Max Paradise's crazy Top 75 Albums Of 2010 list.

Links are in the album art.

75. The Birthday Massacre - 'Pins And Needles'

The Birthday Massacre have always been the masters of dark industrial-pop. The only thing larger than their love of pretending to be evil is their penchant for HUGE fucking hooks, and on this album they finally dropped their awkward fake-creepiness, and it suited them wonderfully. Chibi's voice is perfectly backed by appropriately heavy guitars and absolutely sublime synths to create an absolutely wonderful album for an under-appreciated genre. Top tracks: Shallow Grave; Pale; In The Dark

74. Burzum - 'Belus'

Varg Vikernes is the victim of massive expectations, a problem that he shares with The National on this list. 'Belus' would be a wonderful album by your usual black metal fan's standards, however, Burzum has previously seen the release of masterpieces such as 'Filosofem' and 'Hvis Lyset Tar Oss,' and it's hard to not wish you were hearing those albums while 'Belus' is spinning. However, it is still a masterful work from one of black metal's absolute finest musicians, and a very welcome return to form after his synth-exclusive work produced during his years in prison. Top tracks: Keliohesten; Glemselens Elv; Belus' Død

73. The National - 'High Violet'

Although I generally have The National as close to the top of my list as I can get them, I just felt so ambivalent towards 'High Violet.' I wish I knew why, because everything I always loved about them is still there--Matt Berninger's incredible lyrics and deep, gorgeous baritone, the lush instrumentation, the amazing drumming--but the magic that 'Alligator' and 'Boxer' had simply isn't quite there. In any case though, The National at their worst is still better than 90% of the bands out there at their best, so they squeak onto this list. Just barely. Top tracks: Bloodbuzz Ohio; Sorrow; Terrible Love

72. Deadlock - 'Manifesto'

I kind of think of Deadlock along similar terms as The Birthday Massacre earlier on this list--yeah, it's cheesy, but they do it fucking WELL. While the butt-metal-with-a-chick-singer thing is usually about as retarded as music gets (I'm looking at you, Otep), Deadlock pull it off masterfully. They know what they want to do, and they go balls-out towards it. The harsh vocals are strong, the rhythms, guitars, and occasional keys are brilliantly executed, and the melodic choruses led by the token female vocals NEVER fail. Despite an awkward misstep by tacking a completely irrelevant rap song onto the second half of Deathrace, all in all, this is an enjoyable metal release with the hugest choruses I have heard in my life. Don't miss out just because it belongs to a usually tepid genre, this is a true diamond in the rough. Top tracks: The Brave/Agony Applause; Martyr To Science; Deathrace

71. Have A Nice Life - 'Time Of Land'

If you've listened to Have A Nice Life before, you know what to expect. The phrase 'drenched in reverb' is really not enough to describe how reverb-soaked their music really is, and that little fact applies two-fold to their most recent EP. The vocals are distant, the drums are thumping, the guitars are minimal and the keyboards drone endlessly. But Have A Nice Life's unique lo-fi still has the immense power it did back when they released their monolithic debut album 'Deathconsciousness,' and if 'Time Of Land' is anything to go by, if and when they decide to make a sophomore effort, it will be just as fantastic. Top tracks: Woe Unto Us; The Wizard Of The Black Hundreds; The Icon And The Axe

70. The Dillinger Escape Plan - 'Option Paralysis'

I've always had a special relationship with The Dillinger Escape Plan. When they released their first album, it was basically 'stop being so fucking annoying.' When they released every album after that, it was 'stop being so fucking annoying AND trying to be a Mike Patton side-project.' I guess you can't really blame them, though. They're fully aware that the four tracks they released with Mr. Patton himself handling vocal duties are some of the best out there, and they're trying to hold onto what made that special. While I've always enjoyed them, I feel that 'Option Paralysis' is the first time they finally recaptured the magic of that EP way back when. Although they may never write another When Good Dogs Do Bad Things, they can come damn close. And this is the result. Top tracks: Farewell, Mona Lisa; Widower; Gold Teeth On A Bum

69. Beach House - 'Teen Dream'

I was about as late to the party as possible with this album, not getting it until the last week of 2010, but in that time, it has still left its mark. Beach House fill that relaxing, summery indie pop void that's been present since Merriweather Post Pavilion got old, and while it never reaches the heights of said album (and is probably more comparable to fellows like Surfer Blood), Beach House have made a calming, sublime album which is hard not to love, and instantly accessible and fun. The band name together with the album title tells you just about all you need to know. Top tracks: Zebra; Better Times; Silver Soul

68. Jónsi - 'Go'

It's pretty much impossible to read a review of the Sigur Rós frontman's solo debut without hearing about how happy it is, especially in comparison to his main band. But I can't help but feel that these writers are missing a pretty damn big part of the album. I mean, yeah, flutes and cutesy acoustic guitars flutter in and out of major chords, accompanied by just about the most driving drum tracks on earth, but there is still a hidden sense of melancholy beneath all the explosive joy, glimpsed in the lyrics of tracks such as Lilikoi Boy and Sinking Friendships. On the other hand, it may be that I am simply unable to separate Jónsi's beautiful falsetto from the endless nights spent sobbing to Sigur Rós' music, as a majority of this album is definitely just bursting at the seams with childlike wonder and happiness. Top tracks: Boy Lilikoi; Sinking Friendships; Go Do

67. wait what - 'the notorious xx'

Say what you will about how 'simple,' 'half-assed,' or 'uncreative' this mix may be, it still does exactly what it set out to. Yes, wait what did basically place The Notorious B.I.G.'s raps over loops of The xx's material, but that doesn't lessen the impact of the music in the least. So what if he barely had to do anything? The xx have always had an amazing atmosphere, but lacked tangibility to back it up. Biggie always had the power and the swagger, but still had that awkward early-rap production. But together, they create a staggering, heartbreaking work of art. Top tracks: Suicidal Fantasy; JUICY-R; Islands Is The Limit

66. Orbs - 'Asleep Next To Science'

Would it even be legal for me to NOT love this? Featuring members of two of my absolute favourite bands from when I was in tenth grade, Between The Buried And Me and Fear Before The March Of Flames (plus some guys from some other bands no one gives a shit about), this is a huge, confusing, progressive monolith. Adam Fisher's instantly recognizable voice reigns over Dan Briggs' finger-picked guitar parts, and the clever lyrics and huge prog hooks are pretty difficult to not be impressed by. Top tracks: Sayer Of The Law; Megaloblastic Madness; A Man Of Science

65. Minus The Bear - 'OMNI'

Minus The Bear are one of the most competent bands out there. Unfortunately, they know it too, which leads to 'OMNI' being just a bit cocky, and lacking the magic of 2008's 'Planet Of Ice.' However, as I said about The National above, Minus The Bear at their worst is still better than most bands at their best, and this is certainly not even Minus The Bear's worst. A thoroughly enjoyable listen, Dave Knudson's amazing guitar work mixes beautifully with Jake Snider's unbelievably sexy vocals to create another collection of wonderful tracks from some of the best the indie-prog world has to offer. Top tracks: Animal Backwards; Into The Mirror; My Time

64. Deerhunter - 'Halcyon Digest'

This album is basically Deerhunter doing what I never thought they would: creating an album that DOESN'T DRAG. I loved Microcastle, don't get me wrong, but in that album (as well as their other three), Deerhunter have proven themselves to be masters of filler. That all changes here though. 'Halcyon Digest' is an emotional punch to the gut, beautiful and tragic--but most importantly, vital. Every track is wonderful, and every moment is there for a reason. Brad Cox's lilting voice and the shoegazey guitar lines carry this album from the very first squash-drum-sound through to the end, and never gets old. Top tracks: Helicopter; Basement Scene; Earthquake

63. Crime In Stereo - 'I Was Trying To Describe You To Someone'

Crime In Stereo have always been a band that seriously knows what's up, and their final album is no exception. While 'Is Dead' was quite the powerful listen, Crime In Stereo pretty much destroy all of their peers with the explosive back half of Exit Halo, making sure that their impassioned brand of experimental melodic hardcore does not fade out, but goes out with a huge bang. Top tracks: Exit Halo; Drugwolf; Young

62. Sickboy - 'Tweencore'

Sickboy is some of the best that breakcore has to offer. Although obviously not on the same plane as masters like Ars Dada, 'Tweencore' is one of the most refreshing releases of the year. This is an album pretty much designed for me to love, taking samples from various tween pop stars and Disney TV clips and raping them with the heaviest production out there. This album is about as chaotic as it gets, but I love every second--especially those moments when you catch a song that you know, and hear it warped into madness right before your eyes. Top tracks: Tweencore 2; Tweencore 3; Tweencore 5

61. America Addio - 'Cotton Kingdom'

I don't even know what the fuck this is. When I listened to America Addio's debut EP, I dismissed it as one of the least interesting releases of Enemies List Home Recordings' masterful repertoire, but then they came out with THIS. America Addio's first full length is an overprocessed masterpiece, with keyboard melodies that are barely even logical, crazy beats, some of the densest lyrics around, and ridiculously crowded (but somehow still enjoyable) arrangements, they top off the whole shebang with some of the catchiest hooks this side of Rihanna, and put the vocals through about forty processors at once. And somehow, it all sounds fucking awesome. Top tracks: Boss Of The Plains; Escape From Chicago 2009; O Pioneers!

60. Flying Lotus - 'Cosmogramma'

This album starts off about as chaotically as possible, considering how calming it eventually becomes. Flying Lotus works on such a different level from pretty much all of the other producers out there, creating a ridiculous, coherent mash of just about every type of electronica you can imagine. At once stressful and gorgeous, 'Cosmogramma' walks a thin line between maddening and enjoyable, but by the time Thom Yorke's sustained vocals come in for ...And The World Laughs With You, it's hard not to be impressed by this producer's thorough mastery at everything he does. Top tracks: ...And The World Laughs With You; Nose Art; Do The Astral Plane

59. Hellogoodbye - 'Would It Kill You?'

Oh boy, Hellogoodbye have changed. That's the understatement of the century, right there. Not only have they grown up in a big way, but they've all but abandoned 90% of what made their debut album what it was. While their last record employed fun pop beats, huge synth hooks, catchy autotuned melodies and ludicrous keytars, their sophomore release is all guitars, thumping drums, and no fluff. Considering all of the vocoder and autotune that he hid behind on their debut, Forrest Kline has an impressively strong voice when unenhanced, as evident from literally the second opening track Finding Something To Do comes in, with its jangling guitars and impossible-to-ignore hooks. For a band that was basically every eleven-year-old's wet dream, Hellogoodbye sure grew up fast. And while the cutesy fun of their first album was enjoyable, it isn't missed at all. This is simply sublime. Top tracks: Finding Something To Do; When We First Kissed; When We First Met

58. Amia Venera Landscape - ‘The Long Procession’

Amia Venera Landscape make a pretty bold combination of mathcore and post-metal with their debut release. This album pretty thoroughly came out of nowhere, dropping at the very end of 2010 and surprising just about everyone who listened to it. From the blistering math-metal of the opener to the more post-metal influenced tracks to the might 14-minute post-rock instrumental, Amia Venera Landscape have pretty much turned out a surprising masterpiece. This album churns and rumbles with rage and beauty, and in the end it's unclear which emotion won--but either way, it's an incredible ride. Top tracks: Marasm; Empire; A New Aurora

57. Kvelertak - 'Kvelertak'

I wish I knew what to say about this album. Kvelertak mix genres like no one else. For literally two months after getting this album, it sat in my iTunes with a simple question mark as its genre tag--I simply had no idea. Cruising smoothly from hardcore to black metal to melodic metalcore to psychedelic rock and touching on just about every genre in between, Kvelertak have set the bar pretty fucking high for themselves with this pretty thoroughly mind-boggling debut album. This album came out of left field, and it pretty much stayed there. But I loved every second of it along the way. Top tracks: Ulvetid; Offernatt; Mjød

56. Gorillaz - 'Plastic Beach'

Gorillaz are probably the easiest (American) band to fangirl over. Making instantly enjoyable, accessible indie-hip-hop, and with an impossible-not-to-love animated exterior, and boasting guest vocalists ranging from Bobby Womack to Snoop Dogg, it would be easy to call 'Plastic Beach' the ultimate commercial grab if not for Damon Albarn's significant talent. Although not as impressive and emotive as 'Demon Days,' Gorillaz third album can make you nod your head like nothing else. 'Plastic Beach' is fucking sexy, and knows it, from Snoop Dogg's sensuous vocals to the throbbing bassline of Stylo, this is just another example of the wonders Albarn can produce. Top tracks: Welcome To The World Of The Plastic Beach; Stylo; Super Fast Jellyfish

55. Warpaint - 'The Fool'

Warpaint are four girls who make some of the most depressing art rock out there. While it would be easier to compare their vocal style to Tegan And Sara, that would be about as unfair as comparing basic math to complex trigonometry just because they both use numbers. Warpaint's work is at once complex and simple, and their downtempo, relaxed minimalism betrays how detailed their instrumentation really is. In the end, what really matters about this album is the way that the girls' emotive voices mesh with the beautiful instrumental backing. Top tracks: Undertow; Shadows; Warpaint

54. Antony & The Johnsons - 'Swanlights'

If you know me, you'll know that Antony Hegarty is one of my favourite singers out there. His unique voice is strange in a way that can be off-putting at first, but once it grabs you, it just won't let go. This is the voice of a man who has experienced true sorrow, beyond anything you could imagine, and it's impossible to listen to any of his music and remain unmoved. But on 'Swanlights,' his music is finally more than just a wonderful voice, as these songs are masterfully fleshed out and emotive, with orchestral swells and glorious piano and horns backing the eccentric frontman and his all-vibrato-and-tears voice through his best album yet. Top tracks: Salt Silver Oxygen; Everything Is New; The Great White Ocean

53. Sufjan Stevens - 'All Delighted People'

I admit it, I'm a Sufjan fanboy. If I'm not mistaken, he is the only artist to appear on this list twice, but he deserves it. 'All Delighted People' literally came out of nowhere--no announcements or advertisement, it just got released without warning. Sufjan's first real, original release in 5 years, and he didn't even advertise it. He even called it an EP, to top it all off, despite it being over an hour long. In any case, Sufjan amazes as always, with glorious guitars, wondrous choirs (the ending of the title track, OH MY GOD), and his perfect voice. Just stunning. Top tracks: All Delighted People (Original Version); Djohariah; The Owl And The Tanager

52. Xiu Xiu - 'Dear God, I Hate Myself'

Xiu Xiu have always been one of the most interesting bands out there for me. Based in San Jose, their music is about as elusive as watching someone who's neve heard them before try to pronounce their name (it's SHOE-SHOE, by the way). While Jamie Stewart and Angela Seo have finally toned down their noise influence a bit, the chaotic cymbals and arhythmical sounds still commandeer a track here or there. But the really important thing to realize is that Xiu Xiu have finally produced the album we've hoped they had in them since 'Fabulous Muscles' way back when. The production is claustrophobic, Jamie Stewart's vocals are as manic as ever, and the power is there tenfold. Top tracks: Gray Death; Dear God, I Hate Myself; This Too Shall Pass Away (For Freddy)

51. Defeater - 'Travels'

Defeater are one of the best bands still releasing music in the modern hardcore scene. They're creative, hard-hitting, original, and powerful, and their debut album is as strong as any of the kings of the genre. Their distinct sound is just about as impressive as hardcore gets, and the rage they express is palpable. Basically, all you need to know is: Defeater fucking rule. Get 'Travels.' Now. Top tracks: Prophet In Plain Clothes; Cowardice; Nameless Streets

50. Emarosa - 'Emarosa'

What can I say about Emarosa that you don't already know? They are a remarkably talented band to back one of the greatest singers of our time. They're basically a less experimental Circa Survive (high-voiced crazy-talented singers leaves old band, old band kinda flounders and starts to die, joins new band of talented musicians who take the back-burner to his increasingly awesome voice), but that's okay because Jonny Craig is basically god. His vocals are soulful, emotive, and huge, and the wailing guitar lines and clever drum parts back him up excellently. It helps that the first track on the album has literally one of the best choruses of all time. Top tracks: A Toast To The Future Kids!; Share The Sunshine Young Blood; Broken Vs The Way We Were Born

49. Pain of Salvation - 'Road Salt One'

Pain of Salvation have always been one of my favourite bands, and while they didn't quite live up to my expectations with 'Road Salt One,' they still delivered a solid slab of progressive deliciousness. If you get this, make sure you nab the 'directors cut' edition, as the extended version of No Way pretty much makes the album. As always, Pain of Salvation feature some of the strongest vocals I've ever heard, with singer Daniel Gildenlöw's insane four-and-a-half-octave range running the gamut of emotions, from the gorgeous Of Dust and Road Salt, to the absolutely immense Sisters and his rage filled screams that 'There is no way that you can FUUUUUUUCK her life I can!' in the extended version of No Way. While it doesn't quite live up to their perfect back catalogue, Pain of Salvation's latest is still not to be missed. Top tracks: Of Dust; Sisters; No Way

48. James Blake - 'Klavierwerke' & 'CMYK'

James Blake knows what he's doing. Both of these EPs released this year showcase a set of four prime post-dubstep tracks, each with a power all their own. on 'CMYK,' Mr. Blake puts his music through a pop filter (further explored on his upcoming debut full-length), using cut-up vocal samples and tasteful backbeats to create a wonderful atmosphere that's pretty hard not to dig. On the flipside, his 'Klavierwerke' EP is quiet, instrumental, and sad. Although it's far more laid-back than 'CMYK,' and owes much more of a debt to the likes of Burial than anyone else, it's far more intrusive, invading your emotions and commandeering your worldview with its masterful downtempo beats and sorrowful melodies. Both of these are just about as good as the genre gets without turning to Burial, and his upcoming full-length will only prove that James Blake is the best at what he does, bar none. Top tracks on 'Klavierwerke': I Only Know (What I Know Now); Tell Her Safe; Don't You Think I Do Top tracks on 'CMYK': Footnotes; Postpone; I'll Stay

47. Motion City Soundtrack - 'My Dinosaur Life'

Motion City Soundtrack are incapable of not amazing me, I swear. Their sophomore effort, 'Commit This To Memory,' is easily my all time favourite pop-punk album, but 'My Dinosaur Life' comes damn close to topping it. Although it's a bit cheerier than past work (especially on tracks like the remarkably humorous @!#?@!), Justin Pierre and co. still retain their knack for coming up with maddeningly catchy choruses to compliment their undeniable instrumental talent and evocative (and often heartbreaking) lyrics. Although Pierre went a little easier on the sarcastic sorrow than usual, this album still hides some brutally tragic moments behind the wonderfully upbeat surface, and it's pretty difficult not to just wanna cuddle up to Justin and his wonderful sideburns and remind him that it just might all be okay. Top tracks: Disappear; Worker Bee; @!#?@!

46. Jaga Jazzist - 'One-Armed Bandit'

Jaga Jazzist are one of the well-kept secrets of the post-rock scene, creating a tasteful marriage between the climactic tendencies of bands like World's End Girlfriend and some of your favourite jazz standards. Employing a ridiculously enjoyable jazz-horn section, Jaga Jazzist's 'One-Armed Bandit' refines the fun parts of previous effort 'What We Must,' and drops the burden of trying to be post-rock in favour of just being awesome. Their smooth melodies and lush instrumentation is about as cool as modern music gets. Top Tracks: One-Armed Bandit; Banafleur Overalt; Toccata

45. Secret & Whisper - Teenage Fantasy'

Secret & Whisper walk a fine line between 'awesome post-progcore' and 'Circa Survive cover band,' but it hardly matters on their second album. The vocals absolutely soar, as one would expect, and the instrumentation is technical but never overpowering. It's awfully hard to listen to them without thinking of peers such as Circa Survive and Tides Of Man, but the fact is that what they do, they do very very very well, even if it isn't the most original work out there. Top tracks: Warrior (Southern Arrowwood); Bedroom Galaxy; Edge Of Wilderness

44. Eminem - 'Recovery'

Oh, Eminem. You've really tricked us, haven't you? After the rage of 2000's 'Marshall Mathers LP,' it was hard to believe you would ever put out something to convince me that it was worth listening to over that beat of an album. And for ten whole years, he had everyone convinced that he had gone to shit. While 'The Eminem Show' wasn't bad per se, it lacked the rage and creativity that fuelled 'The Marshall Mathers LP,' and 'Encore' and 'Relapse' were simply terrible. But 'Recovery' pretty much surprised everyone, not only offering up some wonderful music, but also showcasing an entire new direction for Eminem. Getting rid of the anger of his first few albums and the 'pity me, I'm an addict!' themes of his more recent work, 'Recovery' is, as the title suggests, positive over all else. He still has a few pissed off anthems, and the occasional tragic line, but in general this is a new, inspiring Eminem. And while that may sound awful on paper, he pulls it off, with fantastic guest vocalists and some of the coolest beats of his career, accompanied by his always excellent flow. Top tracks: Love The Way You Lie; Talkin' 2 Myself; 25 To Life

43. Marina And The Diamonds - 'The Family Jewels'

Marina Diamandis works a pretty interesting mix of just about every different style of indie pop on her debut effort. She jumps from atmospheric powerhouses like Rootless to straight-up pop numbers, piano ballads, cute little ditties, and explosive Amanda-Palmer-Meets-Florence-Welch tracks like opening number Are You Satisfied? From the string jabs to the synth lines to the catchy beats, Marina just about has it all, and if you don't love her from the second this album opens up, truth is, you probably just don't like fun. Top tracks: Rootless; Are You Satisfied?; Hollywood

42. BT - 'These Hopeful Machines'

Brian Transeau is still king, and his newest double-album proves it. Original released online simply as two hour-long tracks, it was later split up into to discs with six ten-minute-long tracks instead, cuz anything less would simply be too easy to digest. But don't let the vague pretensiousness and ridiculous scope of this album hold you back, BT has made just about the most purely enjoyable electronica I've heard in years. The thing is, his sense of timing is absolutely perfect. He makes a twelve-minute song feel like a third its length, simply by virtue of the fact that he knows exactly what he's doing. He brings in HUGE choruses just when you think the song will get stale. As soon as the song has been moving along at a poppy pace for just a little too long, he throws in a crazy glitch section or a huge drop or an ambient interlude. But it always comes back to those choruses, those massive, wonderful choruses. This is just about as beautiful as electronica-pop can be. Top tracks: Suddenly; The Emergency; A Million Stars

41. Daníel Bjarnason - 'Processions'

What can I say about this album? It's difficult. It's really really difficult. It's a fairly experimental take on modern classical, containing a three-part suite for multi-tracked cello, a three-part piano concerto with full orchestra, and a single chamber piece for harp and percussion. If that doesn't already sound crazy, wait till you hear the damn thing. Most of the album is intense and chaotic, but on occasion (Bow To String III: Air To Breathe; Skelja) it does slow down and allow room for more simple beauty. However, even in its loudest moments, such as the massive rhythmic finale to the Processions suite, its easy to simply forget altogether how hectic the music you're listening to is and simply be in awe of the power that this new composer is capable of conveying. Top tracks: Processions III: Red-Handed; Processions II: Spindrift; Bow To String I: Sorrow Conquers Happiness

40. Dangers - 'Messy, Isn't It?'

Dangers' second album opens up with the line 'Why don't you kill yourself today?' and pretty much just goes on from there. This is the angriest hardcore out there, nineteen tracks of raging guitars, crazy drums, and pissed-off vocals. With tongue firmly planted in cheek, Dangers blast through this album basically telling stories of everyone they ever hated, but they do it so well that you pretty much enjoy the whole ride. This album has one of the most apt titles there is--it IS messy, it's pissed off, it's hard-hitting, and it's relentless. But it's also fucking awesome. And I'm pretty sure that's exactly what Dangers were going for. Top tracks: Stay-At-Home Mom; No Vonneguts, No Glory; Cure For AIDS

39. S. Carey - 'All We Grow'

Much has been made about the fact that S. Carey is the drummer for Bon Iver, but to make that comparison kind of overshadows the fact that he is an absolutely amazing solo artist. Althuogh he does make indie folk in a very similar vein to Bon Iver, his beautiful voice and clever production offer something new, and despite not being anything that we've never heard before, 'All We Grow' is about as emotionally heartrending as it gets. Carey's melodies are simply so lush, so lonely, that it doesn't matter where you are, this album simply makes you FEEL. Top tracks: Broken; In The Dirt; Mothers

38. Ellie Goulding - ‘Lights’

Ellie Goulding is pretty special, as far as indie pop goes. Her voice is simply fantastic, incomparable to just about anyone, and her production is sublime. The way her voice entertwines with pop beats and acoustic guitars is pretty stunning, despite what you would expect, and tracks like Guns And Horses put all of her strengths on full display. Her vocals jump between upbeat pop numbers and lush acoustic tracks, but always with a brilliant sense of melody and catchiness that's honestly pretty hard to deny. Top tracks: Guns And Horses; Starry Eyes; The Writer

37. Deafheaven - ‘Demo 2010’

Deafheaven are basically where it's at in regards to both local music and modern black metal, now that Fell Voices broke up. It's kind of hard to even comprehend how big they've gotten off a simple four-song demo, but the fact is, what they do, they do perfectly. Emotional, somewhat atmospheric, heavy, and perfectly produced, Deafheaven's first demo sounds better than most black metal releases out there these days. While it doesn't exactly top the classics of the genre, it's just a demo, and it certainly shows the potential for this band to overcome the stigma against both modern and american black metal, with their masterful sense of emotion, atmosphere, and a surprising knack for melody. Top tracks: Libertine Dissolves; Exit: Denied; Daedalus

36. Sleigh Bells - 'Treats'

Sleigh Bells are about the loudest motherfuckers in the pop scene. Probably ever. With ex-Poison The Well guitarist Derek Miller manning the instrumentation, huge metal guitars and loud-as-fuck beats back Alexis Krauss' sweet-as-sugar delivery. Her voice is soft and sensual, a shining example of early-00s-era pop if ever there was one, but Miller's insane, hard-ass instrumentation takes it way beyond that, be it with a massive drum hit or a ridiculous metallic riff. This is not an album for anyone who is looking for an easy ride or something emotionally evocative, it's simply for someone looking for some creative, loud fun. And for that, it does amazingly. Top tracks: Tell 'Em; Infinity Guitars; Riot Rhythm

35. Sister Crayon - ‘Enter Into Holy (Or)ders’

Sister Crayon have been about as ambiguous as possible about this release, supplying contradicting accounts of its title, availability, artwork, and even its existence, but it doesn't even matter. This shit RULES. Delicately walking the line between trip-hop, dream pop, and something else entirely, Sister Crayon have created an absolutely beautiful EP, combining tasteful minimalist instrumentals, downtempo beats, and lush female vocals, they have proven (as has James Blake) that they will be ones to watch once their full-length drops this year. Top tracks: Thief-Boxer, Asleep; Here We Never Die; (in) Reverse

34. The Republic Of Wolves - 'Varuna'

For the first 16 seconds of 'Varuna,' I was uncertain about it. I didn't bother to read any reviews, instead choosing to go into The Republic Of Wolves' debut album not having any idea what to expect. And for 16 seconds, I thought I might just not care, and that would be 60 megabytes of space I wouldn't have to free up on my iPod. But then second number 17 hit, and oh man, did my mind change fast. That lead guitar line, those drums, that massive bass, it all just EXPLODES in such a perfect way. And the album doesn't let up from there. Sure, it calms down after the first track, but that 'Oh my god, this is REAL' feeling doesn't ever fade. The fact that their first EP was mistaken for the demos for Brand New's 'Daisy' pretty much tells you all you need to know, as this album is pretty much perfectly described as Devil And God-era Brand New mixed with Come Now Sleep-era As Cities Burn, but if you've listened to either of those bands, you'll know that basically means that it doesn't matter if this album is mildly derivative, it's also AMAZING, and that's what's important here. Top tracks: Varuna; Tuez Le Tous, Dieu Reconnaitra Les Siens; Oarsman

33. Women - ‘Public Strain’

'Public Strain' is pretty fucking obtuse, as far as it goes. Utilizing a production style that's somewhere between shoegaze and drone-doom, this album is often drumless, occasionally melody-less, and almost always lacks anything to hold on to in the mass of swirling atmospheric guitars and feedback. While the lovely post-punk styled vocals offer a little consolation that yes, this is still music with a purpose, that's about the only thing you can get a grip of through the entirety of Women's debut. Everything else is held behind a mass of feedback and guitars, a la My Bloody Valentine's 'Loveless,' and it's just wonderful in that. The album does offer a bit more form in some moments (Heat Distraction) and a bit less in others (Can't You See), but just about every second is evocative, creative, and enjoyable. Top tracks: Eyesore; Can't You See; Untogether

32. M.I.A. - '/\/\ /\ Y /\'

What the FUCK, M.I.A.? What the fuck did you DO? 'Arular' and 'Kala' made sense. They were enjoyable hip-hop pop with a notable desire to show off your cultural roots, but they were accessible, tasteful, and relaxed. Instead, your third album is maddening, loud, scary, obnoxious, noisy, filthy, and just about everything 'Arular' and 'Kala' weren't. From the cover art to the title to the production to the vocals and everything in between, '/\/\ /\ Y /\' is out to drive you crazy. M.I.A. sounds brutal, furious, and important (and she knows it) through just about every single song on the album, from the defiant moments (her pissed-off statement that 'You know who I am, and I run this fucking club') to the insane ('I got sticky sticky ikky ikky wiiiiiiid, I got a shot of teqkilla in me'). These songs are both personal and political, in ways we can't quite even comprehend yet, but it's there, beneath the drunken yelling and the loud-as-fuck production, M.I.A. lurks, just waiting to show what she is truly capable of. And this album, this monster, this masterpiece--it's all her. Top tracks: Teqkilla; XXXO; Lovalot

31. More Than Life - 'Love Let Me Go'

More Than Life carefully walk the line between emo and hardcore, making gut-wrenching statements between guitar stabs and shrieks. They are powerful and vital, but never quite atmospheric enough to be emo nor angry enough to be hardcore, but it doesn't really matter. The fact is, 'Love Let Me Go' is one of the best hardcore albums I have heard in years, and what else do you need to know? That title says it all. This album is heartbreaking, but it's also essential. Top tracks: Curtains Closing; Scarlet Skyline; Love Let Me Go

30. Sed Non Satiata - ‘Sed Non Satiata’

Sed Non Satiata have always been one of my favourite emo bands, and in my mind, they are at the forefront of the emo-post-rock genre, along with peers like Daïtro, Funeral Diner, and Mesa Verde. Their debut full-length was pretty amazing, the way it combined post-rock build-ups with huge emo crescendos, but when they dropped their second, self-titled album, I was floored, to say the least. Working significantly more melody into their sound, Sed Non Satiata have increased all of the power that was on display on their previous effort, in addition to adding the melody and consistency that was lacking. If Sed Non Satiata keep getting better at this rate, they'll be the best band in the genre pretty soon. Top tracks: L'arrache Cœur; Entre Les Mots; Les Colonnes De Soie

29. Baths - ‘Cerulean’

Baths took me awhile, not just because for the first few months that I knew about his work, I had the piece of shit bootleg version of his album. But once I got the real deal, it pretty much clicked immediately. His high-pitched vocals, wonderful beats, and beautiful keys flow together perfectly, whether it's a warped pop tune like 'You're My Reason To Travel,' or a beautiful piano piece like '♥,' Baths hits the spot with wonderful, intimate music that's about as original as it gets. It's been argued that this album is tragic, and others will tell you that it's absolutely blissful, but either way, it's pretty hard to deny how much emotion is in this album, and no matter what emotion that happens to be, it will effect you like little else can. Top tracks: Lovely Bloodflow; ♥; Aminals

28. The Gaslight Anthem - 'American Slang'

No one who knows me should be surprised to see this here. I have always been the first to tell anyone who will listen that The Gaslight Anthem's second album, 'The '59 Sound,' is one of the greatest records of all time, and I stand by that statement. With their sophomore effort, The Gaslight Anthem crafted an incredible statement to simple American life, telling beautiful stories reminiscient of 'American Graffiti' if it was absolutely tragic, with Brian Fallon's heartbreaking, Springsteen-emulating voice fronting the whole lot through pure, energetic rock'n'roll. So really, the only surprise about 'American Slang' is that they managed to do it again. Not only did The Gaslight Anthem not disappoint, they may have even topped their previous masterpiece, amping up the emotion, lyrical storytelling, and energy ten times. Don't miss this. It's just amazing. Top tracks: We Did It When We Were Young; The Queen Of Lower Chelsea; American Slang

27. World's End Girlfriend - 'Seven Idiots'

I wish I could tell you what the hell happened to World's End Girlfriend. For years, he has been a fantastic Japanese post-rock artist, making fairly different post-rock (a feat in its own rite, considering how generic most members of the genre are), utilizing all types of instruments (both organic and electronic) to achieve calm build-ups to massive, gorgeous climaxes. Just look at his last album, 'Hurtbreak Wonderland' or his collaboration with fellow Japanese post-rockers Mono to see what he used to be like. But somewhere in the last year or so, something changed. Something BIG changed. 'Seven Idiots' is the antithesis to everything that post-rock is or was--crazy guitar lines jump to fast keyboard parts jump to straight pop beats jump to noodly distorted saxophone parts and back to the guitar. It's almost impossible to keep track of this album; it just changes too much. It's about as sporadic as music gets, switching styles the second it gets bored, never really sticking around long enough to deliver a build-up or climax at all; this whole album is just one amazing, over-long climax. Oh, and did I forget to mention how it was written? World's End Girlfriend wrote and recorded vocal melodies, then came up with the instrumentals to go along with them in-studio by listening to his recorded vocal parts. Then he recorded those crazy instrumentals, and removed the vocals. Yeah. Top tracks: Ulysses Gazer; Bohemian Purgatory Part.2; Les Enfants Du Paradis

26. Lone Wolf - 'The Devil And I'

Paul Marshall is perfect. I stand by this statement. The way his beautiful voice weaves in with his complex instrumentation is nothing short of stunning, and from the first SECOND of his debut full-length under the Lone Wolf moniker, I was in love. The way that This Is War opens up with his beautiful vocals and powerful lyrics over simple keyboards before bringing in massive drums, glorious horns, guitars, and more is pretty much jaw-dropping, and the album manages to never fall short of the lofty expectations the opening tracks sets for it, from the simple guitar-and-drums tracks to the more ornate ones to the sparsely acoustic, just about every moment of 'The Devil And I' is surprising and wonderful. Top tracks: This Is War; Keep Your Eyes On The Road; We Could Use Your Blood

25. Her Name Is Calla - 'The Quiet Lamb'

Her Name Is Calla's debut album puts a fairly new spin on the stale genre of post-rock. And although I said something very similar about World's End Girlfriend above, it holds true. After all, in order to actually get noticed in the genre of post-rock, you have to either be doing something REALLY different (like World's End Girlfriend, Her Name Is Calla, Worriedaboutsatan, and a choice few others), or you have to be Godspeed You! Black Emperor. Otherwise, you just sink into the wash of EVERY OTHER POST-ROCK BAND EVER. But Her Name Is Calla succeed, in a huge way. This is not your traditional wandering-guitar-line-for-10-minutes-builds-up-to-a-huge-crescendo post-rock. In fact, only one song on the album breaks the 10-minute mark, the 17-minute epic Condor And River. There are a few build-ups to massive crescendoes, but this album is far more focused on the little things. And ambient noise here, a folky guitar line and a soft vocal melody there. This is the sound of a band who know EXACTLY what they want, and they drive for it no matter what the odds. This is not accessible to anyone who doesn't already listen to somewhat experimental music, and it is not something that your average post-rock nut will really get into, but Her Name Is Calla do. Not. Care. This album feels like it's what they were simply born to do, and they will not let up, even if it doesn't sell a single copy. Go ahead. Try to get through it without feeling moved to tears by the end. I dare you. Top tracks: Pour More Oil; Condor And River; A Blood Promise

24. Big Boi - ‘Sir Lucious Left Foot: The Son Of Chico Dusty’

Oh man, Big Boi. You really went and did it this time around, didn't you? Everyone loved your work in OutKast. Hell, you had multiple platinum records before this decade was even half over. But you just had to go and show up all your past output, didn't you? You wouldn't settle for your first solo outing being awesome, it had to be absolutely perfect, didn't it? Well, I commend you, good sir. You succeeded. As one fine reviewer once said, your album is smart music for dumb people. You can enjoy it on such a basic 'holy shit this is so catchy and funky and fun' level, but you can also appreciate it on such a deeper level, analyzing it and just being amazed. I wish I knew what else to say about this album. If you like rap, you'll love this. Even if you hate rap, pop, or any of the affiliated genres, you will LOVE. THIS. ALBUM. Because, honestly, it's just that good. Top tracks: Fo Yo Sorrows; Be Still; Turns Me On

23. Kids & Explosions - ‘Shit Computer’

It's pretty hard to read a review of Kids & Explosions' first record without seeing comparisons to Girl Talk. It's also pretty hard not to be deeply insulted by said comparisons. Girl Talk works on some pretty enjoyable, fun mash-ups of just about every song you know, and then some. He makes ass-shakers, mixes that are for dancing and playing find-the-sample with. But it's just about as surface-level as music can get. Sure, it's fun and it's certainly impressive, but there's nothing behind it. At all. Kids & Explosions is just about the opposite. This is not danceable. This is not fun. This is not accessible, the samples are only recognizable about half the time, and there is literally only one legitimately coherent 'song' on the entire record, although it is about the most powerful song out there, what with Kids & Explosions mixing Sigur Rós' Untitled #1 (Vaka) with The Notorious B.I.G.'s Suicidal Thoughts, to create pretty much the ultimate heartbreak-cocktail. But besides that track, he pretty much makes messy mashed-up hip-hop, with a huge statement of I Just Don't Give A Fuck. The way that he keeps the original instrumental tracks to every line in Swear Words to create its own stuttering beat, to the way that just about every track doesn't allow for more than five seconds of each line before switching to something totally different, this is an absolute masterpiece, and is what everyone trying to make this kind of music should look up to. So fuck Girl Talk. Get this, and never look back. Top tracks: There Is A Burning Ball Of Fire In Outer Space; Swear Words; Everything

22. Coheed & Cambria - 'Year Of The Black Rainbow'

Naysayers will complain about Claudio Sanchez's high pitched vocals, the band's cheesy prog tendencies, their overblown sense of 'epic,' or just the fact that this album isn't 'The Second Stage Turbine Blade.' But the fact is, Coheed & Cambria have not written a bad song in their entire span as a band (although they do fall into that unfortunate habit of releasing their worst songs as singles), and 'Year Of The Black Rainbow,' while admittadly quite different from their past output, deserves to stand tall with their other four albums. The prelude to the huge concept series their previous albums followed, this album fittedly builds and churns, never quite delivering the epic climaxes we got on their last album, the finale of the whole series, but instead does exactly what a prologue should: it sets the stage, it doesn't overstay its welcome, it doesn't really have a definitive ending, it simply IS. And while a lot of people fault the album (and specifically the closing title track) for that, I think they're missing the point--this is not supposed to be the huge, ten-minute-songs-with-choirs Coheed we got to know on their last few releases. This is a claustrophobic, beginning-of-the-end-of-the-world, build up to what the rest of their albums are. And for both their sense of restraint and ability to thoroughly give an album a purpose and stick to it while still creating an excellent work of art, I commend this wonderful band. I only hope they continue making music now that their five-part concept series is complete. Top tracks: The Black Rainbow; Pearl Of The Stars; The Broken

21. Harvey Milk - 'A Small Turn Of Human Kindness'

Harvey Milk have been declared the manliest band to ever be named after a gay politician, and I'd have to say that's probably a pretty damn accurate statement. Out of tune, gravelly vocals, sludgy, distorted guitars, heavy-as-fuck bass, and slow, brutal drums, when they go for it, they go for it all. Despite their vaguely self-deprecating humour and prime sense of irony, their music has always been distinctly serious. While their first two albums were sludgy and slow as shit, the next couple they made were fast, southern, riffy and fun. Their 2008 effort, 'Life...The Best Game In Town,' perfectly combined these two sentiments, but with 'A Small Turn Of Human Kindness,' the sludge is back in full force. This album is huge, slow, and tragic, and while it certainly isn't funeral doom, it captures some pretty similar sentiments. The sorrow and loneliness in the music is unparalleled, and Harvey Milk know it. They don't have any need for in-tune singing, or probably even practicing or multiple studio takes. They simply play from the heart, and it shows. And I, personally, am pretty much floored by it. Top tracks: I Did Not Call Out; I Know This Is All My Fault; I Am Sick Of All This Too

20. Titus Andronicus - 'The Monitor'

The way I describe Titus Andronicus to my friends has changed three or four times since I first heard 'The Monitor,' their absolutely stunning sophomore record. At first, I just called them 'the best fucking driving music ever.' Then I decided to refer to them as 'just really fun, raw guitar rock.' When that wasn't quite accurate enough, I called them 'a lo-fi Gaslight Anthem with Conor Oberst singing.' But I finally settled on simply 'the rawest shit you'll ever hear.' Because honestly, there isn't really another description for this. Driving drums, loud guitar, and raw-as-fuck vocals combine to make one of the most impressive records of 2010. The emotion is abundant and presented through an incredible filter of drunken nostalgia, with some of the most powerfully self-loathing lyrics out there. I mean, what other album could make you feel so jubilant when you join in to sing along with the crowd of voices telling you that 'You will always be a loser!' Or what about how celebratory the screams that 'tramps like us, baby we were born to die!' are? This album is a celebration of everything you hate about yourself, and it's just magnificent in this mire. Top tracks: A More Perfect Union; No Future Part Three: Escape From No Future; The Battle Of Hampton Roads

19. Bring Me The Horizon - ‘There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret.’

Scoff if you like, but this is not the Bring Me The Horizon of yesteryear. This is not the boys who brought you the immature faux-anger of lines like 'the sun goes down, and so does she.' Nor is it the kids who gave you such moronic lyrics as 'party till you pass out, drink till you're dead, dance all night till you can't feel your legs.' Nope. This is new, this is different, this is music that actually MATTERS. Bring Me The Horizon have widened their worldview, both lyrically and musically, working in themes of life, death, and our place in the world, and working in a sound roughly 200x more complex and powerful than their previous output even IMPLIED they could do. Working in softer moments, female vocals, melody, post-rock influence, polyrhythmical breakdowns, choirs, and electronics (courtesy of production-genius Skrillex), Bring Me The Horizon have finally proven themselves. Just listen to the glitching electronics of Crucify Me, the post-rock guitars and huge breakdowns of It Never Ends, the gut-wrenching emotion of Don't Go or Blessed With A Curse, or the fury of The Fox And The Wolf, and it becomes pretty clear that this is a band who are capable of huge things. You just gotta give em the chance. Top tracks: It Never Ends; Crucify Me; Blessed With A Curse

18. The Knife - ‘Tomorrow, In A Year’

'Tomorrow, In A Year' is literally born out of nothing. Beginning with almost four minutes of minute electronic noises in the background, The Knife and cohorts make it very clear that this will not be an easy listen, and the faint of heart had better back the fuck out right now. This double album is a concept opera about Darwin's book on evolution and the creation of species. Not kidding. If you think that description makes this album sound pretentious and overbloated, you have NO idea. The first disc of this album is literally operatic soprano vocals over pure electronic noise for almost an hour. But oh man, once it all comes together in album centrepiece Colouring Of Pigeons, you won't ever look back. Yeah, it takes awhile to hit that payoff, but every second contributes to how powerful the whole thing is. If you like experimental music, this is simply not something you can pass up. Top tracks: Colouring Of Pigeons; Tomorrow, In A Year; Seeds

17. Janelle Monáe - 'The Archandroid (Suites II And III)'

Have you ever thought that you or someone you know is cool? Well, Janelle Monáe is here to change your mind. One look at her and you realize--no one you ever meet will ever be a tenth as cool or classy as this woman. Between her crazy hair, stylish tuxedoes and dance shoes, crazy dance moves, glorious voice and brilliant song-writing, Janelle is set to take over the world with her brand of R&B-infused indie pop. 'The ArchAndroid (Suites II And III)' gives us the second and third parts of Ms. Monáe's planned four-part concept series (the first part being her EP released a few years ago) about an android who is scheduled to get shut down for falling in love with a human, but then leads a robot rebellion against the people of the metropolis. Yeah, it's that ridiculous. But damn does she pull it off. With a massive list of guest contributors from Of Montreal to Big Boi, Janelle makes every person and every genre of music (from classical to pop to soul to dancehall) have its place. And whether it's over fast-paced dance numbers or soothing crooners, Janelle's smooth, soulful voice guides every moment of this album to perfection. Top tracks: Tightrope; Cold War; BaBopByeYa

16. Trophy Scars - ‘Darkness, Oh Hell’

When I picked up Trophy Scars' latest EP/mini-album, I was quite surprised. I hadn't listened to the band since their seminal 'Hospital Music For The Aesthetics Of Language' EP way back when. Back in those days, they were a spastic, fun, tongue-in-cheek hardcore band. Somewhere between then and now, they morphed into the post-hardcore equivalent of Tom Waits--gruff vocals, bar-brawl guitars, the works. And while the vocals may take a little getting used to, but the payoff for sticking it out past the initial confusion is definitely worth it. This record is a drunken stagger through seedy bars, starting with fun, moving to rage, and finally settling on depression. It's kinda hard to know what to say about this record, to be honest. The magic of it is something that's honestly kind of intangible, it's just there and you have to hear it to understand. Don't pass it up. Worst comes to worst, you only wasted a half-hour of your life. But chances are, given the chance, you'll love this. Cuz it's pretty much just amazing. Top tracks: Time In Heaven, Forever In Hell; Nausea; Sad Stanley

15. Planning For Burial - 'Leaving'

Planning For Burial's first album isn't quite post-rock. I mean, I don't know what else to call it, but it isn't quite post-rock. Maybe Enemies List Home Recordings should just have their own genre, because I never quite know what to call their artists. But no matter what 'Leaving' isn't-quite, it definitively IS a tour-de-force of majestic, sweeping instrumentals, soothing vocals, feedback-laced guitar stabs, explosive drums, and everything in between. The whole thing is very ethereal and dreamlike, as it kind of floats along from one idea to the next, confident but never over-indulgent. At times it can be a home to slow burning soft bass and drums, while at others it houses terrifying, forceful piano and violently distorted guitars. An album of this quality would be the ultimate creative high-water mark for any band, but coming as the home-recorded debut from a complete unknow, it's so far beyond impressive that it moves straight from 'really good' to 'instant classic' Just don't miss this one. Top tracks: Memories You'll Never Feel Again; Being A Teenager And The Awkwardness Of Backseat Sex; Seasons Change So Slowly

14. The Saddest Landscape - ‘You Will Not Survive’

Every year I get a little bummed and start thinking that the emo genre has finally petered out. I look back, and I see all my favourite releases in the genre (albums from bands like Gospel, Circle Takes The Square, Mesa Verde, etc.) are years behind me. And every year, someone pulls through and releases an album that restores all my faith in the genre to keep on keeping on for years to come. And in 2010, The Saddest Landscape were that band. Oh man, they were that band. 'You Will Not Survive' is by far one of the best albums to be relased in the emotional hardcore genre. Raw vocals, powerful lyrics, creative guitarwork, it has everything a good emo record should have. The Saddest Landscape write blogs about their favourite recently-purchased vinyls at the same time that they write beautifully poetic lyrics about the sorrow built up inside them. They're everything you want to be, but they do it better in every way. The end all be all is, The Saddest Landscape are brilliant, and this is among the best emotional hardcore ever made. Top tracks: Imperfect But Ours; From All Of Those...; So Lightly Thrown

13 My Epic - ‘Yet’

'Yet' was originally much, much higher on this list, but a few artists decided that they just had to crowd their way back into my consciousness at the last minute, so My Epic's powerful second album got pushed back to number 13. Which is a shame, because in any other year, it would be easily in the top five--2010 was just a little TOO awesome. But My Epic's brand of post-hardcore works in elements of bands like Brand New, Thrice, and As Cities Burn, both musically and lyrically, while retaining a completely original sound. From the intensity of Pour to the gorgeous, soaring finale to Lower Still, 'Yet' is an album full of breathtaking moments, and notably devoid of fluff. My Epic pump a sense of tragedy into their massive works, creating music that thoroughly hides the fact that it is only made by three musicians. The lovely vocals, brilliant lyrics, and supremely capable instrumentation makes this one of the best post-hardcore albums out there. Don't miss out. Top tracks: Lower Still; Pour; Further Up/Futher In

12. Circa Survive - 'Blue Sky Noise'

Circa Survive have always been one tiny step away from absolute perfection. 'Juturna' was experimental, intense, and impressive, but lacked much staying power, and the songs all kind of blended together. 'On Letting Go,' on the other hand, worked in the catchiness, but sacrificed some of the emotion and creativity from their debut. 'Blue Sky Noise' fixes all these issues, and then some. This album is at once creative, catchy, experimental, powerful, loud, quiet, driving, and emotionally intense. The musicians have finally moved from being 'Anthony Green's back-up players' tp impressive and talented creators on their own right, working in wonderful guitar leads, heavy bass, and complex drumming, all helmed by Anthony Green's high, insane voice. Whether it's the sorrowful I Felt Free or the vicious Get Out, every member is always playing to the best of their ability and never fails to impress. In fact, this whole album is pretty much just the most impressive thing to come out of its scene these days. Don't miss out. Top Tracks: Glass Arrows; Get Out; Frozen Creek

11. How to Dress Well - ‘Love Remains’

Tom Krell is a tortured genius. 'Love Remains' is the 'For Emma, Forever Ago' of the modern day. Now, that statement may seem a bit ridiculous, considering that Bon Iver's masterwork was only just released in 2007, but in the three years since said album dropped, the world has seen a blooming in high-vocalled Passion Pit-style indie pop, an emergence of dubstep into the popular consciousness, and basically a general resurgence of electronic music into the indie world. What this means for How To Dress Well's debut full length is that Tom Krell takes the blueprint Justin Vernon set of gorgeous atmospherics with layered, sorrowful, high-pitched, soulful, ethereal vocals, and applied it to the electronic world. Although the lonesome, incorporeal, wintery vibe of Bon Iver's work is heavily present, the acoustic guitars have been replaced with dense synths, and the thumping drums have been switched out for subtle beats. Mixing in elements of the aforementioned Bon Iver along with influences as far reaching as Justin Timberlake, Animal Collective, and Burial, How To Dress Well has created a masterful debut in 'Love Remains,' which is absolutely not to be missed. Top tracks: Ready For The World; You Won't Need Me Where I'm Goin'; Walking This Dumb (Live)

10. Sufjan Stevens - ‘The Age Of Adz’

Sufjan's appearance on this list twice is no accident. In fact, it should have been expected that once the prolific art started making his first original music since 2005, he would blow my socks off not once, but twice. However, as always, Sufjan can't sit still, even in the period of a year. While the first record he released this year was an experimental and massive take on the rock genre, 'The Age Of Adz' is primarily based in electronica, of all things. Those of you who have looked into Sufjan's extensive back-catalogue will not be completely caught off-guard by this change for the indie-folk artist, but it's still pretty surprising. Even more surprising is how he took such an admittedly impersonal genre and crafted his most personal album yet. Shile 'Illinois' and 'Michigan' wove gorgeous, heart-breaking stories of the inhabitants of the world (and I do still hold 'Michigan' as his best effort thus far), 'The Age Of Adz' is finally the first time that The Great Storyteller Sufjan tells of himself. Gone are the tales of men losing their jobs and wives, stories of friends with bone cancer or the boys murdered by John Wayne Gacy Jr. In their place are scattered, paranoid stories of a man breaking down, losing his mind, and trying to find hope, despite both physical and mental disorder. Ending with a massive 25-minute piece about the search for hope, 'The Age Of Adz' is not to be taken lightly. However, the real show-stealer is the six-minute mental breakdown that is I Want To Be Well, coalescing in possibly one of the greatest climaxes of musical history, with Sufjan wailing that no, in fact, he is most definitely not fucking around. And I couldn't love it more. Top tracks: I Want To Be Well; Futile Devices; Impossible Soul

9. Joanna Newsom - ‘Have One On Me’

I've always vaguely appreciated Ms. Newsom from afar. 'The Milk-Eyed Mender' was mildly enjoyable, but damn was it cool to see a modern artist utilizing the harp, of all things. Then she released 'Ys' a few years ago, and while I was thoroughly impressed by the scope of the album, it was still such a DIFFICULT listen. I mean, I have nothing against long songs, but these were sixteen-minute pieces that just didn't GO anywhere. And you had her weird-ass voice on top of that. So when she dropped 'Have One On Me,' I assumed that I would pretty much think of it as just alright, yet again. Oh boy, was I wrong. My primary objection to 'Ys' was that it was just TOO big, and on the surface, 'Have One On Me' does absolutely NOTHING to fix that problem. Instead of shortening song lengths and introducing a more familiar song structure, it gives you a sprawling three-disc album with 18 tracks, none of which follow a conventional structure, and by just the second track of the album, you're already wading through double-digit song lengths. But there's something absolutely magical about this album. Maybe it's that Joanna Newsom voice is finally enjoyable to listen to, maybe it's that she finally figured out how to really emotionally invest her listeners, or maybe it's simply how huge this album really IS, but you never ever want it to stop. After I finished my initial two-hour-four-minute listen, I turned around, grabbed the first record, and started over, because I just didn't want to come to terms with the fact that such a perfect album even HAD an end. So I guess all I can say is, forget your hesitations and go for it, because this album is sure to blow you away. Top tracks: '81; In California; Occident

8. letlive. - 'Fake History'

Post-hardcore has always been one of the genres I listened to most, and as anyone will tell you, Glassjaw are the heroes of the genre. Mixing furious screams, catchy melodies, and a million different vocal styles into their take on anger and hurt, Glassjaw built an empire with just two albums, and haven't put out a full-length since 2002. And while the post-hardcore world has been mourning the loss of Glassjaw for quite awhile now, letlive. have quietly come in and stolen that throne. 'Fake History' successfully builds off of the blueprint left by Glassjaw's debut album, working in influences of bands like Coheed & Cambria along the way. The instrumentals are heavy-hitting and powerful, but the real show-stealer is the vocals, ranging from frenetic shrieks to beautiful melodies, and everything in between. Supplemented by some of the most well-written and gut-wrenching lyrics out there (listen to Muther without being moved, I dare you), letlive.'s 'Fake History' is a masterpiece of massive proportions, which should not be missed for any reason. Top tracks: Muther; The Sick, Sick, 6.8 Billion; Homeless Jazz

7. kanYe West - ‘My Beautiful Dark Twisted Fantasy’

Anyone who hasn't listened to this album will probably scoff at my choice of putting kanYe West on my list at all, let alone all the way up at number seven. And honestly, that makes sense. Mr. West is a douchebag, in every sense of the word. He is pretentious beyond comprehension, lacks foresight or control over his actions, and has a huge messiah complex. But what the nay-sayers forget is that none of that matters in the context of the music. And a lot of people will say 'well yeah, I've heard the shit that made kanYe famous,' but they're missing the point--that was then, this is now. This is not the kanYe who wrote Gold Digger, using simple beats and catchy choruses to rap about bitches and money. This is not the kanYe who wrote Love Lockdown either, using minimalist production and autotune to sing about heartbreak. No, this is a completely new man, singing about himself and nothing else, using every production trick in the book (including some you've probably never even heard before) to create one of the hugest albums I've ever heard. The scope of this album is just ridiculous, with guest vocalists ranging from Nicki Minaj to Jay-Z to Bon Iver, and instrumentations ranging from simple drum machines to french horns, kanYe has created a pretty much perfect album. And while those who haven't heard it will scoff, those who have will know exactly why it's here. Top tracks: Monster; Lost In The World; All Of The Lights

6. Make Do And Mend - 'End Measured Mile'

Lately, I can't say enough good about Make Do And Mend. If you ask me to reccomend you a post-hardcore album, I'll tell you to check out 'End Measured Mile.' If you ask me for a good pop-punk album, I will tell you to get 'End Measured Mile.' Hell, if you asked me for a good dubstep album, I would probably tell you to get 'End Measured Mile,' just because I fucking need everyone I know to hear this album so that I won't be the only one gushing about it like nothing else ever mattered. In fact, the only reason this isn't even higher on this list is because I know this band can do even better. The next album Make Do And Mend release will be the album of the year on just about every list anyone makes, if I can help it, if their debut full-length is any indicator of what they're capable of. Because 'End Measured Mile' is just that good. Rough-as-hell vocals, inspiring heart-on-your-sleeve lyrics, catchy choruses, and perfectly scored instrumentation backs an absolutely stunning marriage of pop-puk and post-hardcore, creating one of the most emotionally weighty, yet unbelievably catchy, records I've heard in years. So let's hope their future is even brighter. Top tracks: Stand/Stagger; Thanks; Firewater

5. The Tallest Man On Earth - 'The Wild Hunt'

Did anyone really think this wouldn't be here? It's the fucking Tallest Man On Earth. Have you not heard me jizz all over everything he's ever done? This man is everything folk music should be. Immediate, powerful, evocative, and universal, Matsson's glorious voice works its way through ten more wonderful songs. Although his sound hasn't changed much (read: at all), it doesn't even matter. The Tallest Man On Earth's unique voice soars over sublime acoustic guitars to offer some of the most simple, yet successful, music out there. Plus, Burdern Of Tomorrow is just about the best song in the genre. What else can I really say? This fucking rules. Go get it. Now. Top tracks: Burden Of Tomorrow; Troubles Will Be Gone; The Wild Hunt

4. Skrillex - ‘Scary Monsters and Nice Sprites’

When Sonny Moore left his dark post-hardcore band From First To Last right after penning their epic second album, 'Heroine,' the future for both Sonny and the bandhe left behind looked pretty dim. And while From First To Last have flopped around like a dying fish after losing their enigmatic singer, Sonny has gone on to make some of the best electronic music out there. After releasing the just-okay 'Gypsyhook' EP under his first name, he decided to start using the Skrillex moniker, creating and remixing electronica for anyone who would listen. His first EP as Skrillex, 'My Name Is Skrillex' was pretty thoroughly enjoyable, but upon the release of 'Scary Monsters And Nice Sprites,' he thoroughly proved his ability as a producer. His tracks jump from electropop to dubstep at the slightest provocation, and he works all sides of the spectrum beautifully. Rock And Roll (Will Take You To The Mountain), With You, Friends (Long Drive), and All I Ask Of You offer up smooth, emotional electropop, while Scatta and Kill Everybody give you huge dubstep tracks with the biggest drops out there. But the albums true highlight is the title track, working in every element of Skrillex's sound, from the gorgeous synth melodies to the evocative chopped-up vocals and the massive bass drops, it pretty much has everything you could ask for in an electronic song. In fact, that's how I feel about this album--it's simply everything you could ask for from fun electronica. Top tracks: Scary Monsters And Nice Sprites; With You, Friends (Long Drive); Scatta

3. Deftones - ‘Diamond Eyes'

Deftones have always kind of evaded description for me. Their mix of chunky metal riffs and gorgeous, soft vocals has always moved me in a big way, but I've never quite been able to pinpoint why. Plenty of bands have done the loud-guitars-soaring-vocals thing, but man, there's just something about Chino Moreno's voice that raises everything to a whole other level and is just impossible to describe. He works in emotions that barely even make sense, and evokes a power like no one else, backed by one of the most effective bands out there. Anyone and everyone will tell you that 'White Pony' was one of the best albums made, but the truth is, with 'Diamond Eyes,' Deftones have topped their own masterpiece. The way Chino's vocals soar during the chorus of You've Seen The Butcher is like nothing else, and that feeling of immense power that you just can't quite grasp continues through the whole album, defying description but inspiring like no other. Top tracks: You've Seen The Butcher; CMND/CTRL; Sextape

2. Crystal Castles - ‘Crystal Castles’

Crystal Castles' first album was really good. It had quite a few remarkable tracks, and Alice Glass' violent vocals backed up Ethan Kath's glorious, sorrowful production perfectly. But it was too scattered. Only a few songs had real staying power, Alice Glass annoyed just as often as she impressed, and Ethan Kath didn't seem to know when to cut down on the electronic wankery. So when the duo announced that their second record would be self-titled AGAIN, a lot of fans thought it was time to just accept that they would always be pretentious occasional-geniuses. Boy, were they wrong. Crystal Castles' second self-titled album is brilliantly produced, and emotional in all the ways that their first album tried to be. It's consistent, creative, and rarely annoys (except for when it's trying to). But above all else, it makes you feel so many emotions, from the tragedy of Not In Love to the anger of Vietnam, the sensuality of Intimate to the claustrophobia of Violent Dreams, just about every second of this album is perfect. If you somehow don't have this already, it's worth every second. Top tracks: Violent Dreams; Vietnam; Not In Love

1. Underoath - ‘Ø (Disambiguation)’

Underoath are the unappreciated geniuses of the metalcore world. Yes, they spent a few years creating overproduced, whiny post-hardcore for the masses (even a hardcore Underoath fan like myself will admit that 'They're Only Chasing Safety' was pretty embarassing, despite the fact that I enjoy it). Yes, they are Christian. Yes, they do mix electronics and melodic choruses into their brand of metalcore. But what people miss when talking about Underoath is that their last three albums have also, in addition to all these so-called faults, been perfect. After their awkward transition into having a new lead vocalist on 'They're Only Chasing Safety,' they put out two of the best albums in the genre. 'Define The Great Line' and 'Lost In The Sound Of Separation' were huge, dark, and menacing. Drummer Aaron Gillespie's clean vocals were fitting, if a bit whiny, but his drumming was creative and impressive. Their instrumentation was at times simple, at times very dense, but always different from anything you had heard before. Their keyboardist added some of the most fantastic atmospherics to their music, without ever being intrusive or even very noticable, and their production was absolutely fantastic. And it was all helmed by Spencer Chamberlain's terrifying scream. Ranging from high shrieks to rumbling shouts of anger, his vocals were impressive, varied, and packed with unparalleled emotion. The lyrics used the band's Christian outlook to take a large-scale view of humanity, and rather than talking about Jesus, asked questions about our purpose in the world, and the choices humanity is taking as a whole. But once drummer/clean singer/sole remaining founding member Aaron Gillespie announced his departure from the band, it was hard to know what they would be like from there. Hiring ex-Norma Jean skinsman Daniel Davison to man their drums (which he does so brilliantly, by the way), the band released 'Ø (Disambiguation)' as their first album with Spencer Chamberlain taking over both clean and harsh vocal duties, and oh man, does he ever do a good job. Unlike Aaron Gillespie's whiny, melodic yelp, Spencer's clean vocals are raw, violent, and intense, offering up pretty much everything the band was missing. His screams are as vicious and powerful as ever, and his cleans propel the band into a whole new territory, as they slow their sound down and present a sludgy, ambitious, and highly atmospheric album which pretty much destroys everything released in the genre before. The way that Paper Lung transitions from a smooth, Deftones-styled number into a brutal metal track is impressive beyond belief, and the churning electronics beneath tracks like In Division and Driftwood add a wonderful element of claustrophobia, which is only exacerbated by the huge feedback stabs in the epic finale of In Completion. Basically, this is one of the best albums of all time, and while you may laugh at Underoath taking my number one spot right now, wait until you hear this beast. You won't come out unimpressed. Top tracks: In Completion; Paper Lung; In Division