Like punk cover band TV Casualty, North Carolina indie mainstays Superchunk seemingly associate a truly ghoulish Halloween with music by seminal horror punks The Misfits. Last year, the band offered up a treat over tricks with a free download of their cover of “Horror Business”. This year, the haul is just as sweet, with the band tackling “Where Eagles Dare”. Like the original, there’s a heavy, driving sound; unlike Glenn Danzig and company, though, Superchunk infuse their version with a gummy core of low-key nerdiness. Check it out below, then download your own copy here.

Superchunk- “Where Eagles Dare” (The Misfits cover)

For more Superchunk/Misfits fun, check out a 2010 live performance of “Horror Business” by the band and former Samhain (Danzig’s post-Misfits band) drummer London May.

On top of Superchunk releasing a brand new LP in Majesty Shredding last year, the North Carolina four-piece has been working with Merge to reissue several of their early albums. With Here’s Where the Strings Come, No Pocky for Kitty, and On the Mouth already out, the group’s fourth album, 1994′s Foolish, is next to hit stores this September.

Recorded over three days in early December 1993, the Brian Paulson-produced record saw the band reach a new level of sonic development. As Peter Margasak, the man who booked the first Superchunk show in Chicago, told Merge Records, “Foolish stands as one of the band’s greatest accomplishments, a blast of songwriting growth (dare I say maturation?) that arrived without taking the band’s trademark energy and power as a casualty.” Putting the whole thing together at Steve Albini’s home studio probably didn’t hurt either.

The album will feature all remastered tracks along with different album art, special bonus material, and liner notes by drummer Jon Wurster. Pre-order your copy here. Foolish is available on CD, LP, and digital download September 13th via Merge Records.

It’s a testament to the spirit of discovery that Pitchfork champions. Their passion for unearthing, promoting, and booking remarkable bands for Pitchfork Music Festival is always exciting, as many bands are new to the festival scene and aren’t used to thousands of people staring back at them. And during Fleet Foxes’ set especially, it became clear that one website’s passion for music has been transferred to the masses. Now that’s a feat.

Save for the controversy surrounding Odd Future’s performance (and the performance itself), this year turned out to be a very polite festival, and that’s not necessarily a good thing. Not to say there’s nothing to blog home about, but the bands that are still with myself, Adam Kivel, and Paul De Revere in the days after the festival are but Fleet Foxes, HEALTH, Deerhunter, TV on the Radio, Cold Cave, Woods who all seemed to be playing at their peak with definition, confidence, and clarity. They delivered some of the best sets of the weekend and, in hindsight, I wish there were more bands that were taking the next step up in the ambiguously tangible music ladder. Many of the bands on the bill were making nostalgia candy for all, in flux trying to carve out a new sound, or cutting their teeth much like the Fleet Foxes did three years ago.

There were plenty of acts we loved and very, very few we didn’t (see below), but there was an overall imbalance that lingers with me. Maybe last year’s lineup was too perfect, too timely to compare to this one. Maybe the music of 2011 is too unsettled to have found its vanguard. Maybe the PR fracas and the anarcho-punk of Odd Future’s set was the most relevant, most indelible memory of the weekend which can make for a hard pill to swallow. But the best thing about Pitchfork Music Festival is that there’s a needle for every groove — vegans get vegan gyros, record hounds get a bountiful record fair, interior decorators get 20 or so different graphic designers selling band posters at Flatstock, and everyone got three days of sun, weed, beer, friends, and over 30 of the best bands around.

-Jeremy D. Larson
Content Director

Feature photo by Meghan Brosnan.

Friday, July 15th

Gatekeeper – Blue Stage – 3:20 p.m.

Photo by Meghan Brosnan

Do you think that if Gatekeeper had named themselves Headliners, they’d be closing the night instead of keeping an eye on the gates as the huge line trickled in? Either way, most of the reasonably large crowd at the side stage seemed enthusiastic, dancing along to the dark, pulsing beats of the Brooklyn/Chicago duo of Matthew Arkell and Aaron David Ross. Some of the dancing looked ironic, but considering the unfortunate fact that the arcade game/bad horror soundtrack aping set was happening out in open air in the middle of a bright afternoon, it might have just been uncertainty. Either way, the beats won out, as they typically do, and the duo wound up with a big reaction. -Adam Kivel

EMA – Red Stage – 3:30 p.m.

Photo by Jeremy D. Larson

Erika M. Anderson’s first album under her acronymous band EMA can be an uncomfortable listen, with lyrics of butterfly knife kisses, disenfranchisement in California, and many more touchy subjects. It’s a delicate album that might ought to be handled delicately live, but EMA don’t wanna wallow. It’s always good for a band to kick things up in real life, and EMA does exactly that. The thinning production on Past Life Martyred Saints became lush drone backed by the precision-in-the-pocket drumming of Nicole Anderson, Erika’s younger sister. Introverted songs turned extroverted, like “Butterfly Knife” and even the heart-wringing ballad “Breakfast”.

At her show at The Empty Bottle on the Thursday before the festival, EMA crammed the venue with power, and played a much looser set than they did opening up Pitchfork on Friday. I was really blown away at her show in a club, and even though it didn’t have the spark it did on Thursday, their festival sound weaved through enough of the crowd to pique intersest while maintaining the personal nature of the songs themselves. -Jeremy D. Larson

tUnE-yArDs – Blue Stage – 4:30 p.m.

Photo by Meghan Brosnan

The Merrill Garbus faithfuls stood in the hot Chicago summer with Björk-meets-Bushmen war paint melting down their faces. You’ll forgive me if I call tUnE-yArDs a movement. When Garbus starts the funky, locomotive-like chug of her amazing pipes, loop pedals and ukelele; when she holds up her “fight the power” fist on “Gangsta”, one of the sets rollicking opening songs, clenching a drum stick, it feels more like a small rally than a concert. “You’re a very moving site to see out there,” she said. Garbus’ talent for arrangement, improvisation, and, most of all, groove (through the use of her loop pedals, which inspired gawks and giddiness among the crowd) is among the best of the new class of indie artists of the last few years. Definitely one of the strongest sets of the festival’s first day. -Paul de Revere

Battles – Green Stage – 4:35 p.m.

Photo by Meghan Brosnan

Sure, there’s a bit of novelty to the way that Battles drummer John Stanier hangs his crash cymbal five feet in the air, but, as the roar of the crowd attested on his first swipe at it, there’s something invigorating about it as well. In their new, singer-less incarnation, one had to wonder how the guest vocalist songs from Gloss Drop would translate, and the answer was a bit of a surprise. Pre-recorded videos of Blonde Redhead vocalist Kazu Makino and Gary Numan sang along to the insane math-jazz-rock drumming of Stanier, Ian Williams’ double-synth, guitar tapping, and foot kicking, and Dave Konopka’s complexly looped and effected bass lines. The biggest surprise of the set may have been the faithful rendition of “Atlas” (though without a video of departed vocalist Tyondai Braxton), but the biggest response came for the brain-scraping “Ice Cream”, with video of piles of ice cream flashing in between shots of vocalist Matias Aguayo bobbing along to the beat. -Adam Kivel

Curren$y – Blue Stage – 5:30 p.m.

Photo by Jeremy D. Larson

The wave of pot fumes wafting through the crowd during Curren$y’s performance was simply overwhelming. And the chronic stench started promptly within the first few seconds of the Young Money Entertainment rapper’s first song. Without a doubt, Curren$y and the crowd were wasting no time getting the party going. But as intensely a weed rapper Curren$y is, it’s important to point out the dude’s not unengaged either, which is a refreshing change of pace in the niche stoner rap subgenre. He also has lyrical skills. But he hardly needed the constant adulation of the crowd. “You ain’t gotta clap for me,” he said. “Just light something.” -Paul De Revere

Thurston Moore – Red Stage – 5:30 p.m.

“You guys wanna hear some songs about rape, murder, and carnage?” a darkly sun-glassed Thurston Moore smirked out at the audience. Ever the imp, Moore continued to dumbfound some expectations, shooting down shouted requests for “Kool Thing” and its noise-rock brethren, instead going “on noise strike”, and performing acoustic with a violinist, harpist, second guitarist, and drummer. Playing most of Demolished Thoughts,  Moore quietly strummed through gems like “Benediction” and “Illuminine”. Hush Arbors guitarist Keith Wood, and one of so many possible Sunburned Hand of the Man drummers laid down a soft groove, Mary Lattimore’s harp and Samara Lubelski’s violin added accents, and Moore stood front and center, being undeniably himself. His cooed lyrics on Trees Outside the Academy’s “Never Did” and his vows to “stay in ecumenical gangster mode” were playful and cool, which is Moore on auto-pilot. A little more noise and intensity may have been more exciting, but this set won on its relaxed, calming breeze. – Adam Kivel

Guided By Voices – Green Stage – 6:25 p.m.

Photo by Jeremy D. Larson

If you ain’t in the know, you’d be hard pressed to tell the difference between Guided By Voices (GBV) and roadies these days. As GBV loaded in, Robert Pollard asked the crowd if we were ready for some “real profession rock & roll,” and, in retrospect, I think it was a sincere, unironic question. With a cigarette in one hand mouth bottle of Jose Cuervo Gold in the other which for him must be is own personal Fountain of Youth, Pollard led the aging indie godfathers to a fun and chunky set playing about 20 songs from their careers, culling mainly from their “seminal lo-fi album” Bee Thousand (now that quip was dripping with irony). While those classic standbys sounded great, it was their even more garagey/lo-fi tunes that got the best kind of bump like ”Expecting Brainchild” or “Cut-Out Witch”, showing that seminal is not just one album, it’s a whole career (or at least “early” career, not much stuff was played form their 21st century albums). With GBV on their final reunion lap, they still got plenty of gas left in the truck. Just look at those pictures of guitarist Mitch Mitchell. Any guitarist not aspiring to be like Mitch Mitchell needs to break their whole situation down for retooling. -Jeremy D. Larson

Das Racist – Blue Stage – 6:30 p.m.

Photo by Meghan Brosnan

Long before Das Racist took the stage, the huge crowd rolled joints, shouted “Combination Pizza Hut and Taco Bell” lyrics, and squeezed as close to the front as they could. The anticipation for that one song was so large that they had to do it, right? Instead, the trio burst through some other great songs (opener “Who’s That? Brooown!”‘s boasts about being the brown Elvis or Larry Bird got some big laughs, while the White Castle critique in “Rainbow in the Dark” may have got more), and even gave time to Detroit MC Danny Brown. The off the cuff request to “get some more Adderall in this microphone, some orange juice in this monitor” may have been the single best line of the day. But, in the end, the song didn’t make the cut. Maybe for the better, as it didn’t seem like too many people were complaining, instead wrapped up in all the fun. -Adam Kivel

James Blake – Blue Stage – 7:30 p.m.

Photo by Meghan Brosnan

Nearly everyone coming to the festival seemed to be talking about getting to see James Blake. Despite the massive anticipation, the quiet, mixed set seemed blurry and difficult to piece together. Perhaps it was the fact that Blake regularly went for the quiet, mellow, and polite (his many cooly British-accented “thank you”s between songs seemed super sincere), but the large, expectant crowd seemed to suggest something more powerful. His smooth, electronic pieces were largely employed to background his strong voice, a sort of mix between Antony and Dave Longstreth, equal parts operatic croon and acrobatic warble. His jazzy piano intro to “I Never Learnt to Share” was impressive, as was his ability to loop and harmonize with himself so beautifully. One loop caught a big holler from the front of the crowd, effectively giving himself a rolling applause with every added harmony. But, in the end, the set lacked a dramatic punch, instead lingering in the quietly darkening evening. -Adam Kivel

Animal Collective – Green Stage – 8:30 p.m.

Photo by Meghan Brosnan

Despite their sort of new-found massive popularity (they really packed in that headlining spot!), Animal Collective have a pretty fair reputation for putting on a challenging live show. So many recent setlists seemed to have totally or nearly totally ignored any song they’d already recorded, instead pumping out new jam after new jam. While this can be exciting, there are bound to be contingencies of fans there to hear the hits. So, Avey Tare, Panda Bear, Geologist, and Deakin mixed in a little more familiar stuff, but still relied on showcasing material that will likely make up their next record. The opening new track played out that challenge to the extreme, with Deakin taking the lead vocals. After another new cut of exciting electronic, jungle beats, an amped up, electrified rendition of Feels standout “Did You See the Words?” finally got to a large portion of the crowd, howls ripping through the waves of people.

Sitting behind a technicolor bat mobile and glowing paper crystals, Tare asked if everyone was “feeling pretty sweet,” which, it seemed, they were. The octave glitching, almost Yeasayer-y sounds of a track bootleggers have been calling “Knock You Down” magically melded into Merriweather Post Pavilion favorite “Brother Sport”, which received the biggest applause of the night. A slowed down version of “Taste” followed, and an electric version of Sung Tongs gem “We Tigers” didn’t get as much recognition as the other old songs. “Summertime Clothes” and its cries of “When the sun goes down we’ll go out again” played perfectly for the howlers at the front of the stage who couldn’t get enough. With 10 minutes to park curfew, the quartet called it a night, waving goodbye to day one of the festival. -Adam Kivel

Saturday, July 16th

Julianna Barwick  - Green Stage – 1:00 p.m.

Photo by Meghan Brosnan

After a short respite, day two fell upon Union Park, and the combination of hangovers and increased heat was keeping a good portion of people down…that is, until Julianna Barwick‘s lithe, angelic vocal harmonies flew out over the field, taking some of the edge off. The droopy, unready audience caught onto her moaning and cooing, finding solace as much in the occasional cool breeze as they did in Barwick’s lush looped compositions. As time passed, more people poured through the gates and into the thronged congregation, the mass of vocals weaving overhead like a glowing tapestry. The spotty early afternoon attendance was appreciative, if un-enthusiastic, and Barwick seemed plenty glad to be there. – Adam Kivel

Woods – Red Stage – 1:45 p.m.

Photo by Jeremy D. Larson

One of the highlights of the whole festival. Their sky-gazing pysch-folk were focused testaments to the longevity of jam bands. Though, labeling Woods as a jam band would be a disservice to jam fans and detractors as they live in a genre all to their own. The delicate tenor voice and treble guitar of Jeremy Earl take focus on their shorter songs, like opener “Pushing Onlys” or “Be All Be Easy”, but between those delightful pop numbers were extended kraut-jams that focused on repetition as opposed to crunchy solos. Ambient textures were interlaced by their pedal-monger and these seven-10 minute sessions hit my heart like rays of sun. It was a perfect choice for a relaxing afternoon set with just enough punch at the end to eke some movement out of the tranced-out crowd. -Jeremy D. Larson

Sun Airway – Blue Stage – 1:55 p.m.

Photo by Meghan Brosnan

The airy, synth-laden electro-pop pushed out by Sun Airway came across ultimately relaxed, almost to a fault. The twinkling effects backing vocalist Jon Barthmus were difficult to differentiate from song to song, as if the group had found a nice, dreamy sound that worked on one song, and then continued it in as many different permutations of the same pieces that they could find. Barthmus’ lyrics were consistently evocative, though a bit overly sentimental. “I’ll be there to lasso you the moonshine,” he promised on “Oh Naoko”, sounding very much like he realizes how sweet that is. The synth drums also proved to be a bit much, and the band continued on, digging at the same spot for the entire set. – Adam Kivel

Cold Cave – Green Stage – 2:30 p.m.

Photo by Jeremy D. Larson

The hard-synth trio pumped some heretofore absent adrenaline across the grounds of Union Park, and they did so with oppressively black overtones tantamount to their all black attire. With the heat of Saturday afternoon already clamping down on the crowd, Wesley Eisold wasted no time in exorcising his demons over synths that could have easily doubled for distorted guitars, which synced up nice with his former past as a vanguard of the Boston hardcore scene. On their latest album Cherish The Light Years, Cold Cave sneak past the new-wave revival label by adding generous globs of industrial waste to their album to great effect. Live, this becomes the focus of their set, aided in large part to Dominick Fernow of the NYC noise-rock band Prurient. Eisold and Fernow attacked their synths with fury leaving behind any trace of politeness, and made the effort to leave it all on stage. I longed for Fernow to have a mic so we could have heard his screams in unison to Eisold’s baritone. While the crowd danced along to “Icons Of Summer”, Eisold made evident his inner demons, even saying after the song “Escapism will never work, You have to embrace it.” He could be referring to any number of tangible or intangible things, but as the closing number “Villians of the Moon” played and hands were lifted up in the air, it was evident that Cold Cave’s noir came second to the power of a truly great song. – Jeremy D. Larson

G-Side – Blue Stage – 2:50 p.m.

Photo by Meghan Brosnan

Furthering its rap music focus onto Southern rappers, the Pitchfork Music Festival’s Blue Stage hosted Huntsville, Ala.’s G-Side, a pair of thoughtful rappers with bluesy wisdom and a friendly swagger. (One lyrical sample, “Do what you do, boy/Just know what you do it for.”) Near the end of its set, preparing to perform the Beach House-sampling “How Far”, the duo asked, “Anybody here fuck with Beach House?” Yes, G-Side. Yes, we do. -Paul de Revere

No Age – Red Stage – 3:20 p.m.

Photo by Meghan Brosnan

The Red Stage seemed to be haunted this year, as almost every band had some tech issues there. After some delay in the beginning, No Age‘s drummer/vocalist Dean Sprunt yelled “Fuck this!” and they dove into the second real heavy set of the day, delivering some much needed force into the pillowy afternoon. It’s an odd balancing act with these guys, as noise-punk doesn’t seem to have a wide radius at a festival. Sprunt’s sloppy vocal execution is all-too clear and specific — two words you don’t really want associated with lo-fi cacophonous rock. With raucus older stuff like “Boy Void” and a choice covers like Misfits’ “Hybrid Moments” and Black Flag’s “Six Pack”, the rapid-fire set effected those closest to the band — like about the size of a club. No Age really isn’t a festival band, and their set lacked the cohesiveness and form of their smaller shows, but one good thing about fests is that the circle pit can get as large as it wants. By the end of their set as Sprunt got out from behind the drums and screamed to the audience from the photo pit, it was about 50 ft. in diameter. Can’t get that at a club. -Jeremy D. Larson

Wild Nothing – Blue Stage – 3:45 p.m.

Photo by Meghan Brosnan

You want pretty? You want dreamy? You want Nothing. Wild Nothing, that is. Although in-studio the whole thing rests on the shoulders of one Jack Tatum, on-stage Wild Nothing expands into a quartet, with Tatum leading the way. This arrangement seems obvious live, as there’s little chatter amongst the group – even between songs. Instead, at least in Union Park, Tatum let the guitar pedals do the talking. Lead effects guitars danced alongside slow six-string melodies while a meaty bass sound provided the main driving melody that altogether bred a classic post-punk/shoegaze sound. Wild Nothing provided lush grooves that paired well with a much-needed cool breeze. Nice. -Paul de Revere

Gang Gang Dance – Green Stage – 4:15 p.m.

Photo by Jeremy D. Larson

Was there a more funky and joyous band at Pitchfork Music Festival than Gang Gang Dance? The sound throbbing out of the Green Stage’s speakers was confounding: disparate worldbeat influences from Latin American clave, African polyrhythmic drumming, Balinese gamelan… it goes on. It was all combined with a dancing, sage-burning assistant I took to calling a hype-shaman. Lizzie Bougatsos, Brian DeGraw, and their band of freaky, art-school avant-gardists are charismatic practitioners of syncopated, unrestrained joy and put on one of the best sets of the festival, bar none. Believe it. -Paul de Revere

Off! – Blue Stage – 4:45 p.m.

Photo by Meghan Brosnan

It’s always sad when this happens. Old men who insist on still being “punk” and finding something to be aggressive about and finding nothing broadly good to embrace about the world or music. Punk will always be young, not old because young people are not satisfied with anything, nor should they be. Keith Morris and the other members of OFF! have plenty to be happy about, like decent, even long, careers in music. At best, the band’s set was a perfectly fine genre piece. But at worst, obnoxious and super annoying. Pass. -Paul de Revere

Destroyer – Red Stage – 5:15 p.m.

Photo by Meghan Brosnan

When Dan Bejar, aka Destroyer, leapt into his new disco territory on this year’s Kaputt, it seemed necessary that his live show would have to change pretty drastically to keep up. Could he play anything from old fan favorites like Streethawk: A Seduction, or Your Blues, or would the necessary shift in instrumentation also mean he’d rely solely on new material. And, moreover, how would that smooth electro-chamber sound convey over a huge field in the middle of a bright, sunny afternoon? Turns out, not super well. Portions of the large crowd around Bejar’s stage spoke among itself, carrying almost as well as Bejar’s band. An abundance of noodling from the ever-present trumpet and tenor sax demanded as much attention as Bejar did, kneeling at the front of the stage. Not even a light, lilting version of Destroyer’s Rubies favorite “Painter in Your Pocket” could change the underwhelming atmosphere of the set. – Adam Kivel

The Dismemberment Plan – Green Stage – 6:15 p.m.

Photo by Jeremy D. Larson

“My guitar’s real hot,” Jason Caddell smirked as The Dismemberment Plan loped on stage, huge grins looking out at the mass of waiting fans. The “at least for now” reunited D.C. art-punkers filled their set to the brim with smart-alecky jokes, banter, full speed ahead songs, and plenty of smiles. From the start, vocalist/guitarist Travis Morrison was ready to give the fans what they wanted, which was equal parts cracking wise and rolling out the hits. The straight-ahead rockers like “What Do You Want Me To Say?” and “The Ice of Boston” killed, bassist Eric Axelson punching out contagious line after contagious line. Even the overly goofy, unfocused, vaguely dance-y sections (including a keyboard solo from Morrison’s forehead) won plenty of chuckles and dancing feet. Even the softer side got some focus, as on the charming “You Are Invited”, which brought a nearby attendee to tears. This is the kind of band that people make lifetime connections to, and this reunion brought a lot of sincere joy to those same. – Adam Kivel

Twin Shadow – Blue Stage – 6:45 p.m.

Photo by Meghan Brosnan

An eccentric bit of soul music has always been deep down in the whiny, maudlin musings of Morrissey and Robert Smith of The Cure. And maybe instead of trying to be sexy, soulful, and showing off his pipes, maybe there’s a bit of deep sadness and longing for an emotional connection when Prince yowls and yelps like James Brown. Twin Shadow knows these gray areas well and his performance at the perfectly suited Blue Stage hit the sweet spot between the sounds of those three. Who knows, more killer performances like this one and George Lewis, Jr. could become the Dominican Morrissey. -Paul de Revere

DJ Shadow – Red Stage – 7:25 p.m.

Photo by Jeremy D. Larson

In a quintessential This Is Spinal Tap moment, which you, dear reader, have likely heard about, DJ Shadow could not get his orb/techno-boulder to operate correctly, leaving him unable to get to his turntables. It was a brief snafu and all went fine for Shadow but the Derek Smalls-trapped-in-a-pod jabs and “Hello Chicago!” jokes just kept coming from my swaying/dancing section. Shadow’s live sound of drum and bass, instrumental rap, and soul music is immaculate and his bass, which puts James Blake’s to shame, drowned out any haters, teasers, detractor or skeezers, of which I was all four. -Paul de Revere

Zola Jesus – Blue Stage – 7:45 p.m.

Photo by Meghan Brosnan

Nika Rosa Danilova seemed surprised that she had the penultimate performance at Pitchfork. “Wow…What are you all doing here?” she beamed, looking out over the masses not interested in setting up camp for Fleet Foxes. In the end, Zola Jesus proved to deserve the attention, Danilova’s throaty, rich vocals powering over churning, choppy electro-pulses. Skipping back and forth across the stage, swinging her arms wildly and trying to keep control of the wild dress composed of metallic gray ribbons, it seemed as if Zola Jesus were pushing away from their occasionally abrasive, regularly goth-y persona, and into some new indie pop world. And, to both hear their new, less foreboding sound and see the serious dancing in front of the stage, it’s clear that this journey is working. “There is a fire that burns on my tongue,” she howled on “Manifest Destiny”, and that fire was catching on in a big way. – Adam Kivel

Fleet Foxes – Green Stage – 8:30 p.m.

Photo by Meghan Brosnan

The lush instrumentation the present day Fleet Foxes embrace seems to reach back years and years to the earliest American folk musicians. Every string that was struck sounded timeless, as if the roots of music still survived solely on the water from drops of Fleet Foxes’ songs. As opposed to the scatter-shot sonics of Animal Collective’s headlining set that required a focused ear, Fleet Foxes aligned their spectrum which allowed for the broadest range of pleasure across a sold out crowd who stood, swayed, smiled, and sang along to their entire set. With Helplessness Blues raised as their new standard, Pecknold and his band, armed with a variety of stringed instruments and even a bass clarinet, touched on their entire catalog, from “Mykonos” to the multi-part 8-min “The Shrine/Argument”, the latter of which swelled and receded with vast dynamic contrasts and those halcyon harmonies that the band is known for. Their voices, carried by Pecknold’s iconic pinched tenor, reverberated throughout the fest. Just three years after the band sat on chairs and waylaid Pitchfork onlookers with their music, they had people rapt from note one, onto their rapturous “Helplessness Blues” finale. A canonical performance. -Jeremy D. Larson

Sunday, July 17th

The Fresh & Onlys – Green Stage – 1:00 p.m.

Photo by Meghan Brosnan

The Fresh and Onlys are from the same laid back, hazy San Fran scene that bred other psych-garage-poppers Thee Oh Sees, Sic Alps, and Sonny & The Sunsets. So, it’s no surprise that the tough job of having one of two opening spots on the broilingly hot third day of the festival seemed not to faze them all that much: the heat isn’t all that unusual in California, and Haight-Ashbury isn’t known for its temperance. Vocalist/guitarist Tim Cohen’s floppy hat, dark sunglasses, and tie-dyed Grateful Dead shirt seemed to say it all, as he and the rest of the band rolled through a solid, if heat-stricken set of garage-ready jams. -Adam Kivel

How To Dress Well – Blue Stage – 1:55 p.m.

Photo by Jeremy D. Larson

I give big ups to How To Dress Well (or the name behind the name Tom Krell) for this show, as it was really unlike anything else at the fest, and that seems to be more of what the Blue Stage is going for this year (Oh, how soon it will become the Altered Zones stage just you wait). With a synth, and a sparse drum kit, a mothafuckin string quartet, Krell serenaded the audience with heart-rending songs in falsetto. Unlike some of the other bass-heavy bangers played throughout the day, Krell’s R&B-tinged ambiance was ethereal, but it didn’t quite hush the crowd like it may have done in a smaller setting. Still, for those with a sharp ear, Krells’ sparser tracks like “Suicide Dream” mixed nicely with his newer, more aggresive material. Oh, and the whole set was bookended by R. Kelly’s “Waking Up To Life Sometimes Seems Worse” and Janet Jackson’s “Again” which was just thug and beautiful. -Jeremy D. Larson

Kurt Vile & the Violators – Green Stage – 2:30 p.m.

Photo by Meghan Brosnan

It was a surprise to see Kurt Vile‘s name on the Pitchfork lineup two years in a row, but his set last year was a solid success, and the dude didn’t name an album Childish Prodigy for nothing. Vile’s back catalog is long enough to fill two festival slots, and his rip-roaring, classic rock tinged jams pumped up the portion of the crowd not already waiting in front of the opposite stage and chanting “Swag!” at the drop of a hat. The rollicking “Freak Train” and a killer turn on “Runner Ups” energized a crowd in need of a serious energy boost, and Vile’s sly smile seemed just as greatful. “You guys hot?” he asked, before adding a quiet “I’m sorry…” But “Society is My Friend” may have been the strongest of the set, Vile’s long mane of curls floating in the breeze, his lazy range providing some of the best straight-ahead rock of the weekend. -Adam Kivel

Twin Sister – Blue Stage – 2:50 p.m.

Photo by Meghan Brosnan

In their relatively short career, Twin Sister has managed to carve out a nice cozy corner of music that is all their own — somewhere amid Beach House, Cocteau Twins, and The Talking Heads bubbles their music with as much room to dream as there is to dance. I found myself lost between the two options at her set for the first half as the leaned on their more serene and reserved tracks, but when they kicked into “Bad Street” of their forthcoming LP, things coalesced for the band and the crowd and people started to feel it. Well executed, but kind of waffled between moods which, incidentally, doesn’t work well for the lay listener trying to get a bead on the sound. -Jeremy D. Larson

OFWGKTA – Red Stage – 3:20 p.m.

Photo by Meghan Brosnan

“I can’t hear what you’re saying….That’s cause I’m talking over you” a smiling, leg-casted Tyler, the Creator answered to a shout from the audience, quite nicely summing up the role that he and his Wolf Gang brethren inhabit. Every time he’s challenged for his homophobic, misogynist, violence-endorsing music, his response is whatever will get the most attention. That’s why group members delivered cupcakes to the anti-violence groups and other non-profit booths. That’s why Tyler gave a “big shoutout to the domestic violence groups,” adding that he hoped they could hear him moments before diving into “I Got a Gun”. Tyler, on crutches, wound up diving into the crowd, sucked in for a while, admiring the adulation. But, the high school button pushing (shouts of “Kill people! Burn shit! Fuck School!”), the irony (coming out to “One Love” and “Where is the Love”)…it was all a little too much to bear. But, then again, the set was one of the most widely attended, the rowdiest, and most talked about, so Tyler and Co. got exactly what they wanted: More attention.

Do I believe that Tyler actually goes about ready to “smack a bitch,” rape, or murder? No. Do I believe that hearing this music will breed intolerace, hate, and violence? Entirely possible. Do these kids have some serious talent? Yes, definitely (their eccentric, minimal production, and quick flow were exciting). Are they wasting that talent on antagonistic, offensive stupidity? Yes, definitely. -Adam Kivel

Shabazz Palaces – Blue Stage – 3:45 p.m.

Photo by Jeremy D. Larson

While the Odd Future show was clamoring on, Shabazz Palaces performed with understated confidence of the highest nature and displayed superior flow, lyrics, production, and message. That’s that truth. Now, I really really like Shabazz Palaces’ new album Black Up, so I’m gonna play both sides of the coin on this. For those unversed in Palaceer Lazero’s ways with words, it could be a tough sell to fall into the nooks and crannies of his songs. The multi-part, futurist hip hop that Shabazz tossed up to the crowd, again, didn’t quite fit into a tidy package. The Blue Stage seems to suffer this plight, but it also can be looked at as an advantage. Come over to the shade and really listen to some music and you can be greatly rewarded. For me, I spaced out and bopped hard the whole set. -Jeremy D. Larson

Ariel Pink’s Haunted Graffiti – Green Stage – 4:15 p.m.

Photo by Meghan Brosnan

The reality of following Odd Future is that everything must become a response to Odd Future. So, it’s no surprise that Ariel Pink suggests that Tyler, The Creator ought to be on stage with his band, later jumps around with middle fingers flying, shouting fuck you, and even later adds that “chillwave isn’t about hate…that’s hatewave.” But, ignoring the forced reactionary attitude, Pink’s brand of 80s psych-pop suffered from some serious microphone problems. The vocalist’s Garth Brooks’-styled headphone mic sounded like a walkie talkie coming in and out of range, crackling and humming with a cool distorted effect at times, the distortion overbearing or the vocals fading out entirely at others. The music was tight, freewheeling, and disturbingly cute after Odd Future, but the mic issues likely forced an end to their short set. -Adam Kivel

Baths – Blue Stage – 4:45 p.m.

Photo by Jeremy D. Larson

If there was one unexpected smash success on the Blue Stage of the Pitchfork Music Festival’s final day, it was Baths. His jittery, spastic IDM made sprightly enough rhythms to get a large crowd, some of whom seemed down for a little nu-rave action, moving. Maybe they were there for shade, maybe they just came out of curiosity, but most of them ended up dancing. If Richard D. James (better known as Aphex Twin) had a side project that specialized in club bangers and smooth slow jams, and alternated between them at a sometimes-frenetic space, I’m tempted to say it would sound exactly like Baths. -Paul de Revere

Superchunk – Red Stage – 5:15 p.m.

Photo by Meghan Brosnan

Superchunk, along with The Dismemberment Plan on Saturday and Thurston Moore and Guided by Voices on Friday, proved that age can actually increase one’s ability to rock, not inescapably stifle it. In fact, even in his 40′s, lead singer Mac McCaughan’s voice still contains the same boyish wail that so thoroughly defined the ‘90s indie sound for vocalists. Combine that with his continued ability to pump out killer riff after killer melodic riff and that he and Superchunk bassist Laura Ballance co-founded Merge Records, one of the best labels in indie history, and you’ve got one helluva legacy band. McCaughan’s signature work ethic and no-nonsense rock ‘n’ roll is so well-known and revered in indie rock circles, it’s a wonder he hasn’t been more widely considered for Bruce Springsteen-like sainthood in the genre. On Sunday afternoon, dad rockers with future-hipster babies everywhere swayed with content that, in their minds, McCaughan, already had been. -Paul de Revere

Kylesa – Blue Stage – 5:45 p.m.

The almost entirely frill-less stoner metal put out by Savannah, GA’s Kylesa bum-rushed the side stage, a breath of fresh air, as the rare heavy rock act popped up in the midst of a lot of electronic and indie rock. The metal contingency supporting the band may have been smaller than that for other acts, but they were certainly no less enthusiastic. A real mosh pit erupted, and the head-banging spread far and wide. Drummers Tyler Newberry and Carl McGinley’s technical prowess may have set the whole beast in motion, but guitarist Laura Pleasants’ chainsaw riffs, bassist Corey Barhorst’s chugging rhythms, and guitarist/vocalist Phillip Cope’s barks and howls all locked together in a triumphant march step. The impressive musicianship, memorable hooks, and serious depth all combined for a well respected, much needed cathartic moment. -Adam Kivel

Deerhunter – Green Stage – 6:15 p.m.

Photo by Meghan Brosnan

The field surrounding Deerhunter‘s triumphant return to the Pitchfork stage were packed with casual listeners and diehard fans alike, dripping with sweat and hungering for the band’s cool, summery melodies. Relying heavily on last year’s excellent Halcyon Digest, Bradford Cox, Lockett Pundt, Moses Archuleta, and Josh Fauver swayed slowly through some seriously entrancing grooves, letting pop gems fall where they may. “Desire Lines” pulsed its way out of a long noisy wind to open the set, while later the cooing “Little Kids” off of Microcastle caught the attention of the long time fans, earning a big response. After proudly describing the band’s return from Europe, Cox stated that you could “fuck anybody that tells you this isn’t the best country…fucking crypto-fascists.” After that brief bit of strange patriotism, the band twinkled through the gorgeous, Jay Reatard tribute, “He would Have Laughed”, before finishing on another long, dreamy jam. -Adam Kivel

Toro y Moi- Blue Stage – 6:45 p.m.

Photo by Meghan Brosnan

Toro y Moi‘s Chaz Bundick seems to be running away from that chillwave misnomer with a fury. Or at least he’s been listening to a lot more Headhunters or 80′s disco and imposing that we chill out to that. His voice can coo anyone to sleep, but the music underneath begged us to get up or get down or however you chose to boogie. There were some new songs with flippy synths in the set from his forthcoming EP out sometime later in the year that added a welcome aggression to his sound. Bundick, at 23, is an explorer of the highest mark and his set was evident of that. The displacement of detractors and fans caused for a some dance pods to sprout during “Still Sound”, one of the best songs he’s written so far, and the highlight of the set. -Jeremy D. Larson

Cut Copy – Red Stage – 7:25 p.m.

Photo by Meghan Brosnan

…And now we enter the epic dance party. Melbourne, Australia’s sharply dressed Cut Copy was armed to the teeth with sequencers, drum machines and synths with one mission in mind: get booties moving. The trio looked as good as its light show, one that got progressively more pronounced and colorful as the sun went down behind it.

Its brand of New Order-like, slick synth-pop was full of sheen and gorgeous, tight harmonies akin to The Beach Boys, especially notable on its performance of “Where I’m Going”, the first single off the band’s latest LP, Zonoscope. To see the giant mass of people jumping and grinding on each other as one organism at, say, the chorus of “Lights and Music” when people lost their shit, it was obvious that the band played one of the festival’s most danceable sets. -Paul de Revere

HEALTH – Blue Stage – 7:40 p.m.

It’s almost hard to believe that the HEALTH that completely crushed their set as the penultimate act of the weekend this year was the same act that played the very same stage three years prior. While their set in 2008 was masterfully chaotic, heart-racingly cluttered, and electrically charged, this year upped the ante by showing their matured sense of theatrics and somewhat more traditional songwriting. Opening with “Girl Attorney” style feedback bursts and the haunting falsetto of “Nice Girls”, the crowd erupted into a sort of dancing mosh pit. The noise-rock perfected “Zoothorns” followed, proving that no matter how grimy, hot, and overtired any festival goer can get, there’s enough gas at the bottom of the tank to freak the fuck out. BJ Miller’s drumming acted as the rollicking beast, exploding with furious energy, while Jupiter Keyes, John Famiglietti, and Jake Duszik all hooted and screamed through their heavily affected microphones, bouncing about the stage. Their cover of Pictureplane’s “Goth Star” seethed with dark dancefloor energy, and the rambunctious, squared off screaming of “Tabloid Sores” ended with Famiglietti looking up, long black hair covering his face, as he shredded out a last incredibly distorted/altered bass note. The new stuff was welcomed as much as the old, and the dancing caught on as much as the moshing. HEALTH brought the best of both worlds, and their infectious, radioactive set was easily the best of the weekend. -Adam Kivel

TV on the Radio – Green Stage – 8:30 p.m.

Photo by Meghan Brosnan

TV on the Radio (TVOTR) has reached a plateau rarely seen among major label bands: The Flaming Lips has, so did Radiohead. They retained the artistic integrity of an indie artist while gathering the resources they needed from a major. So with a nearly perfect batting average amongst rock critics and the final slot to close the weekend out at Pitchfork, what did TVOTR do with this newfound power?

First, they celebrated themselves, in a sense. Kicking off with “Halfway Home”, the dramatic lead track from its critically acclaimed 2008 full length Dear Science, TVOTR scooped up Union Park in one fell swoop, delivering a tough, clock-shattering punch to the crowd, resulting in a temporary case of amnesia. Cut Copy, what?

Second, they took advantage of the new, promising young talent around. Seattle rap duo Shabazz Palaces’ set couldn’t help but get a bit ignored being scheduled against Odd Future’s, so it was good that TVOTR decided to bring the two, an equally progressive-thinking group of black musicians, up on stage.

Photo by Meghan Brosnan

Third, they paid tribute to the shoulders of those musical giants the band continues to stand on. Easily a weekend highlight, TVOTR assembled a faithful cover of Fugazi’s “Waiting Room”, an anthemic, punk classic that’ll stick with us for decades to come. Surprisingly, the band didn’t retrofit the song with surges of electronic noise or guitar washes; instead, they kept things minimal. There was just the nimble, picked bass guitar and its signature vocal delivery, with more than a touch of urgent humanism, which was well captured in lead singer Tunde Adebimpe’s voice.

After all, if there’s any one obvious trait that TVOTR and Fugazi share, it’s that. But more than that, it was about music: an affirmation of past and present independent music and, with Shabazz Palaces, perhaps a nod to the future. That’s what a band, possibly one of the greatest this generation of indie rock will have to offer music history when all is said and done, does: forge a path and remind folks of the ones we’ve taken so far. Oh, and showing younger bands who’s still boss. -Paul de Revere

The Culture of Pitchfork

[nggallery id=240]

September 17, 1998. North Carolina-based indie rock band Superchunk is in the midst of a tour supporting Indoor Living. Someone has a home video camera and captures some decent footage. Fast forward a decade or so and Superchunk is playing the fifth edition of Virada Cultural Paulista in San Paulo, Brazil. This time around, there are even better cameras as a crew captures the band’s May 15th, 2011 performance. It’s a mash-up of those two film reels that is on display in the band’s clip for “Learned To Surf” from last year’s Majesty Shredding, which is streaming above (via P4k). Nostalgia at its finest.

September in North Carolina is already a pretty spectacular time of the year, but it just got a little better for residents of Raleigh as the second installment of the Hopscotch Festival has just announced the complete lineup for 2011.

In just its second year, the three-day festival (Sept. 8-10) has tapped The Flaming Lips, Guided By Voices, Superchunk, Drive-By Truckers, The Dodos, and The Light Pines to play shows in Raleigh City Plaza, while more than 130 acts like Swans, Yelawolf, Japandroids, and Dinosaur Jr.’s J Mascis will spread their performances across 11 clubs that are all within walking distance of each other.

Other notable acts include Twin Shadow, The Black Lips, Rhys Chatham G3, Cold Cave, John Vaderslice, Xiu Xiu, Royal Bangs, and Julianna Barwick. The Budos Band, Little Scream, Toro Y Moi, The Love Language, and Beach Fossils. But the coolest thing about it all is the festival’s flexible ticketing scheme.

Fans who don’t want to commit to three-day passes, which are modestly priced at just $105 ($155 for VIP), can spring for a $65, three-day wristband that gets them into just club shows, or even purchase tickets to individual City Plaza shows on Friday and Saturday for only $32 and $34, respectively. Hopscotch’s official website says that organizers are committed to making all the shows accessible and have made only a limited amount of wristbands and single day City Plaza tickets available for purchase. “Fan experience has been a priority from the beginning,” they wrote, “we don’t enjoy waiting in line anymore than you do, [so] we are not overselling the festival.”

City Plaza shows are all ages, but younger festival goers should be aware that a few clubs do have age requirements including a handful that are 21 & up. A complete list of those clubs and more details are available at the website, and the full lineup is available here. Detailed ticketing information is available here.

These additions complete a solid bill that sees Animal Collective, Fleet Foxes, and TV on the Radio as headliners, Guided by Voices, Dismemberment Plan, Cut Copy, and Deerhunter as sub-headliners, and Yuck, No Age, James Blake, and Das Racist as a few of many highlights the festival offers. Not enough for you? The full day-to-day lineup is listed below.

Three-day passes are sold out, but single day tickets priced at $45 are still on the market. You can pick them up here. Better act fast.

Friday
Animal Collective
Neko Case
Guided By Voices
Thurston Moore*
Battles*
James Blake
Das Racist
Curren$y
tUnE-yArDs*
Gatekeeper*
EMA*

Saturday
Fleet Foxes
DJ Shadow*
The Dismemberment Plan
Destroyer
No Age
Gang Gang Dance
Zola Jesus*
Twin Shadow*
Toro Y Moi*
Cold Cave*
OFF!*
G-Side
Woods
Sun Airway
Julianna Barwick*
Chrissy Murderbot

Sunday
TV on the Radio
Cut Copy
Deerhunter
Superchunk*
Ariel Pink’s Haunted Graffiti
OFWGKTA
HEALTH
Kurt Vile
Yuck
The Fresh & Onlys
Radio Dept.
Baths
Kylesa
Shabazz Palaces
Twin Sister
How to Dress Well
Wild Nothing*
Darkstar*

* = New addition

There’s certain go-to visuals that each genre of music is notorious to returning to time and time again. For rappers, it’s gorgeous women shaking what their mommas gave them. For those metal gods of the world, it’s Satan. And now we at CoS have discovered the tried and true video concept for indie rockers: cats. While Best Coast went for the lolz, veteran indie rockers Superchunk have decided to tackle a question that has plagued mankind for eons with the video for Majesty Shredding‘s “Crossed Wires”: what do cats get up to do when they’re on the prowl? By attaching a camera to bassist Laura Ballance’s cat, we all now know cats are violent lowlifes capable of stealing and inflicting physical harm in order to feed their drug-and-alcohol-fueled lifestyle of self destruction. But they’re just so damn snuggable! Check out the video above (via Pitchfork).

Yesterday we mentioned that Titus Andronicus would be opening for Bright Eyes on their forthcoming North American tour. Well, it turns out that won’t be the only notable outfit supporting Conor Oberst and co. as the band’s itinerary also includes dates with Cursive, Superchunk, Mynabirds, and Wild Flag. Plus, they’ve just announced a three-day Midwest run with Jenny and Johnny to immediately follow their appearance at Sasquatch!, as well as stops in Kansas City and Arcata, CA on April 2nd and 10th, respectively Find all confirmed dates below (new additions in italics).

Tickets are available via our concert calendar.

Bright Eyes 2011 Tour Dates:
02/08 – Glasgow, UK @ Oran Mor
02/09 – Nottingham, UK @ Rescue Room
02/14 – London, UK @ Scala #
02/16 – Stockholm, SE @ Debaser Medis
02/18 – Berlin, DE @ Lido
02/21 – Amsterdam, NL @ Paradiso
03/02 – Miami, FL @ Fillmore Miami Beach At Jackie Gleason Theater %
03/03 – Lake Buena Vista, FL @ House of Blues %
03/04 – Atlanta, GA @ The Tabernacle %
03/05 – Asheville, NC @ Thomas Wolf Auditorium %
03/06 – Richmond, VA @ The National %
03/08 – New York, NY @ Radio City Music Hall *
03/09 – New York, NY @ Radio City Music Hall *
03/10 – Boston, MA @ House of Blues ^
03/11 – Portland, ME @ State Theatre ^
03/13 – Toronto, ON @ Sound Academy ^
03/14 – Royal Oak, MI @ Royal Oak Music Theatre ^
03/15 – Chicago, IL @ The Riviera ^
03/16 – Champaign, IL @ Foellinger Auditorium ^
03/17 – Nashville, TN @ Ryman Auditorium ^
03/19 – Austin, TX @ Auditorium Shores (SXSW) (FREE SHOW)
04/02 – Kansas City, MO @ Uptown Theater
04/03 – Milwaukee, WI @ The Riverside Theater !
04/04 – Minneapolis, MN @ First Avenue !
04/05 – Minneapolis, MN @ First Avenue !
04/08 – Vancouver, BC @ Commodore !
04/09 – Portland, OR @ Crystal Ballroom !
04/10 – Arcata, CA @ Arcata Community Center $
04/12 – Oakland, CA @ Fox Theater $
04/13 – Pomona, CA @ Fox Theater $
04/16 – Indio, CA @ Coachella Music Festival
05/28 – George, WA @ Sasquatch! Music Festival
06/01 – Boise, ID @ Knitting Factory Concert House +
06/03 – Denver, CO @ Filmore Theater +
06/04 – Council Bluffs, IA @ WestFair Amphitheater +
06/23 – London, UK @ Royal Albert Hall
06/25 – Vitoria-Gasteiz, ES @ Azkena Rock Festival

# = w/ Tim Kasher
% = w/ Cursive
* = w/ Superchunk, Wild Flag
^ = w/ Mynabirds
! = w/ Titus Andronicus
$ = w/ Farmer Dave Scher
+ = w/ Jenny and Johnny

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