Well, I can’t fight the tide of year-end best-of lists forever, but I can try to have fun with it. What follows is a rambling, shambling list of my ten-ish favorite albums (I say “ten-ish” because there’s a tie at number ten and a three-way tie for my second favorite album of the year) and, in the interest of defying tradition while still being stuck with it, I’m doing it “count-up” style, starting with my first favorite and ending with my 10th(ish) favorite. It’s Monday, and I figure we can handle it without the suspense.
1. The National, High Violet – If you’ve read Bollocks! over the last two weeks, you already know this is my favorite album of 2010. There’s not much more to say about it – the National have set the bar incredibly high for whatever they do next and this album still gives me chills.
2. Tie: LCD Soundsystem, This is Happening; The Screaming Females, Castle Talk; The Hold Steady, Heaven is Whenever. I know the so-called pros will frown on my refusal to make a distinction between these three albums. “Surely,” they will scoff, “you can’t love all three of these albums exactly the same amount.” “Yes I can,” I will reply, “and don’t call me Shirley.” (Rest in peace, Leslie Nielsen. You are forgiven for Dracula: Dead and Loving It). LCD Soundsystem made a dance/pop/rock/electronic masterpiece with This is Happening. It’s a smart, catchy album, and it’s got some of the finest songs James Murphy’s ever written. The Screaming Females, over their last two records really, have injected some much needed vitality into modern rock music. Castle Talk is probably the best straight-up rock album released this year and, in case you haven’t noticed, everyone here at Bollocks! likes Castle Talk almost as much as we like food. As for the Hold Steady, well, Heaven is Whenever is another in a long line of profoundly awesome albums from my favorite band. More than their previous releases, Heaven is Whenever sends me running for their references – different songs make me want to listen to Jim Carroll or Hüsker Dü and then come back to the Hold Steady. I know some people saw Heaven is Whenever as a step down for the Hold Steady, and they’re entitled to that opinion as long as they don’t try to peddle that bullshit ’round here.
3. The Arcade Fire, The Suburbs. What you have to realize about this list is that the separation of affection I have for these albums is minuscule. 2010 was like Christmas all year long for me, with new albums dropping almost monthly that had me wishing that I could just stay home for a week straight and listen to music. The Suburbs is goddamn gorgeous, substantive, and exactly what I’ve come to expect from the Arcade Fire.
4. Menomena, Mines. This album is candy for your ears. Much is made of Menomena’s songwriting and recording techniques, but none of that is as important as the fact that Mines is stuffed to the gills with soaring melodies and lush harmonies. It’s Menomena’s best album so far and I hope you run out and get it as soon as you finish reading this.
5. The New Pornographers, Together. Some of my friends look at me funny when they ask what pop artists I like and I say, “The New Pornographers.” This is usually because they’ve never heard of the New Pornos and labor under the popular delusion that “pop” is short for “popular.” I know a lot of people think that, but I’m referring to pop as the kind of rock music made popular by the Beatles. You know, big choruses, catchy melodies. Listen to Together and tell me you don’t hear some of the best pop music of 2010. And then I’ll tell you that I would very much like to donate to whatever telethon helps people like you.
6. Ted Leo and the Pharmacists, The Brutalist Bricks. Ted Leo is a bit of an unsung hero of rock music. He plays the guitar like a motherfucker, creates stylistically diverse music with a punk spirit, and even puts in the work to keep ticket prices down (as much as possible) for his fans. The Brutalist Bricks is a pretty relentless record – that is, it’s pretty and relentless, sometimes in the same track (album closer “Last Days” comes to mind). And the band brings just as much thunder on the stage as they do in the studio. The show Leo & the Pharmacists played in Los Angeles last spring was one of the most satisfying concerts I’ve ever attended.
7. The Mynabirds, What We Lose in the Fire, We Gain in the Flood. Laura Burhenn is an incredibly powerful singer, and she doesn’t need any goddamn auto-tune to deliver a melody that’ll put some fire in your blood. What We Lose in the Fire is nothing new musically, but it’s played with the deep faith of someone who as been baptized in the river of the music they’re mimicking. The album starts with a stunner (the somewhat paradoxically titled “What We Gained in the Fire”) and is littered with musical treasures throughout. Listen to the this record.
8. The Corin Tucker Band, 1,000 Years. I had read somewhere, long before it came out, that Corin Tucker’s first post-Sleater-Kinney album was inspired by her marriage and two kids. Given my feelings about such music, my Trepidation Meter was pegged over in the red until I heard 1,000 Years, which is actually just a very lovely rock album with some nice melodies and some really kickass moments. Tucker’s voice is still in the same great shape it was in on The Woods and her return to making music was one of the best things about a very rewarding year in music.
9. Wolf Parade, Expo 86. Wolf Parade channeled 80s David Bowie (the Dan Boeckner-led “Yulia” is “Space Oddity” with a Russian historical flavor) and their own personal weirdness to craft the best 1980s album of 2010. I hate to use the word “accessible” when discussing music, but Expo 86 probably was a breath of fresh air to people who were a bit put off by At Mount Zoomer (I don’t count myself in that group). Either way you slice it, songs like “Caveosapien” and “Ghost Pressure” help make Expo 86 an album that I couldn’t leave alone for long this year.
10. Tie: The Manic Street Preacher, Postcards from a Young Man; Roky Erickson and Okkervil River, True Love Cast Out All Evil. Both of these albums ended up tied for my tenth favorite in the last two weeks. In preparing for all this year-end nonsense, I tried to go back through all of the albums I really enjoyed throughout the year, and these two have done nothing but grow on me. Sure, Postcards from a Young Man is a bit overstuffed in places, but “All We Make is Entertainment” might be the best song the Manic Street Preachers have ever written (it’s definitely one of my favorite songs of 2010) and the rest of the album is pretty great too. James Dean Bradfield is an underrated rock vocalist and he proves it on every Manic Street Preachers album. As for legendary loony Roky Erickson, I spent the better part of this past holiday weekend rediscovering True Love Cast Out All Evil, and that album is really fucking beautiful. Like Postcards, it’s got some dodgy moments but those are far outweighed by moments of transcendent musical awesomeness. “True Love Cast Out All Evil” might be the best title track of the year.
There are lots of great albums that didn’t make this list. I still love them, but 2010 was an amazingly satisfying year for music (at least for me it was) and the albums discussed above are the ones from this year that I return to time and time again. We’re almost done with the year-in-review stuff, but I have found what is definitely the worst album of 2010 and I might need two days to tell you about it. Until then, some unsolicited advice: listen to music more than you talk, write, or read about it. Namaste!