For the Record – Top 10 Albums of 2010

Writing a top ten of 2010 makes me feel like a character straight from High Fidelity. My favorite ten albums of 2010 are…



10) White Denim — Last Day of Summer

White Denim surprised me with their latest (and free!) release. The band explains that the collection of songs is just “something we made as a little summer retreat from our ongoing work.” No big deal. The album features the jazzy cacophony from their previous work, but Last Day of Summer is definitely more jammy and loose than anything they’ve put out so far. I like the vibe. Check out the Byrds-esque guitar strums of the soft-rocker “If You’re Changing” and the true free-form whirlwind of “Tony Fatti.”



9) Surfer Blood — Astro Coast

Young Floridian band Surfer Blood proclaimed the return of 90’s guitar rock on their debut Astrocoast. The album features some awesome melodic guitar riffs (check out “Floating Vibes”) that will resonate with all Weezer fans. The hit from the album, “Swim,” is the noisiest song on the album, with drowned vocals and an assured barre chord progression. Long live rock ‘n’ roll!



8) The Morning Benders — Big Echo

The Morning Benders went for that big wall-of-sound style in 2010. Frontman Chris Chu, when speaking about the lead track “Excuses,” explains that he was inspired by the production techniques of Phil Spector – the innovator and master of wall-of-sound. The result is a sweeping, timeless chamber pop record that appeals to fans of Grizzly Bear. In fact, Chris Taylor, the bassist of Grizzly Bear, has a production credit on the album, and his presence is especially evident in songs like “Hand Me Downs,” which features the guitar effects commonly used by Grizzly Bear member Daniel Rossen. At times highly stylized while at others utilizing a more classic song structure, Big Echo has something to offer all music fans.



7) The National — High Violet

The National flourish in their torment. And Matt Berninger, the group’s lead singer, has the perfect deep, dark croon to bring complex beauty to utter dreariness. High Violet does not display The National attempting anything new, but the band is featured with its cleanest production to date. The outrageously epic build up of “England,” the foreboding “Conversation 16,” and the noisy opener “Terrible Love” all benefit from strong production and precise songwriting. The National have mastered music drenched in despair.



6) Ariel Pink’s Haunted Graffiti — Before Today

Ariel Pink’s latest record proved to be his most accessible to date. His penchant for 70’s AM gold shines through, yet the use of clearer production and careful songwriting makes for sounds that can be ironically appreciated. Actually, Pink’s genuine passion for the genre creates a kind of post-irony – where pastiche becomes good enough to be genuinely enjoyed. It’s so meta. Anyway, hits off the record include the soft rock gem “Can’t Hear My Eyes” (classic song title), the eerie and supremely danceable track “Beverly Kills,” and the bone chilling anthem “Round and Round.”

5) The Tallest Man on Earth — The Wild Hunt

The Tallest Man on Earth, the stage name of Swedish singer-songwriter Kristian Mattson, has drawn more comparisons to Bob Dylan than Jakob Dylan. He’s definitely trying, too. This year he “went electric” – ooh, ahh – on his most recent EP. His latest LP, though, proved to be his best so far, showing off his screeching yet beautiful singing voice and his knack for sentimental songwriting. The extraordinary finger picking on “Troubles Will Be Gone” is a track for the guitar aficionados, and the popular “King of Spain” is a fast-paced folksy jam that puts the young Swede’s songwriting up there with Dylan’s.

4) Beach House — Teen Dream

Beach House! – the band that defines dream pop. Their release in 2010, Teen Dream, is their third and, in my opinion, their best yet. Like all Beach House efforts, this LP is full of languid keys and loopy guitar riffs that add dreaminess to the pop. But on this go-around, the band picks up the pace, offering incredible crescendos (see “10 Mile Stereo”) and a more captivating listening experience. Singer Victoria Legrand shows off an impressive vocal range, moving from breathy croons in “Norway” to a deep and soothing singing voice elsewhere. Teen Dream displays Beach House comfortably set in their genre with an ability to play to their strengths – tired and drippy noises driven by booming vocals.



3) Kanye West — My Beautiful Dark Twisted Fantasy

No top ten of 2010 is complete without the mention of Kanye West’s latest release. My Beautiful Dark Twisted Fantasy, as the album title suggests, is a schizophrenic look at the emotional state of the spotlight-battered star. The album features absurd humor (“Cuz the same people that try to black ball me forgot about two things, my black balls”), twisted angst — as Kanye fantasizes his own suicide — and pure bad-ass anger, when the rapper lashes out at his critics. Fortunately, on this record, West does prove his rap genius, as he unites his recalcitrant emotions under one attitude – I don’t give a f*ck.

2) Arcade Fire — The Suburbs

Arcade Fire lived up to their hype this year. The band’s third album, The Suburbs, strayed away from the grandiose and over-the-top critique of modern institutions that plagued Neon Bible, moving towards a more down-to-earth portrayal of (obviously) suburban life. Yes, we still get the highly emotional lyrics — we’re fighting in a suburban war, man — but, still, the album is less political and more easily relatable. The record also features Arcade Fire stepping into new territory with the electro-pop ballad “Sprawl II (Mountains Beyond Mountains) and, hey, it almost sounds natural. But the best track has to be “We Used to Wait,” a song that yearns for past times; those distant memories of an era when rapid change wasn’t normal. In fact, we used to “waste hours just walking around” – ah, the good slow ole days.

1) Deerhunter — Halcyon Digest

This year, the number one spot goes to Deerhunter. Their fourth album, Halcyon Digest, is their best to date, featuring the beautiful sonic landscapes of the uber-prolific Bradford Cox. Take, for instance, the album opener “Earthquake,” which achieves a hypnotic haze through cyclical finger picking, breathy utterances from Cox, and a heavy, ground-shaking bass riff. It’s easy to get lost in these musical worlds, though the lyrics highlight a truly gloomy childhood that necessitates an escape through religion and drugs. It’s a gloomy, gloomy day. The whole album isn’t psyched out and hazy, though. Songs like “Coronado” feature guitar pop and triumphant saxophone solos, which, according to Cox, will be ubiquitous in the near future. So, may you all have an excellent, sax-filled 2011!