple – The Idler Wheel…

The highly anticipated follow up to 2005’s Extraordinary Machine, The Idler Wheel is Wiser than the Driver of the Screw, and Whipping Cords Will Serve You More Than Ropes Will Ever Do marks the enigmatic singer’s triumphant return after seven long years of silence. As evidenced by her recent SXSW performances, where she debuted a few tracks off the epically titled new album, Apple’s voice is as strong and emotive as ever. A North American tour—her first in five years—will follow the release. Don’t miss out—history argues that it’ll probably be another half-decade before you’ll get the chance to see her again. -Lainna Fader
Due Out: June 19th via Epic

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A Place to Bury Strangers – Worship

If your ears have a tendency to shy away from these Brooklyn shoegazers, it’s understandable. On their forthcoming LP, however, the band relies less on the reverb, distortion, and crunch, opting for “threads of krautrock, dream-pop, and ’80s goth without ever losing the edge,” according to a press release. Based on the careening first single, “You Are the One”, it’s likely your dancing shoes will shy away this time around. -Michael Roffman
Due Out: June 26th via Dead Oceans

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DIIV – Oshin

Beach Fossils guitarist Zachary Cole Smith carved out 60 tracks before formally crafting DIIV. Now with a full band in tow, Smith’s decided upon 13 tracks that gush with New Wave decadence, complete with glittery guitar work and Peter Hook-inspired basslines, all primed to add unnatural atmospheres to your summer nights. -Michael Roffman
Due Out: June 26th via Captured Tracks

DIIV – “How Long Have You Known?”

Ty Segall Band – Slaughterhouse

Bay Area psych-rocker Ty Segall isn’t routinely labeled prolific for nothing; Slaughterhouse, a collaborative effort from his Ty Segall Band (also featuring Mikal Cronin, Charlie Moothart, and Emily Rose Epstein), is Segall’s second of three albums in 2012. Despite the unrelenting release schedule, each record sees Segall further hone his wizard-like mastery of punk-inspired, psychedelic-colored gems of effervescent fuzz. From the hardcore doo-wop of “Diddy Wah Diddy” to the awkward-yet-unwaveringly furious “I Bought My Eyes”, Segall and co. have gone beyond blending pop, punk, garage, blues, etc. With passion and distortion galore, they’ve transformed the random, rockin’ components into something unequivocally Segall-ian. At this pace, Segall may very well reinvent all of rock just in time for the new year. -Chris Coplan
Due Out: June 26th via In The Red 

Ty Segall – “Wave Goodbye”

Mission of Burma – Unsound

Can we stop talking about Mission of Burma’s comeback already? It’s been 10 years since the seminal post-punk act reunited, and in that decade’s span, they’ve been more prolific than they were during their original 1980s go-around. (Some may even argue that Mission of Burma 2.0 have rocked even harder in their old age.) Jumping from Matador to Fire Records, Unsound will be their fourth record post-reunion, and from the sound of preview track “Dust Devil”, it’ll continue in their tradition of crank-the-volume-til-your-ears-bleed guitar rock. -Austin Trunick
Due Out: July 9th via Fire Records

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Dirty Projectors – Swing Lo Magellan

Spoiler alert: Angel Deradoorian will not be appearing on Dirty Projectors’ sixth studio album, Swing Lo Magellan. It’s definitely in keeping with frontman David Longstreth’s “stripped-down” approach, even if Deradoorian’s supernatural octaves had become one of the defining features of the band since she was brought on board in 2007. But the bare-bones arrangement of “Gun Has No Trigger” allows each classic Dirty Projectors element, from the choral atonalities to Longstreth’s Oberstian quaver, to still make every ear-hair stand on end. -Harley Brown
Due Out: July 10th via Domino Records

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Nas – Life Is Good

Is Lost Tapes II still a possibility? We might not care, because if “Nasty”, “Daughters”, and “The Don” are any indication, the Illmatic One’s 10th album will be one to remember. It’s Nas’ “magic moment” after all, and he’s spared no expense, enlisting both heavy hitters like Common, the late Heavy D, and No I.D., and relative freshmen like Jay Electronica. It even makes sense logically: God’s Son wouldn’t make an album that was even a contender for the “it’s-no-Illmatic” dismissal while touring his seminal first album at the exact same time. It’s definitely a more mature, fatherly Nas this time around, but the MC is still Nasty through and through. -Harley Brown
Due Out: July 17th via Def Jam 

Nas – “Nasty”

The Gaslight Anthem - Handwritten

On their previous releases, Jersey boys The Gaslight Anthem fashioned themselves the torchbearers of Springsteenian songwriting. Singer Brian Fallon has stated he’s moved on from that style, abandoning characters and allegorical storytelling for the more openly personal Handwritten - a fitting motif, as it’s the first album Fallon wrote entirely by hand. While the lead single, “45”, has only just been unveiled, the album promises to be “big, like Tom Petty songs played by Pearl Jam or the Foo Fighters.” The band seems pleased with what they’ve crafted, an album said to delve down a new path of fearlessness and growth for these Garden State rockers. -Ben Kaye
Due Out: July 24th via Mercury Records

[soundcloud width="500"]http://soundcloud.com/thegaslightanthem/45-1/s-iVlvZ[/soundcloud]

Passion Pit – Gossamer

Boston synthpop quintet Passion Pit kept enough momentum behind their Manners debut to headline MoogFest over two years after the album’s release. Scores of top festival spots have already rolled in for this summer, and their followup LP, Gossamer, was formally announced only a week ago. Much of what can be expected from the 12 new tracks comes from an interview with Pitchfork: contributions from composer Nico Muhly (“I’ll Be Alright”) and Swedish a cappella trio Erato; R&B stylings (“Constant Conversations”); and some honest, self-disparaging lyrics. The newfound lyrical bluntness, musical experimentation, and major label backing (Columbia) will attempt to meet some massive anticipation. -Ben Kaye
Due Out: July 24th via Columbia 

Atoms For Peace – TBA

If Thom Yorke’s latest DJ set is any indication, Atoms For Peace’s long-awaited LP may see light sooner rather than later. That being said, as one astute reader points out, it’s hard to read much into a remix. So what we know now remains the same as what we knew back in October when Yorke discussed the project with BBC Radio. “It was initially for fun to play all the Eraser stuff, but it sparked something off. So we ended up at the end of that getting into the studio and generating some new beats.” He added that their collaboration in an album in “the sense that Eraser was an album.” -Scoop Harrison
Due Out: Summer (hopefully)

The Avett Brothers – TBA

Producer extraordinaire Rick Rubin aided the brothers Avett on their last release, 2009’s breakthrough I and Love and You, so popping back in to produce their upcoming LP is a no-brainer. What we’ve heard live and seen on TV appearances is promising, to say the least. Scott and Seth Avett switch off on lead vocals during the string-sweeping “Down With the Shine”, while “The Once and Future Carpenter” features harmonies as strong as we’ve come to expect from the duo. One cause of concern: their trimmed hair. May the Gods keep them off the paths of Kings of Leon. -Justin Gerber
Due Out: Summer via American/Columbia 

The-Dream – Love IV MMXII

The-Dream, a.k.a. Terius Nash, still has yet to announce a release date for his fourth LP, but he couldn’t resist sharing a sneak preview with Rolling Stone back in March. As of right now, mere mortals can only hear (and watch videos for) singles “Roc” and “Kill the Lights” in their entirety. But if those are any indication of The-Dream’s forthcoming effort… ladies, watch out. -Harley Brown
Due Out: Summer via Def Jam

The-Dream – “Roc”

GOOD Music - GOOD Music

Just months after its “definitive” announcement, GOOD Music’s eponymous debut compilation has already reached near-mythical proportions. So far, the album’s sole preview, “Mercy”, is indicative of a very Kanye West-sounding album, with its references to Sarah Palin and Pac-Man and wobbly, bass-heavy production. Factor in West’s obsessive control complex and the fact that it is his label, and it should be an album of non-stop West-ian jams and bangers. Still, for a label looking to reach Wu-Tang Clan levels of influence, there’s perhaps no better way to bring home that coveted Platinum record plaque. -Chris Coplan
Due Out: 2012 via G.O.O.D. Music/Def Jam

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How to Destroy Angels – TBA

In December, Trent Reznor announced to Rolling Stone that the debut full-length from How To Destroy Angels, his project with wife Mariqueen Maandig and longtime collaborator Atticus Ross, would be released sometime during the first quarter of 2012. Alas, that time has come and gone, and summer fast approaches with little more information on the album. However, during the same interview, Reznor mentioned that early stages of production were influenced by the textures and deconstructed rhythms of “early Cabaret Voltaire“, pioneers of the industrial music genre. The LP is yet to receive an official release date or tracklisting, but according to a tweet from Reznor, the album’s final mixed was completed in mid-February. Reznor was notoriously slow at releasing his early NIN work, so here’s hoping for further details soon. -Derek Staples
Due Out: Summer via The Null Corporation

Rick Ross – God Forgives, I Don’t

Following a health scare in October 2011, Rick Ross was ordered by doctors to take it easy, leading to the delay of his long-awaited fifth album, God Forgives, I Don’t (originally slated to drop in December). Yet, despite the trauma associated with the ordeal, Ross took it all in stride, telling MTV’s RapFix that he planned to keep the release tentative until he was certain he could deliver a truly impactful work. Since then, the release of three album tracks (“You the Boss”, “I Love My Bitches”, and “Stay Schemin”) and the Rich Forever mixtape have indicated that Ross may well be steppin’ up his game (not hard considering past gems like “Only fat n***a in the sauna with Jews/Went and got a yacht, I’m talkin’ Carnival cruise”). If going for real, earnest rap gold is the true endgame, you take your time, Mr. Ross; even if we write about this LP in our summer 2013 guide, we’ll forgive you. -Chris Coplan
Due Out: Summer via Maybach Music Group/Def Jam 

Rick Ross feat. Nicki Minaj – “You the Boss”

Swans – The Seer

That conspicuously suspicious 13-year hiatus apparently gave Michael Gira more material than he was able to fit on My Father Will Guide Me up a Rope to the Sky, because Swans’ forthcoming double album is a “complete synthesis of everything I’ve done and everything Swans has done.” It features fellow innovators in equally disparate fields, like Akron/Family, Karen O, and slow-core staple Low’s Alan Sparhawk and Mimi Parker. For The Seer, Swans continues to move somewhat away from its seminal, defining abrasion toward a more nuanced, “beautiful and pastoral” sound. So far, the only hint we have is Swans performing a new song, “Avatar”, in Moscow. -Harley Brown
Due Out: Summer via Young God

It’s finally Record Store Eve, everyone! The night in which, uh, Record Santa, throws records down a chimney — or something. While we can’t promise you a visit from some made-up record-slinging fat man, we can promise you that we’ve got another batch of big tunes from heavy hitters including Beach House, The Walkmen, and Hot Chip. So, sit tight, take a listen to these ten tracks, and keep the anticipation going for tomorrow’s big day.

-Adam Kivel
Senior Editor

A.Dd+ – “When Paris Smokes”

This feature’s obligatory 4/20 jam, “When Paris Smokes”, finds Dallas duo A.Dd+ weaving unsurprisingly impressive verses around the topic of Miss Mary Jane. It takes awhile for the track to really kick in, but when it does, Paris Pershun and Slim Gravy cast their early-Outkast-biting tendencies into something elegantly stoned; I can practically smell smoke seeping out of my speakers when it’s on. One issue, though: Shouldn’t these guys be referencing Nowitzki and Terry instead of Parker and Ginobili? -Mike Madden

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Arctic Monkeys – “Electricity”

The B-side to Record Store Day single “R U Mine?”, “Electricity” blends dark pseudo-psychedelia with the umpteenth flaunt of Alex Turner’s melodic gifts. Neither the riffs nor the solos feel indulgent, and the track is a perfect example of the band’s currently manifesting maturation; there’s not much negative to say about the Monkeys’ compulsively listenable first few years, but the stuff they’ve been putting out lately has had the potential to satisfy much wider audiences. So you’ll be at your local mom-and-pop tomorrow, right? -Mike Madden

ASAP Rocky – “Goldie”

The first taste of ASAP’s forthcoming LongLiveASAP LP, “Goldie” was produced by “Niggas in Paris” sculptor Hit-Boy and bears no provincial sonic ties (unless you count the somewhat Houstonian chorus). Still, the Harlem native ASAP makes his own world out of the track, flexing his chameleonic flow throughout. Some of the brags and subject matter are rote, sure (“Call me Billy Gates, got a crib in every state“), but that doesn’t really matter when everything else is centered on a backdrop as luxuriating as this one. -Mike Madden

ASAP Rocky – “Goldie”

Beach House – “Lazuli”

This cut from Maryland dream poppers Beach House comes from their soon-to-be-released LP, Bloom (May 15, via Sub Pop), but it’s also one you can pick up on snazzy white vinyl for Record Store Day. It’s entirely possible to picture that 7″ slab spinning like a lost cloud as the chilly synths, lolling vocals, and marshy percussion waft away. There’s a hazy power to this track, hinting at what is one of the most hotly anticipated albums of the year. -Adam Kivel

Beck – “I Only Have Eyes for You”

Between producing LPs like Thurston Moore’s Demolished Thoughts and Stephen Malkmus and the Jicks‘ Mirror Traffic, most of Beck’s recent musical output has been through helping others. However, that doesn’t mean dude hasn’t been willing to put out a song or two of his own. On “I Only Have Eyes for You”, a rendering of the Flamingos’ 1959 cover of the post-Tin Pan Alley classic, Beck waxes sweet and soulful atop steady piano plunks and crisp major guitar chords, not to mention the enveloping production. Finger-snapping is all but required. -Mike Madden

Doug Paisley – “Sad Sinner”

The extent of an acoustic singer-songwriter’s talent might best be determined by how willingly, and deftly, he or she embraces vulnerability. This is something Doug Paisley knows full well. On the countrified dirge “Sad Sinner”, the Toronto denizen recruits the likes of timeless mandolin and wistful fiddle to guide him through a lament on his faults and limits. Don’t expect too telling a glimpse into Paisley’s theology, but between the quietly melodious riffs and verses, the whole thing’s a small thrill. Paisley’s five-song Golden Embers EP, from which “Sad Sinner” comes, is out now on No Quarter. -Mike Madden

Doug Paisley – “Sad Sinner”

Hot Chip – “Night and Day”

London electro-poppers Hot Chip have been releasing critically well-received albums every two years, and 2012 doesn’t seem like it’s going to end that streak. “Night and Day” is the lead single from In Our Heads (due June 12 from Domino), the band’s fifth record. The plonky, smoky, synth-laden track seems made for a crowded dance floor. The syncopation and insistent rhythm flow by under Alexis Taylor’s deadpan lines. This track will find its way onto plenty of summer dance party mixes. -Adam Kivel

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Major Lazer (Feat. Amber Coffman) – “Get Free”

It’s been three years since we’ve heard an LP from the production/DJ dream team of Diplo and Switch, and they’ve heralded their return in a big way. Not only did they release the first track from their as yet untitled upcoming LP, “Get Free” (which features Dirty Projector Amber Coffman), they’ve given a Bondo de Rolê remix and a sort of sing-along video to go along with it. Coffman’s working on the same sort of weirdo-soul kick as she did on “Stillness is the Move”, and the production is low-slung, even subdued, a strange but alluring change from these notorious party-starters. -Adam Kivel

Shmu – “House of Stares”

One half of Austin, TX psych-rockers Zorch, Sam Chown has developed his own singular voice under the name of Shmu. The multi-instrumentalist sounds at home on “House of Stares” despite its utter left-turn from the material of his other project. The groovy, bouncing rhythm (even including a lithe xylophone) makes for one jazzy, smooth track. Chown’s multi-layered pop sensibility sounds inspired by ’70s pop-rock, the song coming together to make a breezy jam for a sunny afternoon. -Adam Kivel

Shmu – “House of Stares”

The Walkmen – “Heaven”

The Walkmen have spent the last ten years seemingly on the cusp of being the biggest band in indie rock. They’ve done pretty much everything, including Harry Nilsson covers, bar-room stomp, and ripping indie rock. After all of that, though, they’re still rocking here on the title track to their soon-to-be-released 7th LP, Heaven (due June 5 from Fat Possum). The super-jangly guitars and kinetic vocals should make for a live staple, and a blast to hear recorded as well. -Adam Kivel

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Hot Chip’s fifth LP, In Our Heads, is out June 12th via the band’s new label Domino Records. Following “Flutes”, your second taste comes in the form of  ”Night and Day”, which you can stream below.

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The album’s lead single, “Night and Day” will be released digitally and on 12″ vinyl on June 4th. The single comes backed with a remix of “Night and Day” by The 2 Bears and a non-album track called “Jelly Babies”. In addition, a remix of “Night and Day” by Daphni (aka Caribou) will be released on limited-edition 12″ vinyl for Record Store Day 2012 (April 21st.)

Update: That’s the album cover above.

In Our Heads Tracklist:
01. Motion Sickness
02. How Do You Do
03. Don’t Deny Your Heart
04. Look At Where We Are
05. These Chains
06. Night And Day
07. Flutes
08. Now There Is Nothing
09. Ends Of The Earth
10. Let Me Be Him
11. Always Been Your Love

This past week, it felt like everyone was in Austin, TX. Between the tweets, Facebook posts, or random scans through the blogosphere, news about the awesomeness that is SXSW was utterly inescapable. But even while the majority of the music world’s attention turned in that very particular direction, there was still a bunch of stuff going on that served as a consolation prize for those stuck everywhere but Texas. The lucky ones can sample this, too, like the icing on the already massive cake. Featuring tracks from Guided By Voices, Garbage, Jack White, and more, this should do the trick.

-Adam Kivel
Deputy Editor

Death Grips – “Lost Boys”

Not many tracks can match the grimy darkness of “Lost Boys”, the third preview off Death Grips’ upcoming The Money Store (April 24, via Epic). Huge swashes of dubstep-esque bass and a splintered drum sample provide the backbone, and a sample of a female voice blithely saying the song’s title is as close to a hook as it gets here. Stefan Burnett’s rhymes about being “gated zone terrorizers” and “blood on barbed wire,” bleak stuff equally matched by producers Zach Hill (of Hella) and Andy Morin.-Adam Kivel

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Garbage – “Blood for Poppies”

It’s been seven years since Garbage released the commercially big, critically middling Bleed Like Me. The May 14th release of Not Your Kind of People ends that absence, and “Blood for Poppies” is an early taste of what’s to come. Huge, fuzzed out, noir-y guitar chops supplement the vaguely dubby rhythm of the verse, while vocalist Shirley Manson’s chorus is vintage pop rock radio material. The Metric-y track rumbles and kicks, relishing the big moments and producing a memorable hook. -Adam Kivel

Gossip – “Perfect World”

Though Gossip haven’t completely disappeared since 2010′s Music for Men (frontwoman Beth Ditto put out a pretty solid solo mixtape/EP last year), they’ve certainly been missed. The dance-punk trio are back this week with “Perfect World”, the very infectious lead single off of their forthcoming fifth LP A Joyful Noise. The synth-leaning track (no doubt indebted to producer Brian Higgins, of Pet Shop Boys and Kylie Minogue fame) is a surprisingly patient effort for Gossip–though the trio seem to have no trouble amping things up each time that massive chorus comes around. A Joyful Noise is out May 22 on Columbia Records.-Möhammad Choudhery

Stream it here: http://perfectworld.gossipyouth.com/

Guided By Voices – “Keep it in Motion”

When ’80s/’90s college rock bands reunite, it’s often more in the “Let’s make some money on another tour vein” than with the idea of restarting the creative process. But the always prolific Robert Pollard and the whole classic crew are seemingly back on for real, planning to release their second LP of the young year with the June Fire Records release of Class Clown Spots a UFO. On opening single “Keep it in Motion”, kickstart drums and lo-fi guitar strumming whir underneath mantra-like vocals repeating the lines “keep it in motion/ keep it in line.” The simplicity of the thing is its strength, the old equation still producing solid results. -Adam Kivel

[soundcloud width="500"]http://soundcloud.com/firerecords/guided-by-voices-keep-it-in[/soundcloud]

Hot Chip – “Flutes”

This June, London electro outfit Hot Chip are set to finally release their follow-up to One Life Stand, their brilliant, CoS Top Star-earning album from way back in 2010. We got our first listen to the record, to be titled In Our Heads, this week, when the quintet released an in-studio video for its first single “Flutes”. It’s a dizzying (literally) eight minutes of slow-morphing, constantly evolving dance-pop glory that certainly sets the bar high for the rest of In Our Heads, due out June 11 on Domino. -Möhammad Choudhery

Jack White – “Sixteen Saltines”

About as far from Blunderbuss‘ first single “Love Interruption” as we’d imagine Jack White would go (and much closer to what many had expected at the news of a White solo album), we first heard the raucous “Sixteen Saltines” as the second half of his stellar SNL performance. The track, marked by some of Mr. White’s typically chunky riffage and a heavily phased bridge, gets its official release here, out next Tuesday as a 7″ single, backed by that really great U2 cover he cut back in October. Oh, and Blunderbuss is out April 23rd on Third Man Records. -Möhammad Choudhery

The Kickdrums (Feat. Casey Veggies) – “Thieves in the Choir”

The Brooklyn team of Alex Fitts and Matt Penttila, AKA The Kickdrums, sound like they have a giant blender that they can toss entire genres into, whirring them up into some sort of tasty musical milkshake. The second single from their upcoming mixtape Follow the Leaders, “Thieves in the Choir” is a chilly, sugary dose of neo-psychedelia, complete with icy synths and heavy bass. The beat comes to the forefront, though, under a verse from founding Odd Future member Casey Veggies, his flow silky smooth alongside the dripping instrumental. -Adam Kivel

The Kickdrums feat. Casey Veggies – “Thieves In The Choir”

Quakers – “Smoke (feat. Jonwayne)”

Though he’s most famous as a third of Bristol trip-hop legends Portishead, Geoff Barrow is set to release his hip-hop debut later this year under the name Quakers on the famed L.A. imprint Stones Throw. “Smoke” is the second cut to be released off the forthcoming record, and it’s straight fire, with Alpha Pup beatwiz/rapper double-threat Jonwayne deftly handling MC duties. Quakers’ release is out March 27th on Stones Throw Records. -Möhammad Choudhery

Quakers – “Smoke”

Spiritualized – “Little Girl”

Jason Pierce, the man behind Spiritualized, says much of his inspiration for the group’s soon-to-be-new album came from the extensive Ladies and Gentlemen, We Are Floating in Space tour they embarked on last year, which saw them play their classic 1997 record in its entirety night after night. No surprise then, that “Little Girl” is the second straight blissfully, spaced-out jam that you’d be excused for mistaking for one off of that hallowed album. Check out Pierce and co. perfuming said blissfully, spaced-out jam live on BBC Radio 6 below. Sweet Heart Sweet Light is out April 17th on Fat Possum. -Möhammad Choudhery

Teen Daze – “Treten”

It’s fitting that the Vancouver producer known as Teen Daze has shrouded his true identity in mystery, only revealing his first name as Jamison. His futuristic, wavering, dizzy synth worlds and lush vocals pulse with a cloudy energy that works without personal context. On “Treten”, the opening track of his upcoming LP, All of Us, Together (via Lefse Records), blurry, arpeggiated synths trail off in every direction, insistent bass tones pulsing out a heavily danceable beat. The melody is vaguely new wave-y, but the wave this track catches is stuck in outer space, complete with a free-floating, twinkling star break. -Adam Kivel

Teen-Daze – “Treten”

Hot Chip has expanded their 2012 tour schedule ahead of their fifth LP, In Our Heads, out June 12th from the band’s own Domino Records. The new dates crisscross the globe, bouncing back and forth across the Atlantic from June through September. Stops include previously announced appearances at Pitchfork and a handful of European festivals. See the complete itinerary below (new dates in italics), followed by the in-studio video for their new track, “Flutes”.

Hot Chip 2012 Tour Dates:
06/10 – Sheffield, UK @ Leadmill
06/11 – Cambridge, UK @ Junction
06/13 – London, UK @ Heaven
06/15 – London, UK @ Lovebox
06/16 – Barcelona, ES @ Sonar Festival
07/13 – Minneapolis, MN @ First Avenue
07/14 – Chicago, IL @ Pitchfork Music Festival
07/15 – Toronto, ON @ Sound Academy
07/17 – Boston, MA @ House of Blues
07/18 – Brooklyn, NY @ Prospect Park Bandshell
07/21 – Philadelphia, PA @ Electric Factory
07/27 – Dorset, UK @ Camp Bestival
08/10 – Hamburg, DE @ Dockville
08/11 – Saalburg, DE @ SonnesMondSterne
09/02 – Stradbally, IE @ Electric Picnic
09/06 – Isle of Wight, UK @ Bestival
09/09 – Los Angeles, CA @ Hollywood Bowl *
09/11 – Oakland, CA @ Fox Theater
09/13 – Portland, OR @ Crystal Ballroom
09/14 – Seattle, WA @ Paramount Theatre
09/15 – Vancouver, BC @ Commodore Ballroom
09/22 – Mexico City, MX @ Pepsi Center

* = w/ Passion Pit and Omar Souleyman

Hot Chip has released an in-studio video for “Flutes”, the first song to surface from the band’s upcoming fifth album In Our Heads. The track samples a two-note flute melody, with inspiration from James Holden’s remix of Nathan Fake’s “The Sky Was Pink”. Advanced warning: you may wanna take a dramamine before clicking play below.

In Our Heads hits stores on June 12th via the band’s new label Domino.

In Our Heads Tracklist:
01. Motion Sickness
02. How Do You Do
03. Don’t Deny Your Heart
04. Look At Where We Are
05. These Chains
06. Night And Day
07. Flutes
08. Now There Is Nothing
09. Ends Of The Earth
10. Let Me Be Him
11. Always Been Your Love

Despite their many side-projects, Hot Chip will soon return with their fifth LP, and the first since 2010′s Top Star-earning One Life Stand. Entitled In Our Heads, the 11-track effort was recorded in London and produced by the band themselves, with additional production and engineering by Mark Ralph. It will be released by the band’s new label, Domino Records, on June 11th in the UK and June 12th in the U.S.

A press release describes the end result as “an unadultered delight of an albumbursting with dynamic dancefloor-movers, instant yet enduring hooks and verbose synth-fuelled love songs.”

In support of the release, Hot Chip will hit the road this summer with appearances at Pitchfork and a number of European festivals. Check out their current tour schedule beneath the tracklist.

In Our Heads Tracklist:
01. Motion Sickness
02. How Do You Do
03. Don’t Deny Your Heart
04. Look At Where We Are
05. These Chains
06. Night And Day
07. Flutes
08. Now There Is Nothing
09. Ends Of The Earth
10. Let Me Be Him
11. Always Been Your Love

Hot Chip 2012 Tour Dates:
06/15 – London, UK @ Lovebox
06/16 – Barcelona, ES @ Sonar Festival
07/13-15 – Chicago, IL @ Pitchfork Music Festival
07/27 – Dorset, UK @ Camp Bestival
08/10 – Hamburg, DE @ Dockville
08/11 – Saalburg, DE @ SonneMondSterne
09/02 – Stradballe, IE @ Electric Picnic
09/06 – Isle of Wight, UK @ Bestival
09/09 – Los Angeles, CA @ Hollywood Bowl *

* = w/ Passion Pit and Omar Soulyman

The Pitchfork Music Festival returns to Chicago’s Union Park from July 13-15th. This year’s bill is topped by Vampire Weekend, Feist, and Godspeed You! Black Emperor, and they’ll be joined by Hot Chip, ASAP Rocky, araabMUZIK, Kendrick Lamar, Cloud Nothings, Liturgy, Grimes, The Field, Willis Earl Beal, Tim Hecker, and 30 other as yet unannounced acts.

Tickets go on sale Friday, March 9th at 12:00pm CT, with single-day tickets for $45 and a limited number of three-day passes for $110. Visit the festival’s website for more information.

That other Hot Chip off-shoot, New Build, packs Al Doyle and Felix Martin, along with engineer Tom Hopkins. The trio made their debuted late last year with the release of the 12″ Misery Loves Company, and they’ll return on April 3rd with their debut full-length, Yesterday Was Lived and Lost, via their own imprint Lanark Recordings.

According to an issued press release, New Build drew on the music of the Human League, Peter Gabriel, Robert Wyatt, and Chris & Cosey to create an effort that contrasts the upbeat dance and house production styles with “lyrics preoccupied with loneliness, addiction and failed relationships.”

For an early taste, the band has offered up a four-track sampler, comprised of the songs “Do You Not Feel Loved?”, “Mercy”, “Finding Reasons”, and the previously-released “Misery Loves Company”. Stream each track below.

New Build also have a few dates upcoming, which you can find listed below.

New Build 2012 Tour Dates:
03/06 – Glasgow, UK @ Captains Rest
03/07 – Leeds, UK @ Cockpit 2
03/08 – Manchester, UK @ Deaf Institute
03/09 – London, UK @ Corsica Studios
03/10 – Brighton, UK @ Sticky Mikes
03/13 – New York, NY @ Mercury Lounge
03/14 – New York, NY @ Mercury Lounge
03/20 –  Berlin, DE @ Lido
03/21 – Cologne, DE @ Gebaude 9
03/22 – Amsterdam, NL @ Bitterzoet
03/23 – Brussels, BE @ Botanique/Rotonde
03/24 – Paris, FR @ Point Ephemere

Formed in 2009, The 2 Bears are the London duo made up of Hot Chip’s Joe Goddard with DJ and radio host Raf Rundell. Their collaboration is born out of a shared passion for House music, especially its communal vibe. Rundell adds affable lead vocals to several tracks in a South London amalgam of Ian Drury and Jona Lewie with a touch of Damon Albarn. It’s an easy-on-the-ear style that adds a lightness to the record. Having said that, “The Birds & the Bees” provides a bright opener, though it is largely instrumental. Little, looped layers of melody and bursts of brass add interest to an essentially two-chord turn.

The title track breezes down a familiar corridor while “Bear Hug”, which follows, sounds like the duo have invited English boxer Frank Bruno along to provide guest vocals. The alleged Bruno returns with some homespun homily on “Warm & Easy” (“Love is lovely, and war is ugly”), a song that drifts along nice and easy, keeps its tongue in cheek, and hits the uplift spot. The geezer-in-a-stetson approach to “Time in Mind” is possibly the only time the record misses a beat. The album closes with “Church”, a kind of comedown song with less of the chill. It embraces the communal spirit of House and resolves itself into the mantra “Let’s get up together” laced with Caribbean rhythms. And with that conundrum, the album neatly avoids any accusations of mere pastiche.

Essential Tracks: “The Birds & the Bees”, “Warm & Easy”, and “Church”

Recently, Hot Chip frontman Alexis Taylor joined forces with Charles Hayward (This Heat), John Coxon (Spring Heel Jack, Spiritualized), and Pat Thomas to form the About Group. Following in his footsteps, Hot Chip members Al Doyle and Felix Martin, alongside engineer Tom Hopkins, have formed their own side project in New Build. LCD Soundsystem aficionados will note that Doyle was also a long-time member of the LCD lineup, thus making this new outing something of a supergroup.

While the trio are the only fixed members, the band will work with a continually-rotating cast of collaborators. Their debut release, Misery Loves Company, will be a limited-edition 12″ comprised of three tracks and featuring contributions from other ex-LCD Soundystem members. LCD Soundsytem drummer Pat Mahoney guests on “Guitar Man”, while Planningtorock (Janine Rostron) remixes “Finding Reasons”. Check out samples of all three tracks below (via FACT).

A full-length album from New Build is in the works. For now, Misery Loves Company will hit stores in the UK on November 28th via the band’s own Lanark Recordings label.

Music Videos:

Stripmall Architecture – “One of Three” – A Cluster 1 Premiere! Beautiful nature shots that would make Planet Earth blush, complete with a sexy girl maneuvering through the landscape. This video is hauntingly beautiful.

Virgin Islands – “No Doctor” – A Cluster 1 Premiere! This crunchy thrash track gets visual accompaniment that suits the title perfectly. A hospital patient on a gurney rolls solo through the city streets, and is out of control!

Airlines – “Colors” – A Cluster 1 Premiere! Old school U.S.A. bicentennial animation complete with a diabolical track from psychedelic rockers…this video should not be watched on drugs.

Hot Chip – “Ready for the Floor” – Lead singer Alexis Taylor becomes a two-faced Joker, and sets a number of death traps on his unsuspecting band mates. And the kids in my band call me an asshole!

Hot Chip – “I Feel Better” – You will feel better after watching this video and seeing boy bands get exterminated from the face of the Earth. The world is a better place without 98 Degrees.

Another Round:

Beastie Boys – “Sabotage” – “Jonze agreed to work with the Beastie Boys on “Sabotage”. The now iconic send-up of ’70s cop shows became incredibly popular with MTV fans and helped push the Ill Communication album to the top of the charts. The band, as well as DJ Hurricane, played multiple characters, all with terrible mustaches and wigs.” –Nick Freed

Don’t Forget…

– Want a constant stream of musical goodness? Check out our Channel, featuring over 30 music videos, several short films, and other nifty clips, all crammed together in one non-stop barrage of visual and aural stimulation.

- Social networking is a way of life, so follow us at @cluster1tv and on Facebook

Director Nima Nourizadeh definitely seems like a fan of two things in particular: colorful, life-sized puzzles and Tim Burton’s first Batman film, or at least Prince’s videos for it. In Hot Chip‘s “Ready for the Floor,” lead singer Alexis Taylor switches between different outfits rapidly. He appears as both himself, the Joker, and a strange combination Two-Faced combination of the two, ala “Batdance”. He maniacally tortures his bandmates with puzzles and deathtraps, splatters paint over classical busts, and teaches them valuable lessons, such as: “if you gotta go, go with a smile” and “never rub another mans rhubarb”.

Directed by: Nima Nourizadeh

If we rewound the clock about a decade and turned on MTV, we’d be met with a horrifying sight. No, not The Real World. We’d be caught in the era of boy bands. While these groups have mostly faded away (some gone long enough to warrant a reunion tour), there’s still a lingering sense of missed revenge for some people. Peter Serafinowicz’s video for Hot Chip‘s “I Feel Better” is made to fulfill that purpose. A boy band is slowly exterminated in face-offs with a guru-esque performer. Yep, I feel better already!

Directed by: Peter Serafinowicz
Produced by: Tamsin Glasson
Production Company: Colonel Blimp
Director of Photography: Eric Maddison
Art Director: Ben Ansell
Choreographer: David Leighton
Edited by: James Rose at Cut + Run

According to an issued statement, Start and Complete was recorded in one day at Abbey Road, Studio 2. Taylor wrote the songs over the course of a few years, but did not share in advance so that “no one band member would know the songs well enough to have specific parts, or be prevented from playing something like the first ideas that came into their head.”

The end result, which be released April 26th via Domino Records, is described as “collection of songs created in an atmosphere of close listening and instinctive group interplay.” You can get an early taste by checking out the band performing the album’s lead single, “You’re No Good”, in the teaser video below. Scroll further down to find the tracklist.

Start and Complete Tracklist:
01. Married To The Sea (a)
02. Don’t Worry
03. With Each New Day
04. Repair Man
05. Lay Me Down
06. A Perspective
07. There’s a Way To End This Run of Doubt
08. A Sinking Song
09. Nothing But Words
10. You’re No Good
11. Rough and Smooth
12. Start and Complete
13. Dreamt I Saw You Late Last Night
14. Married To The Sea (b)

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

Who can’t relate to a line like that? It exudes confidence, makes you feel good. In fact, you won’t find many disagreeing that “Like a G6″ was the feel good hit of the summer. If Far East Movement isn’t on your iPod, you’re lying to yourself, because it may be silly, but heck if it isn’t irresistible. Don’t get us wrong; we acknowledge that whatever hit blew up on radio in a given year isn’t necessarily among the best songs in that year. But that doesn’t mean it can’t be.

Putting together a list of the year’s best songs isn’t exactly a science. With an album list, it’s easier to quantify exactly why one is better than the other — of course Merriweather Post Pavilion is better than Lungs, but it’s not as obvious why “My Girls” is a better song than “Dog Days Are Over”. It’s apples and oranges, and truly, 50 different writers could pick 50 different songs as their number one. Still, just because it’s hard to quantify something doesn’t mean it can’t be done, and we’ve done it, dammit.

As long as 50 songs were released this year, it must be possible to rank the top 50 in descending order. It may seem a little strange to drop a bubblegum pop smash next to a sad indie anthem, or to juxtapose a film score cue with a rap song about drug recovery, but that’s the beauty of it! One of those works of art is superior to the other, and we’ve taken a position on which is which.

Still, look at the big picture here: The 50th-best song is 50th out of what, 3,298 new ones that our staff has collectively heard this year? Any way you slice it, that’s one of this year’s best tracks. So scroll through this list, shake your head in anger or disbelief a few times, but know that — no matter where it appears on the list — if you haven’t heard any of these, you have some iPod homework to get to.

-Harry Painter
Associate Editor

50. Far East Movement – “Like a G6″

Really good pop music is like a virus: You have no defense from its lightning-quick assault, and it takes over your entire system. No track of 2010 was more disgustingly efficient in this respect than “Like a G6”. Thanks to an onslaught of synth, a particularly pounding 808 beat, and a chorus overflowing with sex appeal and the ecstasy of a good time, this beast came out of nowhere to trample our tastes and make its presence known. This might be from the fever, but this completely insubstantial little ditty made our year. -Chris Coplan

49. The Dead Weather – “I’m Mad”

Served with a mixture of lo-fi aesthetics and quality sound from the Jack White camp, The Dead Weather is definitely a dark horse in our favorite vinyl proponent’s arsenal. “I’m Mad” feels like two songs in one — the first half a slow strut in shadow, while the second gets all T. Rex on you. As awesome as The Dead Weather is, “I’m Mad” is only a fraction of that wide palette, and I’m betting it would sound stellar on Third Man Records’ custom headphones. -David Buchanan

48. Band of Horses – “On My Way Back Home”

This may become the defining song in the Band of Horses catalogue. The soft, acoustic trip of “On My Way Back Home” is a reminder that sometimes a song is good for no apparent reason. A listener does not always have to dissect every lyric or every note to understand a song. Infinite Arms was a release on which the band achieved a new level of maturity, and this track is the epitome of the plateau they were able to reach. No matter where you get on, this song makes for an enjoyable ride all the way back home. -Kevin Barber

47. The Thermals – “Not Like Any Other Feeling”

This is tried and true Thermals here: the hooky guitar riff, the thoughtful lyrics, and the head-bobbing rhythm. Hutch Harris’s twanging guitar flies over Kathy Foster’s thumping, charging bass and drummer Westin Glass’s loose, fun time-keeping. But even standard Thermals is good enough to crack a Best of the Year list, so there you have it. -Adam Kivel

46. Diddy-Dirty Money – “Coming Home”

Maybe Jay-Z and J. Cole deserve to have their names in bold above instead, but Diddy and his new crew helm the tune handily. We’re not sure how necessary it is for him to have a new album, but as long as he puts out tracks of this quality and Detox is still unfinished, we’ll forgive him. -Harry Painter

Diddy-Dirty Money - "Coming Home"

Buy: “Coming Home”

45. Delta Spirit – “St. Francis”

Showcasing frontman Matt Vasquez’s emotional, craggy voice over southwestern strums and horns, “St. Francis” is Delta Spirit at their best. The song blends various American styles with the kind of dirty paintbrush that the band wields so well. Themes rooted in the beliefs of the title’s namesake remind us to look for what’s really important in life, and that it’s often closer and simpler than we think. Small pleasures, like this track, are what make living so good. -Ben Kaye

44. Lupe Fiasco – “The Show Goes On”

Horns and a Modest Mouse-esque guitar line buoy the lead single from Lupe Fiasco’s forthcoming LP, Lasers, but the most amazing thing about the song is how catchy it is. While Atlantic Records was reportedly upset about Lasers’ lack of “radio hits,” this four-minute cut boasts one of the most instantly memorable hooks of 2010, and the song’s message about perseverance makes it play like the ultimate “never give up” anthem. -Ray Roa

Lupe Fiasco - "The Show Goes On"

Buy: “The Show Goes On”

43. Eminem – “Not Afraid”

“Not Afraid”, the lead single off Recovery, did a lot of good for Slim Shady’s career and his own sense of well-being. He dropped a lot of the characters and voices he had held on to for so long, found a place of peace, and decided to bury a lot of his demons. It’s an anthem for those ready to move on and start anew, where the good of the world is a lot better than all those oh-so tempting vices, and where a little change is nothing to be afraid of. -Chris Coplan

42. Hans Zimmer & Johnny Marr – “Time”

Some moments in film beg for your flesh and blood. It’s not always the directing, though. Sometimes (actually, most of the time), it’s strictly the score. When Hans Zimmer tagged Johnny Marr to join him in scoring Christopher Nolan’s latest brainbuster – this past summer’s Inception – the indie online community reached for its box of Kleenex. While the film dusts off the eyes, the score tackles the ear, only to dig far down and clench your heart with a cold, icy fist. The perfect moment arrives at the film’s rousing finale, right when “Time” chimes in. With soft piano keys and minimal guitar work, the two musicians – Zimmer and Marr, to be exact – dance together in what may be the most hard-hitting theme to a motion picture in years. On its own, however, let’s just say…you wouldn’t argue having it played at your funeral. -Michael Roffman

41. Miniature Tigers – “Bullfighter Jacket”

As Coasts, Beaches, and Wavves are scarce in the Midwest, this summer single provided a surf-less gem for those without an ocean view. The opening “yah yahs” trump any indie hook of the year, and its breezy diffidence and matador metaphors create a perfect love song that is the concise sum of the last decade of indie music. Summer feelings last forever in this brief three-minute tune. –Jeremy Larson

40. Deftones – “Rocket Skates”

Catchy, driving, and powerful, “Rocket Skates” from Deftones‘ Diamond Eyes is a song that sums up everything the Deftones are. The crunchy, grinding guitar riffs at the beginning are the perfect setup for Chino Moreno’s vocal journey, which encompasses melodic wails and eye-watering shrieks. During the climax, when he screams, “Guns, razors, knives!” and follows with a playful vocal fill of “whooo!”, you buckle up and hold on tight. -Karina Halle

39. Devo – “Don’t Shoot (I’m A Man)”

Devo’s return has been nothing short of amazing. Something For Everybody rocked our year, and “Don’t Shoot (I’m A Man)” is right there at the top of the track stack. It’s a high-energy, electronic joyride through Devo’s hall of modern peril – delightfully dancey, outstandingly cynical, and easily the most fun song of the year. Plus, it gets a million bonus points for working “don’t tase me, bro” into a dance song – pop art brilliance! -Cap Blackard

38. Broken Bells – “The High Road”

“Cause they know/and so do I/The high road/is hard to find,” sings James Mercer on the first single off of Broken Bells. The catchy indie hit put this odd yet delightful pairing of Mercer and Danger Mouse on the map. Danger Mouse (Brian Burton) not only lends his production skills but also plays drums. Mercer’s subtle sound is perfect vocally on this track, as he dabbles in a variety of ranges and lets us know something most of us already know about trying to find the high road. -Kevin Barber

37. Chromeo – “Don’t Turn the Lights On”

Chromeo‘s Business Casual left something to be desired, but that doesn’t mean the guys didn’t put out an irresistible jam. “Don’t Turn the Lights On” is a simple groove, but it builds at the right moments, and how can you not love the message? -Harry Painter

36. Surfer Blood – “Swim”

In a year when Weezer can’t figure out who the hell they are, Surfer Blood seem to have a pretty solid stance of their own: “Swim” is the year’s most infectious indie rock track, hearkening back to a simpler time of old-fashioned fuzz riffs and shouted hooks. Swim on, gents. -Ryan Reed

35. B.o.B. – “Don’t Let Me Fall”

With a dreamy piano intro, “Don’t Let Me Fall” – the opener of B.o.B.’s stellar debut – is one of the strongest tracks of the year. Throughout, he talks of his dreams and whether they will be fulfilled, so it is fitting that the first lyrics on the disc are “Well it was just a dream/just a moment ago/I was up so high, looking down at the sky/don’t let me fall.” These confident yet vulnerable lyrics continue as he reaches new heights, but there always exists a fear that he may eventually come crashing down. What goes up always comes down, but “Don’t Let Me Fall” may continue to rise for years to come. -Kevin Barber

34. No Age – “Glitter”

With their second album titled Everything in Between, No Age are clearly striking for an LP that accurately portrays the ins and outs of growing up; “Glitter” is the song that does that best. It’s a lot of junk noise and beats and effects coupled together with a steady rhythm and a flourish of guitar. It’s a hybrid of their sensibilities and styles, all held together by the glue of a couple guys looking to finally get a much needed win. Isn’t that something we can all get behind? -Chris Coplan

33. Menomena – “TAOS”

Densely layered with loops of piano, hellacious saxophone riffs, Pet Sounds harmonies, dirty, fuzzy garage rock riffs, and unrelenting percussion, the two-act “TAOS” is the perfect introduction to the world of Menomena. Although the tune is the Portland trio at their most explosively chaotic, it’s also accessible. -Frank Mojica

32. The Soft Pack – “Answer to Yourself”

As one of the least complicated surf-rock anthems of 2010, “Answer to Yourself” has a guitar line that saws its way into your head. It’s a slice of rock individualism, an ode to the perpetual losers of the world, and a reminder that no man is an island. The hopeful tones and nihilistic tinge make it all the more alluring, crushing the competition in a blast of surf-rock angst. Cowa-fucking-bunga. -Chris Coplan

31. Japandroids – “Younger Us”

Cleaning up their characteristic fuzz and indulging in an emotional, nostalgic plea for better times, Japandroids vocalist Brian King cries “Give me younger us”, while he and drummer David Prowse show their older selves. With their trademark spastic enthusiasm, we’re inclined to oblige. -Caitlin Meyer

30. Local Natives – “Sun Hands”

“Sun Hands” exemplifies everything that was wonderful about Local Natives‘ debut. Snappy at times and downright rocking at others, every band member shines through. Dissonant tones and plucks chug along under shimmering layers of vocals, giving you the perfect embodiment of the breed of indie rock these L.A. boys serve up. What’s more, the lyrics are just as strong as the music. Poetic without neglecting crowd-pleasing chants, the words are imbued with creativity both in design and implication. Is it about a quest for some ideal, natural beauty, or about watching a perfect woman walk away, wondering if you’ll ever hold her again? Either way, it’s as stunning as it is chill, chill as it is rocking. -Ben Kaye

29. Deerhunter – “Desire Lines”

On the whole, Halcyon Digest is a blissfully atmospheric re-examination of drugged out 60′s psychedelic-rock that breezes between ethereal dream-pop textures and hard-hitting rock. But perhaps it is guitarist Lockett Pundt’s “Desire Lines” that best encapsulates the record’s greatest strengths. Structurally exhilarating, it rides in slowly on spacious, pounding drums before turning into a steadily shuffling rocker. Steeped in lyrical nostalgia, Pundt’s pseudo-lackadaisical delivery solidifies over the rest of the song’s ghostly haze, bellowing about the merits of youth-bound naiveté. Regular frontman Bradford Cox wordlessly wails away behind a veil of reverb alongside bright, echoed fingerpicking and snare-heavy hallway drums. Then the song wanders into a dreamy shoegaze soundscape of glowing whirs and bright guitar tones before ultimately fading out. -Drew Litowitz

28. Hot Chip – “I Feel Better”

Hot Chip has never been a one-trick pony. Ever. Looking at their back catalog, they touch down just about everywhere: the guitar-pop of “One Pure Thought”, the balladry of “Made In The Dark”, and the club-heaviness of “And I Was A Boy From School”, to name a few. Hot Chip can roughly be defined as electropop, but to box them in like that is criminal. The musical capabilities of the English five-piece are far-reaching and flirting with being limitless. So, it should come as no surprise that “I Feel Better” was dissimilar to every Hot Chip song that came before it. Filled to the brim with frantic strings, a whole lot of Auto-Tune, and Alexis Taylor’s signature tenor, this was the most memorable track from One Life Stand. Oh, and staying true to form, it was accompanied by a very innovative/hilarious video. -Winston Robbins

27. Jónsi – “Grow till Tall”

Go, Jónsi‘s debut solo album, is cinematic and epic in the most fanciful sense, breaking away from the oft-somber ruminations of his main gig, Sigur Ros. “Grow till Tall”, the album’s penultimate track, is an exception to that rule of immediacy. It would have fit perfectly on either of Sigur Ros’ last two releases, working its way around a precious, instantly recognizable Jónsi vocal melody, swirling in a light bath of electronic twinkles and reverb. It serves as a much-needed comedown on Go, balancing the sweetest of the album’s many sugar highs, proving that it’s nice to branch out and all, but you shouldn’t forget about your bread and butter. -Ryan Reed

26. Against Me! – “I Was a Teenage Anarchist”

Is it punk? Is it an example of Against Me! watering down their sound for the mainstream? Let’s be honest: Who cares? “I Was a Teenage Anarchist” will get your pulse racing with its simple but aggressive guitar riff. The moment everyone will remember most of all is the chorus that slams into your body and rattles your ribcage. “Do you remember when you were young/And you wanted to set the world on fire?” Tom Gabel screams out, making you want to return to days of teenage rebellion where it’s you against the world, the days when a song could lead to a revolution. -Joe Marvilli

25. Sufjan Stevens – “All Delighted People”

“All delighted people, raise their hands,” the enigmatic Sufjan Stevens cheers over a massive heap of instrumentation. Lushly honking horns, screeching electronic swells, melancholic strings, and, of course, a gorgeous chorus of female voices all build together under Stevens’ direction. The Suf’s delicate vocals are more precise than ever, more full-bodied and wavering. Stevens returns with a sprawling epic that works as a simultaneous ode to “The Sounds of Silence” and a contemplation of human nature’s dark desire for external validation. At nearly 12 minutes, it breezes in atop deeply warm and ominous choral vocals, crashes with heavy guitar and regal brass, burns into chaos, smooths out again, and gets lost in a sea of entangled strings. It’s the sort of song you can’t really criticize for being anything but over-ambitious. This guy has an intense sonic vision and seemingly effortlessly brings it into fruition without an ounce of fear. All delighted people, raise your hands. -Drew Litowitz

24. Joanna Newsom – “Baby Birch”

Of all the depth on Have One On Me, Joanna Newsom remains at her best through her labyrinthine compositions that can infinitely unfold into a detailed and surrealist canvas full of mysterious parables, wounded love, and of course, her impeccable harp-work. Fragility is an emotion curiously absent from many artists’ work these days, but Newsom traffics in it with powerful results on “Baby Birch”. The song marries the simplistic structure of her earlier work to the dense and prolific lyricism of her Ys material and adds to both a masterful, instrumental arrangement full of delicate crescendos and diminuendos. In the final verse – the climax – her vocal melody finally falls in sync with the harp’s off-beat time-keeping in a whirl of lyrical gymnastics that could easily serve Newsom’s bid as the foremost singer-songwriter of this generation. –Jeremy Larson

23. Arcade Fire – “We Used to Wait”

After decades of apprehension, the “future” has arrived. It’s 2010. It’s not what we expected, but it’s here, and the world has dramatically changed. With “We Used to Wait”, Arcade Fire channels the loss of the world as we understood it, reminding us of the human tradition of waiting for letters and the romance and tragedy in that act. It’s a simple but profound observation that perfectly characterizes this transitory space we now exist in – right as humanity steps into a new age. It’s 2010, and many of us will keep on marching into the world of tomorrow, but some of us can’t bear to forget the analogue age. “We Used to Wait” is a fitting elegy for that simpler time and a beautiful way to remember the year that we looked out across the valley to see one day end and another begin. -Cap Blackard

22. LCD Soundsystem – “Home”

It’s nearly 2011, but looking back, James Murphy and his band – you know, LCD Soundsystem - just finished what could arguably be their career peak. With great shows and a fantastic record, the group entertained millions with an equally impressive arsenal of new songs, one of them being the closer to this year’s remarkable, This Is Happening. More recently, “Home” has become a live staple, and it’s easy to see why. With one of the most pleasant and upbeat hooks, accompanied by unique choices in percussion, Murphy’s singing and instrumentation tickle the heart and the mind with a dazzling gallery of images, all stemming from some whiskey-embraced nostalgia to a newfound respect for commonality. Chilling, but in the best way possible.  -Ted Maider

21. Janelle Monae – “Tightrope”

For a genre that largely prides itself on recreating the traditions of the past, Janelle Monáe goes against that truth, reinventing R&B to fit her own unique thematic vision. While “Tightrope” remains nestled in the middle of The ArchAndroid’s futuristic statement, the song showcases Monáe’s versatility as she busts out this irresistible number. While this budding star shines at the front and center of this funky five-minute strut, it’s her supporting cast that takes her to the top. Between arguably the best bass line of year and an equally dynamic drumbeat, Monáe’s rhythm section provides her with the tightrope that she balances upon. Add in a verse by Sir Lucious Left Foot (Big Boi) himself and some classy brass, and “Tightrope” is a no-brainer. -Max Blau

20. The Tallest Man on Earth – “King of Spain”

Kristian Matsson may not be the tallest man you know. In fact, he comes in at a few inches under six feet, but listening to the triumphant “King of Spain”, you’d never know that.

Matsson jokingly toys with his status as a songwriter, claiming to “Settle in Pamplona” and “Provoke the bulls with words.” He even shouts out to Dylan with his “Boots of Spanish leather.” Jokes aside, the song is about love and transformation and is, frankly, irresistible. With his characteristic rapid guitar strumming in top form and raspy, passionate vocals paired alongside an exuberant love for love, the Tallest Man is in top form with this revival tune. -Caitlin Meyer

19. Robyn – “Dancing on My Own”

Robyn‘s “Dancing On My Own” is the kind of pop song an indie rocker can get behind: incredibly catchy (but not annoyingly so), lyrically detached and melancholy, and dominated sonically by chilly, dense, synthesizers. Kanye might be the pop star of 2010 in terms of sheer “can’t ignore me if you try” hooks, but with this masterful comeback single, Robyn gracefully and subtly dominated the dance floor. -Ryan Reed

18. Wavves – “King of the Beach”

Kicking off one helluva fun album is this super-charged, rollicking beach jam. Nathan Williams and Co. set the tone with an anthemic shout-along about his sand dominance. The thrashing chords and rapidly rolling drums provide a pretty standard (yet great) power-pop gem before a wide-open, whammy-bar bridge and chord change crash in to keep things fresh. -Adam Kivel

17. Sleigh Bells – “Tell ‘Em”

“Tell ‘Em” is Sleigh Bells. There’s no other track on Treats that better does what “Tell ‘Em” does, because the opening riff – the one that sounds like a Jock Jam shredded out on cocaine – is definitive. Derick Miller’s instrumentation attacks your every pressure point, from the EQ’d guitar sound that is sorely missed in most indie music, to the industrial spine supporting the track, to the hand-claps and snaps replacing the snare and hi-hat. Over each meticulous element, Alexis Krauss speeds through her thoughts on youth, suggesting insignificance in both style and substance, a timely quality that couples well with the substance of Miller’s guitar. The definitiveness of “Tell ‘Em” goes beyond the album, too. Sleigh Bells’ sound might be the most exciting debut of 2010, sounding like everything and nothing, full of fluff and substance, and this song is their battle cry. –Jeremy Larson

16. Broken Social Scene – “World Sick”

Broken Social Scene is a band that’s always done drama: strained inter-band relationships, a rotating cast of musicians, and a discography of melodramatic soundscapes. But “World Sick” tops them all. The song is the perfect slice of Broken Social Scene melodrama. It builds slowly with a gorgeous riff and mounts into an anthem. It’s the sort of song that begs for you to have an embarrassing fist-in-the-air-at-a-concert moment, and really, with lyrics like “I get world sick every time I take a stand,” it’s easy to imagine the song being a sappy train-wreck. But Kevin Drew, Brendan Canning, and Co. instead take that sentiment to a beautiful, epic place. -Evan Minsker

15. Yeasayer – “Ambling Alp”

When “Ambling Alp” first came out during the latter portions of 2009 (technically), it not only stood as the first glimpse of Yeasayer’s 2010 sophomore record, Odd Blood, but it also laid to rest any concerns about the Brooklyn trio falling short of expectations set by 2007’s All Hour Cymbals. Earlier tracks like “Sunrise” and “2080” may have brought the psych-pop trio to our attention, but “Ambling Alp” convinces listeners of Yeasayer’s staying power. From its onset, “Ambling Alp” memorably lifts through the song’s upbeat harmonies, determined lyrical optimism, and poly-rhythmic percussion. In a year’s time, Yeasayer has transformed from a nice, intriguing blend of worldly fusion and indie rock to a band that seems determined to stick around for a while. And if they continue to write tracks as compelling as “Ambling Alp”, that’s something we can all live with. -Max Blau

14. Big Boi – “Shutterbugg”

It’s been a bleak period in popular hip-hop, and half of that dry spell has to be because Outkast hasn’t released a single in quite a few years. This year, though, marked the release of Big Boi’s solo effort, Sir Luscious Leftfoot: The Son of Chico Dusty, and along with it came “Shutterbugg”. Big Boi’s rhymes are as crisp as ever, referencing Wu-Tang, comparing himself to a beehive, and “twisting his A-cap.” Not to mention the fact that the production was fantastic, with a bizarre rhythm section, including a vocal instrument track, one of the catchiest hooks of the year, and proof that Outkast truly is everlasting. -Ted Maider

13. Cee-Lo – “Fuck You”

Singing in public is always a fun activity. Singing “Fuck You” in public is doubly so. Sure, you may get some weird stares, but the catchiness of the song is undeniable. With a strong Motown feel that brings you back to the ’60s, somehow the cursing that you might think would detract from such a song manages to slip right in perfectly. Combined with a catchy piano line and an amazingly artistic music video, Cee-Lo Green definitely scored a hit with this. -Dana Grossman

12. Best Coast – “Our Deal”

Let’s be honest. This past summer belonged to Best Coast‘s Bethany Cosentino. Sure, her earlier EPs peaked online around January or February, but by the time she issued her LP debut, Crazy for You, everyone was running around in boardshorts and Wayfarers. Some might argue that her simplistic lyrics sound downright juvenile; however, they’d be missing the perspective she’s coming from… and they’d just be flat-out wrong. On “Our Deal”, Cosentino croons, “I wish you would tell me/how you really feel/But you’ll never tell me/Because that’s not our deal” over an afternoon melody, the sort that’s reserved for exclusive private beach picnics or icy piña colada dates out by an apartment complex’s pool. It’s melancholy but sunny. Lyrically, it is simplistic, but the images open up to something so much deeper. She probably sounds best here, too. But that’s a whole other deal. -Michael Roffman

11. Gorillaz – “Stylo”

Catchy bass lines aren’t anything new to the Gorillaz; just try and tell us that you got songs like “Clint Eastwood” and “Feel Good Inc.” out of your head quickly. “Stylo” is another such earworm, the bass taking the spotlight…instrument-wise, anyway. Bobby Womack’s impassioned vocals (with completely improvised words, at that!) are what really are most notable about the song. Finally, there’s the music video. Bruce Willis is in it. I need not say more. -Dana Grossman

10. Titus Andronicus – “The Battle of Hampton Roads”

For the better part of an hour, with gut-wrenching fury, Patrick Stickles’ quivering yelps denounce “the enemy”–whoever or whatever its form. To the angsty poet, “the enemy is everywhere,” polluting our sense of self-worth with nasty remarks and backwards pathology. But there are few moments in rock as heartbreaking, truly revelatory, or thematically beautiful as when the apprehensive frontman pleads, begs, and reasons with the very source of all his woes, the enemy he rails against so vehemently. At the record’s culmination, Stickles realizes something profound: With nobody to set yourself against, you really are nothing much at all. “I’d be nothing without you, my darling, please don’t ever leave,” he cries repeatedly over fumbling, swelling chords and funereal horns. In doing so, Stickles defends “the enemy’s” requisite, harks back to all of The Monitor‘s complex war-torn themes, and expresses the feeling that we, as listeners, experience as the record concludes. Please, don’t ever leave. -Drew Litowitz

09. Beach House – “Zebra”

Somewhat rarely is the opening track to an album far and away the best of the album. But I think Beach House did it on purpose. The leap from their previous album, Devotion, into the mainstream with Teen Dream was one of massive proportions. Gone are the days of their signature minimalism; a wonderful, expanded sound has gladly replaced it. Beach House instantly went from underground dream-pop darlings to full-fledged indie stars. The success of Devotion, the BFF affiliation with Grizzly Bear, and the expansion into a deeper, broader sound made way for a very successful follow-up album.

There is no doubt that the band picked this track to lead their listeners into their new, more perfected sound. Victoria Legrand’s brooding, husky vocals had a new quality to them, something more confident. The backing musicianship had obviously been expanded upon; especially noticeable were the live drums that replaced the old drum tracks they had set a foundation on. No longer tentative, Alex Scally had taken absolute control of the melody with his slow and steady guitar riffs. And with those expansions, we have ourselves a Beach House that has come into their own. We watched as they made their way through the stages of indie infancy with their self-titled album. We watched as they conquered the world with the obvious, yet inhibited talent of Devotion. And we watched as they released Teen Dream - the album that solidifies their position as a dominating force in the indie music scene. -Winston Robbins

08. Kanye West – “Runaway”

Just one note on the piano. In its simplicity, it’s one of the best moments of any song this year. One note repeated over and over without any clue as to when the song is going to begin. The strength and foundation of Kanye West‘s biggest statement lies on one note. And the rest of “Runaway” is given a pretty straightforward presentation; the lyrics spill it all on the table. He always finds something wrong. He was never much of a romantic. He showed this bitch a picture of his dick (or, if you prefer, his “HEY!”). Top all that off with Pusha T, who shows up on the track, vicious with language.

After its debut at the VMAs, a lot of people tagged the song as an apology to Taylor Swift, but it’s nothing so juvenile. It’s not even a tongue-in-cheek toast for all the douchebags/assholes/scumbags/jerk-offs. It’s a self-reflection of how he treated another woman (presumably the one on the other end of 808s & Heartbreak). It’s a song that’s got Kanye singing with desperation at the climax and closing with an Auto-Tuned mumble of the song’s central lyrics. It’s perhaps the most vulnerable you’ll hear the man, which is saying something for a guy who has spent hours on Twitter and his blog talking about his feelings. “Power” let Kanye pound his chest again. “Runaway” is on the other side of the spectrum — his catharsis. Damn if it isn’t one of hip-hop’s greatest self-reflections. -Evan Minsker

Kanye West - "Runaway" (feat. Pusha T)

Buy: “Runaway”

07. Arcade Fire – “The Suburbs”

There’s a lot that comes to mind during “The Suburbs”. The title track to Arcade Fire‘s recent third entry in their highly celebrated discography merits some deep, deep analysis. Is it about lost youth? Reckless abandonment? A quarter-life crisis? The end of the world? So many broad descriptions that produce so much angst. So much. Songwriter Win Butler orchestrates this haunting introduction that reads like a lost Hemingway passage, only it sounds like a rusty Neil Young ballad gone awry.

Whereas Young keeps things fairly grounded, Butler tends to a scatterbrained painting here, recalling how “the first bombs fell” and the (possibly) murky desire to “want a daughter while [he's] still young.” It’s all very vague. What’s arresting, however, is how easily you can identify with this song. On paper, the song feels distant, as if Butler’s writing post-modern science fiction, all sewed up with literary themes stripped from ancient Americana. But, in its brute form, as a song that is, “The Suburbs” creepily unravels the threads to your heart, one by one, and even if you might not understand exactly what’s going on, you’ll feel it. Sometimes that’s all that matters. Sometimes that matters even more. -Michael Roffman

06. The National – “Terrible Love” (Alternate Version)

When The National debuted “Terrible Love” on Jimmy Fallon in March, my initial reaction was “Wow, that’s good. Like, ‘Mr. November’ good.” That perception was reaffirmed 24 hours later when the band chose to close their set at The Bell House in Brooklyn with this new track, thus bumping longtime set closer “Mr. November” to second-to-last song. It’s easy to understand why the Brooklyn band made that decision and have continued to do so with every performance that has followed. “Terrible Love” features 2010′s best musical climax, transitioning from a slow and atmospheric beginning to a pulsating, guitar- and drum-driven peak. Yet when fans first spun High Violet, the opening track that previously heard intensity was noticeably lacking.

When I asked guitarist Aaron Dessner about the differences, he explained that the band “loved the murky and kind of ugly Velvet Underground aesthetic of the album version of the song,” but after performing it live for the first time, “We realized it would be a really big song live. We also realized our fans might be a little disappointed that the album version doesn’t kick in as forcefully in the drumming as it does live.” So, six months later, The National unveiled a new, alternate version of “Terrible Love”, and as Dessner admitted, “In some ways it’s a more effective or forceful realization of the song.” Either way, we’re left with two versions of one brilliant song. -Alex Young

05. Katy Perry – “Teenage Dream”

When Katy Perry first entered our shared musical consciousness, it was in the role of free-wheeling wild child, the omni-sexual beast who kissed girls and accused her boyfriend of being gay. There was an energy to her that put her in a class above the prissy, faux sexual pop divas she shared the charts with. Then, perhaps as a means to avoid the sophomore slump and pump her position up a few notches, she returned as a stifled version of her former self on tracks like “California Gurls”, where that sharp wit was replaced with a bizarre sexbot who had stopped winking to indicate a sense of humor and had completely given herself to the machine of uninspired pop music. Also, she started shooting whipped cream from her boobs.

If Teenage Dream (the album) had any redeeming qualities, something to remind us there still existed a shred of the Perry of old, it lived in the title track. While the more popular “California Gurls” showed a total obedience to air-headed inhibitions, “Teenage Dream” is romantic, a recalling of the highlights of a relationship and a plea to never let the fire die. It’s complete rubbish in comparison to some of the more mature tracks from her first offering, but “Teenage Dream” is what we think the formula of Katy Perry is really about: There’s a bit of sentimentality we can all latch onto, an inoffensive and wholly appealing musical arrangement, and a slight glimmer of humor while still being an actual dedication of genuine love and devotion, one that probably actually happened. It’s hard to accept this new Katy Perry for everything she gave up, not to mention the kinds of tactics she decided to utilize, but “Teenage Dream” gives us hope that young love can make it and that we can still adore Ms. Perry despite all her flaws. -Chris Coplan

04. Vampire Weekend – “Cousins”

At this point, it’s fair to say that Vampire Weekend have a trademark “sound”: bouncy rhythms, that infamous African sheen, and lyrics about high class and low expectations. The best thing about “Cousins”, the standout track from their sophomore slump-slaying Contra, is that it throws the trademark out the window.

Opening with a punky, almost discordant electric guitar riff, the song blooms into a weird, ever-shifting diagonal somersault, Chris Tomson’s crackling snare furiously marching against Chris Baio’s fuzzy bass, Rostam Batmanglij’s giddy, rapid-fire descending guitar figures, and Ezra Koenig’s surreal lyrics about sweaters on ocean floors and turning your back on the bitter world, delivered in a tricky rhythmic free association. Once you think you’ve finally grasped the structure of the complicated verses, the chorus hits like a sing-along brick. It’s the musical equivalent of a simultaneous handshake/bitchslap. And it’s one of the most singular, unforgettable songs of the year. -Ryan Reed

03. The Black Keys – “Tighten Up”

This moment was eight years in the making for the Akron, OH duo. With Danger Mouse at the helm again, “Tighten Up” broke The Black Keys out of the college radio circuit and got them as close to the mainstream as it gets, Grammy nominations and all. It’s a well-deserved accolade for the band, one that started with Attack and Release and ended with one of the most enjoyable unions in music. “Tighten Up” is the culmination of that journey, and arguably the best song to come from the band to date. The stage is now set, The Black Keys have crossed over, and the world just got a little bluesier.

Three years ago, The Black Keys were the unlikeliest of bands to score a mainstream hit. “Tighten Up” was their first real stab at a pop song, though their intention was nothing more than to continue in a direction to see where it went next. The combination of roots rock revival and Danger Mouse’s presence went straight back to the Motown formula for success: just add R&B. Dan Auerbach’s vocal chops are as smooth as his guitar work. Patrick Carney carries his weight, offering up some of his best drum work during the verse. Hooks lay all over the track, from the opening whistle to the guitar lick that makes up the chorus. The tempo change part way through for the breakdown takes The Keys from Motown back to the Delta for a heavy blues finish. As a single, it was the perfect way for The Black Keys to be introduced to the mainstream — catchy but never compromising. They wear their sharpened sound quite naturally, making music this cool look easy. And with a boost from Danger Mouse, they gave us another stellar song that ranks high not only for The Black Keys, but for all of 2010. -E.N. May

02. LCD Soundsystem – “Dance Yrself Clean”

It’s not about dancing your cares away, like so many pop singles. It’s about the exact opposite, stasis and seizure. In “Dance Yrself Clean”, Murphy’s pointed lyrics fall right into his wheelhouse: How come the modern age, love, and partying never get along? His pop-sociological rants on 21st century culture underpinning the song run parallel to an always phenomenal DFA production (including one of the best beat drops of 2010), and Murphy’s vocal performance may be the most notable component.

For nine minutes, there’s hardly a pause in Murphy’s performance. His voice feels like another instrument painstakingly produced in this mix, not just like a DJ over a dance beat. If he’s not resignedly calling someone a jerk, he’s wailing at that same someone to “put their little feet down and hang out.” He’s got “ahhs” like a choir and “ohhhs” like a wounded man. His fury waxes and wanes like an epic argument. The vitriol hurts, but the calm after the storm is somehow more poignant and cutting. Murphy’s acerbity has never had this much heart and soul, but, as corroborated by his live shows, this song incites dance riots in audiences unaware of the intrinsic irony happening as they put their little feet down and hang out. Perhaps we’re the punch line of Murphy’s joke, and we’re all too distracted to notice the horrors of age, love, and partying. Ah, fuck it. Just dance. -Jeremy Larson

01. Kanye West – “Power”

Between the releases of Graduation and My Beautiful Dark Twisted Fantasy, Kanye West’s public perception nosedived from an enigmatic hip-hop visionary to public enemy number one. During the past three years, West’s legacy has been largely defined by his schizophrenic tweets, fish sticks, paparazzi confrontations, Taylor-gate, and last-minute tour cancellations. No matter how scrutinized and criticized West remained over this period, what became increasingly overlooked was the fact that he was a grieving man, coping with the sudden, traumatic loss of his mother. After all these trials and tribulations, West is finally learning to come to terms with his own demons. After three years, he has re-emerged from the depths of his self-pity and heartache with resolve. “Power” represents West’s evocative gaze into the rearview mirror of his recent past.

So what does West see? He sees himself—way too much of the man in the mirror. West assertively questions the amount of attention the world has bestowed upon his life and how it subsequently affected him (“Got treasures in my mind, but couldn’t open up my own vault/My childlike creativity, purity and honesty/Is honestly being prodded by these grown thoughts”). But on “Power”, West has retained custody of his creativity in formidable fashion. While his selection of King Crimson’s “21st Century Schizoid Man” rests as his most ingenious sampling since Daft Punk on “Stronger”, he juxtaposes it with an equally compelling use of Continent Number 6’s “Afromerica”. The cohesive mixing of genres as distinct as prog-rock and worldbeat into a hip-hop track is difficult enough, but it’s the prominent arrangement of these songs that makes his sampling so masterful. As “Power” concludes, West simply states, “You got the power to let power go.” Those eight words say it all for Kanye. Rather than playing the role of creative genius, he’s back to letting his work speak for itself. That’s always what he’s done best, and this time is no exception. Welcome back, Mr. West. -Max Blau

Kanye West - "Power"

Buy: “Power”

The clip, directed by Andreas Nilsson (MGMT’s “Flash Delirium”, Miike Snow’s “Rabbit”, Fever Ray’s “If I Had a Heart”, Yeasayer’s “Madder Red”, which features the angelic Kristen Bell), opens with Sumner being followed around by a man dressed in gimp-esque attire that mirrors every moment he makes. Once the legend enters a waiting room, everything breaks down into a bizarro stop-motion film featuring lots of what Nilsson calls “‘kind-of-likes”, which is clearly his artsy version of lookalikes. According to a press release, Nilsson’s aim was to “explore with body doubles and contrasting shapes and sizes a story that felt connected to the larger theme of connectivity.” We’re sure the image of shrinking Alexis Taylor down to the size of an action figure was just an added bonus.

Check out the clip in all its surreal splendor below. If you’re in the mood for more visual stimuli, you can also check out more clips with Sumner and the Hot Chip boys here.

There’s an idea to Asheville. You could say it’s a small town with the heart of a city, but you’d be wrong. It’s not a city and it’s not a town. The most obvious word to use would be “community.” At least judging from its downtown area, there appears to be a sense of pride towards ownership. Dozens of independent shops and restaurants litter the area – everything from creative vegan eateries (Rosetta’s Kitchen) to southern-fried goodness (Tingles Cafe) to snazzy bars (Sazerac) – and yet they all work. People flock to them. Items and goods are sold. Smiles filter everywhere. The stores appear happy rather than desperate. It’s great, it’s inspiring, and it’s 100% American.

That’s why Asheville and MoogFest make such a great couple. Despite being the hometown of Moog Music, the overall mission of Robert Moog’s fascinating experiments and technology fully embodies the spirit of community and positivity that pervades the area. People were meant to use these machines to communicate their music in a way they couldn’t before. Seeing as how you can’t cross a street here without coming across one musician pouring his heart and soul out to passersby and pooches, it makes sense that such an open-door instrument would call this place home.

Although New Orleans’ Voodoo Festival capitalized on the Halloween weekend, this year’s inaugural MoogFest has done one hell of a job in making a name for itself. With sold-out ticket tiers and thousands of natives and travelers flooding the intricate downtown streets, all in various (and ultimately creative) costumes, it’s safe to say that this country can handle two landmark music festivals on All Hallow’s Eve.

Three times the charm?

-Michael Roffman

Friday, October 29th

Although Consequence of Sound and WNC Magazine kicked off things the night before at The Southern, with one chill-out DJ set by Saturn Never Sleeps’ King Britt, the party didn’t officially start until around Friday evening. This let everyone else who arrived early to explore the city and take advantage of time. But, that’s exactly what the festival intended.

If you were lucky enough to snag a hotel room at the nearby Four Points Sheraton (basically the hub for all things press and media), then you set yourself up for an easy weekend. Everything’s within walking distance, really. In fact, you can crawl to the Asheville Civic Center. No lie. Well, a little bit of an overstatement, but if you wanted to, you probably could. Bottom line: Comfort should take precedence at music festivals, so here’s a place to start.

King Britt [DJ Set] – CoS/WNC KickOff Party
Photo by Cap Blackard

There’s a reason to focus on where you’re staying. Simply because you’re walking everywhere. This isn’t like Lollapalooza and it’s nothing like that other Ashley Capps-produced event. You know, the one in Manchester? Instead, MoogFest works much like SXSW or Capps’ recent endeavor, Big Ears Festival. Several of the town’s venues take a piece of the line up. There’s the legendary Orange Peel, the vintage-yet-endearing Asheville Civic Center, the corresponding Thomas Wolfe Auditorium, Stella Blue, and the Moogaplex. Not only does this give festivalgoers a chance to visit the town’s establishments, but it gets folks out into the nighttime air, offering nearby bars and eateries an opportunity to snag some business for themselves.

The first night started with a bang, but there were some issues. Mild confusion led to some disconnect on where patrons could enter or exit – especially for media – resulting in some traffic issues, at least in terms of moving people around. Several folks seemed lost on where the venues were, as well. The festival had attached maps to the guides, but that didn’t stop attendees from shouting out to one another for directions. It was pretty common to hear, “Dude, you know where the Moogaplex is?” Also, and this isn’t the festival’s fault, but the late-night eating was an issue. Actually, it wasn’t so much an issue as it was just non-existent. Save for the Civic Center’s “ballpark” offerings, and a couple of local places like Rosetta’s or The Bier Garden, there lacked a forum for late-night noshing – which is sort of a must given that the fest goes on until three in the morning. Let’s just say a taco truck would have made a small fortune.

But, by now, you’re probably wondering about the music, right?

-Michael Roffman

Dan Deacon
The Orange Peel, 6:00 p.m.

Dan Deacon kicked off the inaugural Moogfest by doing something that he had never done – stepping away from the wild craziness that usually defines his live show, turning it down a few notches, and performing an improvisatory ambient show. Armed with a table of mostly Moogerfoogers – positioned in the crowd and not on the stage, of course – Deacon began the set with a genuine speech about the Moog brand and what it means to him personally. According to Deacon, he was excited to play a festival where the main sponsor is a brand he actually believes in, and something that has influenced his music greatly. He was humbled to be playing in the same room as some of the people that actually assemble the Moogs that he uses, and the hoard of people crowded around his table didn’t help his nerves. After unsuccessfully suggesting to the crowd that they could take a seat if they wanted to – as he explained how this show would be different from his others – he decided to lead the crowd in some exercises to help everyone get “in the zone.” He led everyone in stretching, deep breathing, cartoon noise exhaling, and more. He then made everyone get their own personal space by spreading out to where no one could touch anyone else. Then he “tricked” them into following his lead and sitting on the ground – “pretend we’re at the beach! Just lay down!”

Photo by Laura Helen Winn

Once everyone was seated, he finally began his set. Through a series of plugging in wires and turning knobs, he somehow managed to create wonderful pieces of music right on the spot. He played two “songs” – if we’re using a loose definition of the word – and they each had their own very unique vibe. The first began as a rolling and calming ambient piece, but eventually was overrun by spurts of noise – but not in a bad way. His second piece was more dark and brooding right from the start, with a bass tone that could rattle your chest. A beat eventually kicked in and Deacon used his voice as an instrument until the piece came to a close. The difference between his early set and his late set were enormous, but they each held their own, especially the ambient set – where anything could’ve gone wrong but absolutely nothing did. -Carson O’Shoney

The Octopus Project/Devo
Thomas Wolfe Auditorium, 6:30 p.m.

Photo by Cap Blackard

Austin, TX’s The Octopus Project is like nothing I’ve ever seen; electro-pop meets Mogwai in a loose sense, a dash of Californian HEALTH, and this is your nutshell. Every song is glazed with instrument change-ups on-stage by the band ñ guitarist Josh Lambert taking over drums, the poetic inclusion of a Moog theremin by Yvonne Lambert, and so on. A long focus on the band’s two latest electronic-heavy releases, Hello, Avalanche and Hexadecagon, had the scarce and costumed crowd discernibly engulfed in bizarre imagery and positive energy.

Photo by Cap Blackard

As if a giant banana and some colorful fairies seizing to “Truck” wasn’t icing on the cake, Gerald Casale and Mark Mothersbaugh of Devo made an astounding surprise guest appearance for a brief monologue about the band’s relationship with Robert Moog, the synthesizer factory heaven Mothersbaugh was privy to in ’70s New York, and a grand finale of “Girl U Want” and “Beautiful World”. We wish Devo the best, and though we’re sad to have seen them cancel, this little collaborative effort will be remembered forever in Moog – and spud – history. Now, where can we play their special synthesizer? -David Buchanan

Big Boi
Asheville Civic Center, 8:00 p.m.

Photo by Laura Helen Winn

Big Boi’s hype man claimed that they were the “coolest motherf**kers on the planet”. After Friday night’s show at Moogfest, I’m inclined to agree with him. The moment Big Boi walked on stage, he had the entire arena’s attention, and he never let it go throughout the whole show. From song one it was a non-stop party, with Big Boi playing cuts from throughout OutKast’s discography as well as fresh tracks from his new album, Sir Luscious Leftfoot. From “Rosa Parks” and “So Fresh, So Clean” to “B.O.B.” and “Ms. Jackson” – the OutKast songs received the biggest response. Big Boi even dove into his group’s first album, Southernplayalisticadillacmuzik, for “Player’s Ball”. That’s not to say the new songs weren’t fantastic live – they were just as huge as he intended them to be. As I looked around the Civic Center, even the people on the top level of the arena could not stop dancing for the whole hour he was on-stage. Big Boi put it best himself in a tweet after the show – “O yeah we just DESTROYED #Moogfest #weoutchea” -Carson O’Shoney

MGMT
Asheville Civic Center, 6:30 p.m.

An act like MGMT has built an accidental pedestal trying to be two things at once, essentially an amalgamation of psychedelic experimentation and modern pop; a clumsy gamble for a band only onto its sophomore release. As an innocent bystander watching the rise of MGMT, you get the feeling that they’re a very confused group of boys, experimenting within certain comfort zones while also branching out into the unknown, which essentially has resulted in a post-modern picture of ’60s psychedelia. Oh, and a few kick-ass music videos.

Photo by Laura Helen Winn

For a raging, energetic crowd, maxing out the wide open space of Asheville’s Civic Center, MGMT took advantage of the energy. Early on, “It’s Working” and “Time to Pretend” kept costumed fans dancing and hopping over one another – most were singing the songs word for word. However, towards the middle, and following another crowd favorite “The Electric Feel”, the band turned to more material off of Congratulations and admittedly the crowd diminished. The lull in back to back spacey tracks didn’t sit well for those who came in with glow sticks and a desire to dance and “freak out.” However, for the thousands that remained, MGMT bounced back reliably with “Kids”, working off some lights and sounds that created a cloud of hum and happiness for “Brian Eno” and the meditative ballad, “Congratulations”. A little work on the set’s pulse rate could improve an otherwise tight and enjoyable set, even for this non fanatic. -David Buchanan

Van Dyke Parks
Thomas Wolfe Auditorium, 11:00 p.m.

Photo by Laura Helen Winn

Van Dyke Parks has long been one of pop music’s unsung heroes. Most famous for his collaborations with Brian Wilson, he’s also worked with everyone from U2 to Joanna Newsom. His fans treated him the right way at Moogfest, with the utmost respect. Beginning (and ending) the set by telling the audience, “be nice to each other or I’ll kill you!” – Parks played a set filled with the pleasant songs that makes him such a popular collaborator. Of course, his Brian Wilson tunes received the biggest response. Towards the end of the set, Claire from Claire and the Reasons, the band supporting him on his current tour, came out to do a few songs – including a wonderful version of “Heroes and Villains”. The crowd was appreciative of Parks, and Parks was appreciative of the crowd. It was a big love fest – and Parks looked like he had a great time being the ringleader. -Carson O’Shoney

Dan Deacon
Asheville Civic Center, 12:00 a.m.

Take one part D&D player, one part Skittles bag, and a liberal helping of radio transmissions from deep space, and Dan Deacon is your result. From improvised dance contests to spoken word to commands and vocal distortion – Deacon is like sonic awesome, digitized for consumption, and while he can be a bit much for the lesser eccentric types, the acquired taste is something akin to Mike & Ike’s. As someone just getting introduced to Deacon’s repertoire (Meetle Mice = brain enema), the entire set was an experience that fed off of everyone participating.

On that note, Deacon isn’t so much a one-man band as he is a character with a voice-changer and some trippy lights coming from his mind. Enough said, check the static yourself. -David Buchanan

Panda Bear
Thomas Wolfe Auditorium, 12:30 a.m.

Photo by Laura Helen Winn

To be honest, I was a bit worried about Panda Bear’s live show. I’ve always loved his work with and without Animal Collective, but I had heard mixed reviews of his live shows. Luckily, he laid those thoughts down to rest and came out on top in the wee hours of Saturday morning. With only a table of looping machines and a guitar, Panda Bear put on a show to remember. He only played three old songs – “Ponytail”, “Comfy in Nautica”, and Animal Collective’s “Daily Routine” – but some of the new songs showed the potential to become new favorites. The show’s opener was an astounding number that found him switching seamlessly between harsh white noise and a deep bass beat, all while keeping his voice as great as ever. The new songs ranged from slow, meditative pieces to straight up dance songs – so if it’s anything like his live show, it looks like fans of every side of Panda Bear should be satisfied with his upcoming album, Tomboy.  -Carson O’Shoney

Girl Talk
Asheville Civic Center, 1:00 a.m.

Feed The Animals is, to me, the epitome of party music this decade – Gregg Gillis’ latest foray into full-length album mash-ups. The man known as Girl Talk, infamous for his reputation as “that guy with laptops hosting the big-ass house parties”, is a forefront representative for the new age of DJs (term “disc jockey” used loosely). If you spin vinyl, the purist in you might mock him; if you embrace the digital age, you might see him on-stage, surrounded by dancing fans, and think he’s on cocaine.

Halloween weekend 2010 will go down as Girl Talk’s swiftest letdown in hype: entering dressed as Freddy Krueger from A Nightmare On Elm Street, he jolted the crowd with a Black Sabbath/Ludacris mash, some Halloween-themed pieces, lots of fun pop, and insertions from Feed The Animals, whereas the last half of Gillis’ performance hit a couple of tech snags (me thinks hard for one guy and two laptops) and a lapse in crowd return of energy. When people are dozing off at the second helping of your show, they aren’t full on Thanksgiving turkey or crashing on the candy buzz…they are bored. -David Buchanan

Gallery by Cap Blackard

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Gallery by Laura Helen Winn

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Saturday, October 30th

If Friday felt rough, it’s only because MoogFest decided to unpack the big guns, throw its attendees into the corral, and shoot off the fireworks. Think about it: One Dan Deacon performance could tire your calves, two could put you in a coma, but couple it with a performance by Girl Talk and a raucous hip-hop jamboree by Big Boi and you’re two-thirds from death. So, it’s no secret that plenty of folks would be exhausted, right? Thank god for the early-evening start times.

But, you can only sleep so late, and MoogFest organizers understood this. Sprinkled throughout the day, workshops and films cracked open the Moogaplex, all exhibiting Bob Moog’s fine legacy. In addition to tech panels and theremin performances, attendees had the opportunity to try out the latest Moog equipment, where for a few minutes (that is, if there wasn’t a line) they could feel like a world renown DJ. What’s the old adage? Education can be fun.

Most people celebrate Halloween. Asheville lives for Halloween. On Friday, it felt like All Hallow’s Eve, where nearly everyone showed off their wicked finest. For Saturday, however, everyone came dressed again, ready to relive their fictional personalities once more. Some even arrived with a new costume. Creative? Sure. Obsessive? Maybe. If anything, it added to the already overflowing charm this town offers.

Before we digress on the music, we’ll say three words: Tupelo Honey Cafe. If you were like us on Friday, starved and lost for grub, one healthy dosage of this Asheville landmark eatery will keep you satiated for 12 hours or more. If you have big pockets, take as much food with you as you can. Christ.

Write that down.

-Michael Roffman

Mountain Man
Thomas Wolfe Auditorium, 6:00 p.m.

When you see a name like this on the bill in Asheville, being unfamiliar, you could be easily misled, but more so pleasantly surprised. This quaintly-named Vermont acoustic trio of beautifully harmonizing birds could make the Appalachians ring ethereal. As the first act of Thomas Wolfe’s Saturday run, Mountain Man is a prize gem, and at a half capacity audience, three things become evident.

Photo by Laura Helen Winn

The enormous amount of folks who paid no attention missed all the charm; those who made it received an intensely sensual experience and the taste of a faster-paced new song; the performance of debut material from Made The Harbor did more justice to a three-part harmony than Bob Marley’s back-up singers and the Dixie Chicks combined. This act seems like a wild draw for a festival dedicated to the inventor of the synthesizer, but I believe Mountain Man needs some extra-special attention immediately.

Sensuality and all. -David Buchanan

Nosaj Thing
Asheville Civic Center, 6:00 p.m.

Photo by Laura Helen Winn

Nosaj Thing was a perfect candidate to open the second day of Moogfest – he appeals to both the indie crowd (he opened for the xx and jj earlier this year) and, of course, the electro crowd. He kept both sides interested by keeping the tempo high and atmospheric while throwing in samples of everyone from Portishead to Wu-Tang Clan during his non-stop hour-long set. The crowd, which started small and grew larger and larger as the set went on, locked in on what he was doing and never stopped dancing. -Carson O’Shoney

School Of Seven Bells
Thomas Wolfe Auditorium, 7:00 p.m.

The Curtis/Deheza front known as SVIIB by the fans has a lot of things going for it this day and age: Curtis’ former act, The Secret Machines, contributed music to a Beatles-based musical film, Across The Universe; his current undertow with SVIIB’s debut Alpinisms is atmospheric, but devotionally weighted in both lyric and love. How does this translate to Moogfest 2010?

Photo by Laura Helen Winn

The presence felt like watching Roxette with elements of David Gilmour or shoegaze, amplified for the setting appropriately. Live, the lyrics do not seem as legible due to volume and layers of sound surrounding them, so throw in some expert chameleon-esque lighting, and you get a show more color-crazed and ethereal than a DJ spinning prisms on the sun. Also, phenomenal music, as expected. The hair, too. -David Buchanan

Caribou
Asheville Civic Center, 7:30 p.m.

Photo by Laura Helen Winn

An arena doesn’t seem like the most likely choice of venue for Caribou’s brand of electronic indie jams. But somehow they pulled it off – and had a very sizeable crowd, too. Caribou live and Caribou on record are two totally different animals. Their live show went a lot further than they attempt to go on record. With the drummer going crazy and the rest of the band following suit, Caribou put on a high energy set filled with extended jams and amped up freak-outs, almost turning into an electro jam band. The crowd loved every minute of it – and responded by treating the band to huge applause. -Carson O’Shoney

Thievery Corporation
Asheville Civic Center, 9:00 p.m.

I had no idea where this performance was going to go, nor was I aware of how many collaborators had been involved and on tap within Thievery Corporation. What was, on Radio Retaliation, a well-tempered but eclectic hum of awesomeness had taken on a giant Indian celebration with funk and reggae abound and tribal-esque dance vibes throughout the entirety of Asheville Civic Center. People dancing in elevators, on railings, on seats, and don’t even ask about the ground floor.

The brass accented when needed, the bassist was a madman every step of the way, Sly & The Family Stone received an honorable tribute via “Thank You (Falettin Me Be Mice Elf Agin)”, and this became the high that everyone needed before delving into our dark, demanding final act… -David Buchanan

Jónsi
Thomas Wolfe Auditorium, 8:30 p.m.

Let’s just get something out of the way – any words that I could say in this review will not do justice to the absolutely astounding set that Jónsi put on at Moogfest. But since it’s my duty, I’ll try my best. The value of his stage production cannot be understated – the visuals that overtook the stage were visually appealing and emotionally inspiring. At different times subtle and powerful, they fit the music perfectly, and only added an extra level to the show – never took away from it or overwhelmed the actual music.  The music itself was something to behold as well. While Jónsi’s debut Go never reached the same heights that he does his band Sigur Rós, the songs work much better live. The crowd was obviously familiar with the material – once each new song was recognized, a respectful applause arose.

Photo by Cap Blackard

The set started out with some of the slower numbers, but picked up with back-to-back performances of “Go Do” and “Boy Lilikoi” – which sent the large audience into a blissful frenzy. The applause through the rest of the set was nothing short of rapturous. Jónsi was at his best as a frontman when he was free from the restrictions of playing guitar and was free to roam around the stage, from the edge near the crowd to the back with the rest of his band. At the end of the set – all that was left on stage was Jónsi screaming into the mic while hunched over his pedals as a wall of sound engulfed him.

Photo by Laura Helen Winn

When the set ended abruptly with the “thud” of his microphone as he let it fall to the ground – the audience let out an audible gasp of disbelief of what they had just experienced. Once they came back to their senses, the response was deafening. Jónsi came back out for an encore of a few songs that just solidified what everyone already knew – that was the defining set of the weekend. Women cried. Men cried. As I left I overheard multiple conversations including the phrases “religious experience” and “life-changing.” I’m inclined to agree with them – this was an experience I will never forget. -Carson O’Shoney

Photo by Cap Blackard

Massive Attack
Asheville Civic Center, 11:15 p.m.

A giant wall of LEDs scrolls seemingly random military command text across the boards; a veritable symphony of people enter the stage, followed along by frontmen 3D and Daddy G. The brooding bass and spacious crescendos were on tap, and Massive Attack came to milk it all. Aside from the Mezzanine standards like “Angel” — which was accompanied by our dear Horace Andy on vocals — or “Teardrop” and “Risingson”, the unintentional originators of so-called trip-hop who have graced soundtracks and strolling pedestrian earphones for years brought the house down during Moogfest 2010.

Photo by Laura Helen Winn

The boards behind Massive Attack flashed numerous video and alpha-numeric messages, spelling out violence in statistics and news headlines, including a mention of the underpaid African-American farmers here in North Carolina (another matter entirely). As one of the biggest draws all Moogfest long, Massive Attack certainly lived up to expectations, following Thievery’s dark party with a little moodswing of its own.

Photo by Cap Blackard

I hope, for North Carolina’s sake, 3D and Daddy G and company bring the light back to the Carolinas again sooner than later — maybe an intimate Orange Peel setting? -David Buchanan

Jon Hopkins
Moogaplex, 11:30 p.m.

Photo by Cap Blackard

Although the Moogaplex felt a little too sterile for a dance hall, UK favorite Jon Hopkins worked some magic and turned the office space into a mini underground club. Given the competition – Massive Attack and The Disco Biscuits, to name a couple – Hopkins entertained a handful of costumed spectators, spinning synth lines and hammering out bass punches left and right. The grooves hardly subsided, though when they smoothed out, Hopkins peered up from under his Jonny Greenwood-esque bangs and offered a boyish grin. As the night surged forward, the guru, who recently collaborated with the likes of Brian Eno, sipped his beer and danced just as much as the audience. By the time the midnight hour arrived, there was less office space to share and plenty of atmosphere to wade in. Maybe he’s learned a thing or two from Eno, after all.  -Michael Roffman

Gallery by Cap Blackard

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Gallery by Laura Helen Winn

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Sunday, October 31st

It’s only natural that human beings feel the need to stay connected. Isolation remains one of our greatest fears, and yet, ironically, we continue to widen the gap between two parties. Communication is cheap these days. Industrialization has shaped the world into one reckless social network, where each second millions of people “connect” with one another, typically in the confines of one’s home. We live in a loud society, but you’d never know it. That is, unless you listened intently for the click-clack, click-clack of the nearby keyboards on everyone’s laptop or smart phone. There’s plenty of chatter, only little noise pollution. But to every negative, there’s a positive. Technology not only makes things easier for folks, it enlightens them.

With MoogFest, technology runs rampant. This is essentially a festival celebrating the idea of pushing music past its limits and the media in which to do so. However, unlike the Facebook’s and iPhone’s that flood every tech convention, MoogFest embraces the agenda of using technology to bring people together. Literally. What’s more, the festival surrounds itself with some of the country’s most spectacular foliage and natural landscapes around. So, in a twist of irony, while the technology brought people here, it’s the nature and community that bound them.

Photo by Michael Roffman

That’s the wonderful thing about MoogFest. Well, that and the dedicated festivalgoers who decided to treat everyday like Halloween wouldn’t return until the next century. Albeit young and with plenty of errors to remedy, the newborn event succeeds in championing a new kind of music festival – one that understands its core principles, while also feeling the need to switch on a few new lights. People bleed their life out at these festivals because it’s an experience that, in hindsight, truly changes their point of view on music. With MoogFest, the weekend excursion shifts your perspective on a variety of things: nature, people, small town life, communication, independence, etc. The list could go on and on, the explanations could deviate and come together, but the truth of the matter is… it’s a meditative escape that expands your mind and yet keeps you grounded, as well.

You also get to wear a costume.

Two Fresh
Asheville Civic Center, 6:30 p.m.

Hailing from Asheville, NC, the twin DJs of Two Fresh are pure southern natives with dancefloor mentality. Others I’ve spoken to say they’re something of a minor living landmark in western North Carolina; judging by Moogfest’s generosity, they really love holding their own. The Civic Center’s arena was not appropriate for the small act’s audience pull, though with nothing but straight rap beats and heavy bass, everyone arriving got to sit back and relax to enjoy. -David Buchanan

Sleigh Bells
Thomas Wolfe Auditorium, 7:15 p.m.

Photo by Laura Helen Winn

Scheduled for an hour, which everyone knew they wouldn’t fill, Sleigh Bells came on about 15 minutes past their scheduled start time. By then, the theatre had filled out quite nicely, and the people in the pit were already freaking out before they even played a note. Once they came out after the hardcore intro and bursted into “Tell ‘Em”, they got the audience jumping early and often – all the way to closer “Crown on the Ground”. The pit for Sleigh Bells might have just been the craziest one for all of Moogfest – but behind the pit, all of the auditorium’s seats made it difficult for anyone to dance, freak out, etc. If anything, this show should have been held at the Orange Peel – where the entire room could have been going properly nuts. But as it stands you had Sleigh Bells playing at an awkwardly large venue for them, but they made the best of it anyways.

Photo by Cap Blackard

One side of me was annoyed at the fact that about 75% of the music being played was just being played through a recording – the guitarist would add a couple licks here and there – and two whole songs were just Alexis Krauss alone on stage dancing and singing to a backing track. The whole thing felt like you could have just played their album Treats at an extremely high volume and gotten the exact same result, but I think that’s what Sleigh Bells are going for. They’re not there to be technically impressive or flesh out their songs with a drummer and bass – they’re just there to be loud as hell, in your face, and make you move. And if that was the goal, they accomplished it 100%. -Carson O’Shoney

MiM0sa
Asheville Civic Center, 7:30 p.m.

Drum-and-bass meets Girl Talk in a nutshell? Certainly. Stage presence and charisma? Definitely. Music selection? Depends on who you ask, but if you’re choosing between Girl Talk and MiM0sa, the recommendation is the former due strictly on mass appeal. MiM0sa as a live performer is really something to see, and he deserved a much bigger draw, but as an artist, Gillis utilizes far more than straight beat remixes for his arsenal.

Photo by Cap Blackard

Suggestion to MiM0sa: When you’re pushing the crowd, don’t just lace extra bass on extra bass for a reaction…pop snippets minimal regardless. -David Buchanan

Neon Indian
Thomas Wolfe Auditorium, 8:45 p.m.

Photo by Cap Blackard

Chillwave bands don’t exactly have a reputation for being tight live. The style lends itself to half-assed performances where the audience can’t tell the difference. Somehow Neon Indian continues to break that trend by being a very tight live band – perhaps that’s the reason why they’ve become one of the most popular bands to come out of that scene, as evidenced by the nearly full crowd they pulled at Thomas Wolfe Auditorium. Sporting some fancy equipment, like an awesome LCD screen guitar – Neon Indian got the crowd grooving and never stopped. The obvious highlight was “Deadbeat Summer” – the crowd just went crazy for it. They are exactly what you hope for live – fun and chill at the same time. -Carson O’Shoney

Younger Brother
Asheville Civic Center, 9:00 p.m.

Photo by Cap Blackard

This band from across the water works like an adrenalized Coldplay, and really makes its case with little strife and strain. Another alternative rock act that doesn’t quite fall into Moog electronic territory, Younger Brother brings enough artsy flare and visual stun to rock everybody’s night.

In the long haul, we sincerely hope that Younger Brother slams a larger dent in the overall rock scene, maybe try to build some more elaborate chord structures and funk time signatures to the work, avoid later Coldplay comparisons and kill any “everyone wants to be Radiohead” stigma. All in all, Younger Brother roped in a healthy crowd, especially given the competition, kneaded in some organic instrumentation, and became my ultimate find all weekend (aside from a kick-ass record store). -David Buchanan

Hot Chip
Thomas Wolfe Auditorium, 10:15 p.m.

Photo by Cap Blackard

One of many finales to Moogfest arrived as an eclectic package of dance, synth-pop, steel pan work, and switcheroo madness on every instrument available. London electro-pop band Hot Chip hosted the final show of the Thomas Wolfe Auditorium and there was hardly a seat available. Not that it mattered, though, as hardly anyone sat in them. Things felt stuffy and sweaty, especially since the pit area had been closed off, due to it being weakened incredibly from the weekend’s wear and tear. (We’re now accepting all “Ready for the Floor” puns.) Regardless, the tight-knit crowd only kept the rhythm in form, as the bouncy quintet chiseled through its four album-strong discography.

Photo by Cap Blackard

If they’ve learned anything from touring with LCD Soundsystem recently, it’s that the audience needs to dance itself clean, which is exactly what everyone in the TWA did. Plenty of costumed ghouls sat sheepishly in their chairs at first, but once the heartbeat hitters like “Hand Me Down Your Love” and “Shake a Fist” rolled by, many sneakers scoffed up the floor. Flamboyantly finishing with “Ready For The Floor”, Hot Chip set the building on fire, balconies shook, and a courtesy bow with a flourish gave us all the last taste of time well spent in the Carolina. One of many treats of this tricky-yet-enviable weekend. -David Buchanan, Michael Roffman

El-P
The Orange Peel, 10:15 a.m.

Photo by Laura Helen Winn

Facing stiff competition from Pretty Lights and Hot Chip, El-P’s set at the Orange Peel didn’t pull as large of a crowd as he could have had at a different point in the weekend – but he made the best of it. While he’s supporting his instrumental LP Weareallgoingtoburninhell-megamixxx3, he came out with hype man The Mighty Quinn in full on rap mode – playing mostly tracks from 2007’s excellent I’ll Sleep When You’re Dead – like “EMG” and “Smithereens (Stop Cryin’)”. Prowling the edge of the stage to rap over top of his audience, El-P and Quinn spit fast and furious for the first half of the show before transitioning into the instrumental segment of the set. Somehow, the energy stayed high throughout the 15-20 minute portion, in part due to the special guest they brought on – Dam-Funk. He grooved with them for one song and once he left they got “back into this rappy shit”. As the last show of Moogfest for some – El-P did not leave his audience disappointed. He sent the festival off right – with one big party. -Carson O’Shoney

Gallery by Cap Blackard

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Gallery by Laura Helen Winn

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It’s About the Fans…

I only caught three songs each of the opening sets by Hot Chip and Sleigh Bells. Hot Chip hardly looked like they were putting on a footnote of a show. Instead they were enthusiastic, sounded great, and were captivating to watch. The weirdest thing about Hot Chip is that the kids who love them view The Warning as the early stuff, but that record still feels new-ish to me. Their confidence has grown exponentialy since then, and it should only increase.

Except on a Saturday or Sunday, maybe, 7 p.m. concert times are cruel to the band who is playing it and to the people who want to see them, as Sleigh Bells discovered when the played to a nearly empty Bowl. They also managed to piss off the photographers by playing in complete darkness, only illuminated at odd intervals with strobes matching beats. These brief moments of flash were so fast that you’d have to shoot ahead of  the light intervals to catch anything. And though I don’t understand the coolness of not having decent photos of your band playing the Hollywood Bowl, it fit with their style, a kind of angry techno-punk made by people who probably really enjoy the movie Hackers. It comes across as juvenile and so hopelessly out of style that,  in a way, it works. What little I could make out on the stage appeared to be a pair of excited musicians who struck poses and ran all over the place. Everyone I talked to thought they were awesome, so I’ll reserve judgement until I can see their whole set. Their album is pretty fun, I admit, and it is about the least pretentious music you can find .

I can’t say whether LCD Soundsystem were particularly tight or passionate, but the reality is that this was the biggest show of their lives, which is the true joy in seeing shows at the iconic venue. More often than not, the people entertaining you are having the biggest night of their lives too. So I can, though, compare LCD Soundsystem’s performance to other bands that have graced the same stage. In short, LCD obliterated them, rising aboove the occasion, and the fans proved equally responsive in assisting the loudest, most joyful and emotionally stunning performance I have ever seen.

For a little perspective, let me give you the Hollywood Bowl rundown in case you’re unfamiliar. The venue is located near the end of Los Angeles proper, in the hills that separate Hollywood from the San Fernando Valley. Nestled in to give the feeling of wilderness within the city, the venue is an incredible hassle in many aspects. The traffic always blows; The parking is 20-30 bucks (stacked and limited, mind you); You have a hike after you park; The majority of seats are wood benches; The sound is quiet enough that conversations around you are terrible distractions. Murphy could write a song about it if he wanted (“Drunk girls like to talk about nothing, Drunk Girls don’t care who gets in their way”). This is all easily outweighed by the other oddity of the bowl: You’re allowed to bring your own food, drink, and booze. You can bring a case of beer to a concert. People do it. It’s rad.

The Beatles recorded a live album at the Bowl. It’s where the Los Angeles Philharmonic performs. This is where the prestige comes in, why it’s such a big deal to headline the venue. It’s the size, sure, but mainly it’s the fact that having indie bands there at all is quite rare. Belle and Sebastian were the ones to really start the trend of more youth oriented shows when they played a 2006 set with the Orchestra backing. Other headliners  have included The Decemberists, Bright Eyes, Arcade Fire (LCD opened), Pavement, Phoenix, and Vampire Weekend. Every one of these shows was terrific mind you, but this one was clearly in another league, from the moment Murphy kicked things off.

The group made it difficult not to get lost in their music. This was aided by the aforementioned fact that LCD was louder than I thought the bowl could possibly be. But the rules typically enforced at the white collar venue seemed to be abandoned by the time I reached my seat, as every stairwell and walkway had become a dancefloor. On most occasions, this is a “picnic with Chardonnay, sit down to watch the quiet band” kind of location. But 17,000 people didn’t come to Hollywood to sit down in their assigned seat on Friday. They came to, well, dance themselves clean.

In reality, it was hardly clean. Drugged eyes stared blankly at your face for awkward amounts of time, and it was worrisome to watch the twenty-somethings stuggle on the stairs, feeling things out with their toes before they commited to a complete step. But on stage, it was beyond smooth. Opener “Dance Yrself Clean” translates live in such a perfect way that it is shocking they just started playing it. As the intro adds instruments, the band added members, with Murphy last to arrive, dressed in an all white suit, seeming tame and relaxed. Relaxed, that is, until the song explodes. Then, he was fucking everywhere.

See James Murphy swinging his shoulders, looking like a slightly more fit Ricky Gervais. See the Murphy praising his band mates after each of the first few numbers. See Murphy laughing in between lines and throwing improvisational moments anywhere that will fit, a la The Hold Steady’s Craig Finn. See Murphy scream from his soul, falsetto up to every high note that stands in his way.

“Daft Punk Is Playing At My House” and “I Can Change” proved to be great early set choices. The opening three songs woke up the crowd that had been so active during the expertly performed set by Hot Chip. “Drunk Girls” almost seemed amusing, in that people were really up in arms about this fun little jam, a single that at this point has become a minor classic. Plus, Murphy’s clear number two, Nancy Whang, used this song to step up to the bar that Murphy had set so high with his unending energy and infectious charisma. The rest of the band rose to the occasion as well, with each getting moments of spotlight perfiorming, including familiar face Al Doyle, Hot Chip primary figure and touring LCD bassist who handled the always impressive double-duty.

After what I imagine was an audience breather during “I Can Change”, the piano tipped off the uniting anthem, “All My Friends”, which may or may not be the best song ever written, by anyone. Live, it was an unforgettable moment. As the final, climactic verse rang out, I became very aware of 17,000 people around me. Everyone was standing, and the final words turned into a massive sing-along. Is there a more pure thing than a collective of people singing along with a band that didn’t ask them to?

But besides producing fun, dance-friendly, poppy, even funny songs, LCD Soundsystem is also known to make music that means something to people who listen to it. Murphy has always seemed like one of us, and his early gracious and ecstatic banter only enforced this point. His songs could find truth in many contexts, in many hearts. But my favorite thing about his songs are the fact that every one on this setlist has had their specific time in my life.”All My Friends” is a drive from Petaluma to San Francisco and knowing where my friends were for a rare moment; “Daft Punk Is Playing At My House” is an exploration of post-disaster New Orleans that couldn’t keep the harsh reality out of any fun we had; “Someone Great” is CoS writer Winston Robbins, and he knows why.

By the time they hit their closer, “Home”, as part of an encore that cooled the dancing to let the drugs smoothly loosen their grip, I realized that it had remained immediate since my first listen. Being “Afraid of what you need,” not knowing that what you have is better than you could imagine, all the dark thoughts and shady deeds that crowd our nights in the name of good times, and how, when all is said and done, maybe the end does justify the means.

“Tribulations” blindsided me with its climax, which saw the dropping of a disco ball from the dome top of the stage, painting the finishing touches on the largest club this side of the rave scene. But “Losing My Edge” topped it. Either high drama or high comedy, Murphy acted out the hipster parts and gave a little shout under his breath that “this is the best part” right before the song’s first sonic erruption. Who knows how many times he has sung that song, but it still seems completely fresh.

But the unavoidable reality is that this might be the last chance to see LCD Soundsystem, although it is truely hard to see that happening. Regardless of what James Murphy decides about the future of his project, he can go away knowing that he went out on his terms, and as the natural showman that he is. Next up Madison Square Garden?

Photography by Philip Cosores.

Sleigh Bells setlist:
Intro
Tell ‘em
Infinity Guitars
A/B Machines
Kids
Riot Rhythm
Treats
Holly
Rill Rill
Straight A’s
Crown On The Ground

Hot Chip setlist:
Boy From School
One Pure Thought
One Life Stand
Over and Over
Hand Me Down Your Love
We Have Love
Hold On
I Feel Better
Ready For The Floor

LCD Soundsystem Setlist:
Dance Yourself Clean
Drunk Girls
Get Innocuous
Daft Punk Is Playing At My House
I Can Change
All My Friends
You Wanted A Hit
Tribulations
Movement
Yeah
Encore:
Someone Great
Losing My Edge
Home
——

Gallery by Philip Cosores

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Yes, the subject of post-festival season malaise in the music world comes up often in these little blurbs of mine at the end of each week, but this time it really is appropriate. If you’ve kept up with our posts at all this week, you’ll know by know that you have 1) at least 20 more albums to buy before the year’s end 2) Many other high-profile aritsts revealed release dates and tour schedules 3) If nothing else, there’s always Kanye.

Hopefully you’ll find something in the round-up of events below that will give you a reason to become excited about music in the coming months, Kanye-related or not.

– It’s “officially official…probably”: Kanye West‘s new album is set for a November 22nd release. He also unveiled the title for said album. And there’s even more.

– OK, all these Kanye project updates might seem a bit overwhelming. If this is how you feel, click here.

– November 22nd. What’s so significant about this particular date? This will tell you why.

– Barack Obama‘s musical preferences came under scrutiny in The Wall Street Journal.

– Lil Wayne will serve the remainder of his prison sentence in solitary confinement. On the bright side, he’s already sold 110, 000 copies of his latest effort.

–Lupe Fiasco‘s yet-to-be released LP finally got a release date.

– Curious about what would happen if the members of Weezer decided to part ways, aside from the obvious? Click here. They also dropped more details about the “Blinkerton” tour.

– First there was Miley and then there was that whole deal with the Firey Furnaces guy. This week the Boy Scouts of America got on Radiohead‘s case.

– Miami PD kinda sorta enlisted Jay-Z for an anti-gang violence campaign.

– Glee outdid The Beatles. On the charts, that is.

– The Smoking Gun revealed that Justin Bieber makes “a truly upsetting amount of money.”

– Hot Chip and Bernard Sumner made a song for Converse. Hear it here.

– U2 hinted at a headlining slot for Glastonbury 2011.

– Nas went head-to-head with his record label.

– Gorillaz debuted a new track and played a live webcast.

– Feist‘s documentary will premier later this month.

– Austin City Limits posted its webcast schedule.

– Gene Simmons wants to sue you. Find out why.

– Belle and Sebastian will write a song for the “lucky” individual who can write about love (get it?!).

– On that note, Philip Cosores reviewed Belle and Sebastian‘s first LP in over four years.

– Cosores strikes again! You can read his take on Matador at 21 here.

– Perfume Genius “silenced” a Chicago crowd. Jeremy Larson was there.

–Karina Halle interviewed Faith No More‘s Bill Gould.

– We posted a list titled “What’s Left: 20 More Albums to Buy in 2010.” Yeah, the title’s pretty self-explanatory.

– We also announced our “Conflict of Interest” party at this year’s  CMJ Music Marathon.

[wpaudio url="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2010/10/01_Didnt_Know_What_Love_Was_Single_Version.mp3" text="'I Didn't Know What Love Was'" dl="0"]

While the Kid Cudi/Best Coast/Rostam Batmanglij collaboration for Converse was a nice summer treat, the shoe company’s next offering is one for the ages. Via Gigwise.com, Alexis Taylor and Joe Goddard of Hot Chip have come together with New Order/Bad Lieutenant’s Bernard Sumner for a song entitled “I Didn’t Know What Love Was”. We don’t know what love is, but we have a pretty good idea of what amazing could be.

The track, one of two available for tomorrow for free download, are part of a campaign by the UK branch of Converse to celebrate British music. While not quite as initially eye-catching as the New Order-Hot Chip split, the second track will feature The Coral’s Bill Rider, Paloma Faith, and Graham Coxon.

The trio are also slated to have a music video for the track drop on November 5th, so stay tuned for that as well. In the meantime, head here tomorrow morning to get your grubby mitts on the track.

Well, today we bring you some ideas for keeping your finances on the brink of disaster, your workdays unproductive, and your body out of the house – except when you need to make your daily stop at CoS, that is. (Please note: We fully endorse those three hours you veg-out on our site.) So, without further adieu, here’s our “Simple Cures for the No-Festival Blues”…

Arcade Fire

Treatment Method: Arcade Fire is the event live-band in the world, drawing on three stellar albums for a career spanning show, assuring you will like pretty much every song they play.

Prognosis: West Coast has ample opportunity, and I’d guess they’ll do it again next year.

When and Where:
09/22 – St. Paul, MN @ Roy Wilkins Arena
09/23 – Winnipeg, MB @ MTS Centre
09/25 – Saskatoon, SK @ Credit Untion Centre
09/26 – Calgary, AB @ Stampede Corral
09/28 – Vancouver, BC @ Pacific Coliseum
09/29 – Seattle, WA @ Key Arena
09/30 – Portland, OR @ Memorial Coliseum
10/02 – Berkeley, CA @ Greek Theatre
10/05 – Big Sur, CA @ Henry Miller Library
10/07 – Los Angeles, CA @ Shirne Auditorium
10/08 – Los Angeles, CA @ Shirne Auditorium
10/10 – Mexico City, MX @ Palacio de los Deportes
10/12 – Monterrey, MX @ Banamex Theater
11/18 – Lisbon, PT @ Atlantica Pavilion
11/20 – Madrid, ES @ Palacio de Deportes
11/21 – Barcelona, ES @ Palau Sant Jordi
11/24 – Marseille, FR @ Le Dome
11/26 – Lyon, FR @ Halle Tony Garnier
11/28 – Munich, DE @ Zenith
11/29 – Dusseldorf, DE @ Philipshalle
12/01 – London, UK @ Arena
12/02 – London, UK @ Arena
12/05 – Dublin, IE @ O2
12/08 – Birmingham, UK @ LG Arena
12/09 – Cardiff, UK @ Arena
12/11 – Manchester, UK @ Central
12/12 – Glasgow, UK @ SECC

Sample Setlist: Ready to Start/Neighborhood #2 (Laika)/No Cars Go/Haïti/Half Light II (No Celebration)/Empty Room/The Suburbs/The Suburbs (Continued)/Ocean of Noise/Keep the Car Running/We Used to Wait/Neighborhood #3 (Power Out)/Rebellion (Lies)/Month of May/Neighborhood #1 (Tunnels)/Encore/Intervention/ Sprawl II (Mountains Beyond Mountains)/Wake Up  {Atlanta}

Buy: Seatgeek.com.

Sufjan Stevens

Treatment Method: Sufjan Stevens rarely gets out of New York these days, so when his fall tour was announced, something seemed fishy. Then came the spontaneous EP, All Delighted People, and all was explained, but not really because another, actual album will be out in October. Confused? We all are. Sort out who Stevens is in concert, and hopefully gain an appreciation for how his catalog, old and new, works together. I guess this is advice for both the concert goer and Stevens.

Prognosis: You will swoon no matter what he plays, but hopefully he remembers his audience.

When and Where:
10/12 – Montreal, QC @ Metropolis Theater
10/13 – Toronto, ON @ Massey Hall
10/14 – Royal Oak, MI @ Royal Oak Music Theater
10/15 – Chicago, IL @ Chicago Theater
10/16 – Minneapolis, MN @ Orpheum Theater
10/17 – Kansas City, MO @ Uptown Theater
10/19 – Austin, TX @ The Long Center for Performing Arts
10/20 – Dallas, TX @ McFarlin Memorial Auditorium
10/22 – Mesa, AZ @ Mesa Arts Center – Ikeda Theater
10/23 – Los Angeles, CA @ The Wiltern
10/24 – Los Angeles, CA @ The Wiltern
10/26 – Oakland, CA @ The Paramount Theater
10/28 – Vancouver, BC @ Orpheum Theater
10/29 – Portland, OR @ Arlene Schnitzer Concert Hall
10/30 – Seattle, WA @ The Paramount Theatre
11/01 – Salt Lake City, UT @ Kingsbury Hall
11/02 – Denver, CO @ Paramount Theatre
11/04 – Indianapolis, IN @ Hilbert Circle Theatre
11/05 – Knoxville, TN @ Bijou Theatre
11/06 – Atlanta, GA @ The Tabernacle
11/07 – Asheville, NC @ Thomas Wolfe Auditorium
11/10 – Philadelphia, PA @ Kimmel Center
11/11 – Boston, MA @ Orpheum Theatre
11/14 – New York, NY @ Beacon Theatre
11/15 – New York, NY @ Beacon Theatre

Sample Setlist: The Mistress Witch From McClure (Or, the Mind That Knows Itself)/Impossible Souls/Concerning the UFO Sighting Near Highland, Illinois/The Transfiguration/All Delighted People/Majesty Snowbird/Casimir Pulaski Day/There’s Too Much Love/Owl & Tanager (Barn Owl, Silent Killer)/Seven Swans/Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)/John Wayne Gacy, Jr./Age of Adz/Come On! Feel the Illinoise!/Encore/The Dress Looks Nice on You/Jacksonville {Brooklyn}

Buy: Ticketmaster.com.

Gorillaz

Treatment Method: For a group that’s used to producing special engagements, taking the show on the road will not be easy, but if the Gorillaz can make every night feel like a festival headlining set, it might be the must-see show of the fall.

Prognosis: Keep your expectations reasonable, appreciate any special guest that may appear, and enjoy one of the best musical minds in rock history bring tunes that should be able to stand on their own.

When and Where:
10/03 – Montreal, QC @ Bell Centre
10/05 – Wallingford, CT @ Oakdale Theatre
10/06 – Boston, MA @ Agganis Arena
10/08 – New York, NY @ Madison Square Garden
10/10 – Camden, NJ @ Susquehanna Bank Center
10/11 – Fairfax, VA @ Patriot Center
10/13 – Detroit, MI @ Fox Theatre
10/14 – Toronto, ON @ Air Canada Centre
10/16 – Chicago, IL @ UIC Pavilion
10/17 – Minneapolis, MN @ Target Center
10/19 – Houston, TX @ Toyota Center
10/20 – Dallas, TX @ Verizon Theatre
10/22 – Austin, TX @ Frank Erwin Center
10/24 – Denver, CO @ Wells Fargo Theatre
10/26 – Phoenix, AZ @ Dodge Theatre
10/27 – Los Angeles, CA @ Gibson Amphitheatre
10/30 – Oakland, CA @ Oracle Arena
11/02 – Seattle, WA @ Key Arena
11/03 – Vancouver, BC @ Rogers Arena
11/11 – Dublin, IE @ O2 Arena
11/12 – Manchester, UK @ Evening News Arena
11/14 – London, UK @ O2 Arena
11/15 – Amsterdam, NL @ Heineken Music Hall
11/16 – London, UK @ O2 Arena
11/17 – Birmingham, UK @ NIA
11/18 – Brighton, UK @ Centre
11/21 – Berlin, DE @ Velodrom
11/22 – Antwerp, BE @ Lotto
11/23 – Paris, FR @ Zenith
11/25 – Antwerp, BE @ Lotton
12/03 – Hong Kong @ Asia World Arena
12/06 – Perth, AU @ Burswood Dome
12/08 – Adelaide, AU @ Entertainment Centre
12/11 – Melbourne, AU @ Rod Laver
12/16 – Sydney, AU @ Entertainment Centre
12/19 – Brisbane, AU @ Entertainment Centre
12/21 – Auckland, NZ @ Vector Arena

Sample Setlist: Orchestral Intro/Welcome to the World of the Plastic Beach/Last Living Souls/Kids With Guns/O Green World/Stylo/On Melancholy Hill/Rhinestone Eyes/Broken/Empire Ants/Dirty Harry/White Flag/Superfast Jellyfish/DARE/Glitter Freeze/Some Kind of Nature/El Mañana/Cloud of Unknowing/Pirate Jet/Encore/Fire Coming Out of the Monkey’s Head/To Binge/Feel Good Inc./Clint Eastwood {London}

Buy: Seatgeek.com.

LCD Soundsystem w/ Hot Chip and/or Sleigh Bells

Treatment Method: James Murphy has the LCD Soundsystem live show down to a science, which means if you’ve already seen it this year, you might be short on surprises. But if you haven’t, then this could be the last chance and probably the best time, with excellent support in former labelmates Hot Chip and up-and-coming electronic nu-rock act Sleigh Bells.

Prognosis: Murphy said the project may be done after this record and this seems like it should be the end of touring for it… so… so…

When and Where:
09/23 – Montclair, NJ @ The Wellmont Theatre
09/24 – Philadelphia, PA @ Philadelphia Naval Shipyard Pier #1
09/25 – Columbia, MD @ Virgin Mobile FreeFest
09/27 – Burlington, VT @ Memorial Auditorium
09/28 – Boston, MA @ Orpheum Theatre
10/01 – Clinton, NY @ Hamilton College
10/02 – Charlottesville, VA @ Charlottesville Pavilion
10/04 – Atlanta, GA @ Tabernacle
10/05 – Orlando, FL @ Hard Rock Live
10/06 – Miami, FL @ The Fillmore
10/08 – Houston, TX @ Verizon Amphitheater
10/09 – Austin, TX @ Austin City Limits
10/12 – Las Vegas, NV @ Pearl
10/15 – Los Angeles, CA @ Hollywood Bowl
10/16 – San Francisco, CA @ Treasure Island Festival
10/20 – Denver, CO @ The Fillmore
10/22 – Milwaukee, WI @ The Rave
10/23 – St. Paul, MN @ Roy Wilkins Auditorium
10/25 – Chicago, IL @ Aragon Ballroom
10/27 – Detroit, MI @ The Fillmore
11/06 – Barcelona, ES @ Razzmatazz
11/08 – Paris, FR @ Blackrock Festival
11/10 – London, UK @ Alexandra Palace
11/12 – Cardiff, UK @ Cardiff Arena
11/13 – Sheffield, UK @ Arena
11/15 – Manchester, UK @ Apollo
11/17 – Glasgow, UK @ Barrowlands
11/18 – Glasgow, UK @ Barrowlands
11/19 – Dublin, IE @ Tripod
11/20 – Dublin, IE @ Tripod
11/21 – Dublin, IE @ Tripod

Sample Setlist: Us v Them/Drunk Girls/Get Innocuous/Yr City’s a Sucker/Pow Pow/Daft Punk Is Playing At My House/All I Want/All My Friends/I Can Change/Tribulations/Movement/Yeah/Encore/Someone Great/Losing My Edge/New York, I Love You But You’re Bringing Me Down {Ghent}

Buy: Seatgeek.com.

Massive Attack w/ Thievery Corporation

Treatment Method: If Massive Attack keeps touring like this, people will forget that their tours are few and far between. But they sure made up for the four years without a traveling show, surprising fans with a second trip across the states to match their spring stops. This time, though, the venues are bigger, making way for Thievery Corporation to bring some of their fans in every night.

Prognosis: Here you get two festival all-stars who could be absent from your town for a long time. But bring a date and not the homies.

When and Where:
10/15 – Chicago, IL @ Riviera Theatre
10/18 – Montreal, QC @ Bell Centre
10/19 – Boston, MA @ Orpheum Theater
10/21 – New York, NY @ Beacon Theatre
10/22 – New York, NY @ Beacon Theatre
10/23 – Atlantic City, NJ @ Borgata Hotel
10/26 – Miami, FL @ Bayfront Park Amphitheater
10/27 – Orlando, FL @ Hard Rock Live
10/29 – Atlanta, GA @ Fox Theatre
10/30 – Asheville, NC @ Asheville Civic Center (MoogFest)
11/01 – Dallas, TX @ Palladium Ballroom
11/04 – San Diego, CA @ RIMAC Arena
11/05 – Santa Barbara, CA @ Santa Barbara Bowl
11/06 – Berkley, CA @ Greek Theatre
11/07 – Los Angeles, CA @ Gibson Ampitheatre

Sample Setlist: United Snakes/Babel/Risingson/Girl I Love You/Future Proof/Invade Me/Teardrop/Mezzanine/Angel/Safe From Harm/Inertia Creeps/Encore/Splitting The Atom/Unfinished Sympathy/Atlas Air

Buy: Seatgeek.com.

A Perfect Circle

Treatment Method: A reunion of sorts, though not really a surprising one, as the five-piece has been discussing a tour or an album or both since 2008. But Maynard James Keenan is a busy man, so you can’t blame A Perfect Circle for waiting until the timing was right. And at least they are making it special, performing multiple dates in cities and playing their albums in its entirety.

Prognosis: This may be a warm-up for something more, it might be a quick paycheck. Either way, look into getting a pass for all the shows in your city if you live out west.

When and Where:
11/04 – Tempe, AZ @ Marquee Theatre (Mer de)
11/05 – Tempe, AZ @ Marquee Theatre (Thirteenth Step)
11/06 – Tempe, AZ @ Marquee Theatre (eMOTIVe)
11/08 – Los Angeles, CA @ Avalon (Mer de)
11/09 – Los Angeles, CA @ Avalon (Thirteenth Step)
11/10 – Los Angeles, CA @ Avalon (eMOTIVe)
11/12 – Seattle, WA @ Showbox at the Market (Mer de)
11/13 – Seattle, WA @ Showbox at the Market (Thirteenth Step)
11/14 – Seattle, WA @ Showbox at the Market (eMOTIVe)
11/16 – San Francisco, CA @ The Fillmore (Mer de)
11/17 – San Francisco, CA @ The Fillmore (Thirteenth Step)
11/18 – San Francisco, CA @ The Fillmore (eMOTIVe)
11/20 – Las Vegas, NV @ The Pearl (Mer de)
11/21 – Las Vegas, NV @ The Pearl (Thirteenth Step)

Sample Setlist: Um, they are playing the albums…

Buy: Ticketmaster.com.

Brandon Flowers

Treatment Method: Let’s face the facts: No matter what critics say about Flowers’ first solo offering, his rabid fans will love him and his music. Maybe seeing B. Flow in concert will provide answers to the fiery debate. Maybe it will further polarize people’s opinions. Regardless, it’s a big fall tour and he’ll probably throw in a couple Killers’ cuts.

Prognosis: If you’re into him, you’re probably already in line…

When and Where:
09/22 – Dublin, IE @ The Academy
09/26 – Cologne, DE @ E-Werk
09/27 – Brussels, BE @ Ancienne Belgique
09/28 – Amsterdam, NL @ Paradiso
09/29 – Paris, FR @ Cabaret Sauvage
10/01 -  Berlin, DE @ Huxleys
10/03 – Zurich, CH @ Kaufleuten
10/04 – Milan, IT @ Alcatrazz
10/05 – Rome, IT @ Circolo Degli Artisti
10/08 – Barcelona, ES @ Razzmatazz
10/09 – Madrid, ES @ La Riviera
10/12 – Glasgow, UK @ Academy
10/13 – Leeds, UK @ Academy
10/14 – Liverpool, UK @ O2 Academy
10/16 – Manchester, UK @ Academy
10/17 – London, UK @ HMV Forum
10/18 – Birmingham, UK @ Academy
10/19 – London, UK @ O2 Academy
11/10 – Los Angeles, CA @ The Wiltern
11/11 – Oakland, CA @ Fox Theater
11/13 – Portland, OR @ Roseland Theater
11/14 – Seattle, WA @ Shoowbox SoD
11/15 – Vancouver, BC @ Commodore Ballroom
11/17 – Salt Lake City, UT @ The Depot
11/18 – Denver, CO @ Ogden Theatre
11/21 – Minneapolis, MN @ First Avenue
11/24 – Royal Oak, MI @ Royal Oak Music Theatre
11/26 – Boston, MA @ House of Blues
11/28 – Philadelphia, PA @ Electric Factory
11/29 – Washington, DC @ 9:30 Club
12/02 – New York, NY @ Hammerstein Ballroom
12/04 – Toronto, ON @ Sound Academy

Sample Setlist: Gentle Sons/On the Floor/Crossfire/Magdalena/Bette Davis Eyes/Jilted Lovers & Broken Hearts/Was it Something I Said?/Hard Enough/Are You Lonesome Tonight?/Losing Touch/Only the Young/Swallow It/Playing With Fire/When You Were Young {London}

Buy: Seatgeek.com.

Grinderman

Treatment Method: It’s been nearly three years since the screeching guitars of Nick Cave’s Grinderman project have played in the states. But Cave is a professional showman, and the room that these shows are at will keep things intimate. No sample setlists.

Prognosis: These shows are not something you should regularly expect, so take advantage while you can.

When and Where:
09/25 – Nottingham, UK @ Nottingham Rock City
09/27 – Leeds, UK @ Leeds University
09/28 – Glasgow, UK @ Barrowlands
09/29 – Manchester, UK @ Manchester Academy
10/01 – London, UK @ Hammersmith Apollo
10/02 – London, UK @ The Coronet
10/04 – Lausanne, CH @ Les Docks
10/05 – Zurich, CH @ Volkhaus
10/06 – Milan, IT @ Live
10/07 – Rome, IT @ Atlantico
10/09 – Ljubljana, SL @ Krizanke
10/10 – Vienna, AT @ Gasometer
10/11 – Munich, DE @ Muffathalle
10/13 – Leipzig, DE @ Haus Auensee
10/14 – Berlin, DE @ Columbiahalle
10/15 – Cologne, DE @ E-Werk
10/17 – Brussels, BE @ Ancienne Belgique
10/18 – Brussels, BE @ Ancienne Belgique
10/20 – Utrecht, NL @ MCV
10/21 – Hamburg, DE @ Docks
10/23 – Copenhagen, DK @ Falkoner Theatre
10/24 – Randers, DK @ Power Station
10/26 – Paris, FR @ Cite de la Music
10/28 – Groningen, NL @ Groningen De Oosterpoort
11/11 – Toronto, ON @ Phoenix
11/12 – Montreal, QC @ Metropolis
11/13 – Boston, MA @ House of Blues
11/14 – New York, NY @ Nokia Theatre
11/16 – Washington, DC @ 9:30 Club
11/18 – Atlanta, GA @ Variety Playhouse
11/19 – Nashville, TN @ Cannery Ballroom
11/20 – Memphis, TN @ Minglewood Hall
11/22 – Chicago, IL @ Riviera Theatre
11/23 – Minneapolis, MN @ First Avenue
11/26 – Vancouver, BC @ Commodore Ballroom
11/27 – Seattle, WA @ King Cat Theater
11/29 – San Francisco, CA @ The Warfield
11/30 – Los Angeles, CA @ The Music Box
12/01 – San Diego, CA @ House of Blues

Sample Setlist: None

Buy: Ticketmaster.com.

Interpol

Treatment Method: While a vocal contingent may be shouting “play your old songs” from the back, you’ll be sure to get a big helping of tracks from their new, self-titled album. Although the rooms will be less than intimate, Interpol‘s moody atmosphere should have no problem filling it.

Prognosis: I’d expect to see Interpol to t0ur well into next year, but this will be your best chance to enjoy the new songs while they’re still fresh.

When and Where:
09/22 – Brussels, BE @ Stade Roi Boudoin
09/23 – Brussels, BE @ Stade Roi Boudoin
09/25 – Bordeaux, FR @ Le Vigean
09/26 – San Sebastian, ES @ Estadio Anoeta
09/28 – Granada, ES @ La Industrial Copera
09/29 – Seville, ES @ Olympic Stadium
10/01 – Santiago, ES @ Santiago De Compostela
10/02 – Coimbra, PT @ Estadio Cidade Coimbra
10/03 – Coimbra, PT @ Estadio Cidade Coimbra
10/05 – Bilboa, ES @ Rockstar Barakaldo
10/06 – Toulouse, FR @ Li Bikini
10/08 – Rome, IT @ Olympic Stadium
10/16 – Mexico City, MX @ Capital Festival
10/18 – Oakland, CA @ Fox Theater
10/19 – Pomona, CA @ Fox Theater
10/21 – San Diego, CA @ SOMA
10/22 – Las Vegas, NV @ The Joint
10/23 – Los Angeles, CA @ The Greek
10/25 – Denver, CO @ Ogden Theater
10/27 – Dallas, TX @ Palladium
10/28 – Austin, TX @ Stubb’s
10/29 – Houston, TX @ Verizon Wireless Theater
10/31 – New Orleans, LA @ Voodoo Experience
11/01 – Atlanta, GA @ Tabernacle
11/03 – Washington, DC @ Constitution Hall
11/04 – Philadelphia, PA @ Tower Theatre
11/05 – New York, NY @ United Palace
11/12 – Lisbon, PT @ Campo Pequeño
11/13 – Madrid, ES @ Palacio Vistalegre
11/14 – Barcelona, ES @ San Jordi Club
11/16 – Marseille, FR @ Dock Du Sud
11/17 – Milan, IT @ Palasharp
11/18 – Vienna, AT @ Gasometer
11/20 – Berlin, DE @ Tempodrom
11/21 – Amsterdam, NL @ Heineken Music Hall
11/22 – Dortmund, DE @ Westfalenhalle 2
11/24 – Nottingham, UK @ Rock City
11/25 – Newcastle, UK @ O2 Academy
11/26 – Birmingham, UK @ O2 Academy
11/27 – Edinburgh, UK @ Corn Exchange
11/29 – Dublin, IE @ Olympia
11/30 – Dublin, IE @ Olympia
12/01 – Dublin, IE @ Olympia
12/03 – Manchester, UK @ Apollo
12/04 – Liverpool, UK @ Liverpool University
12/06 – London, UK @ O2 Academy Brixton
12/07 – London, UK @ O2 Academy Brixton

Sample Setlist: Success/Say Hello To The Angels/C’Mere/Summer Well/Rest My Chemistry/Evil/Barricade/Lights/Narc/Take You On A Cruise/Stella Was A Diver And She Was Always Down/Try It On/Not Even Jail/Obstacle 1/Encore/NYC/Slow Hands/PDA {Paris}

Buy: Seatgeek.com.

Standing Room Only

Besides the aforementioned concert events, not to mention tours from countless 0thers, there is a nearly overwhelming collection of small shows to keep you busy throughout the colder months. Hell, see one everyday and you’ll feel like you are at a festival…a  festival where it’s perpetually daylight and the night bands never come. Here’s a few that we want to see:

Black Mountain/The Black Angels: Major cities on both coasts and a healthy swing through the south will allow fans of the darker rock world to get their fix.

10/28 – Chicago, IL @ Metro
10/30 – Buffalo, NY @ Tralf Music Hall
10/31 – Toronto, ON @ Phoenix Concert Theatre
11/01 – Montreal, QC @ La Tulipe
11/02 – Boston, MA @ Paradise
11/03 – New York, NY @ Bowery Ballroom
11/06 – Philadelphia, NY @ Theatre of Living Arts
11/07 – Washington, DC @ 9:30 Club
11/09 – Louisville, KY @ Headliners
11/10 – Asheville, NC @ Grey Eagle
11/11 – Nashville, TN @ Mercy Lounge
11/12 – Atlanta, GA @ The Earl
11/13 – Orlando, FL @ The Social
11/15 –  Birmingham, AL @ The Bottletree
11/16 – New Orleans, LA @ Tipitina’s
11/17 – Houston, TX @ Warehouse Live
11/19 – Austin, TX @ La Zona Rosa
11/20 – Dallas, TX @ Kessler Theater
11/22 – Tempe, AZ @ The Clubhouse
11/24 – Los Angeles, CA @ El Rey Theatre
11/26 – San Francisco, CA @ The Fillmore
11/28 – Portland, OR @ Wonder Ballroom
11/29 – Seattle, WA @ The Showbox
11/30 – Vancouver, BC @ The Commodore Ballroom

The Thermals: Sure, singer Hutch Harris is a friend of the site, but they’re still pretty rad in concert, where you will get plenty of thoughtful lyrics and punk-influenced backing in an intimate setting.

09/25 – Bellingham, WA @ Wild Buffalo
09/26 – Spokane, WA @ The Seaside
09/27 – Billings, MT @ The Railyard Ale House
09/29 – Fargo, MD @ The Aquarium (Dempsey’s Upstairs)
09/30 – Minneapolis, MN @ Triple Rock Social Club
10/01 – Iowa City, IA @ The Mill
10/02 – Madison, WI @ The Annex
10/03 – Chicago, IL @ Logan Square Auditorium
10/04 – Bloomington, IN @ Rhino’s
10/06 – Detroit, MI @ Magic Stick
10/07 – Cincinnati, OH @ Northside Tavern
10/08 – Cleveland, OH @ Beachland Ballroom
10/09 – Toronto, ON @ Lee’s Palace
10/10 – Ithaca, NY @ Castaways
10/12 – Philadelphia, PA @ First Unitarian Church
10/13 – New York, NY @ Irving Plaza
10/14 – Boston, MA @ Paradise Rock Club
10/15 – Washington, DC @ Black Cat
10/17 – Mt. Pleasant, SC @ Village Tavern
10/19 – Athens, GA @ 40 Watt
10/20 – Nashville, TN @ Exit/In
10/21 – Birmingham, AL @ Bottle Tree
10/22 – New Orleans, LA @ One Eyed Jacks
10/23 – Austin, TX @ Red 7
10/24 – Dallas, TX @ Granada Theater
10/28 – Denver, CO @ The Bluebird Theater
10/29 – Salt Lake City, UT @ Urban Lounge
10/30 – Boise, ID @ Neurolux

Delorean – One of my favorite discoveries of the year, even though we first started listening last year. Their live show owns their already excellent albums. Don’t miss out!

09/25 – Brisbane, AU @ Parklife Brisbane
09/26 – Perth, AU @ Parklife Perth
10/02 – Melbourne, AU @ Parklife Melbourne
10/03  - Syndey, AU @ Parlife Sydney
10/04 – Adelaide, AU @ Parklife Adelaide
10/21 – Madrid, ES @ La Riviera
10/23 – Sevilla, ES @ Teatro Central
11/05 – Denton, TX @ Hailey’s
11/06 – Austin, TX @ Fun Fun Fun Fest
11/08 – Phoenix, AZ @ Rhythm Room
11/10 – San Francisco, CA @ GAMH
11/13 – Vancouver, BC @ Biltmore Cabaret
11/16 – Minneapolis, MN @ 7th St. Entry
11/17 – Chicago, IL @ Lincoln Hall
11/18 – Toronto, ON @ Mod Club
11/19 – Montreal, QC @Le Belmont
11/20 – Cambridge, MA @ Middle East Downstairs
11/21 – New York, NY @ Bowery Ballroom
11/22 – Philadelphia, PA @ First Unitarian Church
11/23 – Washington, DC @ Rock and Roll Hotel
11/24 – Brooklyn, NY @ Music Hall of Williamsburg

Best Coast - The Michael Roffman-approved sunny-day soundtrack comes with a quick wit and a band next-door personality. Plus, their songs catch you… whether you like it or not.

09/21 – Cleveland, OH @ Grog Shop
09/22 – Columbus, OH @ The Summit
09/23 – Cincinnati, OH @ Midpoint Music Festival
09/24 – Detroit, MI @ Magic Stick
09/25 – Toronto, ON @ Lee’s Palace
09/27 – Montreal, QC @ La Sala Rossa
09/28 – Cambridge, MA @ Middle East
09/29 – New York, NY @ Bowery Ballroom
09/30 – Brooklyn, NY @ Music Hall of Williamsburg
10/02 – Lawrence, KS @ Scion Garage Fest
10/26 – San Francisco, CA – Great American Music Hall
10/28 – Portland, OR – Holocene
10/29 – Vancouver, British Columbia – Cobalt
10/30 – Seattle, WA – Neumo’s
10/31 – Spokane, WA – Stage 54
11/02 – Salt Lake City, UT – Urban Lounge
11/03 – Denver, CO – Bluebird
11/05 – Dallas, TX – Granada
11/06 – Houston, TX – Mango’s
11/07 – Austin, TX – Fun Fun Fun Fest
11/09 – Phoenix, AZ – Rhythm Room
11/10 – San Diego, CA – Casbah
11/13 – West Hollywood, CA – Troubadour
11/14 – West Hollywood, CA – Troubadour
11/29 – Manchester, UK @ Ruby Lounge
11/30 – Birmingham, UK @ Glee Club
12/01 – London, UK @ Scala
12/03 – Paris, FR @ Noveau Casino
12/04 – Zurich, CH @ Mascotte
12/05 – Munich, DE @ Atomic Cafe
12/07 – Cologne, DE @ MTC
12/08 – Brussels, BE @ AB Club
12/10 – Minhead, UK @ The Bowlie Weekender 2
12/12 – Amsterdam, NL @ Bitterzoet
12/13 – Hamburg, DE @ Beatlemania
12/14 – Berlin, DE @ Magnet
12/15 – Malmo, SE @ Debaser
12/16 – Malmo, SE @ Debaser

Deerhunter – With Halcyon Digest currently making its way around the internet, fans can start plotting the logistics of when and where they will see how Bradford Cox and Co. can transform these songs and create what is becoming a reputable and unpredictable live experience. One time I saw him try to eat a microphone. Seriously. Plus, chances are that Real Estate or Deakin will be opening in your city…

10/01 – Atlanta, GA @ Variety Playhouse
10/09 – Chapel Hill, NC @ Cat’s Cradle
10/12 – Washington, DC @ 9:30 Club
10/13 – Philadelphia, PA @ Starlite Ballroom
10/15 – New York, NY @ Webster Hall
10/17 – Montreal, QC @ La Tulipe
10/19 – Toronto, ON @ Opera House
10/20 – Detroit, MI @ Metro
10/21 – Cleveland, OH @ Beachland Ballroom
10/22 – Chicago, IL @ Metro
10/23 – Minneapolis, MN @ Fine Line
10/26 – Vancouver, BC @ Commodore
10/27  – Seattle, WA @ Showbox
10/28 – Portland, OR @ Wonder Ballroom
10/29 – San Francisco, CA @ Great American Music Hall
10/30 – San Francisco, CA @ Slim’s
11/01 – Los Angeles, CA @ Henry Fonda Theatre
11/03 – Phoenix, AZ @ Clubhouse
11/05 – Dallas, TX @ Granada Theater
11/07 – Austin, TX @ Fun Fun Fun Fest
11/08 – New Orleans, LA @ House of Blues
11/09 – Birmingham, AL @ Bottletree
11/10 – Nashville, TN @ Exit In

Superchunk – Often forgotten as the influential indie-artists that they are, both on record and behind the scenes with Merge Records, Superchunk just released a solid album and delving into their back catalogue would be a rewarding experience for the uninitiated. They don’t tour often, so see them if you can

09/22 – Philadelphia, PA @ Trocadero
09/23 – Montreal, QC @ Le National
10/02 – Las Vegas, NV @ Matador At 21
10/13 – Vancouver, BC @ Venue
10/14 – Seattle, WA @ Showbox at the Market
10/15 – Portland, OR @ Wonder Ballroom
10/17 – San Francisco, CA @ Treasure Island Festival
10/19 – Los Angeles, CA @ The Music Box
12/09 – Toronto, ON @ Sound Academy

Dean Wareham - Another influential and underrated band, Galaxie 500, didn’t have a long existence, but their songs will be revisited by mastermind Dean Wareham on a tour made for music geeks. Have no idea who I am talking about? Combine with Superchunk and have a great week discovering new old music. Or check out Wareham at small venues in select cities.

11/10 – San Diego, CA @ Anthology
11/11 - Los Angeles, CA @ The Troubadour
11/13 – San Francisco, CA @ The Fillmore
12/03 – Chicago, IL @ Lincoln Hall
12/04 – Chicago, IL @ Lincoln Hall

No Age - Everything in Between is one of the best albums of the year, and No Age are going to tour the world in support of it. If you have any sort of inclination to like No Age, their live show will make you like them more. If you don’t, it won’t convince you and you’ll be upset when you leave sweaty, banged-up, drunk and alone. But that’s the way the rest of us like it.

10/04 – Sussex, UK @ Audio
10/05 – Cardiff, UK @ Barfly
10/06 – Norwich, UK @ Art Centre
10/07 – Newcastle, UK @ The Cluny
10/08 – Sheffield, UK @ Rollerpalooza
10/09 – Glasgow, UK @ Stereo
10/10 – Dublin, IE @ Whelans
10/12 – Leeds, UK @ Brudenell Social Club
10/13 – Manchester, UK @ Night And Day
10/14 – London, UK @ XOYO
10/15 – Amsterdam, NL @ Trouw Amsterdam
10/16 – Paris, FR @ Point Ephemere
10/18 – Antwerp, BE @ Trix
10/19 – Kortrijk, BE @ De Kreun
10/23 – Prague, CZ @ Meet Factory
10/24 – Colmar, FR @ Le Grillen
10/25 – Lasaunne, CH @ Le Romandie
10/27 – Slovenia, SL @ Menza pri koritu
10/29 – Turin, IT @ Spazio 211
10/30 – Bologna, IT @ Covo Club
10/31 – Winterthur, CH @ Salzhaus
11/02 – Berlin, DE @ Festsaal Kreuzberg
11/04 – Copenhagen, DK @ Loppen
11/05 – Stockholm, SE @ Debaser
11/06 – Oslo, NO @ Garage
11/07 – Aarhus, DK @ Voxhall
11/13 – Princeton, NJ @ Terrace F. Club
11/16 – Cambridge, MA @ Middle East
11/17 – Montreal, QC @ La Sala Rossa
11/18 – Toronto, ON @ Polish Combatants Hall
11/19 – Detroit, MI @ Magic Stick
11/20 – Cleveland, OH @ Grog Shop
11/22 – Madison, WI @ Majestic Theatre
11/23 – Minneapolis, MN @ 7th Street Entry
11/26 – Seattle, WA @ Neumos
11/27 – Vancouver, BC @ The Rickshaw Theatre
11/28 – Portland, OR @ Holocene
11/29 – Nampa, ID @ Flying M Coffee
11/30 – Salt Lake City, UT @ Kilby Court
12/01 – Denver, CO @ Bluebird Theater
12/02 – Albuquerque, NM @ Launchpad
12/03 – Tempe, AZ @ The Clubhouse
01/08 – Tucson, AZ @ Club Congress
01/10 – Dallas, TX @ Sons of Hermann
01/11 – Austin, TX @ The Mohawk
01/12 – Houston, TX @ Fitzgerald’s
01/16 – Gainsville, FL @ Common Grounds
01/18 – Miami, FL @ Grand Central
01/19 – Orlando, FL @ Blackbooth
01/21 – Atlanta, GA @ Drunken Unicorn
01/22 – Asheville, NC @ The Grey Eagle
01/23 – Knoxville, TN @ Pilot Light
01/24 – Nashville, TN @ Exit/In
01/25 – Memphis, TN @ Hi Tone Cafe
01/26 – Little Rock, AR @ Revolution Music
01/27 – Tulsa, OK @ Cain’s Ballroom

Ariel Pink’s Haunted Graffiti /Os Mutantes - Despite whether or not I would enjoy this show, Ariel Pink’s Haunted Grafitti are becoming a live presence on the scene and have lined-up 60′s Tropicalia pioneers Os Mutantes to help them convert new fans accross the states. Seriously, this is like a hipsters wet dream. If you have a mustache or enjoy wearing Larry Bird-style gym shorts, have a fun, drug-induced night with these bands.

11/05 – Dallas, TX @ Palladium Showroom
11/06 – Austin, TX @ Fun Fun Fun Fest
11/07 – Houston, TX @ Fitzgeralds
11/08 – New Orleans, LA @ One Eyed Jack
11/09 – Atlanta, GA @ Variety
11/10 – Chapel Hill, NC @ Cat’s Cradle
11/11  - Washington, DC @ 9:30 Club
11/12 – Philadelphia, PA @ Trocadero
11/13 – New York, NY @ Webster Hall
11/14 – Boston, MA @ Royale Boston
11/16 – Montreal, QC @ National
11/17 – Toronto, Ontario – Opera House
11/18 – Bowling Green, OH - Clazel Theater
11/19 – Chicago, IL – Metro
11/20 – Minneapolis, MN – Cedar Cultural Center
11/23 – Denver, CO – Bluebird
11/24 – Salt Lake City, UT – Urban Lounge
11/26 – Vancouver, British Columbia – Vogue
11/27 – Seattle, WA - Neumos
11/28 – Portland, OR - Berbati’s
11/30 – San Francisco, CA – Regency
12/01 – Santa Cruz, CA – Rio Theater
12/02 – Los Angeles, CA – Henry Fonda Theater