MusicNow is an annual Cincinnati-based music festival created by The National’s Bryce Dessner, showcasing “contemporary music and artists that take risks and do not fit neatly into categories.” This year’s installment runs March 28-30th and features performances by Sufjan Stevens, Philip Glass, and Dessner himself, as You Ain’t No Picasso points out.

Day one will feature an organ concert by James McVinnie, who will be performing new pieces from Arcade Fire’s Richard Parry and Pulitzer Prize-winning composer David Lang, along with selections from Glass, Bach, Arvo Part, and Nico Muhly.

The following day will feature a performance by Glass himself; the acclaimed composer will team up with Chicago sextet eighth blackbird to perform his composition “Music in Similar Motion” and premiere a new work by Muhly.

On the final day, Muhly, Dessner, and Stevens will come together for a workshop presentation of a new song cycle. In addition, Pedro Soler and Gaspar Claus will perform improvisations for flamenco guitar and cello.

Tickets go on sale Friday, January 27th via the festival’s website.

The Roots’ 13th studio album, undun, hits stores on December 6th via Def Jam. Right now, however, you can stream the entire thing at NPR.org.

The follow-up to last year’s How I Got Over, the 14-track effort is the band’s first-ever concept album, exploring the short life of a character named Redford Stephens. The album features production by de facto band leader ?uestlove and Just Blaze, alongside cameos from Sufjan Stevens (whose song “Redford” inspired the character’s name), up-and-coming MC Big K.R.I.T., and regular collaborators P.O.R.N., Phonte, and Dice Raw.

Pre-orders for CD and digital packages are now ongoing.

undun Tracklist:
01. The Un
02. Sleep
03. Make My (feat. Big K.R.I.T.)
04. One Time (feat. Phonte & Dice Raw)
05. Kool On (feat. P.O.R.N.)
06. The Other Side
07. Stomp feat. (P.O.R.N.)
08. Lighthouse
09. I Remember
10. Tip The Scale
11. Redford (For Yia Yia & Pappou)
12. Possibility
13. Will To Power
14. Finality

As with past efforts from The Roots, the band’s 13th album, undun, will feature its fair share of impressive collaborative partners. Mississppi rapper Big K.R.I.T. was the first guest confirmed via the album’s lead single, “Make My”. Now, with the remainder of the tracklist revealed, we know frequent collaborators P.O.R.N., Phonte, and Dice Raw (whom all appeared on How I Got Over) will also be featured on the 14-track LP. Check out the full tracklist below (via 2dopeboyz).

The Philly crew and Fallon backing band also announced one more big-name guest star making a very special cameo: indie rocker Sufjan Stevens. No stranger to alt-leaning acts thanks to past collaborations with the Monsters of Folk and Joanna Newsom, de facto band leader Questlove explained Stevens’ role in a recent interview with SPIN Magazine.

“We’ve always loved the song ‘Redford’ from Michigan. So we close the new album with a cover of ‘Redford’. We stretched it out into this four-part movement. Part 1 is Sufjan at the piano performing it. And then Part 2 is a string quartet that we had interpret it. Part 3 is myself and D.D. Jackson, who is an avant-garde piano player. He’s probably one of the most dangerous pianists — I don’t know how he doesn’t have carpal tunnel now. But he just destroys, literally, destroys the piano. The final movement, which ends the record, is essentially the beginning of the story. But it’s the last thing you hear. It’s a very powerful piece of work.”

undun is in stores December 6th via Def Jam.

undun Tracklist:
01. The Un
02. Sleep
03. Make My (feat. Big K.R.I.T.)
04. One Time (feat. Phonte & Dice Raw)
05. Kool On (feat. P.O.R.N.)
06. The Other Side
07. Stomp feat. (P.O.R.N.)
08. Lighthouse
09. I Remember
10. Tip The Scale
11. Redford (For Yia Yia & Pappou)
12. Possibility
13. Will To Power
14. Finality

Over the course of the film, Kaleo seeks to reconcile his feelings of abandonment and the adverse impact his father’s escapist lifestyle has had on his own life, confusing and even occasionally clashing with Cloud as he digs deep into his father’s psyche to try to find justification for his absence. Cloud, who describes his time apart from the real world as “being stoned for 40 years”, has trouble grasping exactly why his son is still dwelling on his extended absenteeism, and goes to great lengths to shift the blame of his parental negligence from himself, at one point even claiming that Kaleo “chose his own parents in the spirit world” prenatally, giving his son “no one but himself to blame” for any issues he held with his parents.

The film paints Cloud out to be a rather charismatic character, though often hapless in his perpetual varying states of inebriety; scenes of he and his son’s ardous biking journey are more often than not interspersed with shots of Cloud hitting a pipe or eating a handful of chocolate-covered shrooms. Even his apology to Kaleo in the film’s climactic scene is framed with his big, dopey grin and uneasy bouts of laughter. By the end of trip, however, Kaleo and Cloud discover that the two share much more than just a name, concluding their journey in a long, emotional embrace overlooking Spirit Lake.

As moving and poignant as it was, Beyond This Place‘s biggest draw is its original score which was written, composed and performed by La Belle’s long-time friend Sufjan Stevens and Raymond Raposa (of the Castanets). On Tuesday evening, Los Angeles’ Vista Theatre held a special showing of the film, featuring a performance by Stevens and Raposa. Naturally, hours before showtime, the box office line extended several blocks off of Sunset Boulevard (even though the screening had sold out a couple weeks prior), with crowds vying for a spot up front by the stage where an array of instruments and ampilfiers sat.

Before the film began, the pair took the stage, matching the intro’s wistful home-video footage of Kaleo’s childhood in and around Maui with soft overtones of banjo and guitar. Over the opening credits, Stevens sang his own “In the Devil’s Territory” off of 2004′s Seven Swans, though he played a surprisingly minor role in the proceedings for most of the night, adding lingering, reverbed-out guitar chords and the occasional breathy vocalization to accent the film’s more plaintive moments. Raposa led for most of the night, singing and playing lead guitar on “Beyond this Place”, a song he penned for the film, which he and Stevens performed as the credits rolled.

Whether you’re a fan of good cinema, Sufjan Stevens or both, Beyond this Place is a film not to be missed. Catch it on its limited cross-country run at a theatre near you or on DVD in the coming months. Check out the film’s official site for more details.
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Photography by Debi Del Grande 

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Beyond This Place is the heart-wrenching documentary of a father and son’s rocky relationship and their journey toward reconciliation paralleled through a 500-mile bike trip through the Pacific Northwest. As previously reported, tapped to soundtrack this emotionally exhausting cinematic event was none other than music titan and director Kaleo La Belle’s childhood friend, Sufjan Stevens. Over the next few weeks, Stevens will revisit this material live when he performs the soundtrack during film screenings in New York City, Portland, San Francisco, and Los Angeles (via Pitchfork). Check out the exact dates and locations below.

In addition to the screenings, Stevens has also unveiled the title track to the soundtrack. Performed by Castanets’ Raymond Raposa (who also lent a hand on the soundtrack) and featuring Stevens and Vesper of Ben + Vesper, the song reflect’s the film’s epic themes of abandonment and identity while maintaining its own air of mystery and loneliness. Take a listen below.

Raymond Raposa feat. Sufjan Stevens and Vesper - “Beyond This Place”

Just above the dates is the film’s trailer. Stay tuned to the film’s Facebook page for additional show info.

Sufjan Stevens Beyond This Place 2011 Tour Dates:
10/30 – New York, NY – BAM Howard Gilman Opera House
11/03 – Portland, OR – Hollywood Theater
11/06 – San Francisco, CA – Castro Theater
11/08 – Los Angeles, CA – Vista Theater

This may be weird, but I always think of concerts as a kind of consummation — like finally getting the chance to be alone with that special squeeze you’ve been sweatin’ for a while. The relationship between you, a band, and a song are finally at the most intimate, whether you’re in the corner of a bar or on the muddy fields of Glastonbury. And for all the time you’ve spent peeling away the layers of a track, analyzing every note, every word, every minute detail about down to the the last wavelength, in concert the pressure is now on the band. Do they really look like their profile pic?

It’s nerve-racking when the moment comes. Some bands have performance anxiety, or were just plain lying about what they were actually packing. Most bands are satisfyingly WYSIWYG, and remain true to their promises. These bands and these songs below, however, represent the most powerful moments in a connection between audience and performer — moments of dynamic expansion that open up whole new parts of the song that you never even knew existed. At the time it’s a revelation, and in retrospect it can be a rediscovery, but it’s always something unique.

We tried to compile a list of songs that resonated on several levels. There are cultural turning points, fan favorites, canonical benchmarks, and most importantly, personal experiences. Name another art form where you’re allowed to feel something so personal, so moving, so hair-raisingly beautiful in the company of hundreds or thousands of other people possibly feeling and relating to the exact same thing you are (MDMA levels notwithstanding). The subjectivity of a live performance is almost more apt than a studio recording, but these here are songs we felt transcended personal preference and reached out to even those who weren’t there (Or: you’ll probably get chills from watching these videos).

But there are more memories than there are YouTube videos™. There will be concerts from an unknown band in the middle of nowhere that will leave a stronger impression than being front row at Radiohead or backstage at The Boss, and that’s a fact. These songs give your personal experiences a run for their money, and while you may not believe that anything will ever top the time the lead singer of Ulterior Motifs set his guitar on fire and suplexed the bass player into the floor tom, we hope you spend some time co-opting the magic that was created with these performances– live performances that deepen, expound, and straight-up own the studio versions.

-Jeremy D. Larson
Content Director

Joy Division – “Transmission”

On record, they were clean. On stage, they were clean. So, what’s the difference? With “Transmission”, Curtis doesn’t spit out the lyrics so much as he threads together a fragile yet magnificent rope, from which he swings around and around. No one will ever dismiss Martin Hannett’s timeless and unorthodox mixing on Unknown Pleasures, it’s an indefectible example of diamond production work. But in hindsight, the radical producer simply trapped the group’s carnal tendencies. Inside the album existed what only a few knew at the time: This Manchester quartet was working with something otherworldly, and watching “Transmission” live proves this. It’s just a tad spooky, that’s all.  -Michael Roffman

The Flaming Lips – “Race For the Prize”

Balloons, smoke machines, confetti, 40-foot projection screens, colored lights, and background dancers wearing plush animal costumes – “Race for the Prize” not only marked a turning point in the band’s recording career, but the transformation of their live performances into the sensory-overloading grand spectacle they’re known for being today. After The Soft Bulletin, it no longer seemed as if we were just watching a band perform on acid, but as if the entire audience were tripping along with them. Now a staple on their setlists, there isn’t a song in The Flaming Lips’ catalog better-suited for setting the tone for their loony live shows than the soaring acid-pop of “Race for the Prize”.  -Austin Trunick

Tool – “Third Eye”

“Think for yourself…question authority,” the opening monologue begs of its listeners, just before one of Tool’s most prestigious and haunting musical numbers hushes a live audience. “Third Eye” is the closing track from 1996′s Ænima, and from this 1998 concert recording, fans can reminisce on days when Maynard James Keenan could dole out a scream that made people question their own identity. The version present here can be found on Tool’s Salival compilation per secondhand purchase, as it’s now out of print. -David Buchanan

John Coltrane – “My Favorite Things”

John Coltrane took Rodgers and Hammerstein’s Broadway classic “My Favorite Things” for a spin just two years after it hit the stage in the Sound of Music by stretching the showtune into a madcap 13-and-a-half minute jam that’s considered one of the most essential jazz records of all time. Leave it to John Coltrane, though, to turn his own hit on its head whenever he and his band played it live, most notably at the 1963 Newport Jazz Festival. In perhaps the finest performance of his career, Coltrane and his sidemen take the tune on an extended, 17-minute jaunt so hypnotic and memorable, you’ll never whistle that chipper little melody the same way again.  -Möhammad Choudhery

Massive Attack- “Angel”

On tour, “Angel” takes on a whole new life with the help of the band’s signature moody light show and a stellar live band that includes two live drummers. Ominous hi-hats and a pitch-black guitar line give way to an apocalyptic burst of bass/guitar/drums just as Horace Andy gets done muttering the line, “love you, love you, love you.”  Here, Massive Attack tackle their signature song before a crowd of thousands at Glastonbury 2008. The best part? That split-second of awed silence right as the band kicks in and the crowd explodes. -Möhammad Choudhery

Okkervil River – “Westfall”

Okkervil River frontman Will Sheff was inspired to pen this eerie tune after hearing the gory details of the Yogurt Shop Murders in Austin, Texas. While the album version successfully explores the confounding nature of true evil, only the raucous live rendition is able to capture the savage spirit of the murders themselves. The song begins minimally, conjuring a stark atmosphere with guitar, mandolin, and bass drum before an ominous string chord kicks off the pounding coda “evil don’t look like anything,” as Sheff howls and the rest of the band falls apart around him. The same crescendo occurs on record, but it feels tight rather than chaotic. -Dan Caffrey

Talking Heads – “Psycho Killer”

Director Jonathan Demme and Talking Heads’ 1984 masterwork, Stop Making Sense, is the concert film. While many reasons exist for backing such an argument, only one truly matters — David Byrne’s jaunty opening rendition of “Psycho Killer”. Sharp outfit, syncopated beats, cassette tape, acoustic guitar, and a man whose gait could be translated to mental imbalance or physical comedy…forget Andrew WK and the Beastie Boys; Byrne’s boombox beats you to the punch. -David Buchanan

LCD Soundsystem – “Yeah”

James Murphy says “Yeah” a total of 577 times in this video (you don’t have to count it — it’s all there). That’s more times than I’ve ever said anything in my entire life, and still you never get sick of it. Against that disco drum and bass, the band stretches the song’s poles to the max, and if you happen to be in the crowd during “Yeah”, you will find yourself screaming all 577 “Yeah”s right along with him. Trance-punk was given a live birth. -Jeremy D. Larson

Bruce Springsteen – “Thunder Road”

Aside from being a fantastic live version of the side-one, track-one to his untouchable Born To Run, this six-minute clip, recorded in his native New Jersey in 1978, is a tiny encapsulation of exactly what The Boss’ live show is all about. From the energy and charisma emitted by Springsteen, the signature Fender Telecaster, his supporting cast (Max Weinberg on drums, old friend Steve Van Zandt on guitar/shaky backup vocals, and the late Clarence Clemons – whose chilling sax solo means more this week than it did a month ago), to his faithful, adoring fans cheering “Bruuuuuuuuuce!” as the video comes to a close, this is what Springsteen is (and has always been) about. -Winston Robbins

Sufjan Stevens – “Impossible Soul”

On “Impossible Soul”, Age of Adz’s cathartic 25-minute closer, Sufjan Stevens redefines melodrama and virtuosic, genre-leaping scope. Stevens, in his typically ostentatious fashion, opted to close out every show on the Age of Adz tour with the whole damn thing. “Impossible Soul” is a roller-coaster ride through Stevens’ right brain: from the crestfallen call and response intro, through an atypical vocoder segment, into the stirring metaphysical rally song mid-section that finally leads into a heartrending, finger-picked outro. Woah. -Möhammad Choudhery

Bob Marley – “No Woman, No Cry”

This version is so deep in the groove I’m not sure how anyone gets out of it when it ends. Before Ska sped things up, Bob Marley slowed things down when he took “No Woman, No Cry” to the stage, which is the version that most people are familiar with. The studio version has its merits, but this is the only option for a campfire mixtape or memorial tribute. Plus, when you tell someone that “everything’s gonna be alright”, you never want to rush it. -Jeremy D. Larson

Phish – “Fluffhead”

There was no greater news to New England in the winter of 2009 than the word that Phish was getting back together for a three-night run at the Hampton Coliseum. What started out as three (very thorough) reunion shows turned into the next leg of the Vermont quartet’s career, and they kicked everything off with “Fluffhead”. Out of their entire catalog, “Fluffhead” has always been a big fan favorite that made occasional appearances within their setlists, but this time, it was the charge to start everything off. While the studio version off 1986′s Phish (or, The White Tape) sounds like a playful demo, the Hampton ’09 version is like a musical call to arms (or to jamming). As that wonderful C-D-G-F progression rang out into the spring Virginia night, it was clear that the only people more excited about this reunion than Anastasio, Gordon, Fishman, and McConnell…were the phans. -Ted Maider

Led Zeppelin – “Dazed and Confused”

By the time the Royal Albert Hall gig rolled around in January 1970, Led Zeppelin had already begun to take over the world. But this show in particular would showcase their improvisational prowess on “Dazed and Confused”, turning the original six-and-a-half minute recording into a majestic 16-minute opus. Already a mainstay in their live repertoire, there was just something about the track this time around that really stuck. To date, it still makes the hairs on the back of your neck stand up. This is how it’s done.  -Megan Caffery

My Morning Jacket – “Dondante”

The slow, intimate start leads to an emotional blast of soaring vocals followed by some of the most powerful saxophone playing this side of John Coltrane. When done the right way – and My Morning Jacket usually do it the right way – it can truly be a transcendental experience. For a well respected live band with countless good “live versions”, the fact that “Dondante” usually comes away as the highlight to their shows says it all. -Carson O’Shoney

Radiohead – “Everything In Its Right Place”

How do you play any of Kid A live? How do you even write an album like Kid A? And how on earth does a distorted, confused and recycled Thom Yorke sing along with a real Thom Yorke, playing a keyboard that gets recycled and cut up too, until the band can leave the stage while their music goes on, slowly eating itself? Ask any Parisian that watched them in 2001 above. –Chris Woolfrey

Arcade Fire – “Power Out/Rebellion”

Not many songs can slow the tempo down while doubling the audience energy at the same time. Yet that’s what Arcade Fire does for every concert. Whether it segues out of an explosive “Neighborhood #3 (Power Out)” or more recently “Month of May”, “Rebellion (Lies)” is the pinnacle of a live performance. There’s the subtle moment where the bass and keys start to peek through the thrashing guitar noise of the previous song, sending those shivers down your spine. Then there’s the singalong. When the band scream out “Lies!” so does the everyone in the crowd. Like, everyone. –Joe Marvilli

The Beatles – “Get Back”

“Four people playing as they never would again” is how The Beatles’ rooftop concert has been described, and it’s easy to see why. This is a band with tensions rife from about a decade in the public eye among other things, rallying round for a knock-out final performance. “Get Back”, set against the police bearing down on the group as the quartet brought the music to a kind of anti-climactic diminuendo, closed their impromptu set on top of the Apple office on Savile Row. Nobody knew it then, maybe not even The Beatles, but this song was the last song they would ever play together, and it’s beautiful precisely because that future was so uncertain. In the words of John Lennon: “I’d like to say ‘thank you’ on behalf of the group and ourselves, and I hope we passed the audition.” -Chris Woolfrey

U2 – “Where The Streets Have No Name”

This is the song that every U2 fan waits for at every show. No matter what else is played or whether the band is on or not, “Where the Streets Have No Name” is guaranteed to be spectacular. First, there’s the red screen that brightens up as the opening organ comes in. Edge arrives with that icy arpeggio that blooms into every corner of the venue. The drums kick in, all the lights shine on, and Bono and the boys are off. Everyone sings and dances along, being together in this moving experience that can’t be just described. You have to see and hear it to believe it. -Joe Marvilli

My Bloody Valentine – “You Made Me Realise”

“You Made Me Realise”, besides being My Bloody Valentine (MBV)’s go-to rocker, is noted for closing the band’s reunion shows in an extended “holocaust” of white noise. Lasting between 10 minutes and 30 (compared to less than a minute on the studio version), MBV holds the final chord before the final verse, strikes it at a deafening level, and by the time the band explodes back into the main riff — if it even bothers — most of the crowd has forgotten what song was playing. Anyone who saw MBV in 2008/2009 is well aware every venue was stocked to the roof in free earplugs, and “Realise” is the reason why. -Harry Painter

Animal Collective – “Fireworks”

There was plenty to fall in love with during this epic, show-closing rendition of Strawberry Jam‘s adrenaline-pumping “Fireworks”. At around 13-minutes long, the band begins by teasing fans with the signature helicopter pulse-rhythms of “Fireworks”, while beginning Hollinndagain‘s “Lablakey Dress”, ultimately morphing that deep-cut into a 10-minute exploration of “Fireworks” pushing the thing to its absolute limits–including a mid-song layover in Danse Manatee‘s “Essplode”. But while Geologist’s headlamp bops around, clashing with the epileptic lightshow, and while Avey Tare chants the song’s infectious melody over his washed-out strums, just watching Noah Lennox feverishly attack his minimal, high laying drumset in syncopated thrusts is one of live music’s most breathtaking experiences. As is usually the case with these Animals, it’s hard to tell what’s really going on, but with a result so utterly awe-inspiring, it really couldn’t matter any less. -Drew Litowitz

Rage Against The Machine – “Freedom”

Back in the ’90s, Rage Against the Machine was one of the finest live acts to grace the mainstream, and it brought a lot of sadness in 2001 when they announced their breakup. To finish off their (first) run, the band booked two nights at Los Angeles’s Grand Olympic Auditorium. Their finale, “Freedom”, remains a staple of their live show, primarily due to Zack de la Rocha’s improvisational lyrics he would throw into the mix (“Forget about your history and just buy…and just buy”). The live version (particularly this one) was the sonic equivalent of a Washington D.C. riot, as de la Rocha screamed “Freedom! For Mumia! Freedom! Yeah!” for what appeared to be the last time. Luckily though, it wasn’t. -Ted Maider

The Grateful Dead – “Dark Star”

(Part 1)

(Part 2)

(Part 3, Part 4)

“Dark Star” is the quintessential Dead song. Consisting of no more than a couple of riffs and two short verses, the real meat is the improvisation between those elements, often stretching to over 20 minutes of mind-blowing psychedelia. There’s a studio version, a paltry 2:40 long, that should never have existed in the first place. So of all the stellar live versions, why 8/27/72? Although the legendary Live/Dead version represents the primal 1969 sound, the 1972 Veneta performance fuses the Dead’s early ’70s modal jazz style with the searing controlled chaos of the ’60s, propelling this show into “best ever” contention. -Jake Cohen

Duke Ellington Orchestra – “Diminuendo and Crescendo In Blue”

As you will be able to tell in the scrolling story of the clip, this song is the stuff of jazz legends. Maybe not quite on par with Max Roach throwing a crash cymbal at Charlie Parker, or Buddy Rich cussing out the tour bus every night, or Charles Mingus shooting his bass with a gun (yes), but definitely a solid #4. Paul Gonsalves’ 28 choruses of blues solo instigated what passed for a “riot” at the Newport Jazz Festival in 1956. If only for 10 minutes, the spirit of Big Band was reanimated due to a tenor sax player’s passion and groove. -Jeremy D. Larson

Radiohead – “The Gloaming”

On Hail to the Thief, “The Gloaming. (Softly Open Our Mouths in the Cold.)” is unassuming, the only sign of life being the coronary pulse of the repeated bass note. Either out of a need to keep concert-goers awake, or out of Thom Yorke’s love for uninhibited dorky dancing, Radiohead turns it into just that, a high-energy dance number. It’s a win-win, because not only does the rhythm section of Colin Greenwood and Phil Selway find themselves with something to do, but thanks to Yorke’s scattered and looped vocals, “The Gloaming” retains the album version’s sense of distorted obtuseness. -Harry Painter

Iron & Wine – “Upward Over the Mountain”

If you had told me back in 2002 (damn, I’m getting old) that one day I’d be getting the fuck down–I mean literally losing my shit –to The Creek Drank the Cradle‘s “Upward Over The Mountain” at 2008′s Bonnaroo Music and Arts Festival, I’d probably have told you to pull yourself together, lay off the acid, and to stop listening to your bootleg of The Grateful Dead’s 1976 Show at the Beacon Theater. When the time came, Sam Beam jumped onstage as pilot to a well-oiled and irresistible jam machine. And on the set’s highlight, “Upward Over the Mountain”, the bearded folkie stretched out one of his sparse, slow-rolling lo-fi gloomers into a full-fledged rock epic, fit with percussion, pedal steel, and a penetrating slide guitar melody parsed from the dust-speckled, minimal offerings of one of Beam’s mellowest recordings. -Drew Litowitz

Daft Punk – “Around The World/Harder, Better, Faster, Stronger”

I once described Daft Punk’s live album Alive 2007 as sounding “a lot more like a seamless greatest hits collection than a live effort.” That declaration goes the same for this video clip as it did for the album. Daft Punk’s unforgettable Alive Tour was not only visually spectacular production, but one of the most musically cohesive. This particular cut is a combination of their biggest hit from the ’90s, “Around the World”, and their biggest hit from the ’00s, “Harder, Better, Faster, Stronger”. As the two tracks seamlessly bleed in and out of one another with lights, pyramids, and robot suits to boot, it’s not hard to see the allure behind the French duo and why they’re arguably the most popular dance/electronic DJs of this generation. -Winston Robbins

Atoms For Peace – “Harrowdown Hill”

Among all the computer loops and slanted rhythms found on The Eraser, “Harrowdown Hill” is certainly the grooviest. When you have a bassline that infectious, you need the funkiest bassist around to give it some extra slap and pop. Enter Flea, whose body-shaking performance compliments Thom Yorke’s sporadic dancing perfectly. Add in a hard-hitting, organic performance from the rest of the band and you have the highlight of any Atoms for Peace concert. -Joe Marvilli

Peter Frampton – “Do You Feel Like We Do?”

For over 20 years, Frampton Comes Alive! was the best selling live album of all time, and “Do You Feel Like We Do?” is its most iconic track. Free of the pop fluff of “Baby, I Love Your Way” or “Show Me The Way”, the nearly 15 minute “Do You Feel Like We Do?” features Frampton’s most virtuosic and exciting use of his trademark talk box. The studio version (did you even know one existed?), with its lethargic tempo and no talk box, shrinks the three-chord jam from 10 to barely more than one minute. It seems a mere technicality compared to the live beast. -Jake Cohen

The National – “Mr. November”

Fans of The National will know this as their famous closer (though “Terrible Love” has rightfully overtaken that spot of late) and it’s the part in the show where Matt Berninger stumbles through the audience with glazed eyes and screams “I won’t fuck us over, I’m Mr. November” with one and all. However, at 2010′s Lollapalooza, Berninger scaled a wall and crouched down to a toddler and gave the crowd the most endearing radio edit you’ve ever heard. I mean, if that doesn’t make your heart melt a bit, you better pray for a girl from Kansas to show up and oil your joints. -Jeremy D. Larson

Blur – “Tender”

Sometimes what makes the live performance of a song a truly special event is the crowd itself. At Blur’s big Glastonbury comeback, the unique rapport between the band and the crowd can be summed up in one word: “Tender.” Not only was Blur back, but Graham Coxon was along for the ride, and a hundred thousand fans expressed their gratitude by shouting along Coxon’s lines at the top of their lungs and enabling the transformation of “Tender” into a nearly-10 minute singalong. This Glastonbury moment elevated the emotions so high for the rest of the evening that Damon Albarn later broke down and cried on-stage, and fans went on to sing en masse “Oh my baby, oh my baby, oh why, oh my” during the encore breaks and on the way back to their tents.  -Frank Mojica

It’s been a minute since the Internets had heard from Sufjan Stevens, but now his royal weirdness has revealed what he’s been working on all this time. Streaming above is video for “Get Real Get Right” from his fanbase polarizing 2010 LP, The Age of Adz (via P4k). The clip finds an intergalactic, Japanese captioned, storyline playing out and features animation by Sufjy himself and art by Royal Roberts, whose space-age work was featured in Stevens’ latest tour.

Speaking of tour, Stevens has added a second show to his Prospect Park appearance since the August 2nd date sold out in an instant. More info on the second show is available here.

Primavera Sound has expanded from a small gathering at the intimate Poble Espanyol to a world-class event and the 11th edition was bigger than ever. The average attendance of its three main days at the Parc del Forum exceeded 40,000 attendees from across the globe, with two additional days at the original festival site, and intimate pre and post-parties scattered throughout the city. Despite the unavoidable presence of sponsorship, Primavera never comes across as a corporate cash grab thanks to a lineup that remains decidedly left-of-center. Yes, there are plenty of proven, reliable acts such as The Flaming Lips, Fleet Foxes, and The National, but it’s the more adventurous and less universal bookings of odd and obscure acts and cult bands performing their seminal albums that set Primavera apart from the average corporate affair. Primavera Sound is living proof that the likes of Einstürzende Neubauten and Suicide need not be restricted to ATP events.

Primavera’s eight stages include ones curated by Pitchfork and All Tomorrow’s Parties, and a limited capacity, indoor seated theater. The Rockdelux Auditori offers a relaxed atmosphere for the likes of John Cale and Mercury Rev and makes it possible for the festival to have performances that cannot be done outdoors, such as the intricate Sufjan Stevens production. Camping is nonexistent, with everyone staying in apartments and hostels throughout Barcelona, but the availability of beds and showers does not guarantee a full night’s sleep. The party never stops in Barcelona, with the main festivities beginning at 4:00 p.m. and ending at 6:00 a.m. every day, plus daytime performances in a nearby park and all the irresistible sightseeing the city has to offer.

Photo by Frank Mojica

New in 2011 was the Primavera Portal, a system that allowed the festival’s access card to double as a debit card that can be recharged online or at booths situated by the main concession area. Unfortunately, the problem with the digitalization of festival commerce is that things often go wrong, and in this case, something did and the whole system crashed. After waiting in hour-long queues for recharges on Thursday, because the Primavera Portal site crashed, attendees found that all the drink vendors could not sell any water or alcohol because they did not have the necessary scanning devices. Food stands accepted cash, but only the drink vendors could sell alcohol or water, and the festival was without any sort of liquid refreshment available for purchase for several hours, and the street vendors offering cheap beer and water outside the gates only appeared at night. A major hiccup in an otherwise smooth festival experience, yes, but when seeing the likes of Grinderman and Sufjan Stevens, a day of stress and dehydration was a price well worth paying.

-Frank Mojica
Staff Writer

Wednesday, May 25th

Nisennenmondai - Poble Espanyol - 5:00 p.m.

Photo by Frank Mojica

Primavera Sound’s choice of Nisennenmondai to open their main festivities says quite a lot about the heart of the festival. In the festival world, the instrumental Japanese noise band has only performed at smaller fests and the 2010 edition of Roskilde, but their experimental sound was a perfect match for the discriminating tastes of Primavera goers. As the sun scorched the crowd that left the refuge of the shade to get a closer look, Nisennenmondai unleashed unrelentingly pulsating bass lines, and a pummeling rhythm so frantic that some casual observers debated if drummer Sayaka Himeno was possessed by a demon. Spinning together traces of Krautrock, no wave, and math rock, Nisennenmondai proved to be a captivating festival opener as they turned their repetitions into something strangely danceable that won over a largely unfamiliar crowd. American festival promoters would do well to introduce their audiences to this inventive, thrilling trio next year.

Echo & the Bunnymen - Poble Espanyol - 8:45 p.m.

Photo by Frank Mojica

Watching a band perform a favorite album in its entirety is a special treat, but two albums back to back? That’s what Echo & the Bunnymen brought to Poble Espanyol, performing Crocodiles and Heaven Up Here along with an encore of a few more recent favorites, although a gander at “The Killing Moon” was not on the agenda for this trip down memory lane. While seemingly in good spirits, the post-punk legends sounded more and more as if they were merely going through the motions as the set progressed.

Thursday, May 26th

Sufjan Stevens - Auditori - 8:30 p.m. (5:00 p.m. on Friday)

Photo by Frank Mojica

If Harold Camping had not been wrong yet again about the impending rapture, then it would have surely played out like a Sufjan Stevens performance. Specifically, set opener “Seven Swans” was the sound of the end of days commencing, as heavenly as it was commanding, and the winged Stevens and company served as the rapture’s archangels. Next, the ultimate ironic dance party to ring in the forthcoming apocalypse came in the form of “Too Much”, leading into a journey through the madness of Armageddon during “Age of Adz”. After the destruction of all existence, what followed was a 100 minute journey through the rebuilding of reality and its various ups and downs and creations and destructions. Along the way, Sufjan Stevens took a break from cosmic folk and performed a rare cover of R.E.M.’s “The One I Love” at the Thursday performance and treated the Friday crowd to “Sister”, with valuable singing lessons preceding the latter. Existence finally rebuilt itself back to normal during the rejuvenating 25-minute set climax “Impossible Soul”, where fans rushed the stage at both shows after Stevens asked, “Do you want to dance?”

Photo by Frank Mojica

Throughout what was more of an experience than a concert, Sufjan Stevens donned feathered wings, chimp masks, space capes, and a spinning disco ball chest piece, backup singers twirled ribbons and performed choreographed dance numbers, while animated imagery inspired by the prophetic visions of Royal Robertson flashed on the screen and an extra layer of visuals appeared occasionally on a scrim in front of the stage. But are the costumes, confetti, and multi-screen visuals excessive, if not unnecessary? Yes, he does not need an elaborate display and his songs are powerful enough to stand on their own, but this Knife-meets-Flaming Lips live spectacle makes the playful voyage through the end of the world all the more powerful.

Grinderman - San Miguel - 11:00 p.m.

Photo by Frank Mojica

Let’s just get this out of the way now: Nick Cave is currently rock & roll’s number one devil. At Primavera, Cave’s Grinderman exhilarated a large festival crowd with their darkly humored brand of sleazy, feral rock that put all those garage revivalists with a fetish for the blues to shame. Ever the magnetic frontman, Nick Cave didn’t walk across the stage so much as he swaggered and thrusted, and spent much of the set in the photo pit cavorting with fans that desperately grabbed at their idol and surfed to get closer. For an hour that passed far too quickly, Grinderman dementedly tore into tracks from both albums with the sort of furor that consumed the songs and spat them back out with new layers of filth and extended jams.

Suicide - Ray-Ban - 12:45 a.m.

Photo by Frank Mojica

Less than an hour before show time, Nick Cave implored the Grinderman crowd to watch Suicide, and quite a few punters took his words to heart. Suicide is definitely not a crowd-pleasing band that appeals to everybody, not even when performing their first LP, and not even at Primavera, but such challenging acts are what make the festival and its lineup so refreshing. Perhaps the ear-splitting and unsettling nature of the duo’s discordant beats and noise was too much to bear, or maybe people just wanted to hear “Ghost Rider” and call it a night, but the surprisingly sizable crowd left in droves. Fans that were up to the challenge were rewarded with a set that contained the crucial element missing from most of those “so and so performing some album” gigs: surprise. Despite the age of their debut album, Suicide transformed it into something fresh by applying new ways to confound and deafen.

The Flaming Lips - San Miguel - 2:15 a.m.

Photo by Colin Athens

At one point during the set, Wayne Coyne expressed his love for Primavera, declaring it to be one of his best festival days ever. Coyne sure has had a lot of them, considering their years of festival ubiquity, so it’s no empty platitude. Giant hamster balls, confetti cannons, costumed dancers, laser hands, and the rest of The Flaming Lips’ bag of tricks have been getting a lot usage over the years, but considering the crowd’s ecstatic reception, it might as well have been the first time. It was impossible to feel anything but the purest bliss during a life-affirming set full of sing-alongs accompanied by one hell of a spectacle.

Friday, May 27th

M. Ward - San Miguel - 8:00 p.m.

Photo by Colin Athens

Performing on the same stage as the long awaited Pulp reunion is unenviable in the sense that for the fans camped along the front of the stage, watching M. Ward was just something to watch during a painfully long wait. Luckily Matt Ward and his band proved to be capable of capturing even the most distant and distracted Pulp fans with an hour of jaunty rock, blues, and country revivalism. The setlist favored the boisterous over the heartbreaking, most memorably a romping cover of Chuck Berry’s “Roll Over Beethoven”.

Belle & Sebastian - San Miguel - 10:45pm

Photo by Frank Mojica

After “Stars of Track and Field”, Belle & Sebastian frontman Stuart Murdoch realized the lyrical link shared between his song and the next band’s biggest hit, and acknowledged that it would not be the first time we heard “college” and “knowledge” within the same sentence that night and expressed his own anticipation of the reunion. As Murdoch later went to the crowd in search of dancers during “Legal Man”, Stevie Jackson performed a brief cover of “Common People”, giving all in attendance an opportunity to warm up for the imminent sing-along of the year. The dancers remained for crowd pleaser “The Boy with the Arab Strap”, after which they were awarded medals for their efforts. Putting forth a solid mix of new material and old favorites from their extensive back catalog with an infectious charisma, Belle and Sebastian were nothing less than charming at Primavera.

Pulp - San Miguel - 1:45 a.m.

Photo by Colin Athens

Half an hour before show time, the hardcore fans crowding the San Miguel stage were treated to some pre-show entertainment consisting of laser projections across a curtain obscuring the San Miguel stage asking questions from the official website such as “Do you remember the first time?” and “Is this a hoax” in both English and Catalan and always in the Different Class font. Most randomly, green lasers inquired “Do you want to see a dolphin?” before a green dolphin of light appeared and swam across a sea of black. The laser show increased the excitement and tension to unbearable levels, and just as the anticipation became too much to bear, the lights went out, and a neon pink and blue P was illuminated, followed by the rest of the letters in their name one by one as the B.A.N.D.C.A.DOUBLE L.E.D.P.U.L.P. finally took the stage.

Pulp’s headlining set at Primavera was the first reunion performance announced, which was a chief factor in the decision to attend for many in the considerably international crowd, so anything less than a rapturous response to the band would have been a surprising letdown. As the curtain finally dropped during the first chorus of opener “Do You Remember the First Time?”, the crowd responded to the unveiling by screaming along to all the words at the top of their lungs and jumping along to the beat as if their lives depended on it. This level of energetic enthusiasm persisted throughout the entire set and peaked, predictably, during “Common People”, which Jarvis Cocker dedicated to the protesters in Plaça de Catalunya.

Photo by Frank Mojica

It may have been a Pulp reunion, but Jarvis Cocker was still the star of the show, delighting the crowd with his all-over-the-stage trademark dances, climbing, leaps, suggestive gesturing, and general refusal to stand still, while the rest of the band stayed in the back and on the sidelines. The peerless showmanship exhibited in his recent solo tours was retained, as was the bookish look of a professor that has seduced many a coed during office hours. After what might have been the sleaziest rendition of “I Spy” yet, Cocker stepped down to the photo pit, where he asked a couple from Athens, GA to introduce themselves and then told the woman that her boyfriend had something to ask her, setting the stage for a marriage proposal and then commenting on the niceness of the ring. Cynicism and biting spitefulness are often found in Pulp lyrics, but the source of them just might be a romantic at heart.

The setlist focused almost entirely on the era of the band’s commercial peak, with nine songs from Different Class, three from His & Hers, plus encore “Razzmatazz”, with “This Is Hardcore” and “Sunrise” as the only songs released after Russell Senior’s departure to be performed. Why does Pulp get a pass for churning out the hits at their reunion, while other bands get derided as shameless panderers? For starters, they were performed as if it were still 1995; it was as if the band had not abandoned us for nine years. More importantly, the music of Pulp has survived the ravages of time remarkably well, because they were never a true Britpop band in the first place. “Common People” has achieved a new identity as a vitriolic anthem against hipsterism, and at Primavera it was appropriated as a rallying cry for the local protestors, or at least the ones in the crowd that waved a giant banner stating “#Spanish Revolution Sing Along with the Common People”. The Primavera comeback was an explosive set that cemented Pulp’s status as the essential festival band of 2011 and will be remembered as fondly and regarded as definitive as their Glastonbury 1995 performance.

Saturday, May 28th

Yuck - ATP - 6:00 p.m.

Photo by Colin Athens

Ideally, every festival would start out with a bang by having a great set early in the day to reward attendees that stumbled out of bed in time to attend the full schedule, with these early birds catching a quite special worm. Only at Primavera is 6:00 p.m. widely considered not just early but excessively so, but the ATP area still managed to fill just in time for recent indie darlings Yuck. The London-based quartet loudly revisited the sounds of the late 80’s and early 90’s indie greats, but made them sound fresh. Their performance revealed a genuine excitement to be playing the festival, and guitarist/vocalist Max Bloom gave shoutouts to both Pulp and Shellac before tearing into a new song entitled “Milkshake”. Yuck hasn’t even been around for two years yet, but their live sound implies a band that’s been going at it for far longer.

Warpaint - Llevant - 6:45 p.m.

Photo by Colin Athens

Sometimes the stars align and a band gets a festival timeslot so perfect that the setting actually enhances the performance. After witnessing Warpaint perform on the beach of the new Llevant stage as the day finally began to cool, it’s difficult to imagine watching the Los Angeles band in any other setting. As clouds obscured the sun and the cool Mediterranean breeze rolled in, the charismatic all-girl quartet appeared confident before the large crowd as they intricately layered vocals and guitars to dreamy effect, peaking with the gorgeously transcendent pop of “Undertow”. Ubiquitous buzz bands are a dime a dozen nowadays, but Warpaint proved to be one that fully lives up to the hype surrounding them.

Gang Gang Dance - Pitchfork - 9:45 p.m.

Photo by Colin Athens

Eye Contact, the latest album from Gang Gang Dance, is their most danceable release to date, and its tribal beats and psychedelic synth freak-outs gained an extra degree of intensity on the Pitchfork stage. Accompanying the band were an interpretive dancer and a flag waver throughout the set. The band sounded more urgently fantastic than ever, and frontwoman Lizzi Bougatsos hypnotized with her dances and soaring yelps, so leaving early enough to make the steep uphill climb to the San Miguel stage in time for the start of PJ Harvey was one of the biggest challenges of the weekend.

PJ Harvey - San Miguel - 10:30 p.m.

Photo by Colin Athens

Clad in a white dress and feathered headdress and surrounded by near-total darkness, Polly Jean Harvey looked as angelic as she sounded. Half of her 20 song set consisted of songs from the stellar Let England Shake that favored the jangly strum of the Autoharp over the guitar, with older favorites getting a subdued makeover. As stunning of an album as Let England Shake is and despite sounding especially gorgeous live, the noise of the massive crowd often overpowered the delicate beauty of the music. The new PJ Harvey tour is a delight, but is ideally enjoyed in a more intimate environment.

Animal Collective - San Miguel - 2:00 a.m.

Photo by Frank Mojica

Neo-psychedelic weirdsters Animal Collective have jumped from mid-tier to headliner since their last batch of festival touring three years ago thanks to the success of their latest and greatest full length, 2009′s Merriweather Post Pavillion. In contrast to the two previous headliners, Animal Collective was far less of a crowd pleaser, only performing a handful of “hits” in a set filled with almost entirely unreleased material. Evolving new music in a live setting is how their albums have always developed, so it’s refreshing to see a band that stays true to their roots despite a sudden surge in popularity. Typically atypical Animal Collective sets might seem like an awkward match for a festival’s main stage, since the crowd is guaranteed not to be full of fans that know what to expect, and at Primavera, some in the crowd declared the performance too self-indulgent and without “proper songs” and left early. However, the majority remained, and they were treated to some new songs that not just showed a lot of promise and even outshone the older selections. In contrast to the light cubes and Creators Project collaboration at Coachella, the visual element of Animal Collective’s set at Primavera was more mysterious and less elaborate, with only moderate usage of house lights and some trippy, colorful animations projected on the screens that never flashed any footage of the band or crowd. If their Primavera headlining set is any indication, their polarizing nature will not lose all the Merriweather Post Pavillion bandwagon-jumpers and continue to draw more followers because of it.

Gallery by Colin Athens

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Gallery by Frank Mojica

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]]> Photo by Frank Mojica New in 2011 was the Primavera Portal, a system that allowed the festival’s access card to double as a debit card that can be recharged online or at booths situated by the main concession area. Unfortunately, the problem with the digitalization of festival commerce is that things often go wrong, and in this case, something did and the whole system crashed. After waiting in hour-long queues for recharges on Thursday, because the Primavera Portal site crashed, attendees found that all the drink vendors could not sell any water or alcohol because they did not have the necessary scanning devices. Food stands accepted cash, but only the drink vendors could sell alcohol or water, and the festival was without any sort of liquid refreshment available for purchase for several hours, and the street vendors offering cheap beer and water outside the gates only appeared at night. A major hiccup in an otherwise smooth festival experience, yes, but when seeing the likes of Grinderman and Sufjan Stevens, a day of stress and dehydration was a price well worth paying. -Frank Mojica Staff Writer Wednesday, May 25th Nisennenmondai - Poble Espanyol - 5:00 p.m. Photo by Frank Mojica Primavera Sound’s choice of Nisennenmondai to open their main festivities says quite a lot about the heart of the festival. In the festival world, the instrumental Japanese noise band has only performed at smaller fests and the 2010 edition of Roskilde, but their experimental sound was a perfect match for the discriminating tastes of Primavera goers. As the sun scorched the crowd that left the refuge of the shade to get a closer look, Nisennenmondai unleashed unrelentingly pulsating bass lines, and a pummeling rhythm so frantic that some casual observers debated if drummer Sayaka Himeno was possessed by a demon. Spinning together traces of Krautrock, no wave, and math rock, Nisennenmondai proved to be a captivating festival opener as they turned their repetitions into something strangely danceable that won over a largely unfamiliar crowd. American festival promoters would do well to introduce their audiences to this inventive, thrilling trio next year. Echo & the Bunnymen - Poble Espanyol - 8:45 p.m. Photo by Frank Mojica Watching a band perform a favorite album in its entirety is a special treat, but two albums back to back? That’s what Echo & the Bunnymen brought to Poble Espanyol, performing Crocodiles and Heaven Up Here along with an encore of a few more recent favorites, although a gander at “The Killing Moon” was not on the agenda for this trip down memory lane. While seemingly in good spirits, the post-punk legends sounded more and more as if they were merely going through the motions as the set progressed. Thursday, May 26th Sufjan Stevens - Auditori - 8:30 p.m. (5:00 p.m. on Friday) Photo by Frank Mojica If Harold Camping had not been wrong yet again about the impending rapture, then it would have surely played out like a Sufjan Stevens performance. Specifically, set opener “Seven Swans” was the sound of the end of days commencing, as heavenly as it was commanding, and the winged Stevens and company served as the rapture’s archangels. Next, the ultimate ironic dance party to ring in the forthcoming apocalypse came in the form of “Too Much”, leading into a journey through the madness of Armageddon during “Age of Adz”. After the destruction of all existence, what followed was a 100 minute journey through the rebuilding of reality and its various ups and downs and creations and destructions. Along the way, Sufjan Stevens took a break from cosmic folk and performed a rare cover of R.E.M.’s “The One I Love” at the Thursday performance and treated the Friday crowd to “Sister”, with valuable singing lessons preceding the latter. Existence finally rebuilt itself back to normal during the rejuvenating 25-minute set climax “Impossible Soul”, where fans rushed the stage at both shows after Stevens asked, “Do you want to dance?” Photo by Frank Mojica Throughout what was more of an experience than a concert, Sufjan Stevens donned feathered wings, chimp masks, space capes, and a spinning disco ball chest piece, backup singers twirled ribbons and performed choreographed dance numbers, while animated imagery inspired by the prophetic visions of Royal Robertson flashed on the screen and an extra layer of visuals appeared occasionally on a scrim in front of the stage. But are the costumes, confetti, and multi-screen visuals excessive, if not unnecessary? Yes, he does not need an elaborate display and his songs are powerful enough to stand on their own, but this Knife-meets-Flaming Lips live spectacle makes the playful voyage through the end of the world all the more powerful. Grinderman - San Miguel - 11:00 p.m. Photo by Frank Mojica Let’s just get this out of the way now: Nick Cave is currently rock & roll’s number one devil. At Primavera, Cave’s Grinderman exhilarated a large festival crowd with their darkly humored brand of sleazy, feral rock that put all those garage revivalists with a fetish for the blues to shame. Ever the magnetic frontman, Nick Cave didn’t walk across the stage so much as he swaggered and thrusted, and spent much of the set in the photo pit cavorting with fans that desperately grabbed at their idol and surfed to get closer. For an hour that passed far too quickly, Grinderman dementedly tore into tracks from both albums with the sort of furor that consumed the songs and spat them back out with new layers of filth and extended jams. Suicide - Ray-Ban - 12:45 a.m. Photo by Frank Mojica Less than an hour before show time, Nick Cave implored the Grinderman crowd to watch Suicide, and quite a few punters took his words to heart. Suicide is definitely not a crowd-pleasing band that appeals to everybody, not even when performing their first LP, and not even at Primavera, but such challenging acts are what make the festival and its lineup so refreshing. Perhaps the ear-splitting and unsettling nature of the duo’s discordant beats and noise was too much to bear, or maybe people just wanted to hear “Ghost Rider” and call it a night, but the surprisingly sizable crowd left in droves. Fans that were up to the challenge were rewarded with a set that contained the crucial element missing from most of those “so and so performing some album” gigs: surprise. Despite the age of their debut album, Suicide transformed it into something fresh by applying new ways to confound and deafen. The Flaming Lips - San Miguel - 2:15 a.m. Photo by Colin Athens At one point during the set, Wayne Coyne expressed his love for Primavera, declaring it to be one of his best festival days ever. Coyne sure has had a lot of them, considering their years of festival ubiquity, so it’s no empty platitude. Giant hamster balls, confetti cannons, costumed dancers, laser hands, and the rest of The Flaming Lips’ bag of tricks have been getting a lot usage over the years, but considering the crowd’s ecstatic reception, it might as well have been the first time. It was impossible to feel anything but the purest bliss during a life-affirming set full of sing-alongs accompanied by one hell of a spectacle. Friday, May 27th M. Ward - San Miguel - 8:00 p.m. Photo by Colin Athens Performing on the same stage as the long awaited Pulp reunion is unenviable in the sense that for the fans camped along the front of the stage, watching M. Ward was just something to watch during a painfully long wait. Luckily Matt Ward and his band proved to be capable of capturing even the most distant and distracted Pulp fans with an hour of jaunty rock, blues, and country revivalism. The setlist favored the boisterous over the heartbreaking, most memorably a romping cover of Chuck Berry’s “Roll Over Beethoven”. Belle & Sebastian - San Miguel - 10:45pm Photo by Frank Mojica After “Stars of Track and Field”, Belle & Sebastian frontman Stuart Murdoch realized the lyrical link shared between his song and the next band’s biggest hit, and acknowledged that it would not be the first time we heard “college” and “knowledge” within the same sentence that night and expressed his own anticipation of the reunion. As Murdoch later went to the crowd in search of dancers during “Legal Man”, Stevie Jackson performed a brief cover of “Common People”, giving all in attendance an opportunity to warm up for the imminent sing-along of the year. The dancers remained for crowd pleaser “The Boy with the Arab Strap”, after which they were awarded medals for their efforts. Putting forth a solid mix of new material and old favorites from their extensive back catalog with an infectious charisma, Belle and Sebastian were nothing less than charming at Primavera. Pulp - San Miguel - 1:45 a.m. Photo by Colin Athens Half an hour before show time, the hardcore fans crowding the San Miguel stage were treated to some pre-show entertainment consisting of laser projections across a curtain obscuring the San Miguel stage asking questions from the official website such as “Do you remember the first time?” and “Is this a hoax” in both English and Catalan and always in the Different Class font. Most randomly, green lasers inquired “Do you want to see a dolphin?” before a green dolphin of light appeared and swam across a sea of black. The laser show increased the excitement and tension to unbearable levels, and just as the anticipation became too much to bear, the lights went out, and a neon pink and blue P was illuminated, followed by the rest of the letters in their name one by one as the B.A.N.D.C.A.DOUBLE L.E.D.P.U.L.P. finally took the stage. Pulp’s headlining set at Primavera was the first reunion performance announced, which was a chief factor in the decision to attend for many in the considerably international crowd, so anything less than a rapturous response to the band would have been a surprising letdown. As the curtain finally dropped during the first chorus of opener “Do You Remember the First Time?”, the crowd responded to the unveiling by screaming along to all the words at the top of their lungs and jumping along to the beat as if their lives depended on it. This level of energetic enthusiasm persisted throughout the entire set and peaked, predictably, during “Common People”, which Jarvis Cocker dedicated to the protesters in Plaça de Catalunya. Photo by Frank Mojica It may have been a Pulp reunion, but Jarvis Cocker was still the star of the show, delighting the crowd with his all-over-the-stage trademark dances, climbing, leaps, suggestive gesturing, and general refusal to stand still, while the rest of the band stayed in the back and on the sidelines. The peerless showmanship exhibited in his recent solo tours was retained, as was the bookish look of a professor that has seduced many a coed during office hours. After what might have been the sleaziest rendition of “I Spy” yet, Cocker stepped down to the photo pit, where he asked a couple from Athens, GA to introduce themselves and then told the woman that her boyfriend had something to ask her, setting the stage for a marriage proposal and then commenting on the niceness of the ring. Cynicism and biting spitefulness are often found in Pulp lyrics, but the source of them just might be a romantic at heart. The setlist focused almost entirely on the era of the band’s commercial peak, with nine songs from Different Class, three from His & Hers, plus encore “Razzmatazz”, with “This Is Hardcore” and “Sunrise” as the only songs released after Russell Senior’s departure to be performed. Why does Pulp get a pass for churning out the hits at their reunion, while other bands get derided as shameless panderers? For starters, they were performed as if it were still 1995; it was as if the band had not abandoned us for nine years. More importantly, the music of Pulp has survived the ravages of time remarkably well, because they were never a true Britpop band in the first place. “Common People” has achieved a new identity as a vitriolic anthem against hipsterism, and at Primavera it was appropriated as a rallying cry for the local protestors, or at least the ones in the crowd that waved a giant banner stating “#Spanish Revolution Sing Along with the Common People”. The Primavera comeback was an explosive set that cemented Pulp’s status as the essential festival band of 2011 and will be remembered as fondly and regarded as definitive as their Glastonbury 1995 performance. Saturday, May 28th Yuck - ATP - 6:00 p.m. Photo by Colin Athens Ideally, every festival would start out with a bang by having a great set early in the day to reward attendees that stumbled out of bed in time to attend the full schedule, with these early birds catching a quite special worm. Only at Primavera is 6:00 p.m. widely considered not just early but excessively so, but the ATP area still managed to fill just in time for recent indie darlings Yuck. The London-based quartet loudly revisited the sounds of the late 80’s and early 90’s indie greats, but made them sound fresh. Their performance revealed a genuine excitement to be playing the festival, and guitarist/vocalist Max Bloom gave shoutouts to both Pulp and Shellac before tearing into a new song entitled “Milkshake”. Yuck hasn’t even been around for two years yet, but their live sound implies a band that’s been going at it for far longer. Warpaint - Llevant - 6:45 p.m. Photo by Colin Athens Sometimes the stars align and a band gets a festival timeslot so perfect that the setting actually enhances the performance. After witnessing Warpaint perform on the beach of the new Llevant stage as the day finally began to cool, it’s difficult to imagine watching the Los Angeles band in any other setting. As clouds obscured the sun and the cool Mediterranean breeze rolled in, the charismatic all-girl quartet appeared confident before the large crowd as they intricately layered vocals and guitars to dreamy effect, peaking with the gorgeously transcendent pop of “Undertow”. Ubiquitous buzz bands are a dime a dozen nowadays, but Warpaint proved to be one that fully lives up to the hype surrounding them. Gang Gang Dance - Pitchfork - 9:45 p.m. Photo by Colin Athens Eye Contact, the latest album from Gang Gang Dance, is their most danceable release to date, and its tribal beats and psychedelic synth freak-outs gained an extra degree of intensity on the Pitchfork stage. Accompanying the band were an interpretive dancer and a flag waver throughout the set. The band sounded more urgently fantastic than ever, and frontwoman Lizzi Bougatsos hypnotized with her dances and soaring yelps, so leaving early enough to make the steep uphill climb to the San Miguel stage in time for the start of PJ Harvey was one of the biggest challenges of the weekend. PJ Harvey - San Miguel - 10:30 p.m. Photo by Colin Athens Clad in a white dress and feathered headdress and surrounded by near-total darkness, Polly Jean Harvey looked as angelic as she sounded. Half of her 20 song set consisted of songs from the stellar Let England Shake that favored the jangly strum of the Autoharp over the guitar, with older favorites getting a subdued makeover. As stunning of an album as Let England Shake is and despite sounding especially gorgeous live, the noise of the massive crowd often overpowered the delicate beauty of the music. The new PJ Harvey tour is a delight, but is ideally enjoyed in a more intimate environment. Animal Collective - San Miguel - 2:00 a.m. Photo by Frank Mojica Neo-psychedelic weirdsters Animal Collective have jumped from mid-tier to headliner since their last batch of festival touring three years ago thanks to the success of their latest and greatest full length, 2009's Merriweather Post Pavillion. In contrast to the two previous headliners, Animal Collective was far less of a crowd pleaser, only performing a handful of “hits” in a set filled with almost entirely unreleased material. Evolving new music in a live setting is how their albums have always developed, so it’s refreshing to see a band that stays true to their roots despite a sudden surge in popularity. Typically atypical Animal Collective sets might seem like an awkward match for a festival’s main stage, since the crowd is guaranteed not to be full of fans that know what to expect, and at Primavera, some in the crowd declared the performance too self-indulgent and without “proper songs” and left early. However, the majority remained, and they were treated to some new songs that not just showed a lot of promise and even outshone the older selections. In contrast to the light cubes and Creators Project collaboration at Coachella, the visual element of Animal Collective’s set at Primavera was more mysterious and less elaborate, with only moderate usage of house lights and some trippy, colorful animations projected on the screens that never flashed any footage of the band or crowd. If their Primavera headlining set is any indication, their polarizing nature will not lose all the Merriweather Post Pavillion bandwagon-jumpers and continue to draw more followers because of it. Gallery by Colin Athens [nggallery id=216] Gallery by Frank Mojica [nggallery id=217] ]]> http://consequenceofsound.net/2011/05/festival-review-cos-at-primavera-sound-11/feed/ 2 http://consequenceofsound.net/2011/04/end-of-week-recap-post-april-4-10/ http://consequenceofsound.net/2011/04/end-of-week-recap-post-april-4-10/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2011/04/end-of-week-recap-4-10.jpg Sun, 10 Apr 2011 22:51:17 +0000 Emma Ramsay http://consequenceofsound.net/?p=113482 Last week when LCD Soundsystem played their final shows, I asked if April was the cruelest month. With a huge loss like that, it certainly seemed like it. This question’s still up for debate, but take a look at the recap below. If this week proved nothing else, it’s that April might be a little crazy at times, but at least there’s a lot to look forward to, especially if you’re a music fan. Coachella and Record Store Day are fast-approaching, some of the most anticipated titles of the year are set to drop in the next few days…

OK, you get the idea. It’s bound to get even more exciting in the weeks to come. Stay tuned.

– Want to pick the latest video for Scattered Trees? Click here to find out more.

– Album streams galore! NPR started offered an early taste of Panda Bear‘s Tomboy, and you can hear TV on the Radio‘s Nine Types of Light right now on Rhapsody.

– Bonnaroo announced a round of additions to its already massive lineup.

– Details on The Creators Project‘s plans for Coachella 2011 surfaced.

– The Grammys did a little bit of category overhaul.

– As always, plenty of Record Store Day-related news to report. Not only will Jack White and Jerry Lee Lewis get together, but My Morning Jacket have some exclusive releases planned as well. Also, if you happen to by in NYC, you should most definitely come to our official afterparty. More info on that is available here.

–Radiohead’s King of Limbs came in at #6 on the Billboard Top 200.

– A certain Cee-Lo Green song finally reached number one.

– Cults announced their debut album.

– Incubus revealed they’ve got a new album coming out this summer.

– Bloc Party ended their hiatus.

– There’s a brand new Death Cab for Cutie single to hear and a “live video” to watch.

– Kate Bush unveiled a new track called “Deeper Understanding.”

– Get a feel for Beastie Boys‘ Hot Sauce Committee, Part 2. Listen to its lead single. Watch the trailer for Fight for Your Right Revisited while you’re at it.

– Kings of Leon will screen their yet-to-be finished documentary at this year’s Tribeca Film Festival.

– The Flaming Lips…um, there’s really no good way to describe they’re up to these days. Just read this.

– David Bowie got his very own app.

– Sufjan Stevens is actually going to play an outdoor festival this summer, with a little help from an “intergalactic” troupe of muppets.

– Amanda Palmer and Ben Folds will come together to create in album later this month…in eight hours.

– Oh, and Gucci Mane was arrested again. Shocking, right?

– Wasting Light is finally here. See what E.N. May had to say about Foo Fighters‘ latest effort here.

– Karina Halle shared her thoughts on The Kills‘ new record, Blood Pressures.

– Adele just released the follow-up to 19, the appropriately titled 21, which Nick Freed was nice enough to review for us.

– Jeremy D. Larson was lucky enough to catch The Mountain Goats and Megafaun in Chicago this week.

– Winston Robbins found some “true hip hop” at this years’ Paid Dues Independent Hip Hop Festival.

– Chris Coplan interviewed Hangout Music Festival mastermind AJ Niland.

– Kurt Cobain took his own life seventeen years ago. Reminiscence with Megan Ritt’s report on a new production celebrating the troubled frontman’s life and David Buchanan’s take on the “You Know You’re Right” video.

The Celebrate Brooklyn series always brings a myriad of concerts to the park’s band shell, and while past seasons have featured such heavy-hitters as The National, They Might Be Giants, Robery Cray, Norah Jones, and Passion Pit, 2011 is already off to a kick-ass start. Singer-songwriter and violin/whistler extraordinaire, Andrew Bird, is set kick things with a free performance as part of the opening night gala on June 10th, and Best Coast will open for The Decemberists four days later.

However, the biggest name announced so far is none other than Sufjan Stevens, who makes a rare outdoor appearance for a benefit concert on August 2nd. What’s more amazing is that Asthmatic Kitty’s website says that Stevens – who has no festival dates scheduled this summer – will also be getting all folk-a-delic alongside the “ten-piece intergalactic ensemble of Muppets from the Age of Adz tour.”

Tickets for both the Decemberists and Stevens shows are $35; the former is already on-sale, while tickets to the latter will be available today starting at 12:00pm EST. Gates for the shindigs open at 6 p.m. and more information is available at Celebrate Brooklyn’s official site.

Folks whose jobs don’t allow them to buy concert tickets can tap their inner philanthropist and volunteer to work at the concerts.  More information on volunteering is available at this website.

For one, Primavera has brought Sufjan Stevens out of his long-perceived anti-music festival shell. They’ve also added the equally stellar likes of PJ Harvey, Interpol, Big Boi, Battles, Public Image, LTD, Simian Mobile Disco, of Montreal, and The Tallest Man on Earth.

Set to run from May 26-28, the festival will also feature Explosions in the Sky, Girl Talk, The Black Angels, The Monochrome Set, DJ Shadow, Kurt Vile, M. Ward, James Blake, Smith Westerns, Warpaint, Matthew Dear, Avi Buffalo, and Odd Future. Plus, London DJ Kode9 will play two sets, including one with the acclaimed Burial. For a full list of all Primavera’s confirmed acts, click here.

Festival passes are priced at 155 €, but will rise to 170 € on February 5th. Visit the festival’s website for complete details.

The film, directed by childhood friend La Belle, stars Sufjan and his brother Marzuki as they take a trip from New York to Michigan to see their father who, at the time of filimg in 2006, they haven’t seen in years. A newer trailer for the film is up on YouTube which piqued our interest, however the PR for the production company said there are no plans for the movie to see a release in the future.

But in case you didn’t hear, Sufjan Steven’s has helped to provide the score to another Kaleo La Bell joint, Beyond This Place. That doc chronicles La Bell’s overdue reunion with his father after 30 years of absence and is currently making the rounds at festivals across the US. For all current updates on either project, check out their respective Facebook pages here, and here. Also check the new trailer for Crooked River with Sufjan touting his Pac-Man skills below.

Introducing their rendition of “Silent Night”, Aaron Dessner explained that the song was recorded a few years ago in his attic in Brooklyn. “Sufjan Stevens makes a Christmas album every year for his friends…and this was a few years ago. Richie happened to be in town and he happened to have his big, beautiful, upright bass and we recorded ‘Silent Night”… and it kind of made us all love this song again.” A similar story was told for the second track, an original composition titled “Barcarola”.

Thanks to Between hipsters and God there is Sufjan Stevens, you can stream both tracks below.

“Silent Night”

“Barcarola”

Update: Want more? Thanks to our friend Dave Greenwald, you can stream Sufjy and the Dessner brothers’ entire Christmas EP below:

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