Jay-Z has revealed the preliminary lineup for the inaugural Made in America music festival, set for September 1st and 2nd at Fairmount Park in Philadelphia. Pearl Jam joins Hov at the top of the bill, while other notables include D’Angelo, Skrillex, Rick Ross, Passion Pit, Santigold, Miike Snow, Odd Future, Janelle Monáe, and Dirty Projectors.

Also confirmed are Calvin Harris, Afrojack, Wale, Meek Mill, X, Prince Royce, Rita Ora, Savoy (DJ set), and The Knocks. In all, some 30 acts will perform during the two-day event.

Tickets will go on sale May 23rd with a portion of the proceeds benefiting United Way of Greater Philadelphia and Southern New Jersey. Visit the festival’s website for more information.

The New Orleans Jazz & Heritage Festival will will webcast a number of this weeknd’s sets on YouTube, including My Morning Jacket, Rodrigo Y Gabriela, Grace Potter and the Nocturnals, Bruce Hornsby, Allen Toussaint, The Neville Brothers, Preservation Hall Jazz Band, and a tribute to the late Alex Chilton featuring Dave Pirner, Alex McMurray, Susan Cowsill, Doug Garrison and René Coman.

A number of last weekend’s set will also be replayed, including Bon Iver, Janelle Monáe, Glen Hansard, Jimmy Buffett, Ivan Neville’s Dumpstaphunk, and George Porter, Jr. and Runnin’ Pardners.

Check out the full webcast schedule below. Remember, New Orleans is in Central Time.

Also, in case you missed it, check out Michael Roffman’s one-man coverage of last weekend’s festivities.

Friday, May 4th:
02:00 – Marcia Ball
02:05 – Bruce Hornsby and the Noisemakers
03:00 – Roddie Romero & the Hub-City Allstars *
03:15 – Papa Grows Funk *
03:25 – Grace Potter & the Nocturnals
03:45 – Bonerama
04:35 – Voice of the Wetlands Allstars *
04:55 – Johnny Sketch & the Dirty Notes *
05:15 – Zac Brown Band
05:30 – Rodrigo y Gabriela and C.U.B.A.
07:00 – Glen Hansard *
07:00 – GIVERS *
07:30 – The Dirty Dozen Brass Band *
07:55 – Bon Iver *
08:00 – Trombone Shorty & Orleans Avenue *

Saturday, May 5th:
02:00 – Allen Toussaint
02:05 – Anders Osborne
02:55 – The Dixie Cups *
03:05 – Cowboy Mouth *
03:10 – Irma Thomas
03:35 – Better Than Ezra
04:45 – George Porter, Jr. & Runnin’ Pardners *
05:25 – Jumpin’ Johnny Sansone *
05:25 – My Morning Jacket
05:55 – Zebra *
06:55 – Ivan Neville’s Dumpstaphunk *
08:00 – Janelle Monae *

Sunday, May 6th:
02:00 – Galactic
02:00 – funky METERS
03:15 – Kermit Ruffins & the Barbecue Swingers
03:45 – Bonnie Raitt
05:10 – Tribute to Alex Chilton feat. Dave Pirner, Alex McMurray, Susan Cowsill, Doug Garrison and René Coman *
05:10 – Amanda Shaw & the Cute Guys *
05:45 – The Neville Brothers
06:10 – The New Orleans Bingo! Show *
07:00 – Creole String Beans
07:40 – Preservation Hall and Friends
08:00 – Jimmy Buffett, Acoustic – with Mac McAnally *

* Exclusive pre-recorded highlights from Weekend 1

I can’t believe I’ll be in New Orleans this weekend. I kept saying this to myself again and again in the days leading up to my departure from Chicago. This wasn’t exactly said in excitement, either – no, in fact, you could say it was laced with anxiety and stress. I’d be traveling alone to a city I’d never been to and what’s worse, I was sick with a diet version of the flu, and couldn’t stop sucking down vitamin D capsules and crackling open Sudafed packets. So, on Wednesday night, I paced around my apartment, muttering things to myself like some loon. Pretty sure I’m the only person who could ever worry about something as innocent and enthralling as New Orleans Jazz & Heritage Festival.

But that’s just how I deal with things; expect the punches, accept the hugs.

Admittedly, there’s a lot to fear about New Orleans if you’re an out-of-towner and your knowledge of the city is limited. For me, I’ve heard great things, but I’ve also heard horrible things. There’s never been any middle ground between the two, which might be why I sort of panicked prior to arrival. While my college roommate used to call it his “future home”, digressing on how it’s like being in another world with the most extraordinary people, music, and food, others in passing have called it the closest thing to a third-world country in America. These latter people weren’t very friendly (okay, you can call ‘em yuppies), but, hey, anyone or anything can play on the nerves.

So, yeah, you could imagine this was an interesting trip.

-Michael Roffman
President/Editor-in-Chief

Thursday, April 26th

5:48 a.m. - I’m still congested. Fuck.

5:55 a.m. - Shower. It’s too early in the morning for any real coherent thoughts. Instead, my attention is focused on a couple of stray tiles on my bathroom wall, and I make this weak mental reminder that I need to clean when I return. Seconds after this, I remember that I’ve yet to watch a single episode of Treme, and for some reason, my mind that’s half-asleep actually thinks this will be a detriment to my trip.

6:24 a.m. - Shortly after scanning my CTA card at the Red Line Station, I lose my balance swinging my bag over the turnstile and tumble down, as if I’m imitating Chevy Chase impersonating President Ford. It’s too early to be mortified, but also too early for anyone to ignore it. Oy.

7:35 a.m. - I’m the lucky winner who gets to be profiled by the TSA. The agent dusts around my computer, and I sort of smirk when he takes the time to look at all the stickers on it – especially the Dr. Dre one.

8:45 – 11:15 a.m. - I land in New Orleans before I can finish Indiana Jones and the Last Crusade. Dammit. I hope Dr. Jones gets the diary back.

11:43 a.m. - My cabbie takes some side streets to get downtown and offers me the lingo for ordering a po’boy. We both agree that “dressed” is the way to go. He also prefers the French Quarter Festival, which takes place in the second weekend of April, and is geared more to the locals. Who knew?

1:15 p.m. - The first thing I notice about New Orleans is its architecture. My hotel is located near the more tourist-friendly area surrounding the French Quarter, so I can’t stop snapping shots of the countless Creole-styled townhouses with their stained walls and wrap-around balconies. There’s a lot of history behind each door.

1:30 p.m. - I’m sweating bad. I can’t tell if it’s because I still feel shaky from the cold, or if it’s just the hot Louisiana sun. I’m also starving and dying for a po’boy. I double back to Canal Street and find my way over to this little hole-in-the-wall off Baronne Street called Cajun Mike’s. It’s a tiny sliver of a bar with a few video poker machines in the back, but the bartender’s cool and I immediately order a PBR, a pulled pork po’boy, and some sweet potato fries. “Dressed”, of course.

1:41 p.m. - I’m shocked to see an ashtray. It’s just been so long. Well, when in New Orleans, amirite?

1:55 p.m. - A couple nearby – some regulars – take a seat next to me, and there’s a discussion about a group of TSA workers who were arrested for passing through narcotics. I’m told they’ll get charged for life. I’m not sure if I believe this, but I can’t think too much about it because my thoughts are on this colossal sandwich of mine. Now, I’ve had a po’boy before – hell, I went to college in Tallahassee, FL (essentially “two doors down” in the scope of the universe) – and while there’s nothing extraordinary about it to make me feel like it’s authentic or something, it’s just good and it hits the spot. The sauce works, the pickles are crunchy, and the bread is sublime. In other words, perfect pub food.

1:56 p.m. - Okay, I’m feeling good about this place.

2:31 p.m. - Bourbon Street is notorious. It’s eight blocks of nonstop tourist attractions, loaded with everything from tacky, tasteless paraphernalia to popular, pricey seafood joints. I’ve always been told to stay away from it, and I’m not too interested in the sensationalized, super-charged bar experience it advertises, but I can’t help but check it out anyway. Two minutes down the street, I’m offered a wild time by some guy outside of Larry Flynt’s Hustler strip joint. Tempting, but no.

2:45 p.m. - I’ve come to the conclusion that the party never ends on Bourbon Street, or the French Quarter for that matter. The bars remain open, the strip joints rotate their girls, and the streets look like a party took a shit on them. Oh, by the way, you can’t round a corner without seeing beads on something, so don’t bother bringing them if you come.

3:27 p.m. - Years ago, Peaches Records & Tapes used to be in every large city across America. I know because it was the first record shop I ever visited. Sadly, the shop near me closed, as did the others – except one. There’s still one in New Orleans and I nearly have a heart attack when I walk by it. I decide to spend a good half hour inside, wandering through the countless vinyl and Record Store Day leftovers, and shop in this surreal shop-from-yesterday-but-today. I feel like Jimmy Stewart’s character in Vertigo when I see Michael Jackson’s Dangerous framed on the wall. That was one of the first personal purchases I can remember making.

4:22 p.m. - You wouldn’t know the city’s biggest festival was a day away, at least not from the ample crowd at Woldenberg Riverfront Park. Facing the Mississippi River, the park houses the Aquarium of the Americas, a few statues and art installments, and a good place to snap shots of boats, birds, and buildings. I take a seat, observe some other tourists playing around in the park, and then watch one of the riverboats sail off with my new friend, who happens to be a bird.

4:24 p.m. – I get this overwhelming feeling that I’m alone.

4:42 p.m. - While walking back to the hotel, I start thinking about this trip in general. Why am I here? What am I doing with myself? In all honesty, I’m probably the worst person to cover the festival – or even New Orleans, in general. I’ve never considered myself a huge fan of jazz; in fact, in college at Florida State University, I used to scoff at my friends who would obsess over Jazz Night at this off-campus, quasi-DIY bar. They would spend hours there, smoking and drinking and losing themselves in this community that always felt alien to me. Now, I’ve always respected the genre, I’ve just never tried to approach it. To me, it always felt so far removed from my understanding, and I long felt I wasn’t in any position to even try to absorb it. Oh, did I mention I’m also allergic to shellfish?

8:09 p.m. - After catching up on some work, I’m antsy and I want to dig deeper into New Orleans. I’ve tossed aside my stupid doubts from the afternoon, and I’ve come to the conclusion that discovery isn’t without its share of hurdles. Okay, so I originally booked this trip to see Brian Wilson join The Beach Boys for the first time in close to two decades, but in all honesty, I could have waited for their Chicago date. Because of this, I contend that there’s a deeper reasoning for me being here, and it’s to learn and to shatter any former barriers I’ve erected in the past, and that realization sparks something inside me.

9:02 p.m. - The French Quarter is pretty eerie to walk through at night. While I’m still disappointed I neglected to watch Treme, I’m ecstatic I haven’t seen Interview with a Vampire in about four years. It’s a long walk down Decatur to be thinking about vampires.

9:17 p.m. - I’m the sort of guy who likes to do research before trips; not to find tourist traps and similar ilk, but to bite into the real meat of a city. While all signs online pointed to Frenchman Street, I’m too intrigued in St. Claude, where two venues promise what could be a dizzying night. Every Thursday night, the Hi-Ho Lounge features music from local act The Stooges Brass Band, and tonight, the nearby punk club Siberia has a bill featuring Sleepy Sun and The Dirty Ghosts. Apples and oranges, sure, but there’s nothing that’s topping that.

9:24 p.m. - I’m starting to doubt my thoughts on skipping Frenchman Street, especially given the crowds, sounds, and local outdoor art markets. My college roommate was right, this is a different world.

9:34 p.m. - About 75% of the way there, while walking alone down Elysian Fields, I quickly remind myself that I’m just amicably strolling around with an expensive camera down poorly lit streets. I pick up the pace, light up a cigarette in hopes it gives me an edge (it doesn’t), and shag ass across the four-lane drag.

9:45 p.m. - It’s loud, very loud, and it’s also packed on St. Claude. Outside of the Hi-Ho Lounge, the Hot 8 Brass Band keep the corner warm with their gritty Southern-fried stew of jazz, funk, and hip-hop. No PA here, no amps, just brass. Having been around since the ’90s, the community is well attuned to their parade-style energy, but even without the background, there’s little doubt the scene wouldn’t involve the scattered dancing and singing. After all, I was.

10:11 p.m. - It’s a tight space within the Hi-Ho Lounge, but there’s hardly anyone inside yet. The Stooges Brass Band won’t go on for another 50 minutes, so I grab another PBR, watch the NFL Draft, and coincidentally meet a nice couple from the Midwest. They too explain they’re in a similar boat, and actually came for Saturday’s headliner, Tom Petty. We both agree that New Orleans, however, is the real character to this festival. Things are starting to feel oddly cozy.

10:58 p.m. - Two beers later, I turn around and discover the venue’s getting pretty, pretty, pretty crowded.

Sometime after 11 – One day I’ll credit the Stooges Brass Band for my shoddy attempt at learning the saxophone, but hey, at least I’ll have tried, right? For over an hour, the local legends – yes, they’re legends now, having worked on the scene since the mid’90s and being titled ”Best Contemporary Brass Band” at the Big Easy Music Awards last year – juiced the evolving crowd that inflated and deflated throughout their set. I particularly dug the fiftysomething veteran who dusted off his old dance floor moves from decades past. I didn’t catch the name of the vocalist who cut through the crowd several times, but I appreciated his flair for punky lyricism, specifically: “I kissed an uptown girl and I liked it/I fucked a downtown girl and I liked it.”

Sometime after 12 - I shake the saxophonist’s hand in hopes to get some of his magic. No, this actually happened.

Okay, it’s Friday morning - Stooges Brass Band instructs us to stay for the next act, but I’m too hungry to wait around. Stupid me, I opt out of the BBQ outside and instead decide to chow down on some garage-y punk and psychedelic rock at Siberia.

Maybe minutes after this - It’s an eight dollar cover at Siberia, a venue which reminds me of Chicago’s Hideout – in fact, I start wondering if I’m in Chicago, but only because I’m too tired to ground myself in reality at this point – and I decide to pay it. There’s maybe eight people inside, including the two bartenders, but it’s a promising enough scene to enjoy. I snap some shots of Dirty Ghosts, who are playing their closing song unfortunately, and I go for another beer. There’s a lot of energy in those last minutes, however, and I’m sort of bummed out I missed ‘em.

A little bit after that – New York City’s White Hills sets up rather quickly and the trio’s sound soaks up the walls within seconds. Guitarist Dave W. knows how to wrench the sound out of a guitar, and the harmonies from female bassist Ego Sensation work well alongside his steel-plated vocals, but the pulsing distortion just shuts me down. I can’t even make it for Sleepy Sun. I decide it’s time to jump ship.

??? - The walk back to the hotel proves eventful. I buy some street art that’ll spook my girlfriend out from a guy named Christian Taylor, discuss photography and college life with a girl named Lily, and manage to order a pizza nearby. The city is still alive though and it has defeated me. But I’m awake enough to make it back to my hotel room, debate between HBO or TNT, and eat two slices of pizza. As an insomniac, and a four-year survivor of South by Southwest, I can’t say this has been the longest day of my life, but it feels like I’m stepping off a rollercoaster and my head has yet to come back down. I end the night laughing.

Friday, April 27th

10:15 a.m. - Ouch. My legs hurt.

12:00 p.m. - Since the festival grounds are a good few miles away from the downtown area, I pick up three day’s worth of shuttle tickets and hop aboard. Don’t ever rely on cabs at a music festival. Trust me, your life will be a lot easier if you remember that.

12:15 p.m. - There’s a line. It’s long. It’s hot out. Fuck, part 2.

12:50 p.m. - Because it’s set on the Fair Grounds Race Track – fun fact: the third-oldest racetrack in America – I immediately think of the old classic rock shows that used to swing by the Greyhound track in South Florida. To my dismay, NOLA’s Jazz Fest did not book Kansas.

12:52 p.m. - I decide to stop by the Gentilly Stage, where Johnny Sketch and the Dirty Notes are entertaining an ample, loyal crowd. Sketch works with an electric guitar and cello, which offers a spin on the traditional funk rock that’s been spoiled and soured as of late. “Let’s work off those calories we’re going to be putting in ourselves today,” he screams before launching into “Saucy Jack”, another funky rocker that apes solos from Neal Schon of Journey. Great vocals, one hell of a supporting brass section (it helps that he had a Bonerama member tagging along), but I can’t help but wonder where those keys went.

1:10 p.m. - People love to get their square-dancin’ on with Geno Delafose & French Rockin’ Boogie. Yee haw.

1:13 p.m. - Dee-1 considers himself a “One Man Army.” I only know this because he not only sings about it, but he’s also wearing a shirt that says the same thing. When I make it to his set at the Congo Square Stage, the New Orleans rapper is already going off on a free style about paid hip-hop artists and being free from the confines of what have you. There’s this forced sense of anti-establishment here, but when he starts speaking from the heart, as on “The One That Got Away”, he connects well. If he didn’t look young, he sure as hell did when he exclaimed, “Where my mom and dad at, don’t tell me they left already.”

1:16 p.m. - His parents wave to him.

1:28 p.m. - Regardless of my food allergies, I still can’t forgive myself for eating a falafel sandwich in New Orleans. But hey, you gotta eat something.

1:45 p.m. - African composer, dancer, and choreographer Seguenon Kone is now a renown resident of New Orleans and plays the balafon and djembe drums. His resume sparkles my eyes, so I decide to swing by the small Jazz & Heritage Stage, where his blend of rhythm and dance just conjures up spiritual magic. This is pure, unadulterated rhythm and dance, however, and his dance company L’Ivoire Spectacle only brings to life the African beats with a Cajun aftertaste. I’ve been spinning Paul Simon’s Graceland a bunch lately, so this felt like a nice history lesson, connecting the dots somewhat.

2:05 p.m. - Kirk Joseph’s Backyard Groove sonically meets the expectations. That is, if you’re hearing multi-layered, afro-caribbean funk with a ’70s swagger. If anything, Kirk’s full-body sousaphone is a beast to observe. It takes a bold man to hold one of those.

2:11 p.m. - On my way to Gomez, I catch wind of the Grammy-award winning zydeco artist Chubby Carrier, who flings out some danceable numbers with his Bayou Swamp Band. One of the guys is wearing a shirt that says “Legalize Happiness”, which sums up the mentality of the crowd in a nutshell. Ugh. No time for dancing, though, Dr. Jones.

2:20 p.m. - Not a lot of UK artists at Jazz Fest, at least not this weekend, so Gomez always felt a little like the odd man out on the lineup. Still, by the time I race over, they’re performing to a couple thousand at the Gentilly Stage, amassing one of the first big crowds of the weekend. Given their mutating sound – they dabble between indie rock, psychedelia, folks, and blues – the UK export works well at Jazz Fest, and with help from the Dirty Dozen Brass Band, I can’t help but think they sound better in the bayou. Several fans sing along with an oldie like the rather fitting “Here Comes the Breeze”, but I just can’t shake the hammy lyrics. Instrumentally, though, it’s groovy.

3:17 p.m. - Oh yeah, The Beach Boys are performing tonight!

3:25 p.m. - Whoever books for the Congo Square Stage just does it right. Sound issues plague the band at first, but Seun Kuti and his Egypt 80 arrive in style and waste no time in releasing the party favors. Son of afrobeat pioneer Fela Kuti, Seun actually borrows heavily from the late James Brown, shimmying across the stage with blind enthusiasm and a fury that’s purely gospel – well, when he’s not greasing his tracks with the saxophone. A cover of his father’s track “Zombie” starts off the set well, but it’s when he kicks into high gear with his own material off last year’s Brian Eno-approved From Africa With Fury: Rise that the crowd actually starts to swell. I also can’t get enough.

3:50 p.m. - Shiiiiit, I have a fetish with the saxophone, and I’m just not gonna shake it.

4:16 p.m. - Time keeps counting down to The Beach Boys. I start making my way towards the colossal Acura Stage, where Zebra is currently playing. Although they’re locals to the wetlands, their sound couldn’t stick out more. It’s ’70s progressive hard rock and it’s a little too spacey for the more organic fare throughout the festival. When they light up a string of Zeppelin covers (“Heartbreaker” sounds pretty dead-on, admittedly), I can’t help but think they once posed as Zoso, the touring Led Zep cover band that would perform monthly in Tallahassee. I only think of this because of the close proximity and the mere fact that Zebra’s singer also looks slightly like Jeff Daniels.

5:05 p.m. - Like a psychopath, I’m sitting in the photo pit for The Beach Boys 30 minutes before their scheduled set. Crowded House’s “Don’t Dream It’s Over” plays over the PA, and I start interpreting the lyrics literally, and then I think about Stephen King’s The Stand and spiral into even weirder thoughts. Shaking that off, I check my watch and then I start thinking about the Beach Boys reunion on the whole. Having read Brian Wilson’s autobiography Wouldn’t It Be Nice – a book which has since been pulled off the shelves due to inconsistencies stemming from his previous psychiatrist, who helped author the book with Brian – I’m fully aware of the songwriter’s troubles; however, if even 60% of that book is true, I myself would never want to be a part of this reunion.

Now, I’ve always championed them as America’s greatest band; the one true act to rival The Beatles. (Most people scoff at this, but go listen to Pet Sounds, last year’s The Smile Sessions, and/or “Surf’s Up”, “God Only Knows”, and “Good Vibrations” and then come up with an argument for another American act.) But there’s no doubt that the majority of their career is fraught with countless muck ups, namely their work in the ’80s and ’90s. Between “Kokomo” – a track I enjoy, but in the same way I enjoy REO Speedwagon, which is to say “sometimes” – and their wince-inducing appearances on Full House (groan) and Home Improvement (double groan), not to mention Stars and Stripes, Vol. 1, it’s difficult to champion their name sometimes.

So, I think a part of me feels like this reunion is a way to set that straight – maybe. Whereas Brian has carved out an exceptional solo career for himself, embracing the idea that he was the true genius behind the group, the other members have either pilfered the name around (Love, Bruce Johnston) or just done other things (Al Jardine, David Marks). Here’s why I think I’ve been so ecstatic about this reunion: Although Brian’s always going to be the talent, he needs the tools to get his ideas across. He could stack session after session musician around him (ha, he did), but it goes back to the original formula of the brothers Wilson, Love, Jardine, and, okay, Marks and Johnston, too. To hear that equation in-person, on-stage before it’s gone forever just felt necessary, at least to me, who was born around the time they started declining.

5:30 p.m. - Uncle Jesse, erm John Stamos, stops out, and despite having to shoot the set, I can’t help but laugh. I have no problems with Stamos, and I think he’s hilarious, but it’s just odd seeing him in the flesh – or at least this close. He’s the real-life equivalent of Dorian Gray. He goes on about how he’s still the president of The Beach Boys fan club, then discusses how they’ve always created “heart music”, and how there’s no band that captures the spirit of Americana like they do. Hey, now I have an ice breaker if we ever meet.

5:33 p.m. - It’s one hit after another. They open with “Do It Again”, follow it up with a medley of oldies (“Catch a Wave”, “Don’t Back Down”, “Surfin’ Safari”, “Surfer Girl”), and hardly quit. Love remains the showman, Johnston continues to smile, but it’s Jardine’s vocals and Marks’ athletic guitar work that truly elevate the tracks on-stage. Then there’s Brian. I’ll get to him in a second, though.

5:55 p.m. - Stamos’d again. This time he’s performing drums on “Be True to Your School”. Before the track, Love makes a rather clever jab about sleeping with his mother. Pretty funny.

6:15 p.m. - While Brian’s been sedative the whole time, he comes alive when he’s singing, as he does on a deep cut like “Sail on, Sailor”. This sparks a Brian-led medley that continues with an on-target cut of “Heroes and Villains”, peaks with “God Only Knows”, and comes down for a landing with their latest single, “That’s Why God Made the Radio”.

6:31 p.m. - Yeah, the new single’s not that bad.

6:40 p.m. – Al Jardine just knocks the shit out of “Help Me Rhonda”. This is why the reunion is a must-see.

6:50 p.m. - Getting close to the end, guess it’s time for…

6:51 p.m. - Once, twice, three times a Stamos’d. “Bermuda, Bahamas…”

6:52 p.m. - I didn’t catch Brian’s expression around this time, but I’ve always winced at that Full House appearance where Michelle Tanner mutters “kokomo” and he replies, “I think we have a request.” I’m willing to bet that scene was awkward to shoot, and that Brian probably didn’t dig that moment, and I’m also willing to bet this was a moment he wasn’t enjoying, either.

6:55 p.m. – Is there anything better than the opening verse of “Good Vibrations”? No.

7:00 p.m. - Save for a happier Brian, I can’t say there’s anything missing from this reunion. They scattered the hits with the deeper stuff – although, I’d still like them to go deeper than “Sail on, Sailor” – and nobody missed a mark. Hell, Johnston managed to get people to clap. I walk away with a big ol’ grin. I even buy a fan-made poster.

7:06 p.m. - The never-ending line to the shuttles sparks memories of Titanic (1997).

7:14 p.m. - A couple from Toronto discusses the legalization of marijuana with an elderly man who bears a strong resemblance to the yet-to-be-made Dr. John bio pic starring Richard Attenborough.

7:26 p.m. - The still never-ending line to the shuttles sparks memories of Titanic 3-D (2012).

8:01 p.m. – Professionals like to “talk shop”, music fans love talking up past gigs. Almost everyone in line has one to tell, and seemingly every person shares it. I manage to meet a hip Los Angeles couple with the best stories of ‘em all.

8:16 p.m. - Yes, Mr. Yorke, meeting people is easy.

9:27 p.m. - If you’re in New Orleans, you’re eating at Cochon. As a self-aware foodie, thanks to a girlfriend whose celebrity crushes involve Anthony Bourdain and Grant Achatz, I’m a sucker for fine-dining, but not of the snooty kind. I like my meals grounded in reality, without being too plain. I also love eating the genre of food I want, not some fair-share offshoot that’s loosely related. Cochon does all of that and doesn’t fool around with its Cajun stylings.

It’s packed when I get there, but as with most trendy restaurants, it’s easier to grab some space at the bar. I order a few high-end cocktails, dabble with slightly left-field appetizers (e.g. bacon-wrapped chicken gizzards), invest in the smoked beef brisket, and have a closed-door affair with the macaroni & cheese casserole. Later on,there’s a great discussion had with the bartender about how it feels like there’s no North and South in New Orleans, simply because of the curve around the river. I tell him that’s probably why this place feels like another world. I can’t tell if he hears me, though.

Sometime after 11 - You learn things every time you travel, especially in new places and during a first-time run at festivals. Although New Orleans never sleeps, you can’t stay up late, get up early, and plan to do it again the next night. Like a bum, I have a cigarette, return to my hotel room, and escape into some Kurt Russell movie on HBO. I’m destroyed, aching all over, but my stomach’s happy and my mind’s settled in. I think I’m starting to treat this room like an apartment.

Saturday, April 28th

11:00 a.m. - I want a muffuletta.

11:22 a.m. - Around the corner and a couple blocks down, I find another hole-in-the-wall pub, this one’s called Evelyn’s Place. Outside, it looks like a little cottage from Londontown, and inside it does, too, but there’s so much to look at it. There’s a wooden lion’s head at the door, a myriad collection of baseball hats in the rafters, and an endless supply of paper bills that line the restaurant’s walls, all from various parts of the world; some say things, others don’t. It’s also small inside Evelyn’s, but that’s part of its charm. When I step inside, there’s only two guys in the back eating sandwiches. Since it’s early and it’s a bar, I’m not too surprised. I look around, find the roughneck menu, order my muffuletta, and just relax.

11:27 a.m. - “My momma, the ol’ bitch, holds port in Orlando, FL,” someone tells this older man sitting at the door of the bar. I can’t help but be nosy and listen in. They toss the word “bitch” around nonstop, so I ask this guy, whose name is Frank, what they were discussing. He points to a little memorial of a woman named Evelyn, no surprise there, who was “the bitch” to everyone at the bar. She’s long passed,but the bar retains her name – it was originally called Stonehenge. So, clearly lots of character here.

11:33 a.m. - If you’re lost on the name, a muffuletta is a sandwich similar to a po’boy that includes marinated olive salad, capicola, salami, pepperoni, emmentaler, ham, and provolone. It’s a custom in New Orleans, and I just had to have one. Fortunately for me, it also comes with red beans and rice, a personal favorite, which also tastes fine. Again, nothing mind-blowing, but it’s reliable, hits the spot, and tastes like nothing else. This is how a good day starts.

12:06 p.m. - I’m not in any rush to get out to the festival today. It’s pool time, baby.

1:51 p.m. - Hard to ignore an aggressive act and that’s pretty much what attracts me to Shamarr Allen and the Underdawgs over at the Gentrilly Stage. There’s a lot of modern alternative rock that scuffs up the underbelly of Allen’s tunes, but it’s his energetic rapport with the audience and his unconventional approach to brass – he plays trumpet – that brandishes him as different. When I arrive at his set, he’s just finishing up a slightly uplifting, if not frantic rocker that leads him into smashing his instrument into the ground. I’ve never seen a brass musician go all punk rock like that, but it was pretty sweet. Double points for crowd surfing, bringing out an all children’s brass section, and telling everyone to “jump out of their drawers.” Basically, he should be playing every festival, especially with a closing line like this: “I told y’all white people have rhythm.” Hilarious.

2:35 p.m. - I miss the majority of Cheikh Lô of Senegal’s set at Congo Square, but from the snippets I catch, it appears I should invest some time in his work. Consider this my little reminder.

2:47 p.m. - The line for Strawberry Lemonade is far too long today, which actually upsets me more than it should. I just really wanted strawberries – and lemonade. Strawberry Lemonade.

2:51 p.m. - Instead, I opt for the Frozen Mango slushee thing; no idea why, either. I’ve hated mangos ever since I had a tree in my backyard growing up. They smashed all over my dock, then smelled up everything, and nearby ducks would try to eat them. Yeah, I wasted a few bucks on this one. #firstworldproblems

3:02 p.m. – There’s a Jazz Tent, a Blues Tent, and a Gospel Tent. Walter “Wolfman” Washington is performing in the Blues Tent, and when I get there, I’m automatically having flashbacks of a born-again Christian life I’ve never had before. It’s as if I’m in a Southern makeshift, outdoor church. Christ it’s creepy.

3:06 p.m. - Is that “The Chicken” by Jaco Pastorious, Mr. Wolfman? Too cool, but that goes without saying.

3:22 p.m. - With Tom Petty and the Heartbreakers only an hour or two away, the Acura Stage gets crowded once more, though partly because there’s a whole lotta talent on-stage, too. Dubbed the Voice of the Wetland Allstars, Tab Benoit, Dr. John,
Cyril Neville, Anders Osborne, Big Chief Monk Boudreaux, Johnny Vidacovich, Johnny Sansone, and Waylon Thibodeaux are all crammed together for a late afternoon jam, which segues into just about every style New Orleans can offer. As the name infers, the nonprofit organization raises awareness for the loss of wetlands in southern Lousiana, and is led by Benoit himself.

3:26 p.m. - Having never seen Dr. John live, I’m sort of spooked at how calm and cool he actually is, and it’s all in those eyes. He hardly moves them and when he does, it’s when you’re not looking – almost like a gator, and that’s not a comparison strictly because he’s a resident in the swamp. Well, maybe it is, but still.

4:15 p.m. - “We still lose an acre every hour,” he instructs. “We lost one while playing this set.” Pretty creepy, but Benoit hardly keeps the spirits down, adding, “I trust us. I like us. I believe in us. Together, we make a great gumbo.” You can imagine which track Benoit would play next.

4:45 p.m. - I get a kick watching the sixtysomething men flirt with the thirtysomething women. There’s a part of me that’s happy for them, if only they weren’t doing this while their wives got them beer.

5:06 p.m. - One thing that’s become apparent is the diversity of the crowd at Jazz Fest, or the lack thereof. Considering New Orleans is so culturally rich, I half-expected the crowds to be similar, and in some ways they were (depending on the act, I guess), but man, there were a lot of golfers there.

5:10 p.m. - I tend to forget just how great of a songwriter Tom Petty can be, but I’m quickly reminded with the first four songs of his set: “Listen to Her Heart”, “You Wreck Me”, “Won’t Back Down”, and my personal all-time favorite “Here Comes My Girl”. Quite a stellar launch off, but Petty knows better and slims back the hits some. “We were so excited. For years and years we wanted to come to Jazz Fest,” Petty tells the crowd. “We’ve got a lot of songs to play for you.”

5:28 p.m. - “We’re watching Tom Petty!” someone nearby screams.

5:56 p.m. - Petty’s on fire with some back catalogue stuff, including non-Heartbreakers material like Traveling Wilburys’ “Handle with Care” (don’t worry, Roy Orbison’s parts are sung to perfection by organist Scott Thurston), the very CCR-esque “Something Big”, and the acoustic strummer “Time to Move On”.

Photo by B&B Photography

6:11 p.m. - On second thought, some of the Mojo tracks drag on a little too long, and I still think the slowed down version of “Learning to Fly” is a little flat. That’s just me, though.

6:45 p.m. - Because I don’t want to stand in line for three hours tonight just for a ride, I start heading out, but can hear the sounds of “American Girl” in the background. Sort of a perfect way to hear it, come to think of it.

9:00 p.m. - I meet up with my newfound LA buddies again, and brave a seafood restaurant: The Bourbon House. We order some fried alligator for an appetizer, which I could have sworn I’ve had before, but can’t remember exactly when. I know I’ve had frog legs previously (they taste like chicken, but yeah, gross), though the taste or consistency of gator feels alien to me. Still, I sort of take pleasure in eating an animal I’m absolutely terrified. Turtle soup, on the other hand, that’s where I draw the line.

12:00 p.m. - Three hours later we’re done with dinner. Now, this sort of bonding isn’t a part of the festival, and granted, you could meet people anywhere, but I feel New Orleans – and even Jazz Fest, in general – warrants these sort of interactions. For one, the whole festival ends by seven o’clock each night and you’re then surrounded by an engaging nightlife, no matter where you are in the city. If you’re visiting, it would be foolish to retire early to a hotel room. In some respects, the nightlife is the festival, and the people within are a part of the experience.

12:45 a.m. - Time to hit up the Maison.

12:54 a.m. - The walk down Decatur doesn’t get any easier – or, any less creepier. I feel like someone’s always about to pop up around each corner and from within every doorstoop. Nope, just more street artists.

1:09 a.m. - It’s already pretty late by the time I reach the Maison, but it doesn’t matter. Frenchmen Street hardly shows any signs of slowing down. Artisans try and sell their pieces, there’s one girl who’s dressed a bride and god knows what she’s selling, one lanky teen has set up a bass amp and is playing rudimentary notes, couple other girls are sitting with typewriters and selling poetry, and in between are drunks or soon-to-be drunks. It smells like cigarettes, it’s sticky on the sidewalk, and noise is but a memory. It’s all just a clayball of chaos, but it’s entertaining.

1:15 a.m. - I’m here for Shamarr Allen, and although $15 dollars is steep for a late local gig like this, I’m not too bothered. Outside, I can hear him covering Coldplay’s “Paradise” on the trumpet, and by the time I get in, he’s knocking out trumpet-fied versions of “Smells Like Teen Spirit” and “Rolling in the Deep”. He’s set to debut his video for the track “Typical Rock Star”.

1:56 a.m. - The projector breaks, then works, and then breaks again. They opt to perform “Typical Rock Star” instead, and it’s all around an awkward, slightly tense scene. What’s worse, the track itself is pretty weak in comparison to his other stellar work. Oh well.

2:11 a.m. - I start yawning, I start leaving.

2:38 a.m. - The walk back is, well, different. For the first time all weekend, the city sounds dead silent, and it’s intimidating.

Sunday, April 29th

2:12 p.m. - I’m told Jazz Fest doesn’t sell out. When I trek towards the Acura Stage, however, I start to wonder if they oversold the weekend. It’s almost impossible to walk anywhere. You’d think Bruce Springsteen was playi–ohhhhhh riiiiight.

2:17 p.m. - There’s a line for every water stand. The sun is the hottest it’s been all weekend. I’m already complaining.

2:33 p.m. - After yesterday’s rousing performance, I’m not exactly running to see Dr. John again. I’m of the variety that appreciates a first taste and doesn’t necessarily need to double-dip. Stupid me, though, as Malcolm John “Mac” Rebennack, Jr. arrived to deliver a volley of his own hits. “Right Place, Wrong Time” is a jukebox staple and I can’t help but boogie a little on my own as he hammers it out. Shortly after this, it occurs to me that he’s responsible for “Ac-cent-tchu-ate The Positive”, which I’ll always remember fondly as The Mighty Ducks montage song.

3:15 p.m. - No Dan Auerbach appearance, though the cuts off his latest LP, Locked Down, sound just as fierce. Something to take away from each of his performances is his manner of being. He’s stoic and rigid and appears to be this immovable force, and he may be considering he’s been shot and beaten repeatedly in his life, but within him is this spectral force that refuses to settle. It’s that weighty urgency that adds character to his songs and performances and it’s a surreal thing to witness live.

3:28 p.m. - I witness this: A woman is banging her tambourine along to Dr. John’s set and some downer of a guy tells her to stop. I start worrying there’s going to be a great tambourine riot. Instead, there’s just bickering between the two, which does nothing but bring the mood down.

3:36 p.m. - The ol’ Doc previews a new track he’s been working on by bringing out young rapper L.G. Meyer. In a Memphis Grizzlies jersey and some bright red Nike’s, the kid spits rhymes over Dr. John’s traditional funk. The crowd isn’t buying it, and neither am I. Towards the end, he attempts to emulate Vanilla Ice with a “Go, Dr, Go” chant. You could almost hear the collective groan from the adult crowd.

3:50 p.m. - I notice some guy wearing a Tunnel of Love tour shirt. I try and discuss with him the insanity of that tour, namely the ludicrous amusement park installments on stage and Springsteen’s gratuitous practice of pouring water down his pants, but he’s too much of a stiff to talk. A part of me thinks I just came off as an asshole to him; the other part of me, who likes to play celebrity doppelgänger, is slightly convinced he’s Billy Joel.

4:01 p.m. - He isn’t Billy Joel.

4:33 p.m. - Hardly a cloud in the sky by the time Springsteen and the E Street Band roll through set opener “Badlands”. It’s a little odd seeing them in broad daylight, and the band picks up on this, too. After Nils Lofgren falls down early in the set, Springsteen exclaims, “We’re used to playing in the dark – seeing everything is fucking us up.”

4:47 p.m. - “Out in the Street” appears early. Very interesting.

4:52 p.m. - Almost 20 minutes in, it’s quite clear that New Orleans has been hungry to see this band again. Not only is the Acura Stage hosting the biggest crowd of the weekend, but the most enthusiastic one, too. Even during a newer cut like “Death to My Hometown”, thousands upon thousands of voices sing along in unison, as if it’s “She’s the One” or “Kitty’s Back”.

4:55 p.m. -  “That show from 2006 stayed with me for a very long time,” Springsteen states, referring to when he appeared at Jazz Fest with the Seeger Sessions Band. “Thank you for giving us an opportunity to do what our band was built for.”

5:12 p.m. -  Classic Bruce moment to take home: He digresses on something about stimulating spirits, but then randomly throws in a joke about stimulating the crowd’s sexual organs. “Just scream when that occurs,” he says cooly. “We’ll catch up with you later.” He can’t stop grinning, but neither can we.

5:23 p.m. - What would he do without those bridges into the crowd? It’s still funny how he treats the stage like a playground.

Photo by B&B Photography

5:35 p.m. - Springsteen makes it no secret that this setlist is tailored for New Orleans specifically. Or, it’s just a strange coincidence he decided to perform: “Death to My Hometown”, “My City in Ruins”, “How Can a Poor Man Stand Such Times and Live”, “Jack of All Trades”, and a jam with Dr. John on Chris Kenner’s “Something You Got”. Uhh, yeah.

5:36 p.m. - It’s around this time I start to lose interest, though. There’s nothing wrong with these tracks, but altogether, it’s too preachy. Here’s a city celebrating its heritage and its stronger suits and these songs are just downright depressing. I’m not looking for a greatest hits medley, or even these rare, deep cuts, but how about some variety, at least thematically? It just felt like overkill.

5:40 p.m. - There was also Al Green performing nearby, too.

5:42 p.m. - I don’t believe in god, but if there’s one person to convince me it’s The Reverend. I’ve never seen him live, so when he struts on stage singing “Take Me to the River”, I have this Fred Sanford moment. Soulful and smiling, Green tosses flowers to his nearby fans, who all dive at opposite ends to grab them – only a few get lucky.

5:48 p.m. - “Let’s Get Married” should be required listening for men everywhere. Everywhere.

5:55 p.m. - This is the way to end the weekend. Under the unforgiving Southern skies, Green shuffles about, sweating profusely in his thick black suit and from behind those trademark shades of his. “I’m here with you, you’re here with me, and we’re here with eachother.” The cheers just get louder, I can’t help but join them. “Let’s have a good time while we’re together.”

6:01 p.m. - Sorry Diamond Dave, Al Green’s “Pretty Woman” is just too sweet. That makes the festival two for two on Orbison takes over the weekend. Very nice.

6:09 p.m. - Hearing “Let’s Stay Together” live makes me feel a whole lot better for missing “Born to Run” later on. Green’s vocals haven’t aged at all and one might argue they’ve gathered a shiny film to it. It’s a moment like this that you just wish wouldn’t end, and when it does, you’re just in this blind stupor.

6:25 p.m. – On my way out, I catch Janelle Monáe for a quick minute or two. I’ve never seen her, though I’ve been a fan of hers since she guested on Outkast’s Idlewild. Apparently she covered Prince and the Jackson 5, but the only two cuts I get are “Cold War” into “Tightrope”, which is a pretty ballsy move considering they’re her biggest tracks. Someday, ma’am, someday.

6:52 p.m. - The end of every trip is hard. Unless you honest-to-god hated the place, it’s always bittersweet to leave. I play this torturous game in my head where I recount how many hours it’s been since the beginning of a particular event, or sometimes the end. It started years ago when I’d leave my long-distance girlfriend. I’d drive home and just count the hours since I had last seen her, touched her, hugged her, etc. They call that loss. I don’t feel that for New Orleans just yet, but there are snapshots that flash back and forth.

7:01 p.m. - I’m a big fan of parallels and keeping things thematic or cohesive. So, it’s no surprise that I grab a po’boy before I leave, bringing things full circle. This time, however, I stop not at some hole-in-the-wall, but an institution.

7:05 p.m. - Mother’s Restaurant has been around since 1938 and it looks like it. The exterior shows its age and the interior takes you back some years, thanks to its ’50s finishings.

7:15 p.m. - Since they pride themselves for their baked ham, I order up a po’boy with that, and a side of red beans and rice. I’ve had this meal before over the weekend, but I can’t get enough. Sure, too much of anything is a bad thing, but in New Orleans, I gotta be bad.

7:30 p.m. - I’ve ranted and raved about food for about four days now, and with the exception of Cochon and the alligator bites at The Bourbon House, nothing’s drilled through my mind. Mother’s hits the spot in every way a meal that costs just over 10 bucks can. They “dress” the sandwich to perfection, with due credit given to the choice of pickels, and the red beans and rice has an ideal consistency. Their homemade pepper sauce, available on every table inside, brings it all home, though. I couldn’t ask for a better last meal in New Orleans.

Shortly after - The walk to my hotel is slightly bittersweet because I know I’ll start writing this within the hour and then everything will really be over. I think back to how I worried so much the previous week, how I almost wanted to cancel the trip altogether, and how my anxiety almost got the best of me. Sadly, not much has changed. I’m still congested, riddled with worrying thoughts, and I’m already over-thinking the next thing down the line.

Just after that - It takes awhile for the sun to set during this time of the year, but I feel like the light lingers for a bit in New Orleans. It’s close to eight and there’s this teal haze over the city streets, where it’s not evening anymore but it’s also not quite night yet, either. It’s a weird middle ground, but it’s a pretty sight to take in. Since my hotel window has a decent city view, I stand there for a minute and just watch. I can’t believe I’ll be in Chicago tomorrow.

Gallery

Photographer: Michael Roffman

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I worship at the church of karaoke. The parishoners and I are there to confess and meditate, to feel welcomed by a community, to hear a good sermon or two, to perchance see someone speak in tongues and have the words of the Lord Bon Jovi be channeled through a mere mortal. And, of course, to have some drinks and venture to make complete fools out of ourselves.

Karaoke exists in a vacuum of taste, where anomalies and exceptions always seem to arise and mess with my preconceptions. Maybe, like me, this is the only time you can really tolerate a Billy Joel song. Maybe those two dudes doing Sum 41′s “Fat Lip” actually sound kinda good, or that girl who’s really giving it the old college try on “Since U Been Gone” elicits all this empathy, and dammit you can’t be mad because she’s having fun!

This list — boiled down, mind you, from literally hundreds of runner-ups — is an extension of that feeling that happens when you flip through the entire karaoke book and you don’t see one song you want to sing. After polling the staff and consulting some of my long-time karaoke buddies, these are the songs we all wish would be added to the karaoke canon that we personally have never seen before (we are excluding the deep cuts in Austin’s Karaoke Underground book).

And if it’s one thing most of these songs have in common, they’re totally depressing. Sorry. To make up for that, and in contrast to a lot of karaoke standards, a whole grip of these songs don’t require you to have a good voice. In fact, you could be totally tone-deaf and still do an absolutely kick-ass version of  The Fall’s “Totally Wired” because the song isn’t about impressing Cee-Lo and Adam Levine with pitch and tone, it’s about the performance. There’s plenty more like that on the list that I felt would always be fun — songs that don’t focus on notes as much as they do putting on a great show.

Don’t fret, choir nerds, it’s not all post-punk pogo-dance chant standards. There’s plenty of new vocal challenges all over the list, from tUnE-yArDs to Jeff Buckley to Dirty Projectors to Hasil Adkins. There’s a lot more. Who knows, there may even be another list further down the road. What songs would you like to sing at Karaoke that are never in the books? Let us know in the comments.

You can access the entire list on Spotify. Enjoy!

-Jeremy D. Larson
Managing Editor

Andrew Bird – “Fake Palindromes”

When to sing:  After a couple glasses of wine to keep the voice nice and velvety. It’s a short one.

Make sure to:  “Monsters?”

Animal Collective – “For Reverend Green”

When to sing: Get this out of the way early, but don’t lead with it. Avey Tare’s vocals on this are daunting, histrionic, and require full commitment or else you will be laughed off stage for singing Animal Collective at karaoke. No guarantees for that not happening anyway.

Make sure to: Differentiate between the two “Lucky child don’t know how lucky she is” parts.

Arcade Fire – “Keep The Car Running”

When to sing: Great lead-off song — not too difficult to sing, short and sweet, not too obscure, speaks for itself.

Make sure to: Totally go for it on the “Ohhhh ohhh” and punch the air on that final snare hit like a hero.

Ariel Pink’s Haunted Graffiti – “Can’t Hear My Eyes”

When to sing: When you want to sing  “Brandi” by Looking Glass, but you can’t quite remember how the bridge goes, or even if there is a bridge to the song.

Make sure to: Not have a catastrophic meltdown, but you should really be laying down on the ground and arching your back over the monitors.

Azealia Banks – “212″

When to sing: After midnight, after your confidence level has peaked,  after you contemplate that Azealia Banks isn’t even old enough to do Karaoke and put this song out.

Make sure to: Have this shit well-rehearsed, because the cadence of “Bet you do like to slumber, don’t you?” is not going to come to you when you’re reading it off the teleprompter. Good luck deciding on whether or not to drop the C-bomb. That’s on you.

Beat Happening – “Cast A Shadow”

When to sing: When the eyelids are heavy, and the 500 yard stare can be trained on not just anyone, but definitely someone.

Make sure to: Study/mimic Ted Leo’s performance of it at Underground Karaoke at Matador 21.

Best Coast – “When I’m With You”

When to sing: Right after you get back inside from smoking a joint in the ally and you tell that cute guy that “this next song’s for you.”

Make sure to: Ask the DJ if he can turn up that reverb.

The Black Keys – “10 A.M. Automatic”

When to sing: When you can’t quite put into feelings that guy’s t-shirt with a bald eagle on it.

Make sure to:  Put a little extra spit on those vocals like they used to do.

Black Lips – “Bad Kids”

When to sing: After a round of Jager, or Car Bombs, or Liquid Cocaine, and after you tell them you’re absolutely not going to sing “Bohemian Rhapsody”.

Make sure to: Get, like, seven people on the stage.

Bon Iver – “Skinny Love”

When to sing: When you roll up to Karaoke solo, after several drinks isolated in a cold corner of the bar, and only when the weight of the world is on your heart.

Make sure to: Sulk back to your chair when it’s all over, back to your “cabin,” as it were.

The Breeders – “One Divine Hammer”

When to sing: Directly before or after someone sings Pixies – “Hey”.

Make sure to: Remember that this song is wicked filthy — direct eye contact with crowd is at your own risk. (Dudes, ask if they have the Clockcleaner version — it’s arguably better.)

Bright Eyes – “The Calendar Hung Itself”

When to sing: There’s no real bad time to sing this, the preeminent emo song of them all, but it’s more about when you have wherewithal to sing Oberst’s lyrics.

Make sure to: Render everyone so awestruck they all want to buy you a drink at the end of it — you’re clearly not in a good place right now.

Built To Spill – “Car”

When to sing: A great opener, before you’re even finished with your first drink.

Make sure to: Close your eyes by the third “I want to see, movies of my dreams,” or you’re not doing it right.

Cibo Matto – “Birthday Cake”

When to sing: In the environment where this song is an option, everyone’s going to be OK with it any time, but it’s definitely one of those songs to play if your equilibrium’s altered to the point where pitch is “optional”.

Make sure to: Get all of Miho Hatori’s eccentricities and dialect, especially the way she says “birthssday cake.”

CYHSY – “The Skin of my Yellow Country Teeth”

When to sing: When you are sure that this song will burrow into the soul of everyone watching – so, late in the night.

Make sure to: Slur each and every word, purposefully or not.

College & Electric Youth – “A Real Hero”

When to sing: After (or during) a big knife fight in the back of a bar. I don’t know if this song will ever escape its role as the soundtrack to Ryan Gosling driving off into the sunset.

Make sure to: Channel Bill Murray singing “More Than This” and you’ll be on the right track.

Das Racist – “Combination Pizza Hut and Taco Bell”

When to sing: When you want to comment on consumptive corporate consumerism to a bar full of drunk people.

Make sure to: Replace “Jamaica Ave.” with a local thoroughfare in your city to try to get the message to resonate with your audience.

The Decemberists – “Don’t Carry It All”

When to sing: When you don’t want to sing “You Don’t Know How It Feels”, but you actually kinda do. Here’s something that sounds almost exactly the same.

Make sure to: Partake in the same kind of theatrics that The Decemberists do on stage and pretend that you’re a whale and try to eat the audience. This will go over well.

Dent May – “Eastover Wives”

When to sing: When you want to sing “You’ve Lost That Loving Feeling” but you’re never sure which of the 12 versions they’ll put on.

Make sure to:  Dance your white ass off while you’re up there.

Destroyer – “Your Blues”

When to sing: When the idea of singing another Bob Dylan song seems completely “repulsive,” but you’re still not of the inclination to “sing exact notes.”

Make sure to: BYO condenser mic and hold it delicately between your thumb and index finger.

Dirty Projectors – “Stillness Is The Move”

When to sing:  Get this one done early in your set – that little run up to that really high note in the pre-chorus can’t be easy after 3+ drinks. Nailing this song will win the affections of the boy in the Owen Pallett tee.

Make sure to: Remember those quiet riffs Angel Deradoorian does at the end. If you bring those out, Owen Pallett guy will definitely buy you another glass of merlot.

Dismemberment Plan – “You Are Invited”

When to sing: When you feel the tenor of the evening has taken a turn for the worse and want to relay a message of acceptance, positivity, and sing one of the greatest damn songs ever.

Make sure to: Work the crowd and tell the story – be the light at the end of all of these barfly’s nights, especially the guy who just sang “Hurt” seemingly without irony.

Elliott Smith – “Waltz #2 (XO)”

When to sing: It’s not as huge of a bummer as, say, “Needle in the Hay” or “Twilight”, but for those who like bumming people out at karaoke, this should be your go-to bummer jam. Bonus points if you bring your mother along.

Make sure to: Nail the “and on and on and on” perfectly or Howard Sims will be there with his shepherd’s crook so fast.

The Fall – “Totally Wired”

When to sing: The obvious time is after you just did some coke in the bathroom but feel free to make it a joke song — change lyric to “tired”!

Make sure to:  Respect Mark E. Smith and add a supurflous “uh” after every phrase (“I’m totally weird-uh, to be wired-uh”).

The Flaming Lips – “Do You Realize??”

When to sing: Late enough and drunk enough so that you consider Wayne Coyne’s questions about universe. The precise moment this can happen varies greatly from person to person.

Make sure to: Really ask the question, every time. It’s not a rhetorical question, it’s incredulous! Grapple with reality up there.

Free Energy – “Dream City”

When to sing: When you want to sing “The Boys Are Back In Town” but the last time you did you got kicked off stage for trying to sing all three lines of the guitar solo by yourself.

Make sure to: Wear a leather jacket.

Frightened Rabbit – “The Modern Leper”

When to sing: After an unstable amount of whiskey, and after you overheard someone talk about Mumford.

Make sure to: Think about the Scottish accent, but man, don’t go all Groundskeeper Willie on it. Let it alone if you have doubts.

Fugazi – “Waiting Room”

When to sing: When you have two people who can do both Guy Piccatio’s and Ian McKay’s parts. Then, and only then, should you do “Waiting Room”.

Make sure to: Sing when you feel like the fever of the room is about at this level.

Girls – “Lust for Life”

When to sing: It’s such a short song (only a minute and 30 seconds of singing) that it needs to be early on when people might still be paying a bit of attention. No flare, just a great song.

Make sure to: Figure out how Christopher Owens does the half pouty/half whiney thing before you step up.

Gogol Bordello – “Start Wearing Purple”

When to sing: After your fifth shot of Stolichnaya, and only if you’re wearing suspenders.

Make sure to: Take off your shirt but keep your suspenders on. Also buy a round of vodka for everyone pre-song and toast the audience during the high note and you will be crowned King Gypsy-Punk for the rest of the night.

Grinderman – “No Pussy Blues”

When to sing:  When you’ve squeezed the last ounce of pathos out of  ”Just a Gigolo”, and you’ve just gotta lay down some real talk with the bar.

Make sure to: Never unclench your teeth throughout the whole song — that’s part one of the Nick Cave impression. This is part two.

Guided By Voices – “Tractor Rape Chain”

When to sing: When you think you’re as drunk as Robert Pollard would be.

Make sure to: Elucidate to the DJ (and audience) that the word in questions is (probably) referring to parallel lines made by a tractor in a rapeseed field. Or not — your call.

Hasil Adkins – “She Said”

When to sing: After some rye whiskey, moonshine, or corn liquor.

Make sure to: Not memorize the lyrics, but memorize how Adkins says the words, which will be no where near how they are supposed to sound. The whole thing will work better if you pronounce “head” like “hayee.”

Hunx and His Punx – “U Don’t Like Rock N Roll”

When to sing: Immediately after some group of moms sings “I Love Rock  Roll”. That would be great.

Make sure to:  Wear a bedazzled leather jacket. Pants optional.

Interpol – “Obstacle #1″

When to sing: When you’re wearing black suit, shirt and tie, and you’re totally ready to make the same note that spans over 50% of the song interesting.

Make sure to: Import Carlos D’s New York Doesn’t Really Care swagger.

Islands – “Rough Gem”

When to sing: After someone sings Whitesnake or Dokken or Aerosmith — when things are decidedly un-twee.

Make sure to: Play air piano on those three timeless piano plunks on the chorus.

Jamie Lidell – “Multiply”

When to sing: When you want to sing  Jamiroquai’s “Canned Heat” but don’t want to hear anyone say “Why didn’t you do the Napolean Dynamite dance?”

Make sure to: Right after you fling your leopard-print suit-jacket on and take one last sip of your dirty martini. Study up on Lidell’s dance moves.

Janelle Monáe feat. Big Boi – “Tightrope”

When to sing: Two or three times a night is totally acceptable.

Make sure to:  Put in the version with the rap in it. I’m sure they have it, but you don’t want to get all “Waterfalls (No Rap)” on the mic. Also, put some voodoo on it, yeah?

Jay Reatard  - “It Ain’t Gonna Save Me”

When to sing: If you’re feeling like Jay, or if you’re feeling like a tribute to Jay.

Make sure to: Have a lot of fun singing a really, really dismal, depressing song.

Jeff Buckley – “Grace”

When to sing: On a night where you truly think that you can sing this. Which means you’re a ringer and you don’t really belong at the karaoke joint, or your liquid courage has overcome your actual talent. Also acceptable: on a $50 dare.

Make sure to: If nothing else, if you punt the riffing or that high G and make Buckley roll over in his grave, just make sure you hit the last little vocal riff — it’s just too perfect.

Jens Lekman – “The Opposite of Hallelujah”

When to sing: After a glass of champagne or two, when those bubbles start to go to your head and put a spring in your step. You’ll need it for those tambourines and handclaps.

Make sure to: Mime picking up a seashell to illustrate your homelessness. You can be the crab, too, if you feel so inclined.

The Jesus Lizard – “Seasick”

When to sing: Preferably after someone sings “Piano Man”, or something really just bad. Show them what bad really means.

Make sure to: Bow/curtsey gracefully when you’re done. Expect it to go something like this. If it’s not going like that, you’re doing it wrong.

Joanna Newsom – “Inflammatory Writ”

When to sing: When you’re wearing a flowery dress and want to be the first person to sing the words “poetaster” and “ululate” in a bar.

Make sure to: It’s got the swagger of a great drinking song, so hoist your stein and rock to and fro, and sing heartily about mollusks’ weddings and writers’ block.

Joy Division – “Transmission”

When to sing:  Because it’s not really a participation song and, depending on where you take it, more of a performance, doing this early in the night is advisable, odd as it may seem.

Make sure to: Not mimic Ian Curtis’ dance moves. You can’t do them, and may god help you if you get laughs. Totally cool to be inspired by Curtis, though.

The Knife – “Heartbeats”

When to sing: After everyone’s had enough clear, expensive drinks to get down to this sultry slow burner.

Make sure to: Not pick the Jose Gonzalez version and get all “Blower’s Daughter” on everyone.

Kurt Vile – “Freak Train”

When to sing: When you want to transfer your drunken ramblings from the bar to the mic. In fact, you could have never heard this song and as long as you’re all-in on the lyrics, it will be fantastic.

Make sure to:  Just walk right into a cab when you’re done singing because you shouldn’t be fit to drink anymore.

Lana Del Ray – “Video Games”

When to sing: It’s you, it’s you, it’s all for you.

Make sure to: Everything you do, you tell me all the time.

LCD Soundsystem – “Drunk Girls”

When to sing: When you hear someone of any sex go, “Oh my god where did Chrissy even go?” and when you got a posse behind you to to shout “drunk girls” and “drunk boys.”

Make sure to: BYO Sennheiser 509.

Lush – “Ciao! (feat. Jarvis Cocker)”

When to sing:  When you’re sick of duets that only serve to profess two people’s Endless Love for one another and you want one that’s just full of bile and vitriol.

Make sure to: If you want, play the opposite emotion, like the audition scene from Mulholland Dr!

M.O.P. – “Ante Up”

When to sing: When the “Scenario” call-and-response just doesn’t seem hard enough.

Make sure to: Go so hard. If you’re not aggro-rapping like Billy Danze and Lil’ Fame, you will fall into another terrible hip-hop karaoke performance so ante up.

Mclusky – “Lightsabre Cocksucking Blues”

When to sing:  When no one can see, or hear, and it’s the end of the world and you’re ushering everyone to their graves with the karaoke version of “Nearer My God To Thee”.

Make sure to:  Intone “sell me to wonderluuust” like Andy Falkous does.

Misfits – “Where Eagles Dare”

When to sing: After doing a “waterfall” with your group because you signed them up for this and they’re all going to…

Make sure to:  Huddle around the mic, arms around each other, and show everyone what a drunken group shout song really sounds like.

Mission of Burma – “That’s When I Reached For My Revolver”

When to sing:  Since it doesn’t have the bite that some of these other post-punk numbers do, you can sing it early and embrace that final chorus in arena-karaoke fashion.

Make sure to:  Not pick the Moby version. Ahh, that’s not a half-bad version.

The Mountain Goats – “This Year”

When to sing: When the taste of scotch is rich on your tongue, naturally.

Make sure to:  To do that little “ahha” thing before “listen to the engine whine.” And, make it through this night, if it kills you.

My Morning Jacket – “Gideon”

When to sing: Probably one of the hardest songs on this list, so you could really bring the place down if you’re aligned for it. If you got that high note, go for it anytime, and show that dude who just did “With Or Without You” what the deal is.

Make sure to:  Remember that you can hit the super high note like Jim James does live  – just scream that sawngun out.

The National – “Mr. November”

When to sing: This fall seems to be another perfect time, no?

Make sure to: Amble through the crowd really slowly, steadily stepping on tables and chairs, and if you run into a tiny girl in the bar, do this.

Neutral Milk Hotel – “Song Against Sex”

When to sing: When you want to sing “Too Drunk To Fuck” but you don’t have the drugs to take to soothe  your mind — you’re always sober.

Make sure to: To preface your performance by alerting the audience that there will be strictly be no video recording or photography of any kind. In fact, you should probably be doing that before every song anyway.

The New Pornographers – “Bleeding Heart Show”

When to sing: When you have a cast of at least A.C. Newman, Neko Case, Kathryn Calder, and Dan Bejar to join up for the “Hey la’s”, a crucial moment that cannot be left to the karaoke track.

Make sure to: Just give the guy who’s playing Dan Bejar a tambourine and a drink. He doesn’t need to be on stage the whole time.

Nick Lowe – “I Love The Sound Of Breaking Glass”

When to sing: Such a great lead-off song, or you could win the night if you can get the DJ to give you a fast pass to the mic right after someone breaks a pint glass.

Make sure to: Bring your drink up there and then either pretend to drop it and laugh it off and wink, or throw it to the ground and stare directly at the audience and stand perfectly still until you are escorted from the stage.

Of Montreal – “Gronlandic Edit”

When to sing: To make an entrance upon arriving at the bar, as the beat is conducive to Night at the Roxbury-style head-bobbing and/or your own personalized moonwalk. With moves like those, you’ll get mic priority in no time.

Make sure to: Bring some friends in a boys’ choir to sing the high falsetto.

Okkervil River – “Lost Coastlines”

When to sing:  At the peak of the night — only because I think this is one of the better karaoke songs. It’s got the makings of one of those “gather ’round, we’re doing ‘Lost Coastlines’” vibes.

Make sure to: Use the little instrumental break that everyone in the bar has to sing the “La, la, la la la la,” part that’s coming up. It’s such a perfect place to explain it.

Patti Smith – “Free Money”

When to sing: Be true to Patti and do it sober!

Make sure to: Not go all Natalie Merchant/10,000 Maniacs on this one — your melody rides the feeling.

Pavement – “Unfair”

When to sing: When you’re at a place on the Sunset Strip and you don’t want to sing “AEnima” again because no one really got it the first time.

Make sure to: Bring out those Malkmus histrionics and also let the DJ know that there really should be like every Pavement song in this book.

Peaches – “Fuck the Pain Away”

When to sing:  When the idea of singing “Closer” seems too dominant and chauvinistic, and you want something a little more coquettish and submissive, yet just as fucking graphic.

Make sure to: Go in knowing that you’re about to say “Fuck the Pain Away” 24 times, and pray for semantic satiation.

The Pharcyde – “Oh Shit”

When to sing: When you want to sing “Things That Make You Go Hmmmm” but you’ve got a team of tenors with you.

Make sure to: Just get a lady to sing Slimkid3′s verse because come on.

Pixies – “Hey”

When to sing: Directly before or after someone sings The Breeders – ”One Divine Hammer”.

Make Sure To: Interact with the singer of “One Divine Hammer”. This is your future wife, or at the very least you should start a band together.

PJ Harvey – “Words that Maketh Murder”

When to sing: When you’re pretty sure everyone’s either ready to go get eggs at the local diner, or you’re desperately seeking the attention of the guy or girl wearing brown and black in the corner next to The Addams Family pinball game.

Make sure to: Start loud, get soft, and then just sort of decide whether you want to finish loud or just repeat the harmonies or pass out.

Portishead – “All Mine”

When to sing: It’s such a James Bond-y torch song – the one that can bring you glory and fame – depending on your skill set.  After midnight, to be sure, and after you’ve told seven different men your seven different names.

Make sure to:  Ask if, just this once, you can smoke in here.

R. Kelly – “Trapped In The Closet”

When to sing: This for the KJ. If you’re ever a KJ, what you do is you learn the first 10 or so parts to this magnum opus and interpolate them throughout the night. This really is the best thing a KJ could do.

Make sure to: Pull out your beretta when things get heated.

The Rapture – “Out Of The Races And Onto The Tracks”

When to sing: After the idea of impressing people with your voice has long since faded, and you believe you can entertain the masses by doing one simple thing:

Make sure to: Shake shake shake shake shake shake shake shake shake shake.

Regina Spektor – “Your Honor”

When to sing: Trying to explain to the bouncer that your belligerently drunk friend is just “fighting for your honor” and/or distract the bouncer by creating the first Regina Spektor-inspired mosh pit ever.

Make sure to: Grab an unsuspecting audience member to forcefully air-kiss.

The Replacements – “Bastards of Young”

When to sing: Right after a heated argument about what you’re doing with your life, or HBO’s Girls. The kind of performance you give will hang on how drunk you are — but that’s kind of the point with The Mats.

Make sure to: Tell the DJ that he should have literally every Replacements song in the book.

Rilo Kiley – “Silver Lining”

When to sing: You’ve been politely shot down by the fourth cute guy you’ve approached at the bar- is it your fault they’re all “seeing someone”?- and you want to show all those guys what they’re missing.

Make sure to: Not confuse it with “Dreams”. Trust me, those chord changes really sound the same, especially after one drink too many.

Rufus Wainwright — “14th Street”

When to sing: After a bottle of wine, and when you’re in any city with a gridded downtown, doesn’t matter how big.

Make sure to: Play up Wainwright’s slur if you have to and find that perfect three-glasses-of-wine legato.

Ryan Adams – “Halloweenhead”

When to sing: It doesn’t have to be October to chant this one across the bar. Be ironic, or find your inner Jack Skellington, and belt this out at Christmas shindigs everywhere.

Make sure to: ”Guitar solo!”

Scott Walker – “Jackie”

When to sing: When you can see the bottom of your first elderflower cocktail, and after you place a mint leaf behind your ear.

Make sure to: Indicate just as much, if not more, than Walker does in the above video. “My beard so very long and flowing” being one example of a shining moment for pantomime.

The Shins – “Gone For Good”

When to sing: A perfect song for an afternoon karaoke session, or one of your first songs.

Make sure to: Bring a friend who can do those harmonies cause they’re so breezy.

Silver Jews – “Punks In The Beerlight”

When to sing: Right before you propose to your burnout girlfriend.

Make sure to: Bring your punk up there with you.

Sleater-Kinney – “Dig Me Out”

When to sing: After you’ve grown tired of the same polite rebuffs you’ve been giving all night and want to transform your face into a giant “back the hell up off” sign.

Make sure to:  Furrow the brow, clench the mic, and curtsy at the end.

Sleigh Bells – “Rill Rill”

When to sing: When you want everyone to get up and sway together without singing “Time of Your Life”. Once that Funkadelic sample kicks in, it’s only natural.

Make sure to: Wear just one fingerless glove and a string of bullets, if you’ve got ‘em.

Spoon – “The Underdog”

When to sing: You’re sloppy, stained with kisses, and your high school girlfriend you haven’t spoken to in over a decade has just walked through the door.

Make sure to: Take a page or two from Tom Jones – dance, dance, dance with the horns!

The Strokes – “15 Minutes”

When to sing: That one night you decide to be bold and wear the leather jacket, despite the fact that your friends all joke around and call you “The Fonz.”

Make sure to: Stay focused, despite that dreamy guitar solo, watch for the changes, and try to keep up at the end.

Sufjan Stevens – “John Wayne Gacy, Jr.”

When to sing:  When you’re sure that you can come back from it. This is for advanced artists only.

Make sure to:  …I don’t even know. I just kind of want to hear someone sing it and just live in whatever weird moment that it manifests forever.

Supergrass – “Alright”

When to sing: Someone’s brought up at least one reference to Alicia Silverstone, Brittany Murphy, Jeremy Sisto, or anything having to do with 1995′s Clueless.

Make sure to: Really belt out “But we are young!”, especially if it’s your 30th birthday.

Tapes ‘n’ Tapes – “Insistor”

When to sing:  When you want to sing Violent Femmes, but you’d rather sing a song about being a badger. The song has a great arc to it, so it should take care of itself.

Make sure to: Add that big scream in the final chorus.

Television – “See No Evil”

When to sing:  Right after the girl who sang Patti Smith asked you, “So, what are you singing?”

Make sure to:  Turn in your best Tom Verlaine impression (sing everything just a little behind the beat), and bring a beer to drink during that killer guitar solo.

The-Dream – “Yamaha”

When to sing:  When you want to branch out from your Prince standards, and “Darling Nikki”.

Make sure to:  Wear your motorcycle jacket, and take some names, lil’ mama.

The Thermals – “Here’s Your Future”

When to sing: On the eve of any Catholic-related holiday.

Make sure to: Keep the nasal passages clear; otherwise, you’ll have everyone asking what Springsteen song this is.

Titus Andronicus – “No Future Part Three: Escape From No Future”

When to sing:  After a three-Jameson rocks, and you get the idea that the only way anyone will like you tonight is if you bring everyone down to your level.

Make sure to:  Plant some ringers in the audience for the “You will always be a loser” part, and if you get everyone singing at the end you’ll be a karaoke loser forever.

Tom Waits – “I Hope That I Don’t Fall In Love With You”

When to sing: When the night is squinting back at you, and there’s only about five people in the bar, and the bartender is wiping down the bar half-interested in what you’re doing.

Make sure to:  At the end, tell everyone to tip their bartenders.

tUnE-yArDs – “Bizness”

When to sing: Like “Tightrope”, as often as possible.  

Make sure to: BYO face paint, and see if you can find a way to do that vibrato thing Merril does at the start of the second verse.

TV On The Radio – “Wolf Like Me”

When to sing: After a spirited conversation about what, ultimately, is the best TV On The Radio song.

Make sure to: Put in a good argument for “Wolf Like Me”.

The Velvet Underground – “Beginning To See The Light”

When to sing: When your night is striking a nice balance somewhere between Loaded and White Light/White Heat.

Make sure to: Just make up whatever melody/words you want during the verse.

The Weeknd – “Wicked Games”

When to sing: When you want to bring the sexual tension from “girl look at that cute guy” to “this is unbearable and I have to leave.”

Make sure to:  Not even attempt this if you can’t hit those high notes. Consult friends before singing and listen to them if they laugh at you.

Whiskeytown – “Excuse Me While I Break My Own Heart Tonight”

When to sing: When you’re drunk enough that your country roots start to show, but are still aware that you’re singing Ryan Adams.

Make sure to: Add that twang that Ryan Adams used to do.

Why? – “The Hallows”

When to sing: When you want to get back to the proto-hipster, and drop some fantastic white-boy rhymes on the mic.

Make sure to: Preface this song by “You’ve probably never heard of these guys” just for old-time’s sake.

Wilco – “Monday”

When to sing: After a couple of PBRs and after someone asks you if you know any country songs other than that Ryan Adams guy.

Make sure to: Infer that you do know more country songs, but few are as great as “Monday”.

Wild Flag – “Romance”

When to sing: I know it’s a new song in the canon, but really, when is there not a good time to sing this song?

Make sure to: Air-guitar throughout and slyly note to passersby that you saw Sleater-Kinney live before they split. Like, during the song.

Wire – “Ex Lion Tamer”

When to sing:  After you get done complaining about HBO’s Girls for the last hour and just want to grab everyone by the collars, and scream some metaphors in their faces. This is not an uncommon emotion.

Make sure to: Bring up a hype-man for the extra punch off from the mic when you sing the echo lines in the verse.

Wolf Parade – “This Heart’s On Fire”

When to sing: After about a pack of cigarettes into the night.

Make sure to: Leave absolutely all of it on stage.

Yesterday, during the annual White House Easter Egg Roll, Janelle Monáe performed her rendition of The Jackson 5′s “I Want You Back”. The Monáe version stays faithful to the original, with bubbly, romantic vocals nearly identical to our fab five of yesteryear, only there’s this laid-back, air of abandonment to the supporting string and horn work. If nothing else, it’s a vast improvement on the “Bunny Hop” song. Watch the replay below (via Pigeons and Planes).

“I’m looking for something that’ll… break through. You know?” James Woods’ Max Renn yearns in David Cronenberg’s 1983 cult classic Videodrome. Oh, how things have changed. In today’s day and age, we’ve already drowned in media. It’s swallowed us. We’re nothing but a bubble amidst one infinite, engulfing abyss. Intimidated? You should be. With each passing second, you’re losing opportunities to take advantage of a culture that’s moving ahead and at an exhausting rate. You could very well be alone… left behind… abandoned. Terrified yet? Yes? Well, that’s more like it.

-Michael Roffman
President/Editor-in-Chief

Ceremony – “Adult”

Judging from this 1950′s-inspired video, it’s probably safe to say the dudes from Ceremony are pretty excited for the return of Mad Men this weekend.

The Cribs – “Come On, Be a No-One”

Probably the most interesting thing about this new clip from UK punk-poppers The Cribs is frontman Ryan Jarman’s haircut. It’s not often that someone walks into a barbershop and says, “Give me the Johnny Ramone circa 1977.”

Earl Sweatshirt’s Live Debut

Just when we think we might be growing tired of Odd Future’s antics, they give us another reason to pay attention again. At long last, the collective welcomed back their (arguably) most talented member, Earl Sweatshirt. Watching Tyler & Co. so genuinely happy to have their friend back is almost enough to get you all choked up – that is until you realize the name of the song they’re performing is charmingly titled “AssMilk”.

Janelle Monáe – “Little Wing” (Jimi Hendrix Cover)

There are few songs sexier than Jimi Hendrix’s “Little Wing”. Yet retro-soul vixen Janelle Monáe somehow manages to add a little bit more steamy sensuality to her cover of the track. Her crazy vocal range is a nice substitute for Jimi’s famous baritone.

Margot and the Nuclear So and So’s – “Shannon”

If there’s one thing that funerals today lack, it’s definitely ritual pagan practices. Thankfully, Margot and the Nuclear So and So’s remedy this problem in their new video.

Modeselektor feat. Miss Platinum – “Berlin”

With its cute animation that looks lifted from an Adult Swim show, Modeselektor manage to make a giant gorilla terrorizing an entire city seem not so bad at all.

Odd Future feat. Earl Sweatshirt – “Oldie”

And you thought Wu-Tang Clan had a lot of members.

The Shoes – “Time to Dance”

Director Daniel Wolfe manages to make Jake Gyllenhaal inordinately creepy in this deluxe eight minute clip for The Shoes’ delectable single. Things get sexy, things get dancey, and plenty gets bloody. This will be one of your favorite videos of the year.

Spiritualized – “Hey Jane”

Ever wonder what a day in the life of a transvestite prostitute is like? Well, Spiritualized have got you covered. Shocker, this one is very NSFW.

Tanlines – “All of Me”

Back during the Cold War, there apparently wasn’t much to smile about. This latest video from Tanlines, which looks like it was made sometime during the Carter Administration, goes to show that even when you’re preparing for nuclear holocaust, you still should set aside some time to bust a move every once in a while.

There are two songs most college kids play again and again on their acoustic guitars (typically in dorms or the campus quad): Sublime’s “What I Got” and Jimi Hendrix’s “Little Wing”. Kudos then goes to Janelle Monáe for covering the latter and obliterating any past beer-washed memories from yesteryear. During last night’s gig in Papantla, Mexcio, the young superstar segued into the ’60s classic, injecting her trademark soul and feverish yelps. What was already a sexy song just became, well, sexier. No word on whether or not she’ll add a twist to Knowell’s past anthem. In the meantime, check out the cover below.

Before there Wild Flag, Mister Heavenly, The Throne, SuperHeavy, and the plethora of other post-2000′s supergroups, there was fun. Comprised of ex-The Format frontman Nate Ruess, Steel Train frontman Jack Antonoff, and ex-Anathallo member/multi-instrumentalist Andrew Dorst, the trio made their debut in 2009 with Aim and Ignite. On February 21st, 2012, the band returns to the spotlight when Fueled by Ramen drops their sophomore LP, Some Nights.

Produced by Jeff Bhasker (Kanye West, Jay-Z, Beyonce), the album is led by its Janelle Monáe-aided single, “We Are Young”. The cut features a slow, steady build and massive harmonies that paint a picture of a band still exploring their consolidated sound. Check out a promotional clip for it below; a proper music video is set to debut shortly.

Pre-orders for a limited-edition 7” vinyl of “We Are Young” b/w “One Foot” will be available starting November 28th (head here for more info). In the meantime, stay tuned for more on Some Nights as it’s announced.

Because of the quality of headliners Osheaga attracted in 2010, it necessitated an expansion to three full days, a move that proved to be an unqualified success. (Just ask the beer and merchandise vendors!) It was an eventful weekend. The vibe was off the charts, the food was great, beer was literally brought to you, there were spectacular fireworks, and there was even a wedding presided over by Wayne Coyne of The Flaming Lips. Remember what they say: Whatever happens in Montreal…ends up on Consequence of Sound! And the best part of all? Looks like Osheaga is here to stay – The 2012 edition is already scheduled for August 3rd-5th next year!

-Gilles Leblanc
Staff Writer

Friday, July 29th

Sweet Thing – Galaxie Tree Stage – 4:00 p.m.

Photo by Gilles Leblanc

Toronto pop rockers Sweet Thing got the sixth edition of the Osheaga Music and Arts Festival off to a flying start – Literally! Charismatic lead singer Owen Carrier seemed determined to fire up everyone gathered at the scenic Tree Stage for the long weekend ahead. He let some patrons up front shake his streamer-laden tambourine, and he also took a swig from a unsuspecting festivalgoer’s beer. I don’t think he left a tip, but here’s one from me to you… Check Sweet Thing out, especially the song “Change of Seasons”, recently featured in the trailer for Crazy, Stupid Love. -Gilles Leblanc

Kid Koala – BlackBerry River Stage – 4:00 p.m.

Photo by Stewart Wiseman

After Kid Cudi’s cancellation, due to illness the morning of the festival, the festival managed to find another Kid…albeit in a koala bear costume. “I am not Kid Cudi,” Kid Koala announced through some booing from the audience before he launched into a light DJ set. Due to the last minute booking of his performance, he didn’t have his laptop with him, forcing him to stick to old fashioned record spinning at the turntable. Vintage yet unsuccessful, leaving much of the crowd to dissipate. Oh well. -Stewart Wiseman

Lights – Sennheiser Green Stage – 4:20 p.m.

Photo by Gilles Leblanc

Lights is the alias for Valerie Poxleitner, a lovely young girl from the same Northern Ontario town as Shania Twain. She plays cutesy electro pop with a tinge of guitar, which the young women not already at the main stage area for Eminem ate up. I don’t mean to accuse her of something like this, as she’s obviously talented, but it looked like her mic was on a bit too much of a fade at times, if you know what I mean (as in she MAY have been lip-synching). I caught her later happily posing for pictures at the artist’s entrance, so all is well as far as her fans are concerned! -Gilles Leblanc

The Knux – Budweiser Mountain Stage – 4:40 p.m.

Photo by Stewart Wiseman

After a short DJ set, New Orleans’ own The Knux were welcomed to the stage with the crowd shouting “Knux! Knux! Knux! Knux!”. Oddly enough, the fanfare died down and festivalgoers remained rather stoic, despite suggestions by an energetic Krispy. But, here’s an act that’s different than many in the highly contested genre. For one, the members can fill in on instruments when they’re not rhyming. During “Capuccino”, Joey laid some guitar solos down that worked behind Krispy’s flow. It was this versatility that brought the crowd up again, and by the time they reached “Bang Bang”, their closer for the set, the crowd knew they were seeing quality rappers with a bright future to come. -Stewart Wiseman

Uncle Bad Touch – Galaxie Tree Stage – 5:00 p.m.

Photo by Gilles Leblanc

No creepy, incestuous in-laws back at the Tree Stage, just some straightforward, honest-to-goodness garage rock by a band from Montreal titillatingly called Uncle Bad Touch. With a healthy dose of Led Zeppelin thrown in. Not only that, two of their four members are female, including a tambourine player named Julia who was making her debut with them. And I found out from singer/bassist ‘Mikey’ that they’re coming to Toronto in a few weeks to play a free show with Parlovr – Formidable! -Gilles Leblanc

Charles Bradley – BlackBerry River Stage – 5:20 p.m.

Photo by Stewart Wiseman

At 63 years old, it’s a wonder why Charles Bradley wasn’t discovered earlier. At Osheaga, the new legend performed one of the most beloved sets of the weekend, and songs like the soul stirring “This World (Is Going Up In Flames)” had the whole audience grooving along. The good vibes carried out until the end, when Bradley finished his set with a surprise cover of Neil Young’s “Heart of Gold”, reworked in an unimaginable soul comb over. That sent the Canadians over the edge – but also Bradley himself. The grateful look in his eyes hinted that he’s finally found his place in music: amongst the great soul voices of our time. -Stewart Wiseman

Broken Social Scene – Budweiser Mountain Stage – 6:10 p.m.

Photo by Stewart Wiseman

The Canadian indie-rock pioneers attracted the first big crowd of the day, and vocalist Kevin Drew thanked Montreal for how well they’ve been treated over the last 10 years, stating how the band can always depend on the city to be there for them. Opening with “KC Accidental”, Broken Social Scene bled out their trademark raw energy, issuing solid cuts of “Forced to Love”, “Texico Bitches”, and a cover of Modest Mouse’s “The World At Large”. A couple of surprises, though. For “Almost Crimes” (off 2002′s You Forgot It in the People), Brendan Canning invited local singer Arielle Engle to join in for the biggest rocker of the set. And while “World Sick” didn’t make the 50 minute set, they did throw in “Meet Me in the Basement”, performed by not so much a band but better yet a tight family that maintains a very healthy relationship. -Stewart Wiseman

Bran Van 3000 – BlackBerry River Stage –  7:05 p.m.

Photo by Gilles Leblanc

With Kid Cudi withdrawing due to illness, recently reunited Montreal collective Bran Van 3000 moved up a slot. It became somehow appropriate that they followed Broken Social Scene, as you could argue that they were the late-’90s precursor to BSS’ formation in Toronto, only more electronic. When telling other music fans that I was going to Osheaga, I was surprised to hear how many people not only remembered BV3, but wished they could come with me to hear songs like “Drinking in L.A.” (from their 1997 album Glee). Newer stuff from their 2010 comeback The Garden was very well received too, namely “Grace (Love on the Block)” and “Jahrusalem”, which incorporate rapping/hip hop along with costumes on stage. One girl dressed up like a peacock! -Gilles Leblanc

Joseph Arthur – Sennheiser Green Stage – 7:15 p.m.

Photo by Stewart Wiseman

So it didn’t draw the most, but Joseph Arthur held quite an intimate evening set. The Akron, OH folk singer started the block in nontraditional fashion – by painting. After finishing a modernist Picasso-esque piece, Arthur turned to his band of foot pedals, and swam about in his sea of loops. As much as the crowd asked him to play “Into the Sun”, he never touched it and stuck mainly to material from his latest effort, Graduation Ceremony. Lyrical lessons arrived in the form of “Black Lexus” and “Honey and the Moon”, the latter highlighting his essential strengths of providing words of wisdom via poetry. Where else would you see a spoken word piece involving oil paints? -Stewart Wiseman

The Rural Alberta Advantage – Galaxie Tree Stage – 8:00 p.m.

Photo by Stewart Wiseman

Another Canadian draw, The Rural Alberta Advantage (RAA) took to one of the festival’s smallest stages, which in turn produced the most excited (and packed in) audience of the day. Travelers from all over – Calgary and St. Johns, to name a couple – arrived to see the group. So appreciative this crowd was – the last time RAA performed at Osheaga was ’09 – that at moments, the die-hards sang louder than singer Nils Edenloff. Still supporting their latest effort, 2011′s Departing, the set was quite heavy with newer material, with one standout being “Tornado 87″, thanks to its irresistibly catchy chorus. A key to the band’s success is their wide range of sounds. From the beautiful “In the Summertime” in which Amy Cole and Nils Edenloff traded vocals, to the rocking finale “The Deathbridge In Lethbridge” where drummer Paul Banwatt was at his best. Because of this, the RAA are a band loaded with songs for every musical taste, and their performance on Friday night was only a glimpse into what’s to come. -Stewart Wiseman

Janelle Monáe – Budweiser Mountain Stage – 8:05 p.m.

Photo by Gilles Leblanc

Janelle Monáe didn’t just take advantage of the huge crowd waiting for Eminem; she knocked a home run right out of Parc Jean-Drapeau and into the Saint Lawrence River with a performance that had Montreal raving about her so much, she became a trending topic on Twitter. It was funky to the max, energetic beyond belief, and boundlessly creative. With her backing band sharply decked out in varying degrees of black and white, Monáe entered fully covered in a cloak accompanied by two similarly dressed “druids” before shedding her garment and launching into “Dance or Die” off her breakthrough album The ArchAndroid. We got her hits “Cold War” and “Tightrope” back-to-back, as well as an absolutely KILLER cover of “I Want You Back” by The Jackson 5. We even got to see her artistic side as she painted an impromptu picture in glitter during instrumental parts of songs. -Gilles Leblanc

Eminem – BlackBerry River Stage –  9:20 p.m.

One word heard all night Friday during Eminem’s return to Canada as a headliner was « malade. » Translated, it means sick, with a similar meaning to how English-speaking kids use it today slang-wise, only more amplified, more frenzied. Yeah, I’d say it’s a suitable way to characterize the Osheaga-record throng of 38,000 ‘hip hop heads’ who came to see Mr. Mathers before he hits Chicago for the 20th anniversary of Lollapalooza. Eminem sure wasn’t afraid to play up that we were witnessing something historic, from the dramatic opening video to the hard road he’s been on that led to his latest chart toppers Relapse and Recovery, pausing occasionally to remind Montreal how much he’s missed the city.

Photo by Bobby Foley

I don’t know about momentous, but there were an abundance of highlights – Royce da 5’9” made a guest appearance for “Fast Lane” and “Lighters” (Em even wore a white Bad Meets Evil T-shirt to commemorate the occasion). There were tributes to 2Pac and Nate Dogg. But the biggest cheers were saved for Eminem’s greatest hits medley, where he rapped a verse from each of “My Name Is”, “The Real Slim Shady”, and “Without Me”. That is until everyone lost their collective $#!% when they heard the riff to ‘Lose Yourself’ after a short encore break. An explosive finish to a stellar Day 1 of Osheaga! -Gilles Leblanc

Saturday, July 30th

The 222s – Budweiser Mountain Stage – 1:00 p.m.

Photo by Gilles Leblanc

The thing that was maybe most impressive about Osheaga in 2011 was how receptive the crowds were to so many bands, even The 222s, who were probably NEVER up this early back in their late-1970s punk prime. Hailed back then as one of the genre’s first ever bands from Quebec, they reformed last year for North by Northeast, but this was their debut at a fest like Osheaga. And it doesn’t look like this will be just another one-off, as they had people bopping their heads to their fun fun fun Ramones-indebted songs like ‘I Love Suzan.’ -Gilles Leblanc

The Midway State – BlackBerry River Stage –  1:30 p.m.

Photo by Gilles Leblanc

Montreal and Toronto aren’t always the best of friends, for reasons that extend far beyond music. The “Centre of the Universe”, as Toronto is sometimes called derogatively outside its borders, actually had quite a heavy presence at Osheaga 2011, including alt-rockers The Midway State. They just released their second album, Paris or India, a couple of weeks ago, and were in full showcase mode Saturday afternoon. By the reaction new tracks like “Alive”, “Fire!”, and “Lightning” got when they were played, it was as if a busload of Torontonians had made the 6+ hour trip to the festival…and encouraged everyone else to cheer them on! -Gilles Leblanc

Manchester Orchestra – Budweiser Mountain Stage – 2:00 p.m.

Photo by Stewart Wiseman

“I took French for seven years and failed every year of it,” frontman Andy Hull announced to an adoring crowd. Luckily, he didn’t need his French skills to communicate to the French speaking crowd; from the first strum of his guitar the crowd was already into it. Atlanta, GA’s Manchester Orchestra knocked out 40 minutes of catchy pop-rock. With vocals that ranged from soft-spoken to aggressive rage, Andy Hull made the crowd familiar with his music, which seemed fitting given that the first time they played in Montreal there were only 18 people in the crowd. “Shake It Out” turned things up a notch, building a chin dance from the crowd. All in all, a very surprisingly enjoyable set. -Stewart Wiseman

The High Dials – Galaxie Tree Stage – 2:10 p.m.

Photo by Gilles Leblanc

In need of some shade after being out in the open and exposed directly to the sun, I headed to the comfortable Tree Stage for the first time Saturday to take note of The High Dials from Montreal. They didn’t help cool me off much, as their psychedelic rock-meets-power pop got bodies working up a sweat, and when their saxophone-playing friend joined them for a handful of songs, forget about it! And I must say, they also had the most radical-looking amplifier case of anyone I covered at Osheaga, as it was littered with stickers of admirable bands like The Kills and Franz Ferdinand as well as places they’ve conceivably travelled to in the relatively short time they’ve been together. -Gilles Leblanc

Hey Rosetta! – BlackBerry River Stage –  2:40 p.m.

Photo by Stewart Wiseman

Hey Rosetta! has been receiving more and more attention as of late, and their set at Osheaga helped them win over many new fans. The folk-rockers from Newfoundland mainly played songs off their latest LP Seeds, and proved to the audience why they were put on the Polaris Prize short list. The crowd picked up “Yer Spring” relatively quickly, and echoed the line “I’m going up!” along with vocalist Tim Baker for the song’s entirety. Smiles were apparent on the faces of many in the crowd, and it seems that Hey Rosetta!’s music has a way of lifting the spirits of a whole audience. This was quite apparent when the band closed with a cover of The Constantines’ “Do What You Can Do”, an anthem about doing more to help others, which Hey Rosetta! definitely did on Saturday by helping make Osheaga a memorable event. -Stewart Wiseman

Mother Mother – Galaxie Tree Stage – 3:10 p.m.

Photo by Gilles Leblanc

After taking a quick beer break, I was amazed by how many more people were now at the Tree Stage in anticipation of Vancouver’s Mother Mother. Once mohawk sporting singer/guitarist Ryan Guldemond and the rest of his band got going, it was easy to see what all the fuss is about. I don’t know if the same holds true for the rest of the country, but these guys (and two girls, including Ryan’s sister Molly) are gaining a lot of steam in Toronto – Two songs from their 2011 album Eureka, “The Stand” and “Baby Don’t Dance”, have been getting significant airplay on modern rock radio station 102.1 The Edge, and they’re booked to playSound Academy this September. -Gilles Leblanc

Tokyo Police Club - Budweiser Mountain Stage – 3:20 p.m.

Photo by Stewart Wiseman

Over 40 minutes, vocalist and bassist David Monks’ high-energy antics kept the crowd in line, which happened to be the first great gathering of Saturday. Pulling from 2008′s Elephant Shell and 2010′s Champ, the Canadian outfit received the best response from earlier work, especially the tender “Tessellate” and “Nature of the Experiment”. In a smart move, they closed their set with the very fitting “Your English Is Good”, a song which united the voices of the French and English speaking people into one universal language. Much has changed here, and for the good. -Stewart Wiseman

John Butler Trio – BlackBerry River Stage –  4:00 p.m.

Photo by Gilles Leblanc

I learned at Osheaga that Australia’s John Butler Trio have some pretty hardcore Canadian fans. They were the only band I can remember where people brought handmade signs for them – One in particular was from a “Sheila” claiming she had trekked all the way from Vancouver (nearly 5,000 kilometres, or 3,000 miles) JUST to see them!  I also learned that the John Butler Trio were one of the more rocking bands at Osheaga; when Butler himself wasn’t getting’ down and bluesy with his lap slide guitar, he was kickin’ up a proverbial storm playing banjo-fuelled bluesgrass. An easy highlight of the entire weekend for me. -Gilles Leblanc

Sam Roberts Band – Budweiser Mountain Stage – 4:50 p.m.

Photo by Stewart Wiseman

When Arcade Fire headlined Osheaga in 2010, it showed how powerful the Montreal crowd can get supporting a major hometown act, and that’s exactly what happened when Sam Roberts and crew hit the stage. The much anticipated set started with the heavy hitting “I Feel You”, off his recent critically acclaimed effort Collider, and from there the crowd just continued to ignite. His first performance at home, at least in support of his latest LP, Roberts worked with a devoted following, which altogether felt more or less like a homecoming. As a result, he brought out some close friends, including Elizabeth Powell (lead singer of Land of Talk), who performed backup vocals on “Longitude”, and renown Montreal sax man Chet Doxas who joined Roberts’ brass section. To close out the set, Roberts shouted to the audience, “On va chanter ensemble mes amis,” before kicking into “Brotherdown”. In any other festival in the States, Sam Roberts might just be a second thought on a festival lineup; but in Montreal he was one of the most anticipated acts of the weekend. -Stewart Wiseman

PS I Love You – Galaxie Tree Stage – 6:30 p.m.

Photo by Gilles Leblanc

PS I Love You are rapidly becoming the type of band you don’t ever get tired of seeing live, as something memorable is always bound to happen. When I saw them a little over a month ago at NXNE, Paul Saulnier and drummer Ben Nelson blew out an amp by the sheer force of their rawk. At Osheaga, Saulnier ‘only’ broke a string off his guitar, but he hardly bat an eye as he was too busy trying not to bite his protruding tongue. He also showed a good deal of wit, saying things like, “Don’t cheer, I’m just the roadie,” and “We’re PS I Love You, and we only have 12 minutes left.” I foresee big, big things for these Kingston boys. -Gilles Leblanc

Lupe Fiasco- Budweiser Mountain Stage – 6:30 p.m.

Photo by Stewart Wiseman

After a day chock full of rap and hip hop, Lupe Fiasco had all of Saturday to own the genre. Chicago’s finer export kicked off with “Shining Down” which saw him parade around the stage in glory. Unlike some other acts, Fiasco didn’t need to try hard to pump up the crowd, as they were ready and willing to party. Where many rappers rely on beats to accompany their music, Fiasco’s band blended rock sounds with his rhymes in a surprisingly good combination. Things got weird halfway through his set, however, when Fiasco went on an anti-American rant that had many scratching their heads instead of cheering, but then again this is the same rapper who labeled President Barack Obama as “the biggest terrorist”.  Oh well. Closing with his biggest hit “The Show Goes On”, Fiasco brought the energy back and the party started once more. No new fans per se, but those who turned out had a blast. -Stewart Wiseman

Death from Above 1979 – BlackBerry River Stage –  7:25 p.m.

Photo by Gilles Leblanc

Having seen Death from Above 1979 less than two weeks before at the Quebec City Summer Festival, I didn’t think they could get much more intense, but they may have actually topped what drummer/singer Sebastien Grainger himself called the best show so far on their reunion tour. The mosh pit at the main stage bordered on the insane, but what was even crazier (yet infinitely cool), was how several of Grainger’s friends in music, such as Broken Social Scene’s Kevin Drew and Jimmy Shaw from Metric (who he owns a recording studio in Toronto with), came out to support him and Jesse F. Keeler from down in front, in the photographer’s area, as opposed to side stage. -Gilles Leblanc

Ratatat – Sennheiser Green Stage – 8:15 p.m.

Photo by Gilles Leblanc

A friend of mine who’s more well versed in electronica than yours truly insisted I see Ratatat, touting them as the “American Daft Punk.” I don’t know if I agree entirely with his declaration, but I’ll give Ratatat this: They know how to draw a crowd and throw a heck of a unique dance party, complete with a glassy, monolith-shaped projection system to add to everyone’s, um, trip! Dope, hand waving beats from mastermind producer Evan Mast were accentuated by bendy guitarist Mike Stroud. They were fun, but the festivities at the Green Stage would only get louder and more penetratingly pulsating as the weekend wore on… -Gilles Leblanc

Bright Eyes – Budweiser Mountain Stage – 8:15 p.m.

Photo by Stewart Wiseman

To follow Fiasco’s fiesta was a little unfortunate for Conor Oberst’s Bright Eyes. As a result, he arrived to a much smaller crowd, though this didn’t affect the band’s performance at all. Opening with “Four Winds”, the female-heavy audience serenaded Oberst with his own lyrics; a trend which continued throughout most of the night. “Poison Oak” started out soft and mellow, like the majority of Bright Eyes songs, but had an emotional climb towards the end of the song, building up higher and higher and making it one of the highlights from their set. “The Calendar Hung Itself” was a particularly dark and moody number, contrasting slightly with the other more upbeat songs. Performing closing duties, “One for You, One for Me” rang loud as a perfect anthem and one of the best of the night, leaving their many fans with a message of endearing hope. Much needed today. -Stewart Wiseman

Elvis Costello & the Imposters – BlackBerry River Stage –  9:20 p.m.

Photo by Gilles Leblanc

The second night of Osheaga was, er, a bit of an anomaly compared to the rest of the festival. Once the carnage had subsided following Death from Above 1979, it was time for Elvis Costello’s carnival to roll into town; he even brought a go-go dancer and strongman scale. (The “Hammer of Songs.”) Unfortunately for the 40 year music veteran, the assembled masses couldn’t have been more indifferent – At best, it was maybe a quarter of the size of Eminem’s audience from Friday. Not much of a ‘mass’ by any means. And that’s a shame, because it’s not like he didn’t belong there; his “Watching the Detectives”, “Everyday I Write the Book”, “Alison”, “Radio Radio”, “Bedlam”, “I Want You”, “(I Don’t Want to Go to) Chelsea”, and “Clubland” all form the basis of present-day alternative rock. And he gave it his all, too. Those who were there will tell you they had a rollicking good time. I felt bad for ol’ Elvis, but that said, I still left before his encore to see the end of Fucked Up’s set at the Tree Stage. Any guilt I may have been feeling went away rather quickly when Damian Abraham presented Sebastien Grainger as a special guest to ‘sing’ a F’ed Up song with him and do some crowd surfing among his francophone peeps! -Gilles Leblanc

Fucked Up – Galaxie Tree Stage – 10:10 p.m.

Photo by Stewart Wiseman

At a festival where most of the people could be labeled as pot-smoking hippies, the Fucked Up crowd of punks and hardcore fans was a rare sight. After Damian “Pink Eyes” Abraham brought out his son for an appearance, the band arrived too and wasted no time in getting the crowd psyched up, starting with “Queen of Hearts”. The song didn’t even start yet before Abraham was interacting with all his fans from the photo pit, and it only took two songs for him to lose his shirt, crowd surf, and join the romping mosh pit. Naturally, Osheaga sent their toughest security guards to work this set, and they were the busiest they had to be all festival. Admittedly, the messages in these songs can often be lost due to the loud nature of the show, but Fucked Up has put together some great love songs, which is often a challenge for hardcore bands. Of course, that’s the last thing anyone’s thinking about while they’re performing, but on record, especially their latest LP,  David Comes To Life, it’s something to always consider. There’s much more to this shirtless maniac than what meets the eye. -Stewart Wiseman

Sunday, July 31st

Elephant Stone – Galaxie Tree Stage – 1:00 p.m.

Photo by Gilles Leblanc

After everything that had happened at Osheaga over its first two days, it wouldn’t have surprised me in the least to have heard someone on the Montreal Metro say, “You know what this festival REALLY needs? A band to seriously rock a SITAR!” Enter Elephant Stone, the brainchild of Rishi Dhir, a former member of The High Dials, who of course played the day before. There are sonic similarities between the two competing groups, but where Elephant Stone takes psychedelia to a new level is when Dhir stretches barefoot on a raised area to jam with his Indian imported instrument. Groovy, man! -Gilles Leblanc

The Sheepdogs -Budweisier Mountain Stage – 1:00 p.m.

Photo by Stewart Wiseman

The Sheepdogs cracked open Sunday with some good old fashioned rock and roll. The Saskatoon natives have been making the rounds, thanks to their fame via Rolling Stone, but they back up the words on print. Ewan Currie is everything a rock and roll frontman should be: great voice, works with the country rocker look, and enjoys cold beer for breakfast. Musically, it’s just as picture perfect. Country rocker “I Don’t Know” sounds like it came straight out of the 1970’s, with Currie and bassist Ryan Gullen trading vocals, while a song like “Southern Dreaming”, specifically that guitar hook, kept the crowd awake and dancing. Good things to come. -Stewart Wiseman

Typhoon – BlackBerry River Stage –  1:30 p.m.

Photo by Gilles Leblanc

No, not every indie musical ensemble who prominently feature string and horn arrangements in the 2000s are Arcade Fire rip-offs. (Or is that Shark Attack now?) But when you play the same stage as they did the year before, in their hometown no less, there are bound to be comparisons. Portland, Oregon’s Typhoon didn’t make anyone at Osheaga forget who Arcade Fire is; however, they definitely won themselves some new fans with their determination to make it to the festival combined with outstanding musicianship. Anyone with dueling drum kits is worth a listen! -Gilles Leblanc

An Horse – Sennheiser Green Stage – 2:00 p.m.

Photo by Gilles Leblanc

Seeing all these different instruments producing such great sounds, I was taken aback somewhat to discover Australia’s An Horse are only a two-person band who probably would have fit in better yesterday. At first glance, I guess you could call them a “reverse White Stripes,” as there’s a girl named Kate Cooper on guitar and Damon Cox on drums (Sex = Male). I found them slightly underwhelming; if anything, they made me yearn for The White Stripes even more…or at least The Raconteurs. Sorry to digress, but I’d like to ask the Osheaga organizers to book Jack White, Brendan Benson and company for next year’s festival. Now! -Gilles Leblanc

Eels – BlackBerry River Stage –  2:50 p.m.

Photo by Gilles Leblanc

The enigmatic Mark Oliver Everett brought his bearded Eels to Montreal for one of the more anticipated slots of the Osheaga Festival. He looked to be ecstatic to be there, high fiving bandmates after songs and yelling nonsensical things like “We did it!” Focusing mainly on his recent Eels album trilogy (Hombre Loco, End Times and Tomorrow Morning), I’d say it was a triumphant return to Canada for the man simply known as E – It rocked, it was soulful in a Blues Brothers kind of way, and it was plenty weird, but we’ve come to expect that from him since Beautiful Freak introduced us to E’s world in 1996. And I think he was the only artist to express his love for poutine. And maple glazed donuts, apparently! -Gilles Leblanc

The Sounds – Budweiser Mountain Stage –  3:30 p.m.

Photo by Gilles Leblanc

Does anyone reading know the Swedish equivalent for “Damn?!”As in “Damn, are The Sounds ever awesome!” Considerably more rocking than ABBA, but not quite as punkish as The Hives…I think the majority of people at the Budweiser Stage would concur with me that their “new” New Wave was just right for Osheaga. I KNOW a lot of red (and white)-blooded males in the audience were transfixed on sexy Sounds lead singer Maja Ivarsson. And I know it got awfully hot in Montreal that weekend, but those little black bicycle shorts she was wearing? All I can say is…DAMN! (Or is that jävla?!) -Gilles Leblanc

The Pains of Being Pure at Heart – Sennheiser Green Stage – 4:15 p.m.

Photo by Gilles Leblanc

As luck would have it, my feet were hurting pretty bad by the time New York City’s The Pains of Being Pure at Heart took to Osheaga’s Green Stage. It didn’t take long for them to be joined by my ears, but in the best manner possible. Their driving, all-out guitar assault was pure bliss to me. I can see why their album Belong has been so highly regarded this year. I must look into this “Nu Gaze” movement more, as I definitely heard echoes of NYC’s own Sonic Youth, Gish and Siamese Dream-era Smashing Pumpkins, and My Bloody Valentine. I especially found it cool how singer Kip Berman even stopped at one point to acknowledge someone wearing a MBV T-shirt. -Gilles Leblanc

Cypress Hill – BlackBerry River Stage – 4:20 p.m.

Photo by Stewart Wiseman

Sunday saw a fun, nostalgic site: Cypress Hill. Whether it was intentional or not remains to be seen, but the veteran hip hop stars performed at 4:20 p.m. and naturally the smell of weed was inescapable near the stage.  With the exception of The Flaming Lips, the West Coast rappers attracted the biggest crowd of the day and they were definitely the most adrenalized. B-Real started the set with a short freestyle before calling on Sen Dog to join with him on “Shoot ‘Em Up”, which had fans making finger guns in the air. “Are you fucking high right now?” B-Real asked the crowd to mass applause, edging them on to smoke more and more. By the time the set ended with “Rock Superstar”, it was hard to find one person in the front row whose eyes weren’t bloodshot, a mission accomplished for Cypress Hill. -Stewart Wiseman

Viva Brother – Galaxie Tree Stage – 5:00 p.m.

Photo by Gilles Leblanc

A music festival just doesn’t seem complete without some flair and flavor from the UK. Thank goodness latest buzz band Viva Brother made the trip to Canada. They describe their sound as “Gritpop”, or a grittier version of mid-’90s Britpop as practiced by Blur and Oasis. Speaking of Oasis, if you were to tell me Viva Brother frontman Leonard Newell was a relative of the Gallaghers, I’d probably believe you. His eyes also seem to have a bit of a Thom Yorke ‘droop’ to them; if that’s not a perfect pedigree for rock ’n’ roll success, I’m not sure what is. If that wasn’t enough, they had someone in a full-blown gorilla suit (and Viva Brother T-shirt) show up at their Osheaga set and bounce nonstop with their arms in the air! -Gilles Leblanc

Beirut – BlackBerry River Stage – 5:50 p.m.

Photo by Stewart Wiseman

“It’s great to be back in the land of poutine,” vocalist Zach Condon joked early in the set, before speaking to the crowd in surprisingly good French. Beirut’s music was able to put all the festival goers under a trance, creating a relaxing atmosphere for the evening set. “Nantes” had the entire crowd clapping and cheering along from the moment Condon raised his trumpet. Zach Condon’s a talented multi-instrumentalist, but bad luck hit him when his ukulele’s sound failed to be picked up across the speaker system. After trying a few times, he decided to give up and move onto “Scenic World” which literally moved the audience. Overall, the combination of poetic lyrics and rousing horns won over the crowd, and Beirut’s set was spoken about for the rest of the evening. -Stewart Wiseman

City and Colour – Budweiser Mountain Stage – 6:35 p.m.

Photo by Stewart Wiseman

City and Colour started their performance with “Sleeping Sickness”, welcomed by cheers from the crowd, which only grew louder when Dallas Green invited Tragically Hip vocalist Gordon Downie to the stage to sing a verse. Alexisonfire and City and Colour could not be further apart musically, and the introspective music had the crowd pleased and clapping on songs like “Weightless” and “Fragile Bird” from this year’s release, Little Hell. The set wrapped up not long after that with “Sometimes (I Wish)”, leaving fans disappointed as the band only played 30 minutes of the 50 that they were supposed to play before the delays. (Fans that caught Toronto’s critically acclaimed rapper Shad’s set at 8:00 were treated to a surprise in his opener, as he brought out Dallas Green to sing the chorus to his song “Live Forever”.) To make up for their short set, City and Colour promised to be back in Montreal soon for a full length concert; leaving their many faithful waiting for the day where they can enjoy Green’s poetry once again. -Stewart Wiseman

White Lies – Sennheiser Green Stage – 6:55 p.m.

Photo by Gilles Leblanc

White Lies’ Harry McVeigh struck me as having an amazing beautiful ‘alternative’ singing voice, reminiscent of Dave Gahan from Depeche Mode. They have some downright gloomy sounding songs and lyrics (i.e. “Holy Ghost”, “Death”, and debut album To Lose My Life), yet I found them fairly pedestrian, almost gentlemanly, especially compared to the rougher-around-the-edges Viva Brother. I loved how they joked about this fact, saying how while it may have looked like they were crying occasionally, they were actually sweating. Polite like Coldplay, but with more underground indie credibility…for now! -Gilles Leblanc

The Tragically Hip – BlackBerry River Stage – 7:25 p.m.

Photo by Stewart Wiseman

It’s hard to watch The Tragically Hip and not solely focus on Gord Downie running around the stage with odd-ball antics, apparent right from the start on opener “Grace, Too”. Too much time is often spent watching Downie, that the guys behind him actually making the music are left under-appreciated, but guitarists Paul Langlois and Rob Baker were superb at their craft and were critical in the great performance The Tragically Hip put on. Songs like “Bobcaygeon” and “New Orleans Is Sinking” had the entire crowd roaring the lyrics back at the band; a true testament to how influential The Tragically Hip have been for almost three decades in shaping the sound of Canadian music. The band closed with the rocker “Little Bones” that lifted the spirits of the entire crowd, many of whom came to the festival for the sole purpose of seeing the Hip; and by the end of the set everyone knew why The Tragically Hip will go down as Canadian legends. -Stewart Wiseman

Crystal Castles – Sennheiser Green Stage – 8:15 p.m.

Photo by Gilles Leblanc

It’s not that I don’t or can’t appreciate club-style electronica at a rock festival – I think it’s brilliant that Osheaga has the Piknic Electronik as a place for people to dance or chill out. That said, I don’t think I’m the only one who doesn’t ‘get’ Crystal Castles’ strobe-flashing, seizure-inducing live show. Seriously, why does Alice Glass have a mic? It’s not like we can ever make out what she’s singing, and she doesn’t really add much else other than inciting crowds even further by jumping into the sea of bodies to surf. Security didn’t like how her actions inspired some to climb trees either. They did end with their cover of The Cure’s “Not in Love”, even though it took us all a minute to recognize it because of all the distortion. -Gilles Leblanc

Death Cab For Cutie – Budweiser Mountain Stage – 8:25 p.m.

Photo by Stewart Wiseman

For a band coming out of Washington state, the pressure is always there to match up to other local greats like Nirvana, Jimi Hendrix, and Pearl Jam. For 10 years and counting, Death Cab for Cutie has managed to rise to fame without the roaring rock ‘n’ roll, commanding a devout legion of fans, all of whom can recite any of their lyrics in their sleep. This extends out into Canada, of course. After an extended intro that saw Ben Gibbard go from guitar to piano, “I Will Possess Your Heart” launched the group into a slightly erratic set. Two songs into their performance, Ben Gibbard’s guitar started acting up on him, and after replacing it with another guitar that wasn’t working, he showed his professionalism when he sat down at the edge of the stage to serenade his loving fans instead of stopping the entire song. Favorites like “Soul Meets Body or “The Sound of Settling” worked well, but so did new single “You Are a Tourist”. Technical problems aside, the gig was a joy. -Stewart Wiseman

The Flaming Lips – BlackBerry Stage – 9:25 p.m.

Photo by Stewart Wiseman

Before The Flaming Lips started their festival closing performance, frontman Wayne Coyne advised the audience about his strong strobe lights and to be careful with his giant space bubble; but what he should have warned the crowd about was that his performance may induce acid trips. Right from the very beginning with the band members walking out of an illusionary door in an LED screen, the audience knew they were experiencing perhaps the most jaw-dropping rock show they’ll ever see. Coyne eagerly anticipated this performance and told the crowd that he last played Osheaga in 2006, and that Osheaga is not just one of the greatest festivals in Canada, but is one of the greatest in the entire world.

Photo by Stewart Wiseman

Alongside a cast of characters dolled up a la Wizard of Oz, Coyne & Co. rolled out their 1999 masterpiece The Soft Bulletin in full (with the exception of “Buggin’”) to a crowd that may not have been familiar with their work, but who knew theatrics when they saw it (this is the city where Cirque du Soleil was born after all). Halfway through the performance, however, Coyne (looking truly emotional) told the crowd that sometimes this album has the power to “fuck him up” and that this may be the last time that anyone ever sees it performed in full live. This would be a shame, especially since it builds to quite the climax. The end of the album is just electric, and on Sunday, “The Spiderbite Song” attracted cheers from all who were there to witness the end to a great weekend at Osheaga 2011.

Photo by Stewart Wiseman

Before finishing his set, though, Coyne called upon one of his many Dorothy’s and another man dressed as the Cowardly Lion for a wedding ceremony. Coyne announced that the two were from Calgary and that they met at Osheaga that morning, took 10 hits of acid each, and then decided to get married. “With all the power vested in me by the universe, The Flaming Lips, Montreal, and LSD; I now pronounce you man and wife!” Coyne proclaimed for the new happy couple, before launching into “Do You Realize??” -the last song of the set. Now, how were you planning to get married again? -Stewart Wiseman

MSTRKRFT – Sennheiser Green Stage – 9:50 p.m.

Photo by Gilles Leblanc

There’s no use trying to review MSTRKRFT’s DJ set other than they altered the entire space near the Green Stage into the biggest rave I’ve ever seen! Standing side-by-side at an oversized steel table, donning headphones occasionally but always with a smoke in their mouths it seemed, DFA 1979’s Jesse F. Keeler and his longtime friend Al-P pushed the sardine squished crowd to a veritable fever pitch with their high-speed, aggressive, bone-rattling rhythms. It was an unconventional way for anyone with leftover energy to get themselves tired and ready for a long sleep after a weekend unlike any other, but hey, it worked for me! -Gilles Leblanc

The Culture of Osheaga

Gallery by Gilles Leblanc and Stewart Wiseman

[nggallery id=247]

If 311 and Dropkick Murphys can do it, then why not Prince? The Purple Yoda is the latest musician to be putting on a music festival, his coming in the form of the Copenhagen, Denmark-based NPG Festival.

Set for August 6 and 7th at a seaside beach called Amager Strandpark, the festival promises two headlining sets from Prince, as well as performances from Janelle Monáe, Raphael Saadiq, and Chaka Khan, among others. As Prince notes in an issued statement, “The festival will play host to real music by real musicians.”

Multiple ticket packages are available, ranging from standard GA passes to ‘The Purple VIP Lounge Experience.” For complete details, visit the festival’s website.

Glastonbury 41 has come and gone, leaving in its wake a 1,000% sales bump for some, muddy boots for others, and enough memories to hold us over until Glasto’s return in 2013. We compiled some of our favorites highlights in video form below, from U2 and Bey’s epic headlining sets to Radiohead’s surprise shindig and Janelle Monáe’s breakout performance on the West Holts stage. After you watch it all, be sure check back to CoS later this week for our written coverage of this year’s festival.

Oh, and you might want to hit this link up. Just sayin’.

Beyoncé

“Crazy In Love”

“Run The World (Girls)”

Big Boi

“Shutterbug”

Coldplay

“The Scientist“

Fleet Foxes

“Sim Sala Bim”

Janelle Monáe

“Cold War” / “Tightrope” / “Come Alive”

“Come Alive (The War of The Roses)”

Laura Marling

“Rambling Man”

Little Dragon

“Ritual Union”

Morrissey

“Meat Is Murder”

“This Charming Man”

“I Want The One I Can’t Have”

Mumford & Sons

“Roll Away Your Stone”

Paul Simon

“So Beautiful or So What”

Primal Scream

“Movin’ On Up”

Pulp

“Common People”

Queens of the Stone Age

“No One Knows”

“Little Sister”

Radiohead

“The Daily Mail”

“Bloom”

“Street Spirit”

The Vaccines

“All In White”

Warpaint

“Undertow”

White Lies

“Bigger Than Us”

U2

“Elevation”

“Yellow ” / “Moment of Surrender” / “Out of Control”

In all, Bradley has booked over 30 dates for his international tour in support of his latest album, No Time For Dreaming, which dropped in May. Starting in Paris at the Solidays Festival, Bradley will continue on his trek to the major countries of the European Union before heading back to the States to be part of the “What’s Going On” tribute featured at the Hollywood Bowl. Janelle Monáe, Rickey Minor, Sharon Jones, and Stevie Wonder will join him on stage for the celebration of soul across genres and generations as part of Los Angeles’ Global Soul presentation.

Naturally, it doesn’t stop there. Bradley also plans to perform at Osheaga Festival, Outside Lands Music Festival, Sunset Junction Street Fair, Bumbershoot, MusicFest NW, and Austin City Limits Music Festival, while making stops in Quebec, Washington, Utah, and Colorado along the way. Check out the entire tour schedule below.

Charles Bradley 2011 Tour Dates:
06/25 – Paris, FR @ Solidays Festival
06/26 – Donegal, IE @ Sea Sessions Surf Music Festival
06/28 – Arendal, NO @ Hove Festival
07/01 – Roskilde, DK @ Roskilde Festival
07/02 – Montreux, CH @ Montreux Jazz Festival
07/03 – Arras, FR @ Main Square Festival
07/05 – Paris, FR @ La Maroquinerie
07/06 – London, UK @ Barbican Centre *
07/07 – London, UK @ O2 Academy Islington #
07/09 – Rotterdam, NL @ North Sea Jazz Festival
07/11 – Nice, FR @ Nice Jazz Festival
07/12 – Vienna, AT @ Jazz Fest Wien
07/14 – Dour, BE @ Festival De Dour
07/15 – Hultsfred, SE @ Hultsfred Festival
07/16 – Pori, FI @ Pori Jazz Festival
07/17 – Cascais, PL @ Parque Marechal Carmona
07/24 – Los Angeles, CA @ Hollywood Bowl %
07/26 – Brooklyn, NY @ Fort Greene Park
07/29 – Montreal, QC @ Osheaga Festival
07/30 – Sackville, NB @ Sappy Fest
08/14 – San Francisco, CA @ Outside Lands Music Festival
08/25 – Solana Beach, CA @ Belly Up
08/26 – Santa Barbara, CA @ Soho
08/28 – Los Angeles, CA @ Sunset Junction Street Fair
08/31 – Arcata, CA @ Depot @ Humboldt State University
09/02 – Vancouver, BC @ The Biltmore
09/03 – Victoria, BC @ Club 919
09/04 – Bellingham, WA @ Wild Buffalo
09/05 – Seattle, WA @ Bumbershoot
09/08 – Portland, OR @ MusicFest NW @ The Aladdin Theater
09/10 – Salt Lake City, UT @ State Room
09/13 – Denver, CO @ Bluebird Theater
09/16 – Austin, TX @ Austin City Limits Music Festival

* = w/ Sharon Jones and The Dap-Kings
# = w/ The Budos Band
% = w/ Rickey Minor, Stevie Wonder, Sharon Jones & Janelle Monáe

But if there is one way to regain some of that summertime frivolity and carefree attitude, it’s once again through the power of music. Sure, there are festivals galore, but if you’re not willing to travel, and you live in, say, Omaha, Nebraska, you’re limited to what festival experience you can undertake. Of course, there is one solution to the music-going experience that takes as much effort to attend as the work ethic of a 15-year-old on the Fourth of July: waiting for that big summer tour to roll into town. Every year, with the dawning of swimsuits and as the first hints of BBQs waft through the air, artists big and small hit the road to tout their new album and play for those with a lot of time on their hands. Despite the sheer volume of shows, just what ones will truly make the thermometer go pop?

As we do every other season of the year, CoS has your back. Presented below in easy-to-digest form, kind of like the hot dog itself, we’ve compiled a list of the biggest summer tours going down as we speak. From top 40 superstars like Britney Spears and Nicki Minaj to indie phenoms like Bright Eyes and Mountain Goats and from newcomers like The Vaccines to more established acts like Eddie Vedder and Roger Daltrey, a plethora of artists are heading across the country, vying for your attention and trying to make your summer actually fun again. We’ll tell you where they’ll all be, why you should be there, and how you can get your seat. All you’ve gotta do is show up. So, slap on some sunscreen, call in sick from work if you’ve got to, and enjoy great live music before winter comes back and puts a sleeperhold on this good time we call summer.

-Chris Coplan
News Editor

Feature artwork by Cap Blackard.

A Perfect Circle

There is a core, built-in group of people that need no persuading to see A Perfect Circle this summer, but there’s no reason the band shouldn’t sell out every show. Never mind that Maynard James Keenan is still, on a good day, one of the best rock vocalists around–and not too shabby on a bad day–and that APC released a couple of brilliant albums in the years (mainly between Tool albums) the band was together. APC will be playing the best stuff off those few albums, as well as at least one new song–maybe even more if the band is inspired. Even those unfamiliar with APC will find something to like about seeing the veritable supergroup live. This lineup of APC features the enigmatic frontman Keenan, mercenary drummer Josh Freese, and guitarist James Iha playing real music again. They’ll be at various festivals, including Lollapalooza (and basically everywhere else), from June to August. -Harry Painter

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When and where:
05/22 – Columbus, OH @ Rock on the Range
06/29 – Portland, OR @ Arlene Schnitzer Concert Hall
06/30 – Kent, WA @ Showare Center
07/02 – Gibbons, AB @ Boonstock
07/04 – Winnipeg, MB @ Centennial Concert Hall
07/06 – St. Paul, MN @ Roy Wilkins Auditorium
07/08 – Detroit, MI @ Fox Theatre
07/09 – Toronto, ON @ Edgefest
07/10 – Ottawa, ON @ Ottawa Bluesfest
07/12 – Boston, MA @ Bank of America Pavilion
07/13 – New York, NY @ Hammerstein Ballroom
07/15 – New York, NY @ Beacon Theatre
07/16 – Philadelphia, PA @ Penn’s Landing
07/17 – Washington, DC @ Constitution Hall
07/19 – Charlotte, NC @ Time Warner Cable Uptown Amphitheatre
07/20 – Atlanta, GA @ The Tabernacle
07/22 – San Antonio, TX @ Freeman Coliseum
07/23 – Grand Prairie, TX @ Verizon Theatre
07/25 – Phoenix, AZ @ Comerica Theatre
07/26 – San Diego, CA @ SDSU Open Air Theatre
07/28 – Los Angeles, CA @ Gibson Amphitheater
07/29 – Sacramento, CA @ Memorial Auditorium
07/30 – Berkeley, CA @ Greek Theatre
08/02 – Morrison, CO @ Red Rocks Amphitheatre
08/05-06 – Kansas City, KS @ Kanrocksas
08/05-07 – Chicago, IL @ Lollapalooza
08/09 – Pittsburgh, PA @ Stage AE

Animal Collective

Since their 2009 tour in support of the ever-rewarding Merriweather Post Pavilion, Animal Collective hasn’t really let us go a week without something new: outstanding solo records from both Panda Bear and Avey Tare, solo tours in support of Panda’s new record, an epileptic Fantasia-style feature-film, an art installation, an incredible EP, and the list goes on. But for fans of the Baltimore Psych titans, it still isn’t enough. The band hasn’t had a full-fledged tour in two years, and when they have, they’ve stuck to Europe or the American West Coast. That’s why when AnCo announced a new string of dates this spring (including the band’s first ever stop at their last album’s namesake, Columbia, MD’s Merriweather Post Pavilion), people got pretty fucking psyched. Videos from the band’s recent California dates, including their stop at Coachella, reveal that there’s a lot to expect. First off, the band will take the form of band again. Noah Lennox will sit behind a full drum set, a returning Deakin will strum some chords and noodle around on an actual guitar, Tare will take the Billy Joel approach behind a keyboard, and Geologist will do whatever inexplicable shit Geologist always does. On top of that, they’ll be debuting a slew of new material, most of which sounds bandy-er than usual. And if Coachella is any indication, the light show might be pretty epic, too. -Drew Litowitz

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When and where:
05/13-15 – Minhead, UK @ ATP Curated by Animal Collective
05/16 – Eastbourne, UK @ Winter Gardens
05/17 – Amsterdam, NL @ Paradiso
05/18 – Brussels, BE @ Cirque Royal
05/19 – Cologne, DE @ Electron
05/20 – Berlin, DE @ Astra
05/21 – Warsaw, PL @ Klub Stodola
05/22 – Krakow, PL @ Studio
05/23 – Vienna, AT @ Arena
05/24 – Zagreb, HR @ Pogon Jedinstvo
05/25 – Milan, IT @ Alcatraz
05/26-28 – Dudingen, CH @ Bad Bonn Festival Kilbi
05/28 – Barcelona, ES @ Primavera Sound
05/27-06-01 – Paris, FR @ Festival Villette Sonique
07/07 – Orlando, FL @ The Beacham Theatre
07/08 – Alpharetta, GA @ Verizon Wireless Amphitheatre at Encore Park
07/09 – Columbia, MD @ Merriweather Post Pavilion
07/12 – Brooklyn, NY @ Prospect Park Bandshell (Celebrate Brooklyn)
07/13 – Millvale, PA @ Mr. Smalls Theatre
07/15 – Chicago, IL @ Pitchfork Music Festival

Archers of Loaf

The name Archers of Loaf may not spark a lot of discussion in 2011, but it sure did 15 years ago when the “White Trash Heroes” first made the rounds. The North Carolina noise rockers released four albums in the ’90s, scored some hits on college radio, and in 1995 toured with Weezer (the good kind). Their short run came to an end in 1998, but now that they’ve reunited, it’s a valuable opportunity to catch up on a slice of indie goodness on which many missed out. Imagine if TV on the Radio or Deerhunter broke up right now and came back 12 years later. This is that, kind of. -Harry Painter

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When and where:
05/21 – Asheville, NC @ The Grey Eagle
05/29 – George, WA @ Sasquatch! Music Festival
06/03 – Los Angeles, CA @ Troubadour
06/04 – Los Angeles, CA @ Troubadour
06/11 – Austin, TX @ Emo’s
06/12 – Dallas, TX @ The Loft
06/25 – Brooklyn, NY @ Music Hall of Williamsburg
06/26 – New York, NY @ Webster Hall
07/08 – Chicago, IL @ The Bottom Lounge
07/09 – Chicago, IL @ The Bottom Lounge
07/22 – Atlanta, GA @ The Earl
07/23 – Atlanta, GA @ The Earl
08/05 – Washington, DC @ Black Cat
08/06 – Philadelphia, PA @ The Trocadero
08/19 – Chapel Hill, NC @ Cat’s Cradle
09/02 – San Francisco, CA @ Great American Music Hall
09/03 – San Francisco, CA @ Great American Music Hall
12/09-11 – Minehead, UK @ ATP’s Nightmare Before Christmas

Arctic Monkeys w/ The Vaccines

While Death Cab for Cutie and Frightened Rabbit may have had a lot in common, the case of Arctic Monkeys and newcomers The Vaccines is one of the past meeting the future. Arctic Monkeys started out as newcomers themselves before 2006′s Whatever People Say I Am, That’s What I’m Not caught on big time across the globe. Subsequent albums have seen the band’s stock rise, and now, as they ready to drop their fourth album, Suck It and See, the rockers find themselves on a precipice of sorts, ready to grab some of that initial fame once again or float off into oblivion if the rest of the album doesn’t meet raving-mad fan expectations. Regardless of where they land, they’re taking their hard work and making a go of recreating their success for The Vaccines. AM’s fellow countrymen dropped their debut LP back in March and find themselves in a place Alex Turner and company once did not so long ago: great songs, beloved by critics everywhere, looking for that one spark to blow their career up and possibly put them in line for some well-deserved attention in the indie rock world. While no result is definitive, one thing is certain: This tour is going to be one crazy-good time, mates. -Chris Coplan

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When and where:
05/17 – Washington, DC @ 9:30 Club
05/18 – Philadelphia, PA @ Electric Factory
05/19 – Boston, MA @ House of Blues
05/21 – Toronto, ON @ Kool Haus
05/22 – Montreal, QC @ L’Olympia
05/24 – New York, NY @ Summer Stage
05/26 – Detroit, MI @ Clutch Cargoes
05/27 – Milwaukee, WI @ The Rave
05/28 – Minneapolis, MN @ First Avenue
05/30 – Denver, CO @ Ogden Theatre
05/31 – Salt Lake City, UT @ In The Venue
06/02 – Pomona, CA @ Fox Theatre
06/03 – Los Angeles, CA @ Hollywood Palladium
08/01 – Dallas, TX @ The Palladium
08/02 – Austin, TX @ Stubbs
08/03 – Houston, TX @ House of Blues
08/05-06 – Kansas City, KS @ Kanrocksas
08/05-07 – Chicago, IL @ Lollapalooza
08/06 – Chicago, IL @ House of Blues
08/10 – Seattle, WA @ The Showbox
08/11 – Portland, OR @ Crystal Ballroom
08/12 – San Francisco, CA @ The Independent

Bright Eyes w/ everyone

Long has it been rumored that Bright Eyes‘ latest release, The People’s Key, will be their last under the Bright Eyes moniker. Acting accordingly, Conor Oberst and Co. have been/will be taking their show on the road for a massive world tour to finish things off in style. Touring partners for the spring leg include Jenny and Johnny, Dawes, Titus Andronicus, Death Cab for Cutie, and a pair of shows with M. Ward. But come summertime, the real fun starts. After returning from a European tour, not only will Bright Eyes be appearing at Lollapalooza, but they’ll embark on a short tour with fellow indie rock legends The Mountain Goats. Although The Mountain Goats are listed as the opener, this feels more like a joint headlining tour. And for the eight cities lucky enough to witness it, I’m sure both acts will shine like the true veterans they are. -Winston Robbins

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When and where:
05/23 – Saskatoon, SK @ Odeon
05/24 – Edmonton, AB @ Shaw Conference Center ^
05/25 – Calgary, AB @ Stampede Corral ^
05/27 – Bend, OR @ Les Schwab Amphitheatre ^
05/28 – George, WA @ Sasquatch! Music Festival
05/31 – Spokane, WA @ Knitting Factory +
06/01 – Boise, ID @ Knitting Factory Concert House +
06/03 – Denver, CO @ Filmore Theater +
06/04 – Council Bluffs, IA @ WestFair Amphitheater +
06/06 -  St. Louis, MO @ The Pageant %
06/07 – Louisville, KY @ Iroquois Amphitheater %
06/08 – Columbus, OH – LC Pavilion @ Indoors %
06/09 – Pittsburgh, PA – Stage AC @ Indoors %
06/10 – Philadelphia, PA @ Mann Center for Performing Arts %>
06/11 – Vienna, VA @ Filene Center At Wolf Trap %>
06/16 – Zurich, CH @ Kaufleuten
06/17 – Neuhausen ob Eck, DE @ Southside Festival
06/18 – Scheeßel, DE @ Hurricane Festival
06/19 – Berlin, DE @ Columbiahalle
06/21 – Colonge, DE @ Royal Albert Hall
06/22 – Paris, FR @ Alhambra
06/23 – London, UK @ Royal Albert Hall +
06/25 – Vitoria-Gasteiz, ES @ Azkena Rock Festival
06/28 – Gothenburg, SE @ Where The Action Is
06/29 – Arendal, NO @ Hove Festival
07/01 – Roskilde, DK @ Roskilde Festival
07/02 – Werchter, BE @ Rock Werchter
07/04 – Hradec Králové, CZ @ Rock For People
07/05 – Vienna, AT @ Arena Wien Open Air +
07/07 – Ultrecht, NL @ Tivoli +
07/08 – Birmingham, UK @ HMV Institute +
07/09 – Kinross, UK @ T in the Park
07/10 – Naas, IE @ Oxegen
07/12 – Gateshead, UK @ Sage +
07/13 – Leeds, UK @ Academy +
07/14 – Manchester, UK @ Academy +
07/15 – Suffolk, UK @ Latitude Festival
07/27 – Lewiston, NY @ Art Park ( Free Show) #
07/28 – Belknap, NH  @ Meadowbrook Pavilion #
07/29 – Shelburne, VT @ Ben & Jerry’s Concerts on the Green at Shelburne Museum #
07/30 – Montreal, QC @ Osheaga Festival
07/31 – Baldwinsville, NY @ Paper Mill Island Amphitheater #
08/03 – Grand Rapids, MI @ Meijer Gardens & Sculpture Park #
08/04 – Indianapolis, IN @ Egyptian Room #
08/05 – Chicago, IL @ Lollapalooza
08/06 – Columbia, MO @ The Blue Note
08/08 – Des Moines, IA @ Val Air Ballroom
08/14 – East Hampton, NY @ Music to Know Festival

! = w/ Titus Andronicus
$ = w/ Farmer Dave Scher
^ = w/ Death Cab For Cutie
+ = w/ Jenny and Johnny
% = w/ Dawes
> = w/ M. Ward
# = w/ The Mountain Goats

Britney Spears w/ Nicki Minaj

The key to a great tour isn’t just about how amazing the shows are or how much pyro they blast during the duration. It’s also about how the lineup works to perpetuate and facilitate a great idea or concept. In the case of Britney Spears hitting the road with Nicki Minaj in a supporting capacity, that notion is the batshit crazy, immovable object that does weird accents meeting the irresistible force of pop music who’s made a few questionable life choices (see: Kevin Federline). Along with being two of pop’s greatest commodities right now, Spears and Minaj are two very different narratives of the same sugarcoated genre. The plucky Minaj is in the boom period of her career, where a dynamic performance aboard this tour could keep her rocket ship to stardom on a path to complete domination. Spears, on the other hand, is on what seems to be her 100th career resurrection, free of all that extra weight (the metaphorical and physical variety) and ready to show the world she is still our pop princess. Sure, they’re working together to put on a great show, but with a tale of the tape like that, not to mention their diva tendencies, they’ll be going at it tooth and nails for our love and attention. And that means we win no matter who nabs the most headlines. -Chris Coplan

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When and where:
06/17 – Sacramento, CA @ Power Balance Pavilion
06/18 – San Jose, CA @ HP Pavilion
06/20 – Los Angeles, CA @ Staples Center
06/24 – Anaheim, CA @ Honda Center
06/25 – Las Vegas, NV @ MGM Grand
06/28 – Portland, OR @ Rose Garden Arena
06/29 – Tacoma, WA @ Tacoma Dome
07/01 – Vancouver, BC @ Rogers Arena
07/04 – Winnipeg, MB @ MTS Centre
07/06 – St. Paul, MN @ Xcel Center
07/08 – Chicago, IL @ United Center
07/09 – Milwaukee, WI @ Summerfest
07/12 – Dallas, TX @ American Airlines Center
07/13 – Houston, TX @ Toyota Center
07/15 – New Orleans, LA @ New Orleans Arena
07/17 – Atlanta, GA @ Philips Arena
07/20 – Orlando, FL @ Armway Center
07/22 – Miami, FL @ American Airlines Arena
07/26 – Cleveland, OH @ Quicken Loans Arena
07/28 – Detroit, MI @ Palace of Auburn Hills
07/30 – Philadelphia, PA @ Wells Fargo Center
07/31 – Washington, DC @ Verizon Center
08/02 – Uniondale, NJ @ Nassau Coliseum
08/05 – E. Rutherford, NJ @ IZod Center
08/08 – Boston, MA @ TD Garden
08/11 – Montreal, QC @ Bell Centre
08/13 – Toronto, ON @ Air Canada Centre

Death Cab for Cutie w/ Frightened Rabbit

Here’s a history lesson for the indie rock fans of the world. Back in November 2008, Death Cab for Cutie tapped Frightened Rabbit to open for them during their tour of UK and Ireland. Now, some two and a half years later, the American rockers are bringing back the Scots for another round of touring as they support their new LP, Codes and Keys. In various interviews regarding the record, the band have spoken about how the album is one where they’ve matured due to each band member having endured major life changes. With marriages and kids and new residencies, the band are dealing with issues of home and belonging to the machinations of updated sonics, with the record featuring less guitars and more ambiance than other DCFC records. Undoubtedly, some fans may love the new record, while others may yearn for the indie, guitar-driven noise of previous efforts. Cue Frightened Rabbit and the sound of emotionally wounded and vulnerable young lads dealing with heartache, being forlorn, and trying to be optimistic in a world gone mad. With DCFC expanding their repertoire and Frightened Rabbit making their music tighter, fans are going to get the best of both worlds. Also, they may cry or feel some shit. -Chris Coplan

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When and where:
07/27 – Columbus, OH @ LC Outdoor Amphitheater
07/28 – Detroit, MI @ Fox Theatre
07/29 – Toronto, ON @ Molson Ampitheatre
08/01 – Boston, MA @ Bank of America Pavilion
08/02 – Brooklyn, NY @ Williamsburg Waterfront
08/05 – Philadelphia, PA @ The Mann Center
08/06 – Pittsburgh, PA @ Stage AE
08/07 – Columbia, MD @ Merriweather Post Pavilion
08/08 – Cary, NC @ Koka Booth Ampitheatre
08/10 – Nashville, TN @ Bridgestone Arena
08/11 – Alpharetta, GA @ Verizon Wireless Ampitheatre
08/12 – New Orleans, LA @ Kiefer UNO Lakefront Arena
08/13 – Grand Prairie, TX @ Verizon Theater
08/15 – Phoenix, AZ @ Comerica Theatre
08/16 – La Jolla, CA @ RIMAC Arena
08/18 – Los Angeles, CA @ Greek Theatre
08/19 – Los Angeles, CA @ Greek Theatre
08/20 – Las Vegas, NV @ The Pool
08/22 – West Valley City, UT @ Maverik Center
08/23 – Morrison, CO @ Red Rocks Ampitheatre
08/25 – Chicago, IL @ UIC Pavilion
08/26 – St. Paul, MN @ Roy Wilkins Auditorium

The Decemberists

Folk-phenoms The Decemberists are literally at the top of their game, having just scored their first number one record with The King Is Dead. To help celebrate the accomplishment on tour, they’ve enlisted some impressive support: Mexican speed-guitarists Rodrigo y Gabriela, surf-pop revivalists Best Coast, and rising Seattle stars The Head and the Heart will all open select dates. Unsurprisingly, the festival circuit regulars will also hit at least five summer events. The real goods may come when they head the Newport Folk Festival in July; Gillian Welch, background vocalist on seven The King Is Dead tracks, is also on the bill, heralding the likely prospect of an onstage collaboration. Sadly, keyboardist/accordionist Jenny Conlee will be kept offstage through June (including Sasquatch! and Bonnaroo) while she battles breast cancer. CoS wishes her a speedy recovery, so she may rejoin her bandmates on what is sure to be a prodigious tour. -Ben Kaye

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When and where:
05/29 – Bend, OR @ Les Schwab Amphitheater #
05/30 – George, WA @ Sasquatch! Music Festival
06/10 – Manchester, TN @ Bonnaroo Music and Arts Festival
06/11 – Raleigh, NC @ Raleigh Amphitheater &
06/13 – Columbia, MD @ Merriweather Post Pavilion &
06/14 – Brooklyn, NY @ Prospect Park Bandshell (Celebrate Brooklyn) &
06/15 – Philadelphia, PA @ Academy of Music &
06/16 – Portland, ME @ State Theatre $
06/18 – Telluride, CO @ Telluride Bluegrass Festival
07/19 – Jacksonville, OR @ Britt Pavilion ^
07/20 – Boise, ID @ Idaho Botanical Gardens ^
07/22 – Missoula, MT @ Big Sky Brewery ^
07/25 – Chicago, IL @ Aragon Ballroom !
07/26 – Cleveland, OH @ Jacobs Pavilion at Nautica !
07/27 – Interlochen, MI @ Interlochen Center for the Arts !
07/29 – Atlantic City, NJ @ Borgata Event Center !
07/30 – Newport, RI @ Newport Folk Festival
07/31 – Holyoke, MA @ Mountain Park /
08/01 – Lewiston, NY @ Artpark !
08/03 – Charlottesville, VA @ nTelos Wireless Pavilion !
08/04 – Cincinnati OH @ PNC Pavilion at Riverbend Music !
08/05 – Indianapolis, IN @ White River State Park !
08/08 – Austin, TX @ Stubb’s >
08/11 – Mesa, AZ @ Mesa Arts Center $
08/12 – Los Angeles, CA @ Greek Theatre *
08/13 – San Francisco, CA @ Outside Lands Music Festival

# = w/ Rodrigo Y Gabriela
& = w/ Best Coast
^ = w/ Typhoon
! = w/ The Head and the Heart
> = w/ Caitlin Rose
$ = w/ Sara Watkins
* = w/ Wye Oak
/ = w/ Sallie Ford & The Sound Outside

Eddie Vedder

For anyone familiar with Pearl Jam, it should not be news that lead singer Eddie Vedder is a ukulele enthusiast. Vedder has been known to pull out his uke during live shows and do either simplified versions of Pearl Jam songs or songs that he’d specifically written for the ukulele. The first studio recording of a Vedder ukulele song, “Goodbye”, appeared on the soundtrack for the Jack Johnson-produced surf video A Brokedown Melody in 2004. Seven years later, Vedder has compiled an album full of his tropical ditties, including the aforementioned song and lead single “Longing to Belong”, which can be heard here. Vedder’s entrancing baritone sounds right at home over the simple chords of the ukulele. He’ll be touring 17 dates behind the album (with Glen Hansard opening) this summer. One of rock’s greats playing quality ukulele songs for an entire set? A must-see, hands down. -Winston Robbins

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When and where:
06/15 – Providence, RI @ Providence Performing Arts Center (PAC) *
06/16 – Boston, MA @ The Wang Theatre *
06/18 – Hartford, CT @ The Bushnell Center for the Performing Arts *
06/21 – New York, NY @ Beacon Theatre *
06/22 – New York, NY @ Beacon Theatre *
06/25 – Philadelphia, PA @ Tower Theatre *
06/26 – Detroit, MI @ Fox Theatre *
06/28 – Chicago, IL @ The Chicago Theatre *
07/01 – St. Louis, MO @ Fox Theatre *
07/02 – Minneapolis, MN @ Orpheum Theatre *
07/05 – San Diego, CA @ Copley Symphony Hall *
07/06 – Long Beach, CA @ Terrace Theater *
07/08 – Los Angeles, CA @ The Wiltern *
07/09 – Santa Barbara, CA @ Santa Barbara Bowl *
07/11 – Oakland, CA @ The Paramount Theatre *
07/14 – Portland, OR @ Arlene Schnitzer Concert Hall *
07/15 – Seattle, WA @ Benaroya Hall *

* = w/ Glen Hansard

Foo Fighters

Of all the shows this writer saw while at South by Southwest 2011, and in the first five months of this year for that matter, no one band delivered a more awe-inspiring performance than Foo Fighters. Sure, I’m a sucker for stadium bands, but hell, they’re capable of playing a 70,000-person stadium for a reason. Two-and-a-half hour sets featuring more hooks in the first 15 minutes alone than most dream of in a lifetime? Check. Touring the hell out of the world in support of Wasting Light, which is a strong candidate for album of the year? Double check. And they have Pat Smear back in the fold? Check-a-rooni! Springsteen might not but touring this summer, but at least we have a suitable alternative. So, have yourself a Foo-tastic summer. -Alex Young

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When and where:
05/20 – Memphis, TN @ FedExForum !*
05/21 – Gulf Shores, AL @ The Hangout Festival
05/23 – Council Bluffs, IA @ Mid-America Center !*
05/26 – Missoula, MT @ Adams Center !*
05/27 – George, WA @ Sasquatch! Music Festival
06/09 – Interlaken, CH @ Greenfield Festival
06/11 – Isle of Wight, UK @ Isle of Wight Festival
06/13 – Landgraaf, NL @ Pinkpop
06/15 – Milan, IT @ IdRHO Festival
06/17 – Neuhausen ob Eck, DE @ Southside Festival
06/18 – Berlin, DE @ Wuhlheide
06/19 – Scheeßel, DE @ Hurricane Festival
06/21 – Copenhagen, DK @ Refshaleoen
06/22 – Stockholm, SE @ Stockholm Stadium
06/24 – Oslo, NO @ Telenor Arena
06/26 – Helsinki, FI @  Kalasatama
07/02 – Milton Keynes, UK @ The National Bowl *^%
07/03 – Milton Keynes, UK @ The National Bowl *$#
07/06 – Madrid, ES @ Palacio de Deportes
07/07 – Lisbon, PT @ Optimus! Alive Festival
07/09 – Naas, IE @ Oxegen
07/10 – Kinross, UK @ T in the Park
08/07 – Chicago, IL @ Lollapalooza
08/09 – Toronto, ON @ Air Canada Center &~
08/10 – Montreal, QC @ Bell Center &~
08/18 – Kiewet, BE @ Pukkelpop
08/20 – St Polten, AT @ Frequency Festival
08/21 – Erfurt, DE @ Highfield Festival
08/23 – Cologne, DE @ Laxness Arena
08/24 – Ubersee, DE @ Chiemsee Festival
08/26 – Paris, FR @ Rock En Seine
09/14 – St. Paul, MN @ Excel Center +/
09/16 – Kansas City, MO @ Sprint Center +/
09/17 – St. Louis, MO @ Scottrade Center +/
09/19 – Auburn Hills, MI @ Palace of Auburn Hills +/
09/20 – Cleveland, OH @ Quicken Loans Arena +/
09/22 – Columbus, OH @ Nationwide Arena +/
09/23 – Pittsburgh, PA @ CONSOL Energy Center +/
09/25 – Buffalo, NY @ HSBC Center *
09/26 – E. Rutherford, NJ @ IZod Center +/

! = w/ Motorhead
* = w/ Biffy Clyro
^ = w/ Death Cab For Cutie
% = w/ Tame Impala
$ = w/ Jimmy Eat World
# = w/ Hot Rats
& = w/ Fucked Up
~ = w/ Doughboys
+ = w/ Rise Against
/ = w/ Mariachi El Bronx

Katy Perry

If there is one female artist in today’s music industry who seems to really have struck gold, it’s Katy Perry. Her most recent album, Teenage Dream, has garnered her four number one hits along with four Grammy nominations, and now she plans on taking the album on the road. With her European leg of the tour already completed, Perry is heading back to North America in early June for a 58-show run.

Along with her collection of number ones, Perry is bringing along a few friends to open the show for her. Surprisingly, these friends are Robyn, Janelle Monáe, and Marina & the Diamonds, each opening for Perry on selected dates. The tour, appropriately titled the California Dreams Tour, promises all of Perry’s hits and fan favorites, along with a continuation of her California Candyland theme from her “California Girls” video, which for many fans may just be the biggest selling point. The North American portion of the tour begins in early June and continues through September, when Perry heads back to Europe. -Arya Davachi

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When and where:
06/07 – Atlanta, GA @ Arena at Gwinnett Center *
06/09 – Orlando, FL @ UCF Arena *
06/10 – Tampa, FL @ St. Pete Times Forum *
06/11 – Ft. Lauderdale, FL @ Bank Atlantic Center *
06/14 – Raleigh, NC @ RBC Center *
06/15 – Columbia, MD @ Merriweather Post Pavilion *
06/17 – Uniondale, NY @ Nassau Veterans Memorial Coliseum *
06/18 – Boston, MA @ TD Garden *
06/19 – Newark, NJ @ Prudential Center *
06/22 – Uncasville, CT @ Mohegan Sun Arena #
06/23 – Pittsburgh, PA @ Petersen Events Center #
06/24 – Philadelphia, PA @ Wells Fargo Center #
06/25 – Uncasville, CT @ Mohegan Sun Arena #
06/28 – Detroit, MI @ Palace of Auburn Hills #
06/30 – Toronto, ON @ Air Canada Centre #
07/02 – Montreal, QC @ Bell Centre #
07/03 – Ottawa, ON @ ScotiaBank Place #
07/05 – Cleveland, OH @ Quicken Loans Arena #
07/07 – Milwaukee, WI @ Summerfest #
07/08 – Chicago, IL @ Allstate Arena #
07/09 – St. Paul, MN @ Xcel Energy Center #
07/13 – Regina, SK @ Brandt Centre $
07/14 – Winnipeg, MB @ MTS Centre $
07/16 – Calgary, AB @ Calgary Stampede $
07/17 – Edmonton, AB @ Rexall Place $
07/19 – Vancouver, BC @ Rogers Arena
07/20 – Seattle, WA @ KeyArena at Seattle Center
07/22 – Portland, OR @ Rose Garden Arena *
07/23 – Boise, ID @ Taco Bell Arena *
07/25 – Salt Lake City, UT @ Energy Solutions Arena *
07/26 – Denver, CO @ 1stBank Center *
07/28 – Dallas, TX @ Verizon Theatre at Grand Prairie *
07/29 – Houston, TX @ Toyota Center *
07/30 – Austin, TX @ Frank Erwin Center *
08/03 – Phoenix, AZ @ Comerica Theatre *
08/05 – Los Angeles, CA @ Nokia Theatre *
08/06 – Los Angeles, CA @ Nokia Theatre *
08/07 – Los Angeles, CA @ Nokia Theatre *
08/09 – San Diego, CA @ Valley Wide Casino Center
08/12 – San Jose, CA @ HP Pavilion ^
08/13 – Santa Barbara, CA @ Santa Barbara Bowl ^
08/14 – Santa Barbara, CA @ Santa Barbara Bowl ^
08/17 – Kansas City, MO @ Sprint Center
08/19 – Nashville, TN @ Bridgestone Arena $
08/20 – St. Louis, MO @ Scottrade Center $
09/07 – San Antonio, TX @ AT&T Center $
09/08 – New Orleans, LA @ New Orleans Arena $
09/10 – Louisville, KY @ KFC Yum! Arena $
09/11 – Grand Rapids, MI @ Van Andel Arena $
09/13 – Columbus, OH @ Schottenstein Arena $
09/14 – Indianapolis, IN @ Conseco Fieldhouse $
09/16 – Omaha, NE @ Qwest Center $
09/17 – Tulsa, OK @ BOK Center $

* = w/ Robyn
# = w/ Marina and the Diamonds
$ = w/ Janelle Monae
^ = w/ Oh Land

Okkervil River w/ Titus Andronicus

Okkervil River just put out a pretty cool new album. They haven’t toured in a long while, the last notable tour being their joint one with Wilco in 2009. But in a few weeks, Sheff will dawn his nicest professorial attire for a tote around the country. Shows at SXSW revealed a louder, more confident, more grandiose Okkervil River. There, the band mostly played newer material (mainly new stuff and songs from The Stage Names and The Stand-Ins, aside from Black Sheep Boy gems “A Stone” and “For Real”). So, get ready for a more raucous affair and a more volatile Sheff leading the Austin Texans into battle. Just don’t expect “Red” or “The Velocity of Saul at the Time of his Conversion”.

Joining them is the equally ferocious Titus Andronicus, still basking in the glory of their epic prog-punk masterpiece, The Monitor. While they may have lost longtime bassist Ian Graetzer, there’s no putting Patrick Stickles and his militant New Jersey-ites to rest. Expect epic renditions of already epic tracks, a whole lot of gut-wrenching fury, messy but magnificent guitar solos, antebellum facial hair, and sweaty T-shirts. And don’t forget to brush up on your Jersey iconography. It’ll be like The Boss got really angry, really drunk, and really fucking awesome (in that Civil War kind of way). With both bands on the bill, it won’t just be a one-two punch, it’ll be a one-two bayonet wound from the neck of a splintering acoustic guitar. -Drew Litowitz

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When and where:
05/31 – Atlanta, GA @ Variety Playhouse #
06/01 – Carrboro, NC @ Cat’s Cradle #
06/02 – Washington, DC @ 9:30 Club #
06/03 – Philadelphia, PA @ Trocadero Theatre #
06/04 – New Haven, CT @ Toad’s Place #
06/08 – Boston, MA @ Royale #
06/09 – Buffalo, NY @ Town Ballroom #
06/10 – Toronto, Ontario @ Phoenix Concert Theatre #
06/11 – Columbus, OH @ Newport Music Hall #
06/12 – Minneapolis, MN @ First Avenue #
06/14 – Omaha, NE @ Slowdown
06/15 – Denver, CO @ The Bluebird Theater
06/16 – Salt Lake City, UT @ Urban Lounge
06/17 – Boise, ID @ Egyptian Theatre
06/18 – Seattle, WA @ Neptune Theatre
06/20 – Vancouver, British Columbia @ The Vogue Theatre &
06/21 – Portland, OR @ Crystal Ballroom &
06/22 – San Francisco, CA @ The Fox Theater &
06/23 – Los Angeles, CA @ The Wiltern $
06/24 – San Diego, CA @ The Belly Up Tavern $
06/25 – Tucson, AZ @ Rialto Theatre $
06/28 – Lubbock, TX @ Jake’s

# = w/ Future Islands
& = w/ Julianna Barwick
$ = w/ NewVillager

Roger Daltrey

Pete Townshend’s incurable tinnitus has put into question the continued presence of rock legends The Who as a touring unit. Plans were formulating as recently as last September, but have yet to bear fruit. The band’s other surviving member, frontman Roger Daltrey, must be as antsy as his fans, because although his guitarist remains on the bench, he’s taking their classic rock-opera Tommy on tour through the U.K., U.S., and Canada. Filling in for Townshend will be his brother, Simon, and the whole thing has Pete’s blessings. With Daltrey getting up in age and Townshend apparently unable to work around his hearing issues, there’s no telling how many more chances there will be to see The Who’s iconic catalogue played by its creators. Not to be pessimistic, but if The Who are on your bucket list, consider purchasing that ticket now. Here’s hoping Daltrey pulls a Waters and takes this definitive piece of work on a proper world tour, and maybe Townshend can even join him for at least one night. -Ben Kaye

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When and where:
07/03 – Alchester, UK @ Ragley Hall
07/04 – Gateshead, UK @ Sage
07/06 – Glasgow, UK @ Clyde Auditorium
07/07 – Manchester, UK @ Bridgewater Hall
07/09 – Nottingham, UK @ Royal Centre
07/10 – Newport, UK @ Centre
07/12 – Bristol, UK @ Colston Hall
07/13 – Southend, UK @ Cliffs Pavillion
07/15 – Guildford, UK @ Guilfest
07/16 – Hampshire, UK @ Broadlands
07/17 – Harrogate, UK @ Ripley House
07/19 – Hull City, UK @ Hall
07/21 – London, UK @ Indigo
07/22 – Norwich, UK @ Blicking Hall
07/24 – Exeter, UK @ Powderham Castle
09/13 – Hollywood, FL @ Seminole Hard Rock
09/15 – Alpharetta, GA @ Verizon Wireless Pavilion
09/17 – Boston, MA @ Agganis Arena
09/18 – Newark, NJ @ Prudential Center
09/21 – Philadelphia, PA @ MANN Center
09/23 – Uniondale, NY @ Nassau Coliseum
09/24 – Hartford, CT @ XL Center
09/27 – Montreal, QC @ Place Des Arts
09/28 – Ottawa, ON @ Scotiabank Place
09/30 – Toronto, ON @ Sony Centre For The Performing Arts
10/01 – Windsor, ON @ The Coliseum at Caesars Windsor
10/05 – Minneapolis, MN @ U.S. Bank Theater at Target Center
10/07 – Hammond, IN @ Venue at Horseshoe Casino
10/08 – St. Louis, MO @ Peabody Opera House
10/11 – Cedar Park, TX @ Cedar Park Center
10/12 – Grand Prairie, TX @ Verizon Theatre
10/14 – Kansas City, MO @ The Midland by AMC
10/16 – Broomfield, CO @ 1STBANK Center
10/19 – Los Angeles, CA @ Nokia Theatre
10/21 – San Jose, CA @ San Jose Civic
10/22 – Las Vegas, NV @ The Joint
10/24 – Portland, OR @ Rose Quarter-Theatre of the Clouds
10/25 – Seattle, WA @ Key Arena
10/27 – Vancouver, BC @ Rogers Arena
10/29 – Edmonton, AB @ Rexall Place
10/30 – Calgary, AB @ Scotiabank Saddledome
11/01 – Saskatoon, SK @ Credit Union Centre
11/02 – Winnipeg, MB @ MTS Centre

Sade

2001. That was the year of the last concert Sade performed. So when she announces a tour, it would behoove you to pay attention. Playing in support of last year’s excellent Soldier of Love, the trek is absolutely massive with over 50 dates between now and September. She’s not the only one on the road in support of a well-received album, though. Joining her for most of the tour dates will be John Legend, who finished up 2010 with The Roots on Wake Up!. There are plenty of chances for cross-generational fanbases here. Sade’s older fans may get into Legend’s soulful croons, and young people may gain appreciation for Sade’s unique blend of smooth jazz. Nothing wrong with that at all! -Joe Marvili

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When and where:
05/13 – Berlin, DE @ O2 World
05/14 – Prague, CH @ Arena
05/16 – Zurich, CH @ Hallenstadion
05/17 – Paris, FR @ Bercy
05/19 – Munich, DE @ Olympiahalle
05/20 – Amneville, FR @ Galaxie
05/23 – Rotterdam, NL @ Ahoy
05/25 – Dublin, IE @ The O2
05/27 – Manchester, UK @ MEN Arena
05/29 – Birmingham, UK @ LG Arena
05/31 – London, UK @ O2 Arena
06/16 – Baltimore, MD @ 1st Mariner Arena *
06/18 – Pittsburgh, PA @ Consol Energy Center *
06/19 – Philadelphia, PA @ Wells Fargo Arena *
06/21 – Uniondale, NY @ Nassau Coliseum *
06/22 – Washington, DC @ Verizon Center
06/24 – E. Rutherford, NJ @ IZod Center *
06/25 – Newark, NJ @ Prudential Center *
06/28 – Toronto, ON @ Air Canada Centre *
06/30 – Montreal, QC Bell Centre *
07/03 – Uncasville, CT @ Mohegan Sun Arena *
07/06 – Boston, MA @ TD Garden *
07/08 – Indianapolis, IN @ Conseco Fieldhouse *
07/09 – Cleveland, OH @ Quicken Loans Arena *
07/10 – Columbus, OH @ Schottenstein Center *
07/12 – Atlanta, GA @ Philips Arena *
07/13 – Atlanta, GA @ Philips Arena *
07/15 – Ft. Lauderdale, FL @ BankAtlantic Center *
07/16 – Miami, FL @ American Airlines Arena *
07/17 – Orlando, FL @ Amway Center *
07/22 – New Orleans, LA @ New Orleans Arena *
07/23 – Houston, TX @ Toyota Center *
07/24 – Dallas, TX @ American Airlines Center *
07/26 – Kansas City, KS @ Sprint Center *
07/28 – St. Louis, MO @ Scottrade Cener *
07/29 – Memphis, TN @ FedEx Forum *
07/31 – Charlotte, NC @ Time Warner Cable Arena *
08/03 – Detroit, MI @ The Palace at Auburn Hills *
08/05 – Chicago, IL @ United Center *
08/06 – Chicago, IL @ United Center *
08/07 – Chicago, IL @ United Center *
08/09 – Minneapolis, MN @ Target Center *
08/11 – Denver, CO @ Pepsi Center *
08/13 – Vancouver, BC @ Rogers Arena *
08/14 – Seattle, WA @ Key Arena *
08/15 – Portland, OR @ Rose Garden Arena *
08/17 – Sacramento, CA @ Power Balance Pavilion *
08/19 – Los Angeles, CA @ Staples Center *
08/20 – Los Angeles, CA @ Staples Center *
08/21 – Los Angeles, CA @ Staples Center *
08/23 – San Diego, CA @ Cricket Amphitheatre *
08/25 – San Jose, CA @ HP Pavilion *
08/26 – Oakland, CA @ Oracle Arena *
08/27 – Oakland, CA @ Oracle Arena *
08/30 – Anaheim, CA @ Honda Center *
08/31 – Anaheim, CA @ Honda Center *
09/02 – Phoenix, AZ @ U.S. Airways Center *
09/03 – Las Vegas, NV @ MGM Grand Arena *

* = w/ John Legend

Soundgarden

Ever since Soundgarden crushed Lollapalooza last August for their first show in 13 years, the question on everyone’s mind was “What’s next?”. Not much news came out in 2010, but we got what we wanted this year: a reunion tour. Crisscrossing the United States, the Seattle rockers will be playing amphitheaters and arenas throughout the entire month of July. As if the chance to hear “Black Hole Sun”, “Spoonman”, and “Jesus Christ Pose” wasn’t enough, there are the openers to consider as well. The first half of the tour will feature Coheed and Cambria. Next up will be the insanity that is a Mars Volta performance. Then to cap the whole thing off, a couple of dates with Queens of the Stone Age right in the middle of their own comeback tour. Oh, and if you still need more, how does the possibility of new material sound? Yeah, we thought you’d like that. -Joe Marvili

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When and where:
07/02 – Toronto, ON @ Molson Canadian Amphitheatre ^
07/03 – London, ON @ John Labatt Centre ^
07/05 – Ottawa, ON @ Ottawa Bluesfest
07/06 – Uncasville, CT @ Mohegan Sun Arena ^
07/08 – Newark, NJ @ Prudential Center ^
07/09 – Wantagh, NY @ Nikon at Jones Beach Theater ^
07/10 – Mansfield, MA @ Comcast Center For The Performing Arts ^
07/13 – Philadelphia, PA @ Festival Pier at Penn’s Landing *
07/14 – Atlantic City, NJ @ Borgata Event Center *
07/16 – Chicago, IL @ UIC Pavilion *
07/18 – Morrison, CO @ Red Rocks Amphitheatre *
07/21 – San Francisco, CA @ Bill Graham Civic Center *
07/22 – Los Angeles, CA @ The Forum *
07/23 – Las Vegas, NV @ The Joint *
07/29 – Vancouver, BC @ Rogers Arena &
07/30 – George, WA @ The Gorge #

^ = w/ Coheed and Cambria
* = w / The Mars Volta
& = w/ Queens of the Stone Age and Meat Puppets
# = w/ Queens of the Stone Age, Mastodon and Meat Puppets

Certain situations call for certain playlists. If you’re going to thrash around violently, hopefully alone or in a group of six to 10 other similarly aged men, then we suggest Pantera. But when it comes to feeling something right and just in the very core of your being, there might be no other choice than the legendary Marvin Gaye. To celebrate Gaye’s innovative contributions to the field of soul music, Motown/UMe is celebrating the 40th anniversary of arguably Gaye’s most important album, What’s Going On, with a box set of two CDs, a vinyl LP, and other goodies that drops May 31st, some 10 days after its original debut on May 21st, 1971 (via Pitchfork).

Along with the album’s impressive tracklist (which includes cuts like the title track and “Wholy Holy”), it’s also the first album Gaye is credited as the sole producer. As a whole, the record is a powerful statement about Gaye’s thoughts on the Vietnam War as told through a concept album/song cycle about the pain and misery a returning vet encounters.

The first disc of the box set features the album’s nine original songs, plus 14 previously unreleased songs. The second disc is made up almost entirely of Studio B instrumental jams recorded after the LP’s completion. The entire collection plays hosts to an impressive number of outtakes, demos, non-album tracks, and more. Plus, like any good reissue or box set before it, the booklet features a couple of essays and behind-the-scenes photos from the original cover photo shoot. As if all that weren’t enough, the LP version of the record is the first time the album’s original mix, the “Detroit mix”, is being put out on vinyl.

Motown/UMe isn’t the only one celebrating the seminal effort, though. On July 24th, Stevie Wonder and The Tonight Show with Jay Leno bandleader Rickey Minor will hold a special tribute concert, with guests to include Sharon Jones and Janelle Monae (tickets are available here). Then, in May 2012, The Roots and John Legend will collaborate with the National Symphony Orchestra at the Kennedy Center in Washington, D.C.

In less inspiring news, the planned biopic of Gaye, to be helmed by Julien Temple, may be in some trouble. In an interview back in April, lead Jesse L. Martin said the production, and some four to five others, are meeting resistance from Gaye’s estate and may not come to fruition. As always, more on that as it develops.

What’s Going On Tracklist:
CD 1:
01. What’s Going On
02. What’s Happening Brother
03. Flyin’ High (In the Friendly Sky)
04. Save the Children
05. God Is Love
06. Mercy Mercy Me (The Ecology)
07. Right On
08. Wholy Holy
09. Inner City Blues (Make Me Wanna Holler)
10. What’s Going On (unreleased original single mix)
11. Head Title a.k.a. Distant Lover (demo version, original master)
12. Symphony (demo version)
13. I Love the Ground You Walk On (instrumental)
14. What’s Going On (mono single version)
15. God Is Love (mono single version)
16. Mercy Mercy Me (The Ecology) (mono single version)
17. Sad Tomorrows (mono single version)
18. Inner City Blues (Make Me Wanna Holler) (mono single version)
19. Wholy Holy (mono single version)

CD 2:
01. Checking Out (Double Clutch)
02. Chained
03. Country Stud
04. Help the People
05. Running From Love (version 1)
06. Daybreak
07. Doing My Thing
08. “T” Stands for Time
09. Jesus Is Our Love Song
10. Funky Nation
11. Infinity
12. Mandota
13. Struttin’ the Blues
14. Running From Love (version 2 with strings)
15. I’m Going Home (Move)
16. You’re the Man Parts 1 and 2 (original mono single version)
17. You’re the Man (alternate version 1)
18. You’re the Man (alternate version 2)

Starting tonight (May 5th), Prince prepares rounds eight, nine, and 10 with three shows of his “21 Nite Stand” going down at LA’s The Forum. Joining him for the Friday and Saturday (5/6 and 5/7) shows will be Grammy award-winner Esperanza Spalding. The residency, a part of his larger “Welcome 2 America Tour”, has also seen the likes of Gwen Stefani, Chaka Khan, and Sheila E. drop by. For next week’s Friday the 13th extravaganza, though, space queen Janelle Monáe will be the featured guest, which should easily make for a funking freak-tacular good time!

Ticket prices range from $25 to $179 and are now on sale via Ticketmaster.

In related news, Prince has also announced a headlining appearance at this year’s Open’er Music Festival. Set for June 30-July 3 in Gdynia, Poland, the performance marks the musician’s only scheduled date in Europe for 2011. He’ll be sharing the bill alongside Coldplay, Pulp, The National, Primus, Big Boi, and more.

In my review of Big Boi‘s debut solo album Sir Lucious Left Foot: The Son of Chico Dusty, I found the synth-heavy slow jam “Be Still”, featuring Janelle Monae, ruined by some of Boi’s antics. Sadly, the same kind of processing and planning went into the song’s music video. While there’s a lot to love from the clip’s visuals, from the purposely-cheesy comic book styling to the odd angles and color saturation, and one might even giggle as Boi plays the part of the moon for a bit, the plot is undecipherable, save for the fact that the rapper and his boys are getting girls and doing some gambling. If you can find it in a Juvenile video from 1998, then you know Lucious Left Foot has misstepped. Check out the video above (via Pitchfork TV).

Other new additions include soul-revivalist Charles Bradley, Ohio-based singer-songwriter Joseph Arthur, Anticon beatsmith Baths, and Canadian indie favorites the Rural Alberta Advantage. Plus, Australia’s An Horse, Uncle Bad Touch, Montreal’s own A-Rock and Shaydakiss, Midway State, Canadian party-starter Jacques Green, Stones Throws Records’ DåM Funk, and Denmark’s answer to Lykke Li, Nanna Fabricus, who is better known as Oh Land, have also been confirmed.

Osheaga has also revealed its daily schedule, which kicks off with Eminem, Kid Cudi, Monáe, and Broken Social Scene on day one. Death From Above 1979, Bright Eyes, and a slew of others will play before Costello and his Imposters headline day two, and The Flaming Lips – who are performing The Soft Bulletin in its entirety – have the honor of closing the festival down on Sunday.

Three-day passes are now available, while single day and two-day passes go on sale Thursday, April 21st. Visit Osheaga’s official website for additional information.

While Lady Gaga attempts to convert us all to Gaga-ism, another lady vying for the title of Queen of Pop Music, Katy Perry, is going another route: giving her adoring public so much pop music, they’ll literally burst. With Robyn and Marina and the Diamonds already confirmed as openers, the outing has added quirky R&B sci-fi goddess Janelle Monáe for a string of new dates in late August and early September. Monáe was previously scheduled for several gigs in Canada in mid-July and two toward the end of August, with an extra eight now added (said dates have been italicized for your viewing convenience.) You can check out Perry’s entire schedule below; Monáe’s first appearance is set for July 16th in Calgary, AB.

Tickets are available via our Concert Calendar, with the newest round of dates available beginning Friday, April 23rd.

Katy Perry 2011 Tour Dates:
04/28 – Melbourne, AU @ Rod Laver Arnea
04/29 – Melbourne, AU @ Rod Laver Arnea
05/02 – Adelaide, AU @ Adelaide Entertainment Centre
05/04 – Sydney, AU @ Sydney Entertainment Centre
05/05 – Brisbane, AU @ Brisbane Entertainment Centre
05/07 – Auckland, AU @ Vector Arena
05/08 – Auckland, AU @ Vector Arena
06/07 – Atlanta, GA @ Arena at Gwinnett Center *
06/09 – Orlando, FL @ UCF Arena *
06/10 – Tampa, FL @ St. Pete Times Forum *
06/11 – Ft. Lauderdale, FL @ Bank Atlantic Center *
06/14 – Raleigh, NC @ RBC Center *
06/15 – Columbia, MD @ Merriweather Post Pavilion *
06/17 – Uniondale, NY @ Nassau Veterans Memorial Coliseum *
06/18 – Boston, MA @ TD Garden *
06/19 – Newark, NJ @ Prudential Center *
06/22 – Uncasville, CT @ Mohegan Sun Arena #
06/23 – Pittsburgh, PA @ Petersen Events Center #
06/24 – Philadelphia, PA @ Wells Fargo Center #
06/28 – Detroit, MI @ Palace of Auburn Hills #
06/30 – Toronto, ON @ Air Canada Centre #
07/02 – Montreal, QC @ Bell Centre #
07/03 – Ottawa, ON @ ScotiaBank Place #
07/05 – Cleveland, OH @ Quicken Loans Arena #
07/07 – Milwaukee, WI @ Summerfest #
07/08 – Chicago, IL @ Allstate Arena #
07/09 – St. Paul, MN @ Xcel Energy Center #
07/13 – Regina, SK @ Brandt Centre $
07/14 – Winnipeg, MB @ MTS Centre $
07/16 – Calgary, AB @ Calgary Stampede $
07/17 – Edmonton, AB @ Rexall Place $
07/19 – Vancouver, BC @ Rogers Arena
07/20 – Seattle, WA @ KeyArena at Seattle Center
07/22 – Portland, OR @ Rose Garden Arena *
07/23 – Boise, ID @ Taco Bell Arena *
07/25 – Salt Lake City, UT @ Energy Solutions Arena *
07/26 – Denver, CO @ 1stBank Center *
07/28 – Dallas, TX @ Verizon Theatre at Grand Prairie *
07/29 – Houston, TX @ Toyota Center *
07/30 – Austin, TX @ Frank Erwin Center *
08/03 – Phoenix, AZ @ Comerica Theatre *
08/05 – Los Angeles, CA @ Nokia Theatre LA Live *
08/13 – Santa Barbara, CA @ Santa Barbara Bowl
08/14 – Santa Barbara, CA @ Santa Barbara Bowl
08/05 – Los Angeles, CA @ Nokia Theatre *
08/06 – Los Angeles, CA @ Nokia Theatre *
08/07 – Los Angeles, CA @ Nokia Theatre *
08/09 – San Diego, CA @ Valley Wide Casino Center
08/12 – San Jose, CA @ HP Pavilion
08/13 – Santa Barbara, CA @ Santa Barbara Bowl
08/14 – Santa Barbara, CA @ Santa Barbara Bowl
08/17 – Kansas City, MO @ Sprint Center
08/19 – Nashville, TN @ Bridgestone Arena $
08/20 – St. Louis, MO @ Scottrade Center $
09/07 – San Antonio, TX @ AT&T Center $
09/08 – New Orleans, LA @ New Orleans Arena $
09/10 – Louisville, KY @ KFC Yum! Arena $
09/11 – Grand Rapids, MI @ Van Andel Arena $
09/13 – Columbus, OH @ Schottenstein Arena $
09/14 – Indianapolis, IN @ Conseco Fieldhouse $
09/16 – Omaha, NE @ Qwest Center $
09/17 – Tulsa, OK @ BOK Center $
09/23 – Rio De Janerio, BR @ Rock in Rio

* = w/ Robyn
# = w/ Marina and the Diamonds
$ = w/ Janelle Monae

This year’s Glastonbury is still months away (June 22-26 to be exact), but we already know a few names set to play. U2, Coldplay, and Beyoncé have been confirmed as this year’s headliners, while the rest of the initial bill includes the likes of Chemical Brothers, Primal Scream, BB King, Fleet Foxes, Mumford & Sons, Big Boi, Janelle Monáe, Crystal Castles, Friendly Fires, Warpaint, James Blake, Anna Calvi, Gruff Rhys, and Laura Marling.

No word on when we can expect to see the rest of the bill, but you can keep track of all the latest Glastonbury 2011 updates on Festival Outlook. As for tickets, those aforementioned 200,000 people resulted in a sell-out months ago, so you’ll have to hit the UK-equivalent of Craiglist (though the required pre-registration probably negates that from even working). An official ticket re-sale is also expected for sometime in April, but details are still forthcoming.

Janelle Monáe and Bruno Mars will look to expand on their recent Gammy collaboration when they team up for a joint tour this summer. The “Hooligans in Wondaland” tour, which will also feature support from Plan B and Mayer Hawthrone, will launch May 4th in New York City. The trek next hits Boston before looping down to Camden, Atlanta, and Miami and then making a left turn toward Texas. The midwest gets their supply of doo-woop at the of May, with Monáe and Mars then spending 10 days out west starting June 2nd. The tour will close June 15th in Phoenix.

Below, you can find the complete itinerary for the “Hooligans in Wondaland” tour, as well as Monáe and Mars’ respective headlining dates scheduled ahead of the endeavor. Tickets will go on sale to the general public beginning February 26th.

Janelle Monáe/Bruno Mars 2011 Tour Dates:
05/04 – New York, NY @ Roseland Ballroom
05/07 – Boston, MA @ Agganis Arena
05/08 – Camden, NJ @ Susquehanna Bank Center
05/10 – Atlanta, GA @ Fox Theatre
05/11 – Miami, FL @ The Fillmore
05/17 – Grand Prairie, TX @ Verizon Theatre
05/18 – Houston, TX @ Reliant Arena
05/20 – Montgomery, AL @ Jubliee CityFest
05/22 – Windsor, ON @ Caesars Windsor
05/24 – Milwaukee, WI @ Eagles Ballroom
05/25 – St. Paul, MN @ Roy Wilkins Auditorium
05/27 – Chicago, IL @ Aragon Ballroom
05/28 – Kansas City, MO @ Uptown Theatre
05/29 – Broomfield, CO @ 1st Bank Center
05/30 – Oren, UT @ McKay Events Center
06/02 – Seattle, WA @ WAMU Theater
06/03 – Vancouver, BC @ Rogers Arena
06/04 – Portland, OR @ Roseland Theatre
06/07 – Reno, NV @ Grand Sierra Resort & Casino
06/08 – San Francisco, CA @ Bill Graham Civic Auditiorium
06/10 – Coachella, CA @ Spotlight 29 Casino
06/11 – Del Mar, CA @ San Diego Country Fair
06/12 – Universal City, CA @ Gibson Amphitheatre
06/15 – Phoenix, AZ @ Comerica Theatre

Janelle Monáe 2011 Tour Dates:
02/20 – Brussles, BE @ Botanique
02/21 – Amsterdam, NL @ Pardiso
02/22 – Barcelona, ES @ Apolo
02/24 – Bristol, UK @ Academy
02/25 – Birmingham, UK @ Institute
02/26 – Glasgow, UK @  ABC
02/28 – Manchester, UK @ Academy
03/01 – London, UK @ Roundhouse

Bruno Mars 2011 Tour Dates:
03/03 – Berlin, DE @ Astra
03/05 – Paris, FR @ La Cigale
03/06 – Amsterdam, NL @ Paradiso
03/07 – Stuttgart, DE @ LKA Longhorn
03/09 – Dublin, IE @ Olympia Theater
03/10 – Manchester, UK @ Academy 2
03/11 – Glasgow, UK @ ABC
03/13 – London, UK @ Koko
03/14 – London, UK @ Koko
03/15 – Birmingham, UK @ HMV Institute

On Saturday, Janelle Monáe teamed up with Stevie Wonder for this stunning rendition of “My Cherie Amour” at the 15th annual House Full of Toys Benefit concert in Los Angeles. Before the year’s end, she’ll open for Prince at Madison Square Garden. Maybe we spoke too soon.

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”