25. Cloud Nothings - Attack On Memory
Attack On Memory aggressively brought into 2012. A bedroom project gone full band. Steve Albini behind the boards means added aggression, edge, and 100% analog recording. Rocks hard, sometimes bordering post-hardcore/emo level hard. Don't be dissuaded, this is a great rock record.
24. Matthew Dear - Beams
Brighter and more optimistic than 2010's aptly titled "Black City," Beams has Detroit's Matthew Dear arranging extremely danceable, yet oddly cerebral, mostly electronic music. His singing voice also resembles Kyp Malone of TV on the Radio, so bonus points for that. Keep rockin' in the D, Mr. Dear.
23. The Mars Volta - Noctourniquet
The Mars Volta were much more straightforward with "Noctourqiuet." But by god, they still craft endlessly interesting prog rock tunes with wild narrative vocals. This time around, they even lean towards garage rock with the blues-stomping "The Malkin Jewel." Let's hope Bixler-Xavala and Rodriguez-Lopez never lose the weird.
22. The Men - Open Your Heart
Mostly vocal-less, New York post-hardcore. Done right. These boys include nods to just about every decade of rock music. Powerful, muscular rock. Just when you think you have their number, they drop "Candy, " a vocals-lead, country love song.
21. Chromatics - Kill For Love
"Drive" was 2011's best film, with a fantastic soundtrack full of 80s synth-indebted "Synth/Dream-pop." Chromatics had music featured on that soundtrack, then followed that opportunity up with "Kill For Love." This massive double album is a strong statement in favor of their preferred genre. With touches of low-end, dubby reverb, and some post-punk aesthetic Look for this album to be a major reference point of many a future 80s-loving, synth-popper.
20. Divine Fits - A Thing Called Divine Fits
Leader of Spoon? Check. Handsome Furs/ Wolf Parade's Dan Boeckner? Check. Supergroup of the year? Check. Divine Fits prove that great, individually accomplished parts can manifest into an original whole that musically references both past successes, while creating an entirely new identity. Britt Daniel is the king of minimalism, and that can be heard throughout "A Thing Called Divine Fits." P.S. The keys/synth work by Alex Fischel is fantastic.
19. Swans - The Seer
Swans never give it to you the easy way, and "The Seer" is no different. This album is a 2-hour experimental sound trip. It can be haunting, demonic, punishing, but beautiful. This album is not for everyone. But Michael Gira never wanted to be for everyone. This album is a fight, but a worthy one.
18. Beach House - Bloom
Following the beautiful "Teen Dream" must be tough, but Beach House step up and instead of reinventing the wheel, took what made "Teen Dream" beautiful, and built. Beach House should be crowned as Dream-pop royalty. The tunes occupy so much space, they beg to swallow you whole. Beach House continue to be one of the most consistent bands in music. Keep it up.
17. Brother Ali - Mourning in America, Dreaming in Color
Atmosphere acolyte and label artist takes a Muslim activist approach to America, and reps Romney's ignored 47% pretty damn well. Brother Ali is on a tear. All three of his LPs are inspired listens that add to the narrative of a man that's legally blind, albino, and hyper-aware of injustice.
16. David Byrne & St. Vincent - Love This Giant
Mr. Talking Head and the beautiful woman responsible for my favorite album of 2011 come together and make an album that sounds very little like either's respective places in music. It sways effortlessly, horns all over the place. Though some might point to the arrangements as being too simple for the collective brains at work, the music is so effortless, perfectly arranged, and endlessly catchy, that detractors should just stop and enjoy the ride.
15. Dan Deacon - America
Deacon wrote this while travelling the country, and titled his album thusly. This album is the maximalist electronic album equivalent of 'On The Road.' The album feels and breathes scenery, ebbs and flows like every great road trip you've ever taken, dances on canyons, and swims in the rivers. Missing out on Dan Deacon is missing a key component of the electronic landscape.
14. Sharon Van Etten - Tramp
Before Tramp, Sharon Van Etten was a careful observer of the human condition, and she played that out fairly simply, with a guitar, and strong words. Tramp blew Van Etten's sound wide open. Lush arrangements, with equally powerful words. Production by Aaron Dessner of The National is felt throughout, but never out-edges Van Etten's cutting lines, and fighting voice.
13. Flying Lotus - Until the Quiet Comes
'Cosmogramma' wrote a new chapter in electronic music. 'Until the Quiet Comes' didn't quite do that. What it did do was show a young, extremely talented artist mature and continue to cultivate a space and sound that hundreds are and will continue to use as source material. The album is more subdued, less all-over-the-place, but more haunting. FlyLo picks the perfect vocal guests and allows their contributions to shine. Anything with FlyLo's name on it has my attention.
12. Fiona Apple - The Idler Wheel...
She makes you wait(6 years for the last one, 7 years for this one,) but as soon as the piano starts, you're in for some gorgeous, pained, introspection. Fiona Apple has reemerged with a stunning set of songs. Many very simple in structure, but beautiful in delivery and honesty. Let's hope the next one only takes half the time.
11. Grizzly Bear - Shields
If you don't have quality speakers or headphones for this album, than you should probably wait until you do. Grizzly Bear are all about the subtle details, and those details and explorations fill this album to the brim. No songs with the instant hit feel of "Two Weeks," but the entire album shows off how distinct and gripping Grizzly Bear's songs can be, especially when their co-band leaders are writing together.
10. Titus Andronicus - Local Business
Punk Ethics well intact, Titus Andronicus ditch the extras that helped turn 2010's 'The Monitor' into one of the finest rock albums in recent memory. With the horns, speeches, and Civil War out of the way, the Jersey boys came right at us with more straightforward punk rock tracks. The result was another fantastic album, one that better showed off the live feeling of Titus Andronicus and kept Patrick Stickles' hyper-self aware intelligence, and put some personal struggle at the forefront (My Eating Disorder.)
9. Father John Misty - Fear Fun
He left Fleet Foxes, dreamed up a new moniker, and got lost in philosophy. I hope J. Tillman never finds his way back. Fear Fun is smart, but never loses it's sense of humor. J. Tillman's voice is strong, but warm. He muses on death, love, and bad trips. He creates characters that live and breathe within the music. He also manages to references Heidegger, Sartre, and Neil Young, all in the same song. (I'm Writing a Novel) Robin Pecknold can have his Fleet Foxes, I'm praying in the church of Father John.
8. Jack White - Blunderbuss
For any of my friends who thought this was taking home top prize, I can't blame you for the guess. Blunderbuss marks a very important moment in the career of a very important musician. The White Stripes are defunct, and The Raconteurs and Dead Weather lack time tables or contracts to fulfill. So here comes the solo record. The A-side is chuck-full of powerful tracks, "Sixteen Saltines" let's us know that Jack still riffs with the best. 'Love Interruption' was the surprisingly mellow first single that just kept getting better every time I heard it. But it was the B-side that brings the whole album together. Flowing effortlessly, while jumping through genres like a modern take on White Album aesthetics.
Long live the king.
7. Dirty Projectors - Swing Lo Magellan
What happens when an experimental brainiac takes his band out into the middle of the woods in upstate New York to write their new album? A great band decides to focus on writing great songs with heavy emotional depth. From the Zepplin roar of the guitar on "Offspring are Blank" to the tragedy of "Impregnable Question." 'Swing Lo Magellan' finally brings the heart into the Dave Longstreth equation.
6. Kendrick Lamar - good kid M.A.A.D. city
Does Kendrick Lamar's debut LP follow the "instant classic" formula so perfectly laid out by "Illmatic?" Yes. Does that take anything away from it's value or success as the best rap album of the year? No. Kendrick has crafted a real and intellectual look at the world he grew up in, and by embracing both the positive and intense negatives, he's made his greatest case for being rap's next great M.C..
5. Alt-J (∆) - An Awesome Wave
I got ahold of this album shortly after it debuted in Europe and as soon as the last song had struck it's final chord, two thoughts immediately jumped into my head. 1) Why is no one in America talking about this album? 2) My friends need to hear this album right away. Great Britain as a whole seems to think the same things, awarding lead single 'Tessalate' plenty of airplay, and awarding Atl-J with this year's Mercury Prize. Alt-J have created an impressive debut of electronic-folk rock. The bass is dubby, especially on 'Fitzpleasure.' Though maybe not the next Radiohead as so many over-zealous british music journalists proclaimed, but they are a young, talented band that have crafted a debut album that stands with the best of 2012 and creates a whole lot of pressure for number 2.
4. Ty Segall - Twins
Three full LPs this year!!! Twins is just the far and away best of three quality releases. Twins was a full solo project, Segall did most of the instrumentation and crafted pulverizing songs, many of which seem to imply that Ty Segall is losing his mind. 'Twins' is Ty Segall moving out of the garage and exploding all aspects of his musical identity. The feedback is ever-present and explodes throughout the record. The hooks are infectious, and the little "cha" on 'Ghost,' might be the best syllable on record all year. Be prepared, Ty Segall's going to be a fucking rock star.
3. Japandroids - Celebration Rock
The boys of Vancouver's Japandroids are both 30 as of this writing. Past the point of youthful experimentation, binge-drinking(maybe), teenage love, and all that the world offers at a young age. With 'Celebration Rock,' Japandroids take a heavy, nostalgia-filled look in the rearview mirror and do a 35-minute group shout to the good old days. The busy, strummy guitar never relents, the drums are inventive and punishing. This album will have you believing that life is worth living, that every gathering of friends, every drink, every smoke, every meal is worth celebrating. They honor The Replacements like no other band has, and they honor the human struggle by raising a glass and lighting fireworks.
2. Frank Ocean - channel ORANGE
1. Tame Impala - Lonerism
In 2010, I thought psych-rock was dead.(Note, I do not count The Flaming Lips as psych-rock, they're in a place all their own.) The genre had been mined over and over again, everyone wanting some piece of what 4 boys from Liverpool had found in dropping acid. Usually, it involved buying all era-specific equipment, tearing out chunks of melody, chord progression, or vocal stylings. This became old, stale, I'd been listening to 'The Beatles' since age 4, and sure, into my teen years, Beatles copiers often found space in my ears. But I grew tired, and turned my back to psych-rock. But 2010 brought 'Innerspeaker" by Tame Impala, and some hope was restored. Sure, he sounded a shit ton like John Lennon in songs like "A Day in the Life" and "Tomorrow Never Knows," but the melodies were fresh, the technology was of the present, and the songs were killer. When "Lonerism" was announced, I was worried, sophomore slumps are prominent in music. What I found was an album with melodies even more glorious, psychedelic freak-outs even more phased and gripping; I found an album that shows the pain of isolation, of social paranoia. King Crimson and Todd Rundgren's "A Wizard, a true star" should be considered major influences as much as Sgt. Pepper. I couldn't help but connect with this album, to be pained on songs like "Why Won't They Talk to Me?" To be sent back into my glam rock-loving phase with "Elephant," and belt out(when alone) to "Feels Like We Only Go Backwards." Not just because the album and songs are fantastic, but because I feel like I've been there, because Kevin Parker has found the beauty in those isolated moment, in the doubt, in the frustration, and hes willing to tell you exactly what it's like, and it might hurt, but boy is it beautiful.