Most Anticipated Albums Of '11

Part of the fun in anticipating music for the coming year is talking about it with your friends. My friend Matt over at A Rush Of Blog To The Head agrees with me. If half the fun is in expressing what excites you, the other half lies in remembering what you've forgotten about. So, we decided that instead of doing our own separate lists, we'd simply combine them so our readers get the full benefit of our music nerdom. Enjoy!

Matt & Mike's Shared Picks:

blink-182- "TBA" (April/May 2011)
Mike: It’s been over a year since blink-182 teased fans with the prospective single “Up All Night,” complete with Tom DeLonge making Pink Floyd comparisons. That’s all right though, even if the suspense is killing fans who’ve been waiting for new material since 2003. While the fanfare surrounding the group’s reunion/reunion tour seems to have pushed their record to the backburner, that seems to be changing in 2011. Cryptic Tweets from Hoppus and drummer Travis Barker allude to the band actually recording, rather than just yammering on about fun it is to jam together.

Matt: It’s a classic tale of band gets together, makes punk music for the kids, gets a little older and makes music for the older kids, get wildy successful and then inevitably break up and form two decent bands in their own right, have one member survive a fatal plane crash that brings them all together again, decides to go on tour and think “hey, this could work” and end up teasing a new album for nearly two years. Ok, maybe it’s not such a classic tale, but it’s nearly a sure bet that new blink music will come out in 2011. Personally, I’m happy they didn’t rush into it and worked at their own pace. Hopefully the music will reflect the dedication.

Dr. Dre- "Detox" (2011)
Mike: Hip-hop’s answer to Chinese Democracy: Detox is Dr. Dre’s decade plus labored opus, rumored to be his final album as an MC. While the record’s mythical status is as famous as its penchant for delays, there’s still reason to hope that it sees the light of day in 2011. Dre dropped the hazy, synth-heavy “Kush” late last year as the record’s first official single. Though it’s a bit of a regression towards his spaced-out 2001 era sound, it’s refreshing to hear him paired with Snoop Dogg again. Expectations are high though, and if Dre doesn’t deliver he risks souring his fan base in true Axl Rose fashion.

Matt: I was six when The Chronic came out, though I admittedly know “Nuthin But a G Thang” like every other white 90s kid. Then, a 12-year-old version of myself picked up 2001 because everyone was starting to get on the Eminem kick and he was featured on the “Forgot About Dre” track. What I didn’t know was going to happen was that I was going to get sucked the music of who I thought, based on my limited knowledge at the time, was just an old rapper who was big back in the day with some group. I am now 24 and have been waiting on Detox since it was first announced for release in 2004! With all the wakas and flockas running around trying to be the king, it’s going to be nice to have the ace back.

Death Cab For Cutie- "Codes & Keys" (Spring 2011)
Mike: Ben Gibbard has gone on record saying Codes & Keys is less guitar-driven than Death Cab For Cutie is typically known for. While that might scare some listeners, it’s hard to imagine the group coming out with a Kid A or Adore type experiment. Guitarist Chris Walla tastefully employs keyboards on all the albums he’s produced, as well as his solo offering, Field Manual. If anything, expect fragile songs with lush atmospheres, something Death Cab For Cutie has always excelled at.

Matt: I'm just going to let bassist Nick Harmer explain why this album should be on most anticipated lists (from stereogum): “The emotional spectrum feels much wider this time,” says Harmer. “The last record was much darker and was much more closely connected to what Ben had been going through in his life at the time. I think there is a lot more light in this record. Of course, Ben will always gravitate towards certain bittersweet material in his songs, but this record has a lot of expansive, soundscapey kinds of things. Thematically and musically, it’s just much more varied. We also have string sections on this record, which is very exciting for all of us. We’ve always wanted to hear that texture in our music, but it never really worked out before.” And on the statement of less guitar work: “Oh, there are definitely guitars on this record,” he says, “there are just less of them than before and we’re using them in different ways this time. Ben was really inspired by writing on acoustic guitar and on a piano, so often those parts become voices or keyboard lines, rather than guitar parts. We really experimented with piecing the songs together in different ways and using the studio differently, so this a much less guitar-centric album than we’ve ever made before.” That's what I like to read.

Manchester Orchestra- "Simple Math" (March 2011)
Mike: While Manchester Orchestra helped Kevin Devine and singer Andy Hull craft a true diamond in the rough with last year’s Bad Books, anticipation is running high for their forthcoming Simple Math. Hull recently debuted the album’s title track at an acoustic radio show, but the group has been tight-lipped about what the album will sound like. They’ve jokingly referred to it as a “spiritual miscarriage” in interviews, but that probably translates to songs that will get under your skin in very personal ways.

Matt: I really don't know what to expect from the Manchester Orchestra's third studio album. Like A Virgin Losing A Child had more low moments than the intensely heavy Mean Everything to Nothing, though both contained a good mix of pure rock music and down tempo storytelling. Then, the group taps into their folk side with Kevin Devine and the Bad Books side project. Throw in a handful of E.P.s and the fact that the title track for Simple Math is online as an acoustic version and there is no telling what we are going to get. If Manchester Orchestra stays on the path they are on, they could go down as one of the most respected groups out there. With more attention on them than in the past, I fully expect the Atlanta group to come through shining.

Taking Back Sunday- "TBA" (2011)
Mike: When John Nolan and Shaun Cooper left Taking Back Sunday, it seemed like everyone hated each other. Team Adam (Lazzara) and Team Nolan both alluded to their falling out through thinly veiled lyrics and bitter interviews. Yet nearly seven years after their separation, they seem to have put the past behind them. After a bout of writing in El Paso, TBS’s “classic” line-up is hard at work on a proper follow up to the mega-smash Tell All Your Friends. The group has also teamed up with producer Eric Valentine, suggesting that they’d like to capture the same effervescence that punctuated 2006’s Louder Now.

Matt: It's back to the future for Taking Back Sunday as the band returns to its 2002 lineup for the acclaimed Tell All Your Friends. If I can speak honestly, it creates a dilemma. I have no shame in admitting that TBS is my favorite band, but I do wonder if 24-year-old me would feel the same impact from TAYF that 17-year-old me felt. As the band has progressed, I have progressed with them and I honestly don't want a TAYF 2. However, as much as I don't think New Again sucked, it definitely could have been better. And it does seem like having the lineup that introduced them to the scene has sort of rejuvenated the band. A demo leaked by Adam Lazzara himself seems to keep the intensity while the band as a whole still makes the transition from emo band to rock band. And it made me completely wear out the play button, a result that will hopefully happen when the album is released.

Matt's Most Anticipated:

Coldplay- “TBA” (2011)
Viva La Vida was a great release for Chris Martin and company, but I did feel it was lacking something. And that something was the deep, heartfelt sound found on tracks like “The Scientist” and “Fix You.” I appreciated what they did, using a plethora of instruments to create an orgy of sound to go along with Martin's crooning voice, but I'm ready to get back to the chill out. When Martin performed “Wedding Bells” at an Apple event, I just sat there and smiled. That sound I was looking for? It had returned. Whether that track (or “Christmas Lights”) pops up on the new record remains to be seen. Though the rumors of it being a concept album turned out to be not entirely accurate, the fact that I heard something about the album going in an acoustic direction is music to my earholes.

Jay Z/Kanye West- “Watch The Throne” (Spring 2011)
Collaborations for singles happen all the time in hip-hop, but rarely does it happen for an entire album. Though Jay-Z has some experience in the past with R. Kelly, it will be interesting to see what happens with Mr. West. The first single, “H.A.M.," had a hit and miss reception, and my opinion of it falls somewhere in the middle as well. Also something to look out for is who else will be featured? Lil Wayne, Drake, Rick Ross... all potential guests. But time will tell exactly what two of the biggest, and best, names in music come up with.

Panic! At The Disco- “Vices & Virtues” (03.29.2011)
2005's A Fever You Can't Sweat Out is one of my favorite albums of all time. 2008's Pretty. Odd. is one my top disappointing albums of all time. So this is me hoping that new material from Panic! (who officially put the ! back in when two founding members split) will at least be somewhere in the middle. It looks like we won't have long to find out as the first single should be released in February and the album in March. I'm not going to hold it to Fever's expectations, but if it is slightly better than Odd I will be one happy music fan.

No Doubt- “TBA” (2011)
I missed out on a lot of bands growing up, but I was fortunate enough to still experience No Doubt before the Gwen Stefani solo days. Any doubts I had about the group's ability as a band were put to rest after I saw them on their comeback tour in 2009. Not only were they better than expected, but were still better than some of the stuff out there today. If I can be honest, as much as I like their music, I will be happy to have some more Gwen in my life. She may be starting to show her age, but she is still one of my original celebrity crushes and to her I will always be true.

Red Hot Chili Peppers- “TBA” (2011)
It is going to be interesting to hear what the Peppers' sound will be minus John Frusciante. And also noteworthy will be the fact that, let's face it, these guys aren't getting any younger. But don't take that as an insult, I love these guys. I'm just curious to see how they are going to follow up Stadium Arcadium. If they come out with a four-disc release, I will not be mad at all. I think more than new music, I'm excited at the fact that a new album could possibly mean a new tour and RHCP are #1 on my list of bands I haven't seen.

Honorable Mention:

Lil Wayne- “The Carter IV” (Winter 2011)- Fresh off his recent jail stint, the hype machine has already started for Weezy's latest effort. Good or bad, we should hear plenty about it in 2011.

Destroy Rebuild Until God Shows- “Destroy Rebuild Until God Shows” (02.22.2011)- Though I'm not sure how serious to take the name (D.R.U.G.S.), former Chiodos frontman Craig Owens assembled a pretty good team for a debut album from a band that came out of nowhere. Time will tell if the music will match up.

Gym Class Heroes- “The Papercut Chronicles II” (2011)- I have been a fan of Gym Class Heroes for years and looked forward to Travis, or Travie, McCoy's solo album but was pretty disappointed. Maybe his bandmates will help him recapture the magic and my car will have some good jams in 2011.

Yellowcard- “When You're Through Thinking, Say Yes” (03.22.2011)- Yellowcard make the list simply for curiosity's sake. In their “reunion” album (I didn't even know they broke up), the band looks to recapture the glory that once had millions of kids wanting to be on Ocean Avenue.

Mike's Most Anticipated:

The Beastie Boys- "Hot Sauce Committee Pt. 2" (Spring 2011)
Originally due out in 2009, The Beastie Boy’s Hot Sauce Committee Pt. 2 was delayed indefinitely when Adam Yauch discovered a cancerous tumor on his vocal chords. Thankfully, Yauch seems to be recovering, which means we might be seeing these songs crop up early this year. Leaked cuts like the posse-heavy “Too Many Rappers (Feat. Nas)” and the punk-hop explosion of “Lee Majors Come Again” show the Beastie’s continued inventiveness and flowin’ prose. Plus, who doesn’t want to hear a track titled “Funky Donkey?”

Foo Fighters- "TBA" (2011)
The Nirvana faithfuls are salivating over the idea of Dave Grohl recording with Krist Novoselic again for the first time since 1994. Yet they should really get excited for Grohl’s reunion with Nevermind producer, Butch Vig. Though the Foo Fighters have stated this is their heaviest record yet, Vig is a master at focusing a band’s vision, adding variety to their albums with crisp production and small flourishes of strings and piano. In short, it’ll be interesting to see the Foos continue to evolve from their well-crafted Echoes, Silence, Patience & Grace with some old friends to help out.

Lady GaGa- "Born This Way" (05.23.2011)
The Fame Mons†er was a half-baked, unfinished effort. Though it sported pop-blockbusters like “Bad Romance,” its sequencing and unfocused nature made it forgettable. Born This Way seems to be GaGa’s proper follow up to The Fame, an album that’s had time to fully gestate before being dropped like an atom bomb. Her recent interviews suggest that she’ll be incorporating bits of metal and hard rock into her sound, which sounds like she’s decided to take real risks again.

Radiohead- "TBA" (2011)
Things have been quiet in the Radiohead camp for a while, but fans are anxious. Of course there’s the occasional “Yes, we’re working on songs…” from band members like Ed O’Brien and Phil Selway, but no timetable regarding the follow up to the meticulously textured In Rainbows. There is a bright spot though. Thom Yorke teased fans with some works in progress on his last tour, most notably the chilled-out, finger-picked “Lotus Flower.” Maybe it was a hint for fans: Chill out and let us do our thing.

Thursday- "TBA" (Early 2011)
Other than continuing to employ producer David Fridmann, little is known about the musical direction on Thursday’s new album. However, singer Geoff Rickly has stated that the conceptual themes seem to revolved around devotion, sharing a commonality to their first album, Waiting. Regardless, Thursday has always been the thinking man’s post-hardcore group and it’ll be exciting to see them follow-up the aggressive, post-rock tinged Common Existence.

Honorable Mention:

Bright Eyes- "The People's Key" (02.15.2011)- Supposedly Conor Oberst’s swan song as Bright Eyes. Hopefully it’s a little more “Lifted…” and a little less “Cassadaga.”

The Kills- "Blood Pressures" (04.05.2011)- After a ravenous romp with Jack White, Alison Mosshart returns to the jangly indie vessel that made her a star.

Patrick Stump- "Soul Punk" (February 2011)- This is the first time Patrick Stump has written lyrics since Fall Out Boy’s Evening Out With Your Girlfriend. That alone is worth checking out.

Jack’s Mannequin- “TBA” (2011)- Something Corporate’s ivory slinger has been laboring in L.A. for over a year. We’re ready for Jack’s supposedly “new direction.”

Folk The World

Here are two albums, seeped in the folk tradition, that have started 2011 off with a big, giant, musical bang.

The Decemberists- The King Is Dead (****½)
No one would have thought that The Decemberists had it in them to exercise artistic restraint. Their back catalog simply doesn’t set a precedent for it, from the ornate 8 plus minute “The Mariner’s Revenge Song” to 2009’s over-worked/cluttered concept album, The Hazards Of Love. Refreshingly, The King Is Dead strips away the group’s penchant for sonic verbosity and leaves behind warm, rootsy Americana influences in its wake. Gone are the repeated musical motifs and the complicated character studies, replaced with thistle-blown melodies, tumbling bass work, and rich acoustic guitar. Whether it’s the rolling one-two punch of “Don’t Carry It All” or the impending, accordion laced theatrics of “Rox In The Box,” the group’s newfound appreciation for immediacy serves these songs well. Unlike like The Decemberists' pervious effort, The King Is Dead grabs listeners on first spin as opposed operating like a dense, musical puzzle box. This is largely due to Colin Meloy’s richly detailed songwriting, which seems to be concerned with the passage of time. The people that embody his prose fight change (or for change), heartache, and the seasons themselves, belonging to a kind of rustic world that has all but vanished in the advent of modernity. Still, it’s the connections to those feelings and struggles that continue to live on, and Meloy is a master of drawing up the parallels. Whether that’s singing about fading love over the mournful harmonica of “June Hymn,” or his bid for forgiveness on the tenderly strummed closer “Dear Avery,” Meloy is able to wrap his concise parables with a decorative vocabulary and a real sense of humanity. In the end, The King Is Dead succeeds because Meloy decided to craft songs, rather than craft music around ideological abstractions. This results in the album being one of the brightest spots in The Decemberists’ storied discography, one that holds the old and new worlds in balance by keeping lofty ambitions in check.

Key Cuts: Don’t Carry It All, June Hymn, Dear Avery

Iron & Wine- Kiss Each Other Clean (****)
Guitarist/wordsmith Sam Beam paid his dues by daring to unplug his six string in the 2000s while everyone else around him was busy rediscovering the 80s. As his output has grown, however, Beam’s begun to add to his sound with deeper atmospheres and slicker studio embellishments. In that sense, it’s reasonable to be hesitant, mostly because Kiss Each Other Clean sounds like a sonic train wreck on paper. Combining folk, gospel, and sometimes country sensibilities with spacious, electronic flavored textures seems about as natural as a KISS disco record. Yet Beam pulls it off, mostly because his songs come across as soulful rather than sterile. From the glacial electronics and twinkling keyboards of “Walking Far From Home” to the swirling acid-gaze psychedelics of “Run Rabbit Run,” Kiss Each Other Clean revels in a fascinating sonic tug of war. It’s earthy but pristine, organic yet synthesized. At its heart though, the record is a vehicle for Beam to ponder weighty themes such as salvation, love, spirituality and death. On the bare piano pull of “Godless Brother In Love,” Beam goes so far as to caution his own country with the concerned croon of “She is money and tabs/That broken freedom in/See her big children burning rags/By the riverside…” While Kiss Each Other Clean isn’t short on ambition, its main flaw is it fails to come across as intimately as past Iron & Wine albums have. Beam’s older material hung its frailty and vulnerability on his naked guitar, and it’s difficult to find that same sense of closeness in songs like the 7 minute, sax swathed groove of “Your Fake Name Is Good Enough For Me.” Though the hooks are front and center, and Beam avoids coming across like a robotic pastor, Kiss Each Other Clean is the sound of Iron & Wine attempting to find its footing in a fluid, keyboard-driven twilight. Often stunning, though sometimes clunky, it’s a real treat from one of music’s most brazen songwriters.

Key Cuts: Walking Far From Home, Run Rabbit Run, Godless Brother In Love

2010: The Year In Music

After a great deal of re-listening and reflection, I can definitively say THESE are the albums in 2010 that caught my ears, piqued my interest, and took up space on both my iPod and computer. For a complete list of music releases this year, go here.

And now, without further adieu…

Best Release of 2010: Beat The Devil's Tattoo by Black Rebel Motorcycle Club (*****)
Rock music used to be dangerous. Forget about political agendas or course language, the sounds themselves used to explore the darkest recesses of our psyches. It was the Devil’s music, and bands worked their hardest to conjure up that sense of dread. Black Rebel Motorcycle Club (BRMC) remembers what that tradition meant to rock music and they bring that aesthetic into the 21st century with Beat The Devil’s Tattoo. Wrapped in grimy leads, propulsive drumming, and oozing bass work, Beat The Devil’s Tattoo marries over-sexed biker cool with occult tinged parables to create the most urgent record this year. Whether it’s the shambling title track, the fuzzed out lurch of “War Machine,” or the gravestone bounce of “River Styx,” BRMC take it upon themselves to remind listeners how seductive a raw record can be. It’s messy, violent, and at times, noisy, the type of record that pulls you in before exposing its fangs. Vocalists Robert Been (Bass) and Peter Hayes (Guitar) take turns from their brimstone pulpit, but what really makes Beat The Devil’s Tattoo stand out is its recklessness. Punchy drumming from Leah Shapiro adds a powerful presence to the group’s sound, her boxy fills adding grit to the record’s most demonic riffs. That kind of kinetic tension really comes to the forefront on tracks like the wobbly “Bad Blood” or the galloping “Mama Taught Me Better.” In the end, BRMC reminds everyone in the digital age that great music grabs you because of its attitude, its conviction, and above all, its sense of danger. Key Cuts- Beat The Devil's Tattoo, War Machine, River Styx

Best Debut: Varuna by The Republic Of Wolves (****)
Though they dropped an E.P. earlier this year, The Republic Of Wolves really made their 2010 musical splash with Varuna, a 13-track journey through the existential forest. Focusing on layered, hazy sounding rock, the band created an earthy album with weighty themes. “Oarsman’s” anthemic, twisting guitars push the band’s massive sound towards the stratosphere, while the finger-picked folk of “Pitch & Resin” showcases the group’s refined sense of restraint. While many new bands clamored for attention in 2010, they did so with collections of strong singles. Varuna, on the other hand, is a connected song cycle. The Republic Of Wolves explores guilt (“Sea Smoke”), revenge (“Greek Fire”), and resignation (“Grounded, I Am Traveling Light”) with a sense of maturity rather than cynicism, arriving at sense of tranquility and forgiveness by the record’s end. While it’s easy to draw comparisons to later period Brand New and Flesh E.P. era Robbers with Varuna, The Republic Of Wolves don’t knick riffs from their influences. Instead, they take the time to carefully craft tone and texture, creating their own engrossing legacy in the process. Key Cuts- Oarsman, Pitch & Resin, Grounded, I Am Traveling Light

Best Rock Release: Invented by Jimmy Eat World (*****)
In a strange way, Jimmy Eat World will never be as big as they were when Bleed American came out. Chalk it up to the fact that the group never wrote another monster smash like “The Middle.” Yet in some ways it’s almost better that they aren’t on that level anymore. Straddling the line the between mainstream and nostalgic favorite, Jimmy Eat World have continued to stretch in sound, largely without scrutiny, and with just as much consistency between their albums. Invented continues this trend, a record that adds small embellishments to an otherwise driving and dependable sound. There are overdriven, stadium-sized choruses (“Evidence”), flange soaked ballads (“Stop”), and super-charged rockers (“Coffee & Cigarettes”), but the album’s real strength is in its storytelling. Singer Jim Adkins is able to crystallize some of life’s most intimate moments with his prose, and the results are arresting. Songs like “Cut” wrestle with what it means to sacrifice while “Invented” finds solace in love’s fleeting fancy. Through it all, the band stays focused, augmenting their arrangements with rich strings and soft keyboards. In an era of excess, it’s rare to find a rock band that holds all their instruments in such perfect balance, everything working to add vibrancy and color to memorable melodies. Invented might not be the flashiest, or the biggest record to come out this year, but its gracefulness is one that will keep Jimmy Eat World fans happy for years to come. Key Cuts- Evidence, Cut, Invented

Best Metal Release: Diamond Eyes by Deftones (****)
Good metal records do more that just bring speed and heaviness; they bring atmosphere. This has always separated the Deftones’ output from their contemporaries, and they continue to show them up on their latest offering, Diamond Eyes. After a horrific car accident put bassist Chi Cheng in a coma, the Deftones scrapped an entire album create this dark, textured dreamscape. Surprisingly, while Cheng’s cloud of tragedy hovers over Diamond Eyes, it doesn’t bog it down. Instead, the Deftones take this opportunity to craft an album largely about power, transcendence, and eroticism, all in an effort towards musical therapy about their fallen brother. The band hits on all the sounds they’ve explored throughout their career (the relentless chug of “Rocket Skates,” the Cure-like ambience on “Beauty School”) but the overall product seems more urgent than the aimless experimentation of 2006’s Saturday Night Wrist. Here, the album’s title track opens up with sledgehammer guitars and punishing drums, while the crawling crunch and spacious keyboards of “You’ve Seen The Butcher” round out singer Chino Moreno’s unsettling psychosis. It’s a record that shows how life galvanizes art, one that finds the Deftones pushing themselves towards the places they fear the most, letting it color their sound. Key Cuts- Diamond Eyes, You've Seen The Butcher, Beauty School

Best Punk Release: The Dissent Of Man by Bad Religion (****)
For a group of punk rockers approaching 50, Bad Religion simply refuses to slow down. Fresh off their 30-year anniversary, punk’s elder statesmen have released The Dissent Of Man, a biting 15 track record that recalls the Americana tones explored on 1993’s Recipe For Hate. “Only Rain” sports zig-zagging melodies and stadium-sized backing vocals while “Cyanide” features syrupy leads against mid-tempo fuzz. Though it doesn’t sacrifice energy (Brooks Wackerman gives a manic performance behind the drum kit), The Dissent Of Man comes across decidedly more melodic than 2007’s punishing New Maps Of Hell. Additionally, the songwriting team of Greg Graffin and Brett Gurewitz still seems focused on enlightenment rather than aggression, a quality that’s always been present in Bad Religion’s output. While most anarchist punk bands eventually come across as dated, Graffin and Gurewitz continue to extend their longevity by touching on very human themes. Whether it’s in the search of a place to call home (“Avalon”) or the struggles of faith (“Someone To Believe”), it’s clear that Bad Religion’s expansive vocabulary and their ability to touch on universal struggles keeps their ideas relevant and fresh. It’s also worth mentioning that for a band that’s been around since 1979, Greg Graffin’s vocals have never felt more passionate and pitch-perfect than on The Dissent Of Man. His expressive range on the blistering “The Day That The Earth Stalled” reiterates that Bad Religion has lots of gas left in the tank, carrying on the musical tradition they helped craft in the 80s. Key Cuts- Only Rain, The Resist Stance, Someone To Believe

Best Electronic Release: Heligoland by Massive Attack (****)
Though there are records that feel more like traditional electronic albums than this one, Massive Attack’s Heligoland was a real bright spot for the genre in 2010. In an era where music is constructed rather than played, it’s refreshing to see 90s trip-hop pioneers Robert Del Naja and Daddy G return with a lush and experimental album after a seven year hiatus. By and large, Heligoland is an exercise in deconstruction, of finding balance between the synthetic and organic while maintaining the electronic moniker. As a result, the record twists and turns, pulsing with tension but never exploding in discordant glitch pop. Phantasmal keyboards sneak and swell on “Splitting The Atom,” while “Flat Of The Blade” is spackled with sequenced cymbals. Like 1998’s landmark Mezzanine, Del Naja and Daddy G enlist some incredible vocal talents to sing over their brooding soundscapes, like the darkly seductive Hope Sandoval on “Paradise Circus,” and the expansive Horace Andy on “Girl I Love You.” But the album’s true gem is the 7 plus minute closer, “Atlas Air,” a track seeped in dirty bass and ghost-like synthesizers. In Heligoland’s final, obsidian soaked moments, it’s clear what Massive Attack have that their electronic peers lack: A sense of song craft to marry alongside with their exemplary production skills. Key Cuts- Splitting The Atom, Paradise Circus, Atlas Air

Best Produced Release: My Beautiful Dark Twisted Fantasy by Kanye West (****½)
While Kanye West loves to run his mouth at the most in-opportune times, he backs it all up when his head is on the chopping block. My Beautiful Dark Twisted Fantasy is an album that could have only comes from West’s bloated ego, an eclectic, sometimes nightmarish, and often-staggering work of art. From the Sleepy Hollow strings of “Dark Fantasy” to the murky, bubbling bounce of “Monster,” West sets out to redefine the genre he loves without any sense of restraint. There is no album out there that currently sounds like Fantasy, its genre-bending aesthetic reaffirming the post-modern experimentation that made hip-hop so exciting during its inception. West crafts these arrangements with a maestro’s touch, combining everything from old school soul, to space rock atmospheres, and symphonic pomp. Songs like the military punch “Power” or the thick, impending “Gorgeous” create a sense of diversity that’s unparalleled in mainstream hip-hop, giving Fantasy an almost cinematic quality. “Lost In The World” acts as the disc’s thrilling apex, a synthesis of Justin Vernon’s auto-tuned croon, massive tribal drums, and immersive piano. Book ended by Gil Scott Heron’s “Comment No. 1,” “Lost In The World” provides the means for Fantasy’s sonic and thematic dénouement, effectively closing out West’s harrowing odyssey. While his eccentricities and character inconsistencies provide engaging lyrical musings (And end up choking his detractors with a fleet of fish sticks), it’s all secondary to the sonic achievement here. West’s Fantasy isn’t just a milestone for 2010 music; it’s a benchmark in hip-hop’s legacy. Key Cuts- Dark Fantasy, Power, Monster (Feat. Jay-Z, Rick Ross, Nicki Minaj & Bon Iver)

Best Comeback Release: Hurley by Weezer (****)
Seven albums into their career, Weezer have done the impossible. They’ve released an album that HASN'T upset 90% of their fan base. Of course this doesn’t mean they’ve lost their trademark sense of humor; Hurley still carries that around in spades, but with a more raucous and vivacious sound than Weezer’s most recent output. For a band that was so hit-or-miss on 2009’s Raditude, it’s refreshing to see Rivers Cuomo revisit his fuzzy, unhinged beginnings. “Ruling Me” sounds like it could have fit on Weezer’s debut with its chunky guitars, explosive build up, and 50s inspired chorus. Elsewhere, the grungy, bass heavy “Where’s My Sex?” recalls Cuomo’s love of 80s metal, while injecting some light-hearted fun about baby-makin’ (or is it socks?). Though most have compared Hurley to 1996’s Pinkerton, the album is far more immediate and has quite a few studio embellishments. The fluttering flute-tinged folk of “Unspoken” and the blasting drum machine on “Smart Girls” finds Weezer continuing to tweak their tried-and-true take on power-pop while keeping their sense of narrative building alive. Lyrically, Cuomo seems to be preoccupied with the passage of time, whether it’s over the stadium crunch of “Trainwrecks” or the thumping album closer “Time Flies.” Though it’s not as soul exposing as Pinkerton, Hurley sports lines like “Playing hacky-sack back when Audioslave/Was still Rage…” capturing a moment in time rather than forcing the band to chase trends. All in all, Hurley shows that Weezer are capable of churning out a consistent set of songs with life and effervescence, rather than burying themselves in a sterile, pop-radio inspired sarcophagus. Key Cuts- Ruling Me, Unspoken, Where's My Sex?

Best E.P.: How To Destroy Angels E.P. by How To Destroy Angels (***½)
The Internet collectively freaked out when Trent Reznor got married. Nine Inch Nails fans panicked that their once tortured idol would suddenly be stripped of his passion, settling down like most married rock stars do. How To Destroy Angels, a project consisting of his new wife Mariqueen Maading and Atticus Ross, shows a changed man, but certainly not a happier one. Rather than acting like Yoko Ono to Reznor’s musical mojo, Maading offers up her morose, siren-like vocals over some of Reznor’s most seething beats. What results is sexy, glitchy 6 song E.P. focused on power and hopelessness, one that finds Reznor doing something new for the first time in his life: Collaborating. “The Space In Between” climbs with white noise tension and scattered break beats while “A Drowning” is awash with descending piano and cold electronics. Sonically, Reznor covers much of the same ground like on “Ghosts I-IV,” except with a less expansive twist and a more disciplined focus. Ultimately, How To Destroy Angels comes across as a subdued Nine Inch Nails side project, but it affirms that Reznor is still bent on creating emotive music even if he’s a married man. Key Cuts- The Space In Between, Parasite, A Drowning

Most Ambitious: The Suburbs by Arcade Fire (***½)
Few bands currently make sweeping concept albums about how modern suburbia is a vessel for apathetic conformity. Arcade Fire is easily the best within that handful and The Suburbs is a strong testament to that. With each thick bass line, wistful guitar bend, and clattering fill, Win Butler leads his band into exploring the culture of emptiness that surrounds modern living. Whether it’s jumpy piano of the album’s title track, or the pulsing synthesizers on “Sprawl II (Mountains Beyond Mountains),” fans can hear the Arcade Fire toil tirelessly to deliver their cautionary sermon. Though it bogs down in the middle, and comes across too vague to function as a call to arms, The Suburbs has some profound revelations tucked inside its foggy mix. “Modern Man” finds Butler lamenting about squandered potential, “In my dream I was almost there/But you pulled me aside and said you're going nowhere/I know we are the chosen few/But we're wasted…” questioning how his dreams and hopes could ever steer him wrong. Elsewhere, the band tackles the weighty ennui of nostalgia (“Empty Rooms”) and life’s eventual decay (“Deep Blue”) through dense, layered arrangements. Still, the disc is heavy on mid-tempo numbers, and this ultimately makes The Suburbs feel less vital than the group’s last album, Neon Bible. Yet even with their shortcomings, Arcade Fire had some big things to say with The Suburbs, and it’s refreshing to see a group stick by their thematic convictions even if the product wasn’t perfect. Key Cuts- The Suburbs, Deep Blue, Sprawl II (Mountains Beyond Mountains)

Most Experimental: Treats by Sleigh Bells (***½)
Every once in a while, a musical group comes along and subverts certain genre standards in the most unexpected ways. On paper, Derek Millar’s abrasive, blown-speaker production should not gel with Alexis Krauss’ breathy, bubblegum vocals. Yet Treats makes it seem like the duo was made for each other. Sleigh Bells’ debut album is a gleeful train wreck of fluttering beats, laser-guided keyboards, and sleazy metal riffs, an infectious blend of pop dissonance. Regardless if it's dream crunk, noise pop, or any other clever classification, you won’t confuse Sleigh Bells with anyone else. “Tell ‘Em” is a sadistic mash up of jackhammer distortion and cheer leader pep, while the reverb drenched waves of “Rill Rill” display the group’s ability to craft an honest to goodness ballad, sampling Funkadelic's "Can You Get To That?" in the process. Contemporary bands smash unlike sounds together all the time, especially in the Internet age, but rarely is it this realized, this electrifying. The white noise stomp of “Infinity Guitars” and the ascending keyboards of “Rachel” also display some available avenues for the duo to explore, granting validity to their disjointed experiments. While not all the jagged sounds come together seamlessly, Treats’ big strength is its immediacy. Millar and Krauss don't make concessions on Treats, their sonic punch acting like a love-it or leave it affair. Whether or not they gain your support, Sleigh Bells have found a sound all their own and it’ll be interesting to see how they tinker with it on their follow up. Key Cuts- Tell 'Em, Rill Rill, Treats

Most Eclectic: Danger Days: The True Lives Of The Fabulous Killjoys by My Chemical Romance (****½)
It takes guts to abandon an entire album of material. It takes even more guts to describe your album as technicolor when you’re well known for all black uniforms. Yet My Chemical Romance took both those risks on their fourth album, Danger Days: The True Lives Of The Fabulous Killjoys, and it was a gamble that paid off. Danger Days is a fresh burst of adrenaline, fueled by muscle car riffs, delicate piano, and robotic synthesizers, all wrapped up in a post-apocalyptic concept about laser-toting renegades. It’s a lot to take in; a lesser band could have made a quick mess out of all these components but MCR handle it masterfully. While The Black Parade found the group laboriously erecting a solemn monument, Danger Days basks in high-octane emotion. “Bulletproof Heart” chugs along with motor-oil riffs and expansive keyboards, while the glitzed-out dance beats of “Planetary (GO!)” and power-pop psychedelics of “S/C/A/R/E/C/R/O/W” show just how far MCR want to push their sound. Ultimately, what ties it together is Gerard Way’s astute observations about personal libration and the acceptance of change. The mid album highlight “Party Poison” is a thick, bottom heavy rager that exudes this ethos best, “'Cause all the good times/They give you cancer/If we were all like you in the end/Oh, we'd be killin' ourselves by sleepin' in…” With an album this diverse, it’s clear that My Chemical Romance lost a lot of sleep to take on the world with this pulpy, futuristic atom bomb. Key Cuts- Bulletproof Heart, Party Poison, S/C/A/R/E/C/R/O/W

Most Critically Praised: High Violet by The National (****½)
The National were poised to become something of a household name. They were indie darlings who opened for U2, always commended for who they were associated with while Matt Berninger’s resonating baritone came across as a new wrinkle to the post-punk revival. With High Violet, it almost seems like they were trying to come into their own, to make fans and critics accept them for the own merits rather than the trappings that surrounded them. Songs like the haunting, piano tipped “Sorrow” display a band at the peak of their talents, able to conjure immense walls of sound while retaining a soft sense of intimacy. Throughout the album's run time, The National colors their musical space with frantic distortion, somber horns, and precise drumming, creating a richly detailed world to suit Berninger’s mournful observations. High Violet’s percussive single “Bloodbuzz Oho” spread across music publications and late night shows like wildfire, displaying a band with more musical depth and diversity than their 2010 post-punk contemporaries. Yet the icing on the cake is Berninger, who seems to be caught between middle class sedation and watching it crumble around him. On “Little Faith,” Berninger’s dark velvet voice drops lines like, “Don't be bitter, Anna/I know how you think/You're waiting for Radio City to sink…” offering reassurance when it comes to the erosion creeps into our lives. In the end, The National created an important record, an album that stresses the need for us to connect to someone or something outside of our 9-to-5s. It’s no surprise, then, why so many critics connected to High Violet in the way that they did. Key Cuts- Sorrow, Bloodbuzz Ohio, Conversation 16

Most Critically Crapped On: Rebirth by Lil Wayne (*)
Who knows what Lil Wayne was thinking when he decided to write and record Rebirth. It’s possible that he believed he was as talented as Prince, to smash rock and rap together into something far removed from nu metal. Maybe he thought he was a lost Beastie Boy. Unfortunately, it’s probable that he inadvertently created the year’s best comedy album, one whose delays and eventual leak didn’t hurt as much as its actual content. Rebirth is, quite simply, a mess. It’s a tidal wave of lazy auto tune, adolescent guitar noodling, and bad rapping, packaged as some sort of high-art statement from Young Money. While Wayne has proven himself to be pop dynamite when it comes to writing hooks, Rebirth is virtually devoid of them. The bravado that he typically brings to his mixtapes and rap albums is gone, replaced by an “introspective” version of himself that feels forced and out of place. Adding insult to injury is how compressed the record sounds, a combination of thin bass work, muted drums, and studio sheen that makes the whole thing feel flat. Luckily, the critics smelled this one coming a mile away, even if they’re willing to give Eminem props for his aggressive guest spot on “Drop The World.” While it might be polite to commend Lil Wayne in stretching his sound, doing so might encourage him to create another album like Rebirth. Best to keep all compliments to ourselves on this one. Key Cuts- Remember Three Dollar Bill Ya'll?

Biggest Surprise: Brothers by The Black Keys (****)
It’s not so much a surprise that The Black Keys exploded in popularity with Brothers, it’s in how they did it. 2008’s Attack & Release found Dan Auerbach (Guitar) and Patrick Carney (Drums) flirting with subtle production techniques, moving further away from their stripped down, dirty blues aesthetic. What resulted was a record that had really interesting ideas but one mired in growing pains. Brothers sheds those impediments completely, trading cacophony for crispness, shredding for soul. The shocking part is that it doesn’t feel forced. Whether it’s in the swampy fuzz of “Next Girl” or the sliding guitar boogie of “She’s Long Gone,” The Black Keys have never sounded more confident as they do here. “Everlasting Light” is awash with Auerbach’s newly discovered falsetto while a fleet of background singers add vibrant fullness to the bouncing opener. The impressive part is that they’ve maintained a level of authenticity despite the noticeably smoother sound. Auerbach continues to develop into a master storyteller, whether he’s singing about love’s anguish (“Tighten Up”), or twisted revenge (“Ten Cent Pistol”); his solid song craft makes some of the sonic risks a bit easier to stomach for longtime fans. The thumping drums, swirling guitars, and spectral harpsichord of “Too Afraid To Love You” goes down easier when you’ve got such strong substance backing it up. As such, the group is able to transition long time fans with minimal effort. It’s rare for a group to make such a big change in sound while still maintaining the respect of their core followers. The Black Keys have achieved that with Brothers, making a strong case for collaboration rather than conflict. Key Cuts- Next Girl, She's Long Gone, Too Afraid To Love You

Biggest Letdown: Recovery by Eminem (*½)

The biggest problem with Relapse, besides Eminem’s strange accents, was in its content. Its horrorcore shock rap made a lot of fans wonder if he’d changed during his hiatus from the rap game. Thanks to Recovery, we learn that the answer is no, but he got a lot better at marketing his product. While Relapse found Eminem struggling to regain his street cred, Recovery finds him scratching for mainstream adoration, resulting in a trite, manufactured offering that finds a talented MC at his most watered down. It’s not so much that Eminem has lost his sense of delivery, it’s that he’s got nothing compelling to say. Suddenly, he can’t bear the thought of letting his fans (“Not Afraid”) or his daughter (“Going Through Changes”) see him as anything other than perfect. Really? This is the same man used to rap about taking his daughter on a road trip with his murdered wife, the same guy that played the Devil on “Guilty Conscience.” Even if Relapse’s serial-killer inspired lyrics went too far, Recovery’s de-fanged prose should make Eminem embarrassed as an MC. Sadly, it doesn’t. He tries so badly to write another “Stan” that it’s hindered his ability to make passionate music. The brightest gems on Recovery seem to be when Eminem is most confrontational, like on the fuzzy rap rock of “Won’t Back Down,” or the critic lashing of “On Fire.” Additionally, choosing to pass over Dr. Dre as executive producer was a big mistake, one that trades dynamic arrangements for sterile, canned beats. Sadly, Recovery shows fans what Eminem really needs saving from: Himself. Key Cuts- On Fire, Won't Back Down (Feat. Pink)

Biggest Blog Buzz: King Night by Salem (**)
Call it witch house, drag, screw, or any other ridiculous name; the fact of the matter is Salem caused quite the stir with their first full-length album, King Night. While the record has been described as a combination of crunk rap and heroin fuzzed synthesizers, the music’s actual quality has been a strong point of contention amongst consumers. Cuts like the lethargic “Tair” and dungeon ready “Trapdoor” feature low pitched rapping and paper thin beats, with fans left to wonder if the whole project is a product of being lo fi or simply shoddy. In any event, it’s difficult to argue that King Night has a certain graveyard atmosphere that at least deserves an examination. The album’s title track samples “O Holy Night,” warping it to a shadowy crawl as the bass drops like an atom bomb against strident keyboards. Elsewhere, songs like “Frost” and the skittering “Redlights” are awash with Heather Marlatt’s siren-like vocals, seeped in enough gloom to make Robert Smith blush. Unfortunately, what really hampers the band is their inability to go beyond their self-imposed atmosphere. King Night has very few melodies that will stick around past their novel first impression, damaging the album and the group's reputation in the process. While Salem is causing a big commotion now, they probably won’t be remembered in a few years time, or if they are, it will be as a footnote to some sort of vocoder operations manual. Key Cuts- King Night, Frost, Redlights

The Album That Should Have Caught On: Bad Books by Bad Books (****)
It’s no secret that Kevin Devine is really good friends with Andy Hull and the rest of Manchester Orchestra. However, it WAS completely unexpected for their musical collaboration to feel so effortless. Taking musical cues from Elliott Smith and Pavement, Bad Books self-titled album is the most straight ahead rock album this year, a record that manages to be tender, vivacious, and fun, all at the same time. Both Devine and Hull trade vocal duties throughout the album’s 10 quick tracks, and their different approaches to song craft keep the record lively. Devine is clearly the wordsmith of the two, peppering songs like the folky “The Easy Mark & The Old Man” with two dollar metaphors and sly turns of phrase. Hull, by comparison, is the “feeler,” as songs like the spastic “Baby Shoes” are more attached to presence rather than perfection. It’s also worth nothing that Bad Books walks the fidelity tightrope well, never coming across as too rough or to polished for their listeners. Cuts like the big riff workout “You Wouldn’t Have To Ask” takes listeners back to a time where music wasn’t about sonic extremes, but about presenting concise melodies. In that sense, it’s a shock that Bad Books didn’t get more love this past year, but it does give Devine and Hull more incentive to write a follow up. Key Cuts- The Easy Mark & The Old Maid, Baby Shoes, You Wouldn't Have To Ask

Worst Release: Congratulations by MGMT (*)
Let’s keep this short and sweet. Congratulations is a disaster of an album. The honed discipline and thick, chunky bites of new wave that made MGMT so exciting have all been replaced with slick, Dire Straits-meets-Sega Genesis reverb. By the sound of it, it seems to be a loveless marriage. Congratulations overstays its welcome on the first track, displaying the band as the kind of rock stars MGMT parodied on their first album: The indulgent kind. The somewhat sensible reason to pick up this LP is for “I Found A Whistle,” a spacious, organ drenched track that sounds like the closing of a Wes Anderson movie, or at the very least, an Oracular Spectacular b-side. Key Cuts- I Found A Whistle

WILDCARD!: Sea Of Cowards by The Dead Weather (****½)

When The Dead Weather dropped Horehound in 2009, no one knew if they’d last. It was a record that rested at the mercy of Alison Mosshart and Jack White’s animal magnetism, as well as their insane touring schedules. Therefore, it’s not only impressive that the group dropped a second album, it’s also impressive that they sound like a complete band on Sea Of Cowards. From the opening, roller coaster fuzz of “Blue Blood Blues” to the percussive conclusion of “Old Mary,” The Dead Weather have pushed their voodoo inspired blues into even more manic vistas, perhaps even topping their debut. Songs don’t simply shred on Sea Of Cowards, they gurgle with heaving dissonance, rising and falling like molten lava against the darkest crags. “The Difference Between Us” relishes in computerized keyboards against Mosshart’s she-devil charisma, while “Die By The Drop's” metallic cacophony is barely held together by twinkling piano. While the draw is still hearing Mosshart and White circle around each other like predator and prey, the musical osmosis on Sea Of Cowards makes it difficult to determine who actually wrote what. The roles aren’t clearly defined in The Dead Weather, and this cross-pollination of influences seems to suggest that the group has found their chemistry. Suddenly, the digitized, squealing slosh of “Gasoline” becomes more than just an impressive display of musical prowess: It becomes a teaser for what The Dead Weather might possibly cook up next. Key Cuts- Blue Blood Blues, The Difference Between Us, Gasoline

That does it for my noteworthy albums in 2010. What did you guys think? What piqued your earbuds this past year?

Mike & Liz's Monday Mixes: Volume Eight (2011 Here We Come)

Happy 2011 Readers! As we leave behind 2010 and look towards the future, Liz from Dance To The Radio and I decided to offer up two mixes to start things over with. While there are tons of great songs about New Years, I attempted to select songs about starting over, rebirth, and being free from the baggage that weighs us down. Besides, Liz ended up using some of my favorite New Years songs (like "The New Year" by Death Cab For Cutie) so I think we've got all our bases covered.

Here's to the New Year and new beginnings!

First Breath After Coma- Explosions In The Sky

New Wave- Against Me!

Bulletproof Heart- My Chemical Romance

Here Comes The Sun- The Beatles

New Again- Taking Back Sunday

Westbound Sign- Green Day

The World At Large- Modest Mouse

The Start Of Something- Voxtrot

Possibilities- Weezer

Futures- Jimmy Eat World

The Adventure- Angels & Airwaves

Dawn Of A New Day- In Flames

First Day Of My Life- Bright Eyes

Gravity- A Perfect Circle

Download & Enjoy!

Dog Days Are Over- Florence + The Machine

Ready To Start- The Arcade Fire

Time Bomb- The Format

A Good Start- Maria Taylor

Vagabond- Wolfmother

Brand New Start- Little Joy

Waltz #2- Elliott Smith

New Wave- Against Me!

The New Year- Death Cab For Cutie

Meet Me In The Basement- Broken Social Scene

Be So Happy- Heartless Bastards

A New Name For Everything- The Weakerthans

Ready For It - The Stills

Poised & Ready- Brendan Benson

Don't Look Back- She & Him

Happy New Year- Camera Obscura

Download & Enjoy!