My 10 Favourite Albums Of 2010
It’s the end of the year and that means “Best Of 2010” lists galore! Heck, there’s even room for a mega-massive list of lists for you to choke on.
Even though the magazine/publishing days are behind me, I hold a torch for a good old music listicle that either helps me discover new music OR validates the tastes of the pretentious pseudo-hipster ego hiding underneath my big hair.
With the grueling work schedule I’ve had to contend with, 2010 has admittedly been the worst of years for me in terms of putting together a concerted effort for new music discovery.
And as much as I’ve gone through the plethora of “Best Of” listicles out there, it’s been challenging for me to take them too seriously when the bulk of the recommendations are built on a backbone of predictable Pitchfork/NPR-hipster posturing (see: default inclusion of Arcade Fire, Kanye and The National in just about every single list).
On my long drives home, I kept coming up with mental notes of the 10 albums I liked the most in 2010. They’re not what I consider the best of 2010 (given the meagre amount of albums I’ve covered this year) - all I can say is, out of the few I heard, these are the ones I enjoyed and would recommend to you, if you’ve not given them a crack yet.
I also wanna know what YOU enjoyed in 2010. List swap!
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THE BLACK KEYS - Brothers
Two man outfit with chronic cigarette smoking habits. Bearded frontman throws around howling guitar riffs with reckless, shit-kicking abandon resulting in knicker-loosening blues and rock. Extra points for being part of the FIFA 11 soundtrack.
ANAIS MITCHELL - Hadestown
Described as “an ode to the underworld”, Hadestown is hands down my pick for concept album of the year. Based on the mythology of Orpheus and Eurydice, Anais Mitchell lyrical brilliance shines through and melds beautifully with the hybrid soundscape of New Orleans/harem tinged folk, blues and jazz. It’s a stunning musical masterpiece and assuredly, an album like you’ve never heard before.
LAND OF TALK - Cloak & Cipher
Hipsters be damned! It’s a bunch of Canadians attempting 90’s indies rock that wouldn’t seem out of place in a Reality Bites or Empire Records soundtrack! Leading lady, Elizabeth Powell showcases her undeniable songwriting chops and the ease in which she churns out great shout-along choruses and guitar hooks is almost insulting. Consider me insulted.
JANELLE MONAE - Archandroid
There can’t be any other artiste with bigger (and veritable) upside than Janelle Monae and her seemingly veteran’s level of talent and pizzazz. Also, she rocks the pompadour ‘do and saddle shoes like she came out of her mother’s vag dressed that way.
KINGS OF LEON - Come Around Sundown
Pentacostal! Polished! Clean shaven! They’ve traded the charming, scruffy neckbeard rock for the comforts of ‘safe’ arena-rock. While their indie-cred might take a hit - there’s no dispute that they can still churn out effusive and momentous rock songs that subversively compel men to swig whiskey and tame wild horses.
FITZ & THE TANTRUMS - Pickin’ Up The Pieces
Surprise find of the year. Retro-soul is such an easy thing to muck up with lesser bands slipping into blatant imitations of yesteryear luminaries like The Temptations. But not Fitz and his masterfully named backing outfit. Their energetic mix of punky retro-soul serves a healthy dose of catchy hooks that punch you in your musical gut.
TWO DOOR CINEMA CLUB - Tourist History
Sun-drenched, guitar driven indie pop with a pinch of electronica thrown in, TDCC is like the quirky Irish lovechild of Bloc Party, The Shins and Franz Ferdinand. Young stalwarts score extra points for their fresh sound and undeniably solid pop sensibilities.
SIA - We Are Born
Sia’s latest is a huge antithesis to her last effort. The mournful, string-laden melancholia is upbeat, energetic and much like a confetti-drenched hipster cheerleader orgy. By no stretch a sonically groundbreaking album, what succeeds in is radiating an infectious sense of fun and enthusiasm.
LUCKY SOUL - A Coming Of Age
Sure, frontwoman Ali Howard’s simpering vocals can be grating and annoying to some - but put that aside and you get straight up sunshine pop laced with clappy hands, horns and imaginary 20-man string ensembles.
WYE OAK - The Knot
I don’t know how to describe the genre - borderline shoegaze, gloom & doomy indie/folk punctuated with persistently shifting dynamics? A typical review would throw around words like ‘fragile’, ‘disarming’ and ‘grandiose’ - I prefer to describe it as two awkward kids who got picked on in their formative years who later discovered their penchant for blustering waves of noise.
