19. The Walkmen - Lisbon
The Walkmen do not make bad albums. They have a characteristic sound, defined by lead vocalist Hamilton Leithauser's wails, howls and yelps, but it never gets old. You never get the sense that they've made the same album as before and they always find ways to make great songs fit nicely around Leithauser's distinct voice. Although the vocals will always be the most recognizable aspect of any album by The Walkmen, the vocals do not necessarily always overpower. The diverse sounds that the band have used over the years always comes through, no more so than the surfy/beachy guitars on the appropriately-titled "Angela Surf City".
18. Superchunk - Majesty Shredding
It's weird to think of Superchunk as "venerable" or "legends", but their deserving place among such descriptors is clearly evident. Over 20 years, they've released a number of great albums, but no albums of any kind since 2001 and none this good since probably 1995. Their sound has been "maturing" for quite a while now, but it had maybe become too mature, so a step back to the mid-90s is nice to see and hear. You'll still be hard-pressed to see a more energetic live show than Superchunk's, even in 2010/2011.
17. Stornoway - Beachcomber's Windowsill
Stornoway is a city in far northern Scotland, in the Hebrides. It is also a band from Oxford, England that plays the ever-popular British alternative indie folk music, with vocals that sound not unlike Colin Meloy of The Decemberists at times. The songs have a singalong feel in typical folk fashion, with understated dignity. Electric and acoustic instrumentation, along with some horns, add variety to a steady collection of songs.
16. Menomena - Mines
This album felt like it was a long time coming and while it does not quite live up to the standard set by 2007's Friend and Foe, it is still very good. Menomena make albums with lots of moving parts, lots of sounds, lots of creativity and tie it all together quite well. A lot is made of their instrumentation, but part of what makes this band great is their ability to put it all together into a crisp, clean and cohesive package.
15. Free Energy - Stuck On Nothing
If you've read the posts leading up to this list, you know LCD Soundsystem will not be making an appearance. However, Mr. LCD Soundsystem himself, James Murphy, does, as the producer of this 70s throwback. The album, which is the Philadelphia band's debut, came out just before summer and definitely fits that "summer album" mold. There are catchy hooks in both the music and vocals, but these aren't simply two-minute pop songs. There's enough going on here to hold your attention, but the classic rock sound is straightforward enough to keep even a casual listener interested.
14. Black Rebel Motorcycle Club - Beat the Devil's Tattoo
BRMC have always made great albums, but their last effort, Baby 81, felt like maybe they were past their prime. That's not an awful thing to say about a fourth album when the first three are all excellent, but certainly not an encouragement for number five (not counting instrumental album The Effects of 333). Well, their return to form is truly a return to form that effectively brings together the sound that distinguished each of those first three albums. There's the My Bloody Valentine fuzz, the gospel dirges, the folk strumming and, of course, the easily identifiable dual vocals. Hopefully this album signals a rejuvenation for the band and is the start of another string of excellent releases.
13. Futurebirds - Hampton's Lullaby
This seemed like a bit of a down year for the ever-broadening category of alt-country, which seems to be trending toward bluegrass more and more. Thankfully, a band like Futurebirds released their debut and it was quite good. These guys are from Athens, Georgia and pull together a lot of different sounds, especially having no less than three vocalists sing lead on different songs. One sounds like Neil Young. One sounds like whichever King of Leon sings. One sounds like neither. Despite the vocal schizophrenia, it holds together well-enough to be reminiscent of a Drive-By Truckers album, which is a good thing.
12. Tokyo Police Club - Champ
Despite being their second full-length album, Champ by no means is an example of a sophomore slump. It takes what was a decent album (2008's Elephant Shell) and makes it better. Bands should get credit where it is due and TPC are due. The album has spirit and is almost silly at points, but it never becomes a distraction.
11. Titus Andronicus - The Monitor
What is not to love about a hard and occasionally profane romp through long songs inspired by the Civil War and Springsteen worship? The seeming disarray and wheels-about-to-come-off spirit of this album are only part of what make it great. The spoken word interludes add to the overall theme and feel of the record, but seem unnecessary. The songs do plenty of talking on their own, namely in a voice reminiscent of (primarily Desparecidos-era) Conor Oberst.
10. Male Bonding - Nothing Hurts
This punky British debut took a little while to reveal its greatness, but its brief running length (under 30 minutes for 13 songs) lends itself well to repeated listens. The vocals are buried very deep in the recording mix, which works well on some of the slower/spacier songs, but is almost frustrating during the faster ones with less vocal harmony and more vocal words. Maybe in 30 years this album will be remastered and reissued and the purists will hate it, but until that time, a cleaner recording would have made a great album better.
9. Jonsi - Go
As the frontman for one of this generations most impressive bands, Sigur Ros, Jon Thor Birgisson ("Jonsi") has very little left to prove. His voice is instantly recognizable and the music he plays is greeted with almost universal reverence. However, while the rest of his Sigur Ros bandmates were off taking breaks to start families, he did not take much of a break himself. His solo debut allows him to make and release music that does not really sound like Sigur Ros in many places, while bringing in enough of what makes Sigur Ros great to not be a complete departure. There are fast songs, slow songs, "big" songs, "little songs" and legitimate pop songs, which Sigur Ros has never really put out. Future Sigur Ros releases are eagerly awaited, but it was nice to know that there's always the potential for a welcomed intermission.
8. Frightened Rabbit - Winter of Mixed Drinks
The splash created by Frightened Rabbit's breakthrough, Midnight Organ Fight, would be tough to replicate, so it came as little surprise that this album was kinda slow to reveal its greatness. There are some great hooks and memorable lyrics here, but not the kind that instantly stick in your head like Midnight. As a bit of a slow-burner, repeated listens were needed, but well worth it. It will be interesting to see if the current torch-bearers of the most recent Scottish invasion can keep it up on a major label, but until then, another worthy contribution has been made that would make Billy Bragg (yes, he's English) proud.
7. Someone Still Loves You Boris Yeltsin - Let It Sway
This band might be one cumbersome name away from a much bigger presence. Not that the name should make the band, but SSLYBY is an awfully heavy name for a band to carry around. It barely fits on album covers. It probably can't fit on most venue marquees. It makes them sound like a drunken Russian cover band. In spite of this, they write mostly-upbeat indie rock songs, which is not an extremely common occurrence lately. Maybe a little Shins-like at times?
6. Beach House - Teen Dream
For whatever reason, it took Beach House's third full-length to really make an impact, but better late than never. This degree of exposure and popularity will surely boost sales of those first two albums, though. As for Teen Dream, its not hard to come up with descriptive adjectives that make it so easy and pleasant to listen to the album. The lush instrumentation and truly hypnotic vocals define these songs and its hard to really think of the songs individually, as the album fits together so well. This album will definitely be played for sleeping babies for many years to come.
5. The National - High Violet
Matt Berninger's voice. Either you love it or you hate it. There's no getting around it. If you happen to like his voice and accept the fact that there will never be a great deal of range on display, you can get past that issue and enjoy everything else happening on this record. This album just sounds good, in that warm way and there is always something interesting going on behind the trademark vocals. The National deserve special credit for taking something that might be seen as a limitation (that voice) and managing to release three exceptional albums over the past five years that each possess an individual identity.
4. Wintersleep - New Inheritors
This was definitely the out-of-nowhere album of the year. A virtually unknown band from Halifax, Nova Scotia is not likely to show up on many radar screens and this album is no exception. In fact, you're unlikely to find this one on any other lists (outside the Maritime Provinces, that is). Of course, the internet is the great equalizer (along with an opening slot on a Hold Steady tour). Lead vocalist Paul Murphy's voice might take a little getting used to, as it is nasal-y and fairly dramatic in a Michael Stipe kind of way. Beyond that, this album is full of guitars, layers, textures (whatever that means) and good songs.
3. Arcade Fire - The Suburbs
There is very little that can be said about this band that has not been said before. They are the definitive indie rock band on Earth and they rarely do anything that suggests anything different. This year was clearly "their" year, complete with a sold-out Madison Square Garden serving as their coronation. The Suburbs is obviously a concept album and it is nice to see that this label is not met with a snicker or roll of the eyes, as it might have previously been. Thank albums like OK Computer and Domestica for that. This album might be a little too long and a little too easy-going, but that illustrates part of what Arcade Fire does so well. They can release a bona-fide 15+ song album about growing up in the suburbs (namely The Woodlands in Houston, Texas) and still top many lists.
2. Wolf Parade - Expo 86
This is getting ridiculous. Last year, Sunset Rubdown took #1 and this year, Spencer Krug's "other" band takes #2. Of course, Wolf Parade's songwriting and vocalist duties are shared (very capably) with Dan Boeckner, which gives this album a sense of variation that might be missing from Sunset Rubdown albums. If you're not crazy about Krug's songwriting or vocals, fear not, there's a completely different side to a Wolf Parade record. Regardless of who is singing, the songs are always unique, but no less spot-on. You almost forget there are two different singers with two different styles because it all adds up to another great album.
1. Mumford and Sons - Sigh No More
Yes, this album experiencing a swell of hype and fanaticism that might make it seem too "mainstream" or too "popular" or too "fratty" or too "adult contemporary" or too "lame" or too whatever. Thing is, it is really great and that point has been made here before. The folksy thing is definitely on an upswing and this album might have set the standard by which a genre will be defined. The music is interesting and well-played and the lyrics are obviously thought-out and emotional. There's even references to one of the greatest books ever written, East of Eden, interspersed. The next time you see Mumford and Sons on a high-schooler's Facebook page, just remember you're likely to see Radiohead, U2, Led Zeppelin, The Beatles and The Rolling Stones on there as well. Are you ashamed to like those bands? Find your personal meaning in the songs you're hearing and try to understand what the writer intended. That's what separates you from the squealers.
5 years ago
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