Ahhh, year-end list time! For the eighth year running, allow me to submit my humble addition for your consideration as we ring in the new year.

 

(As always, these selections are not supposed to be “the” top albums of the year. These are simply the ones that I enjoyed the most.)

 

10. Royal Blood – Royal Blood

 

 

Rock isn’t dead! The self-titled debut album from this British two-piece alt rock outfit may not be breaking any new ground, following in the well-worn footsteps of Death From Above 1979, The Black Keys, and The White Stripes, but I challenge you to find any that has as huge a sound as Royal Blood. Deploying a stunning array of effects via pedal board, frontman Mike Kerr plays his bass guitar like a six-string and, backed by the relentless pounding of drummer Ben Thatcher,  manages to sound like a fully-staffed band. Seriously, check out the shredding riffs on on “Come On Over” or “Loose Change”, or the squealing guitars on “Better Strangers,” or that awesome, lurching hook on “Ten Tonne Skeleton,” definitely the best track on the album. On substance, this album is disappointingly shallow, with generic, forgettable alt rock lyrics and cliched song structures. But on style…these guys kill it.

 

Standout tracks: Out of the Black, Come On Over, Figure It Out, Loose Change, Ten Tonne Skeleton, Better Strangers

 

9. Flies In All Directions – Weatherbox

 

 

This LP from San Diego-based indie punk rock outfit Weatherbox is not for everyone. Even I have to be in a certain mood to listen to it. But when I am, man, this album is pretty fantastic. Frontman Brian Warren’s Max Bemis-esque vocals are something of an acquired taste, but if you can get past them, the songwriting on this album is truly impressive. Lyrically, this is probably one of the most intriguing albums I’ve heard all year, and musically it’s a head-spinning whirlwind of crashing rhythm guitars and shifting/overlapping time signatures (see “The Fresh Prints Of Bill Ayers” and especially “Ghost Malls”). It takes a few listens to get into, but it’s worth it.

 

Standout tracks: Bring Us The Head of Weatherbox, The Fresh Prints of Bill Ayers, Bathin’ In The Fuss, Dark Night For All Of Us, Ghost Malls, Kick-Flips

 

8. VA – The Last Bison

 

 

The Last Bison’s follow-up to their brilliant debut Quill (and the major record label re-release, Inheritance) is a step forward forward for this Chesapeake, VA-based chamber folk six-piece in many ways. Where their debut was small-sounding and intimate, like a group of friends playing in your living room, the orchestrations on VA are bigger, fuller, and more intricate. Full drumsets augment the traditional rustic percussion, and the band gives a much more pronounced role to Andrew Benfante’s piano and organ as well as Teresa Totheroh’s violin. True, there’s no knockout single a la “Switzerland,” and musically it’s not exactly an evolution, but the band’s ability to round off the rough edges and hone their songwriting craft results in album that is overall a more complete package than their previous work. Plus, it’s great for long drives through rural Virginia.

 

Standout tracks: Cypress Queen, Governor’s Son, Endview, Maroon, Burdens, Sleep

 

7. Sylvan Esso – Sylvan Esso

 

 

Probably the best debut album of the year, this unassuming male-female indie electropop duo is going to do some big things. From singer Amelia Meath’s first airy vocals and sparse claps to producer Nick Sanborn’s first pulsating saw wave on the chorus of the ultra-catchy anti-catcalling opening single “Hey Mami,” I could tell I was going to enjoy this. By the layered vocal lines on “Could I Be,” I was sold. The album does tend to get a little bit self-consciously art-cafe-trendy at times — I appreciate “Coffee” (the lead single), but it’s just so obviously begging to be played daily at your local organic fair-trade coffee shop that I find myself skipping it more often than is probably warranted. The hip-hop inspired “Dress” and the sparkling “Play It Right” are also fantastic, and Meath’s vocal harmonies on the folksy closer “Come Down” are just gorgeous.

 

Standout tracks: Hey Mami, Could I Be, Dress, Play It Right, Come Down

 

6. Andrew McMahon In The Wilderness – Andrew McMahon In The Wilderness

 

 

The solo project from the former frontman of Jack’s Mannequin and Something Corporate is everything I hoped it’d be — full of shimmering, perfectly crafted piano-driven, synth-backed Americana pop anthems and moving ballads. McMahon is at the top of his game, and his solo effort proves yet again that he is one of the best songwriters in the business. Inspired largely by the recent birth of his daughter (see “Cecilia And The Satellite”), this is an album about family and appreciating spending time with people you love, from a seasoned artist who has survived the highs of global fame and the lows of a battle with leukemia. Not a lot of angst here (though “Halls”, my favorite track, does have a generous dose), just plenty of eloquent reflection and nostalgia — “All Our Lives” and “Maps For The Getaway” are the best examples, and obvious highlights. This is an album that will stand the test of time.

 

Standout tracks: Cecilia and the Satellite, High Dive, All Our Lives, Halls, Maps For The Getaway

 

5. Warpaint – Warpaint

 

 

When I first heard this album, I have to admit — I had no idea how to feel about it…but I didn’t think I liked it. It was weird, it was spacy, the song structures were meandering and unconventional. Not a true single to be found anywhere. I’m not even sure how I stumbled across it, to be honest. But by the end of the second full listen on Spotify, I felt a little tugging in the back of my mind — despite not being “catchy” in the way I’ve traditionally understood that word, I found myself craving to listen to it again and again, and after listen #4 I bought it. The sophomore full-length from this all-female four-piece band is intoxicating, hypnotic, brooding, and seductive — it has a strange way of seeping slowly but inexorably into your brain and saturating it “like an oil painting mixed with blood,” as one online reviewer put it — and I can’t really think of a better way to describe it.

 

Standout tracks: Keep It Healthy, Love Is To Die, Hi, Disco//very, Feeling Alright, Drive

 

4. Lowborn – Anberlin

 

 

When Anberlin announced this spring that their forthcoming album, Lowborn, would be the band’s last, it was obviously going to be a bittersweet experience. As a fan for nearly a decade, my expectations were high, particularly coming on the heels of 2012’s Vital (my #1 album that year), which signaled Anberlin’s resurgence after several lackluster efforts. The result was a solid, fitting send-off for the band — nothing groundbreaking, nothing spectacular, but nevertheless an album full of excellent tracks that showcase the band’s mature, perfectly-honed sound. Anberlin has always been known for oscillating between heavy alt rock riffs and 80s dark wave synth, and Lowborn showcases plenty of both, with the bombastic opener, “We Are Destroyer” leaning heavily on the former, and the brooding single “Stranger Ways” a great example of the latter. “Velvet Covered Brick” gets the blend just about right, but the album’s standout track is definitely the penultimate track “Hearing Voices,” lyrically and musically one of the best tracks Anberlin has ever written. It’s not all great — “Birds of Prey” is probably the worst song to ever make it onto an Anberlin record, and “Dissenter” just makes no sense — clearly the result of Stephen Christian telling his bandmates “You know guys, I’ve always really wanted to do a screaming song…” But every good thing must come to an end, as Christian sings on the fitting closer: “I don’t wanna go now, but I’ve got to / for you to remember me”.

 

Standout tracks: We Are Destroyer, Stranger Ways, Velvet Covered Brick, Atonement, Hearing Voices

 

3. 1989 – Taylor Swift

 

 

Yeah, “haters gonna hate,” as Taylor would say. But Swift’s album was undeniably one of the great records of 2014. With 1989, Taylor reinvented herself, gleefully shredding the last vestiges of her original teen country music star image and sound with an indisputably fun, 80s-inspired album full of radio smash hits and pure pop goodness. Thematically, the album finds Taylor embracing her reputation for celebrity tabloid-leading relationship drama with a wink, and showcasing yet again her incredible penchant for pop songwriting. Sure, like most pop albums these days, 1989 is heavily front-loaded, and the quality drops off after the very impressive first six tracks. Nevertheless, it manages to finish strong with the standout closer, “Clean,” which is just an undeniably fantastic breakup song. As a lover of music albums as an art form (obviously), I also have to give a tip of the hat to Swift for making the album a relevant commercial entity again, at least for a brief moment — 1989 sold over 1.2 million copies in the first week, the first solo artist to reach that mark since 2002, bucking an industry trend in which the album is rapidly becoming obsolete, with overall sales plummeting 14% in 2014. Honestly, that’s probably because it’s almost impossible not to enjoy this album.

 

Standout tracks: Blank Space, Style, Out of The Woods, All You Had To Do Was Stay, Shake It Off, Clean

 

2. Wonderlust EP – Dreamcatcher

 

 

I was tipped off to this Baltimore-based indie rock quartet by a friend, who mentioned them mostly as a novelty because one member (Bryan Czap) is the ex-guitar player from The Dangerous Summer. But after a few listens I realized that this band is much more than just their one semi-famous guitarist. Their debut EP is a rather remarkable collection of songs, with a narrative arc in which you witness a relationship self-destruct in slow motion via lyrics that are simple, yet devastatingly, achingly powerful. Lead singer Chelsea Tyler’s smoky, emotive, desperate vocals blend perfectly with the shimmering guitars. “June” and “Wonderlust” are easy standouts, and also showcase Tyler’s unique halting vocal delivery, creatively pacing her enunciation of each syllable. Dreamcatcher’s eight-track EP was one of my most-played albums in 2014, and I can’t wait to check out their full-length debut set to drop in 2015.

 

Standout tracks: Wild, June, Heaven Sent, Wonderlust, Come Down, False Flags

 

1. Cope + Hope – Manchester Orchestra

 

 

In the run-up to Manchester Orchestra’s release of their fourth full-length album in April of this year, they had promised fans that Cope would be a “brutal” and “unapologetically heavy” rock ‘n roll record. Well, mission accomplished. Standing in stark contrast to their previous efforts, particularly 2011’s string-arrangement-laden, emotional, and introspective Simple Math, Cope is a relentless, pounding, guitar-driven assault on the eardrums. Most songs follow the same basic structure, with palm-muted verses giving way to huge, unrestrained choruses, with massive guitars firmly front-and-center. From the huge hooks on the opener “Top Notch” to the incredible one-two punch of “See It Again” and “Cope” at the end — perhaps the best closing to any album I’ve ever heard — the intensity never lets up. There are no soft ballads, no quiet moments. Yet while I thoroughly enjoyed this straightforward rock record, it was admittedly a little one-dimensional. But then in September, Manchester Orchestra, who must have foreseen this criticism, released Hope, an acoustic re-imagining of all the songs from Cope. Much more than just the same songs played with acoustic instruments, Manchester Orchestra crafted some beautiful orchestrations and even changed the lyrics on certain songs. Upon listening to Hope, Cope suddenly makes a lot more sense — and you gain an entirely new appreciation for many tracks. It was an ambitious strategy, but taken together, these albums are two halves of a brilliantly well-executed whole.

 

Standout tracks: Top Notch, Choose You, Girl Harbor, Every Stone, See It Again, Cope

 

Honorable Mention:

 

Guardians of The Galaxy: Awesome Mix Vol. 1 (Original Motion Picture Soundtrack) – Various Artists

9 Dead Alive – Rodrigo y Gabriela

Out Among The Stars – Johnny Cash

Go Down In History – EP  – Four Year Strong

 

****************************************

 

Top 10 Songs of 2014:

(YouTube Playlist of these can be found here!)

 

10. Work Song – Hozier

9. She Used To Love Me A Lot – Johnny Cash

8. Push Pull – Purity Ring

7. Yellow Flicker Beat – Lorde

6. Flight – Lifehouse

5. The Kids Aren’t Alright – Fall Out Boy

4. Shake It Off – Taylor Swift

3. I Wanna Get Better – Bleachers

2. Hey Mami – Sylvan Esso

1. Peaches – In The Valley Below

It’s that time of year again! And for the first time in a long time, I can actually say that this year there was some pretty stiff competition to make the list. 2013 was the best year for albums in quite a while, particularly compared with the rather weak and/or disappointing offerings of the past few years (I could only find 9 decent albums last year, for example).

 

As always, these selections are not supposed to be “the” top albums of the year. These are simply the ones that I enjoyed the most.

 

Also, a special thanks to everyone who recommended various albums to me earlier this year when I asked for recommendations! I really did listen to at least a few tracks off of all of them.

 

10. The Civil Wars – The Civil Wars

 

By far the most country album to ever make my top albums list, The Civil Wars’ self-titled sophomore release is worth listening to even if, like me, you normally despise country music. I made an exception to my no-country-ever rule and checked this album out after reading a few articles about the intriguing backstory to this album. After captivating audiences for years with their intense on-stage chemistry (though they are both married to other people) The Civil Wars’ Joy Williams and John Paul White abruptly canceled all remaining tour dates and announced an indefinite hiatus following the recording of this album in late 2012, cryptically citing “internal discord and irreconcilable differences of ambition.” Williams described the split as “a hard, painful season of my life,” and John Paul Williams declined to do any press in support of the album this year. Williams has stated that the story of what went wrong in their relationship can be found within the album — and the raw, tragic power of this record is undeniable (even without knowing the backstory). Also, they do a pretty killer cover of The Smashing Pumpkins’ “Disarm.”

 

Standout tracks: “The One That Got Away,” “I Had Me A Girl,” “Dust to Dust,” “Eavesdrop,” “Sacred Heart”

 

9. Random Access Memories – Daft Punk

Probably one of the most highly-anticipated albums (by me) in years, Daft Punk’s first studio album in eight years was one of the most refreshing albums of the year. Abandoning the heavier house/trance feel of 2005’s Human After All, the French robot duo revolutionized the electronic music scene (again) with a retro disco-funk vibe on Random Access Memories. This approach is readily apparent from the moment you hear the guitar loops on the opening track “Give Life Back To Music,” and most successful on the smash hit single “Get Lucky,” perhaps the most perfect pop song in years. Daft Punk also brilliantly utilizes an impressive array of collaborations with other artists on the album — from Pharrell Williams’ memorable vocals on “Get Lucky” and “Lose Yourself To Dance” (my personal favorite track) to falsetto autotuned/vocoded vocals from The Strokes’ lead singer Julian Casablancas’ on “Instant Crush,” which also boasts an awesome synth line. One of the more experimental tracks on the record is “Giorgio By Moroder,” which opens with German-Italian electronic music legend Giorgio Moroder narrating his life story in broken English for 2 minutes over a funk beat before exploding into arpeggiated synth glory. Another thing I loved about this album — also well-showcased on that track — was the way Daft Punk incorporated live rhythm and instrumentals along with their standard drum machines and computer-generated loops. Random Access Memories is by far Daft Punk’s most complex, ambitious album to date (see: “Touch”), and although not every track is a success (some of the slower ballads are pretty mediocre), they should be applauded for the effort.

 

Standout Tracks: “Get Lucky,” “Lose Yourself to Dance,” “Instant Crush,” “Giorgio By Moroder,” “Contact”

 

8. Inland – Jars of Clay

I’ve been a Jars fan since their self-titled debut album came out in 1995. I was 8 years old. It was one of the first CDs I can remember buying. My longest-running musical love affair (I’ve followed them throughout their 18-year career), they are one of the most consistently impressive bands I’ve ever seen. This may have something to do with the fact that their 4-man lineup has been unchanged since 1994 — virtually unheard-of. They have also managed another nearly impossible thing in the music world — every single one of their 8 full-length solo studio albums to date has been (arguably) as good or better than their previous album. Inland is no exception. Jars has run the gamut musically, shifting over the years from acoustic folk to indie rock, bluegrass/country to electro-pop. The latter was evidenced on their brilliant 2009 album The Long Fall Back To Earth, but they took a turn back towards their acoustic/folk roots on Inland, bringing in successful indie producer Tucker Martine (The Decembrists, My Morning Jacket, Sufjan Stevens, Spoon). Dan Haseltine’s trademark vocals are as strong as ever, and the stellar caliber of the songwriting and musicianship is a testament to this band’s maturity and talent.

 

Standout Tracks: “Age of Immature Mistakes,” “Human Race,” “Loneliness & Alcohol,” “Fall Asleep,” “Inland”

 

7. Kveikur – Sigur Ros

I’ve been a fan of this Icelandic post-rock band since around 2006, but I was pretty much over Sigur Ros as of last year. I loved their earlier stuff, and even moderately enjoyed 2008’s poppy Með suð í eyrum við spilum endalaust. But then they released a dud of an album in early 2012, the extremely forgettable Valtari, (mostly) a boring mess of minimalist ambient mediocrity. Shame, I thought. But bands do run out of steam eventually. Then, in late 2012, Sigur Ros announced they were releasing a new album in 2013, which was apparently going to be, in the band’s own words, “the anti-Valtari.” This sounded promising, so I decided to check it out. Both the description and the promise proved spot-on: Kveikur (translated as “fuse” or “candlewick” in English), the band’s 7th studio album, is a stunning course correction. Sporting a much darker and far more aggressive sound, Kveikur explodes out of the gate with the metal-tinged and aptly-titled “Brennisteinn” (Eng. tr: “brimstone”) Throughout the album, frontman Jónsi Birgisson’s unmistakeable falsetto is thankfully re-emphasized, putting vocals front-and-center, and supported by noticably more driving, prominent drumming/percussion from Orri Páll Dýrason. The catchy single “Ísjaki” (Eng. tr: “iceberg”) is also a highlight, sporting eerie wolf-howl background vocals. The metal influence is again felt on the title track, a pulsating anthem of guitar & bass distortion that showcases some brilliant drumming from Dýrason. I also loved the sunny, upbeat “Rafstraumur,” (Eng. tr: “electric current”) a highlight and a refreshing change of pace on an otherwise very dark album.

 

Standout Tracks: “Brennisteinn,” “Hrafntinna,” “Ísjaki,” “Kveikur,” “Rafstraumur”

 

6. AM – Arctic Monkeys

Another band I was even more certain I was done following (I loved their first two albums, hated their last two), this English rock band has won me back over with 2013’s AM. The album opens with one of its best tracks, the slow-burning, after-midnight groove of “Do I Wanna Know?” The diverse sound of this album is quite a departure from any of their previous work, but that’s a very good thing. Disco, blues, funk, metal, R&B, and hip-hop influences can all be heard throughout the record. Frontman Alex Turner admitted that they listened to a lot of Dr. Dre while writing and recording, and two tracks in particular — “One For The Road,” and “Why’d You Only Call Me When You’re High?”, both highlights — are so hip-hop-influenced they almost sound like Arctic Monkey covers of long-lost Dre B-sides. The trademark guitars are still there, of course — see the ridiculously over-the-top (and awesome) guitar riffs on “R U Mine?” (Yes, a lot of these track titles are questions.) The first four tracks, in fact, are stellar, concluding with “Arabella,” a classic rock tribute. After drifting through a bit of mid-tempo filler during the middle of the album, AM gets back on track with “Fireside,” and continues to impress through the penultimate track, the disco-funk groove “Knee Socks” (which also features a devilishly clever Dr. Dre-inspired vocal riff in the bridge). Also +10 points for the cheekiest double entendre album cover of the year.

 

Standout Tracks: “Do I Wanna Know?,” “R U Mine?” “One For The Road,” “Why’d You Only Call Me When You’re High?,” “Knee Socks”

 

5. Trouble Will Find Me – The National

The title is pretty representative — this is a moody, somber and phenomenal effort from the Brooklyn-based indie rockers. The National has always been kind of a “sad songs” kind of band (they even once released an album with that exact phrase in the title), but on none of their albums is that more true than this one. “I stay down with my demons,” Matt Berninger croons. “Do not know what’s wrong with me, sours in the cup / When I walk into a room, I do not light it up.” You get the idea. But despite the depressing (and brilliant) lyrics, this record is actually a very enjoyable listen. My personal favorite is the (relatively) upbeat and extremely catchy second single, “Don’t Swallow The Cap,” which showcases Berninger’s trademark low-mumble vocals perfectly and also contains my favorite lyric: “When they ask what do I see / I say a bright white beautiful heaven hangin’ over me.” “Fireproof,” a powerful, bitter breakup song, is also a highlight. The rhythmic, repeated vocal hooks and deliberate drumming on “Sea of Love” (which contains the lines from which the album title are drawn) also stand out. The best slower track is undoubtedly the heartbreaking ballad “I Need My Girl,” featuring Justin Vernon of Bon Iver, a twinkling electric guitar, and oddly entrancing percussion, overlaid with Berninger’s yearning, emotional vocals.

 

Standout Tracks: “Don’t Swallow The Cap,” “Fireproof,” “Sea of Love,” “Graceless,” “I Need My Girl”

 

4. The Greatest Generation – The Wonder Years

While this band’s success still befuddles those who were certain that pop-punk was dead, The Wonder Years’ most recent effort is probably one of the most underrated albums of the year (though it did hit #20 on Billboard, so…I guess it’s not that underrated). While musically The Greatest Generation doesn’t break much new ground and is fairly consistent with the band’s previous two albums, the growth in songwriting and lyricism on this record is nothing short of breathtaking. With a title borrowed sarcastically from Tom Brokaw’s book of the same name about the generation that fought WWII, this album is a near-perfect summation of all the anxiety, worry, fear, and depression that virtually everyone experiences at some point during their mid-to-late 20s. The lyrics are searing, raw, and incredibly personal. “I’m twenty-six / All the people I’ve graduated with all have kids / All have wives / All have people who care if they come home at night…” Campbell sings on the album’s thematic centerpiece, “Passing Through A Screen Door.” It’s not just the brilliant lyrics though — the hooks, choruses, and melodies throughout the album are also extremely catchy. The epic closing track, which weaves in lines from the preceding tracks, concludes the album: “So bury me in the memories of my friends and family / I just need to know that they were proud of me.” The final lines:

 

There’s no triumph waiting / There’s no sunset to ride off in

We all want to be great men / And there’s nothing romantic about it

I just want to know that I did all I could with what I was given

 

Trust me, if you’re aged 22-30…this one will get to you.

 

Standout Tracks: “Passing Through A Screen Door,” “We Could Die Like This,” “Teenage Parents,” “A Raindance In Traffic,” “Cul-de-sac”

 

3. Pure Heroine – Lorde

I know, I know. It’s Top 40. She’s pretty weird. It’s the most over-hyped album of 2013. Or at least that’s what I thought until I listened to it and realized that all of the hype and global stardom is actually pretty well-deserved. In fact, this album is crazy addictive, and an absolutely brilliant debut pop album. Lorde, the stage name of 16-year-old New Zealand native Ella Yelich-O’Connor, has put the music world on notice. Musically, her style is sparse, minimalist, and heavily hip-hop influenced. Her lyrics (actually 100% written by Yelich-O’Connor) cleverly skewer today’s pop culture obsession with materialism and wealth, and teenage society’s shallowness and superficiality. Combined with her impressive vocal ability, they showcase a maturity that is way beyond her years. But she wouldn’t say so if you asked her. Regarding the anti-materalist message of her smash single “Royals,” for example, she told one interviewer that “all these people started telling me that what I’m saying is, like, profound. Are you serious? No, it’s not. That’s hugely concerning for me.” Lyrical strength aside, Pure Heroine features the most superb production of any album I’ve heard this year. The loops, beats, samples, and pads are always tastefully minimalist and always in the background, never getting in the way of Yelich-O’Connor’s vocals, which are always front-and-center. “I promise I can stay good,” Lorde sings on “Still Sane,” a song about her newfound fame. “Only bad people live to see their likeness set in stone / What does that make me?” Not sure, but I have a feeling she’s just getting started.

 

Standout Tracks: “400 Lux,” “Royals,” “Buzzcut Season,” “Team,” “Still Sane”

 

2. What You’re Running From – Audiostrobelight

It’s been an amazing experience watching this band grow and evolve over the past eight years from an up close and personal perspective (their violinist/mandolinist is one of my closest friends), and What You’re Running From should remove any doubts still remaining in anyone’s mind: these guys have arrived. This album, which was produced by Will Pugh of Cartel, is a stellar showcase of this band’s maturity, songwriting ability, and musicianship. WYRF is a maelstrom of crunching guitars, infectious hooks, some killer piano/synth (courtesy of new keyboardist/guitarist Edwin Camacho), and deeply personal lyrics that explore the anxiety and challenges of living in a small town and dealing with close friends and loved ones growing up and moving away and on to the next chapters of their lives. Unlike previous ASL albums, which have launched straight into all-out high-energy audio assaults, WYRF opens with a soft, piano-driven intro, “Last Summer,” which features the sounds of the band’s hometown — waves crashing on the shore in Virginia Beach, VA — in the background. The pace picks up with the phenomenal title track, which features crunching guitars, rhythm breaks, and a very introspective glimpse into the band’s struggles and challenges over the past few years. The highlight of the album is undoubtedly “California Gold Rush,” an insanely catchy single about trying to convince a close female friend not to pack up and move across the country. “California’s got werewolves and zombies,” Kris Lynch sings in the memorable chorus. “I’ll fill in the blanks with anything, anything to keep you here.” The high-energy “It’s About To Get Real” is the most quintessentially “Audiostrobelight-y” track on the record, with rapid-fire lyrics and gang vocals galore. The real gem on this record, however, is the mid-tempo “Divisions,” which features phenomenal riffs, a strong chorus, a key change, and some of the most brilliantly witty lyrics Audiostrobelight has ever written: “She doesn’t want the ‘boy’ in boyfriend / Just the ‘man’ in romance / I start to think that I’ll never grow up and I missed another chance”. The album closer, “We’ll Never Make It Out Alive,” features guest vocals from Will Pugh, an epic build and outro, and is without a doubt one of the most complex, ambitious tracks ASL has ever written. Put simply, this album is just straight-up fun to listen to on the first spin, yet deep enough to warrant many, many subsequent listens to fully appreciate — a fact that should come as no surprise to anyone who has been paying attention to what these guys have been doing.

 

Standout Tracks: “What You’re Running From,” “California Gold Rush,” “Divisions,” “We’ll Never Make It Out Alive”

 

1. Save Rock and Roll– Fall Out Boy

Haters gonna hate. But FOB took the music world by storm and pretty much made my year musically with their surprise comeback and album release announcement in early 2013, following a 4-year hiatus that most people figured was permanent. I personally really appreciated 2008’s Folie A Deux, but most fans hated it, and the band members have admitted that they felt miserable and burned out at the time. After announcing their hiatus in 2009, Pete Wentz, Patrick Stump, and co. reportedly fell into severe depression. But then Patrick and Pete started writing some songs. And then they decided to reunite the band and secretly record an album. And what a comeback it was. Saves Rock and Roll is a nearly complete reinvention –the pop-punk/emo/whatever-label-you-want sound from FOB’s previous records has been completely abandoned in favor of a genre-busting album that refuses to be put in a box. The only thing that really remains recognizable are Patrick Stump’s unmistakable vocals, which are more impressive than ever, and, of course, Pete Wentz’s lyrical style. FOB took big risks on Save Rock and Roll, and it paid off. The album is full of infectious hooks, insanely catchy choruses, brilliant production, boasts an impressive diversity of sounds/styles, and features a panoply of guest appearances from artists across the musical spectrum, including Foxes, Big Sean, Courtney Love, and even Elton John. “The Phoenix” is a near-perfect opener and one of the best songs of the year (and, of course, symbolically appropriate). “My Songs Know What You Did In The Dark” nabbed Fall Out Boy a huge Top 40 hit. “Alone Together” is one of the catchiest songs on the record. I could go on, but you get the idea. This album rocks. Even if you *think* you hate Fall Out Boy, you should give Save Rock and Roll a shot.

 

Standout Tracks: “The Phoenix”, “My Songs Know…”, “Alone Together”, “Just One Yesterday”, “Young Volcanoes”, “Rat A Tat”, “Save Rock and Roll”

 

Honorable Mention:

Golden Record – The Dangerous Summer

Modern Vampires of The City – Vampire Weekend

Devotion – Anberlin

(yes, it’s technically an expanded edition release of 2012’s #1 album, Vital, but the 4 new songs are stellar! Plus, I make the rules here, so I can bend them if I want.)

The Hunger Games: Catching Fire Soundtrack – Various Artists

(Yeah, I know…but seriously, it’s awesome.)

Collider – Cartel

 

Top 10 Songs of 2013

1. “The Phoenix” – Fall Out Boy

2. “California Gold Rush” – Audiostrobelight

3. “Lose Yourself To Dance” – Daft Punk feat. Pharrell Williams

4. “Royals” – Lorde

5. “Do I Wanna Know?” – Arctic Monkeys

6. “Passing Through A Screen Door” – The Wonder Years

7. “Don’t Swallow The Cap” – The National

8. “Fall Asleep” – Jars of Clay

9. “Catholic Girls” – The Dangerous Summer

10. “Dead American” – Anberlin

Yes, only 9 made the cut this time, rather than the usual 11. To be honest, I was disappointed in a lot of the albums I had been looking forward to this year. As always, these selections are not supposed to be “the” top albums of the year. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I enjoyed the most.

 

Without further ado…

 

1. Vital – Anberlin

This is by far Anberlin’s best album since 2007’s Cities – and might be even better. Anberlin’s sixth studio album is a career-defining work. If we had to suffer through the mediocrity of two lackluster albums (New Surrender and Dark Is A Way, Light Is A Place) to get here, it was well worth the wait. “We knew we had to do something different, change it up,” frontman Stephen Christian said of this album in a recent interview. And change it up they did – Vital is Anberlin’s successful perfection of the metal guitars and 80’s-throwback-synth blend that they have been evolving towards for almost a decade. After two albums full of forgettable mid-tempo ballads, Vital is a harder-edged, grittier Anberlin, shifted into 6th gear. Adding in a hefty mix of electronic instrumentation, the band bursts out of the gate with the fantastic opener (“Self-Starter”) and maintains a high-energy, pounding, and often frenetic pace (“Desires,” by far the heaviest song Anberlin has produced to date) for the majority of the next 10 tracks. I was also impressed when I found out that Stephen Christian said the lyrics for many of the songs (“Someone Anyone,” “Orpheum”) were inspired by the youth-driven “Arab Spring” protests in Tunisia and Egypt – although his undimmed rose-colored optimism about the Arab Spring, as evidenced in this November 2012 interview, did make me cringe a little.

 

Standout tracks: “Self-Starter,” “Little Tyrants,” “Someone Anyone,” “Desires,” “Orpheum,” “Modern Age”

 

2. Some Nights – fun.

About 20 seconds into the neurotic Queen-esque opening track, I could tell that Some Nightswas going to be quite a departure from Aim & Ignite. By the time the sweeping harmonies of the title track kicked in, I was sold on the new direction. Taking a chance by teaming up with legendary producer Jeff Bhasker (Kanye West, Beyonce), Nate Ruess and his bandmates took whatever was left of The Format’s acoustic-pop and burned it in a glorious drum-machine hip-hop-infused fire. And the gamble paid off – launching fun. from indie rock obscurity into Top 40 superstardom. The brilliance of the singles speak for themselves, but I personally love the admittedly Elton John-inspired “Why Am I The One” and especially “Carry On,” which I think Ruess captured beautifully in the album’s Spotify commentary: “We wanted [the song] almost to feel like you’re on a ship and its filling up with water…[not] in a desperate way, like you’re panicking or you’re worried. It’s like the ship is filling up with water and that’s what you want.” Not to mention the killer guitar riff halfway through.

 

The risk-taking didn’t always pay off – I don’t think anyone is quite sure what the band was aiming for with “One Foot,” but they didn’t get there, and Ruess admitted that the band wrote the lyrics and music for “It Gets Better” in a single day, and frankly, you can tell. But the album’s beautiful, phenomenal closer (“Stars”) is the home run that adds an exclamation point on to the end of the album – a testament to what a band can do when it refuses to settle for making the same record again and boldly embraces experimentation. Ruess claimed to have improvised the entire vocal part in the second half of the song on the spot in the studio, and fired back at critics of the band’s artistic (and brilliant) use of autotune: “If anyone [heard that song and] said to me, ‘ugh, autotune,’ I’d either punch them, or start crying.”

 

Standout tracks: “Some Nights,” “We Are Young,” “Carry On,” “Why Am I The One,” “All Alright,” “Stars”

 

3. Walk The Moon – Walk The Moon

Recommended to me by a friend, I would argue that this is by far the most fun you’ll have listening to any album this year. Cincinnati-based Walk The Moon’s debut LP is an infectious blend of poppy dance-rock laced with killer guitar and synth riffs and instantly memorable choruses. Honestly, “Anna Sun” and “Tightrope” must be two of the catchiest songs I’ve heard this year. Lyrically most of the songs are lighthearted diddies about romance, lust, and exes, so obvious they just went ahead and put the girls’ names in the titles (“Lisa Baby,” “Jenny,” etc.), but this album’s strength is not its lyrical depth. Though the album is blatantly front-loaded, with nary a down-tempo song to be found on tracks 1-6, the flurry of energy eventually lets up for the impressive ballad “Iscariot.” And I’m not quite sure why, but the oddly endearing closer “I Can Lift A Car” somehow seems to perfectly encapsulate everything that Walk The Moon is.

 

Standout Tracks: “Lisa Baby,” “Anna Sun,” “Tightrope,” “Jenny,” “Iscariot,” “I Can Lift A Car”

 

4. Celebration Rock – Japandroids

This is indie rock for people who hate indie rock. Eschewing the neurosis and cynicism of many of their counterparts, this Canadian rock duo belt out feel-good anthems about living life to the fullest and partying hard with your best friends. “Don’t we have anything to live for? Well of course we do,” vocalist Brian King sings on the opening track. “We don’t cry for those nights to arrive, we yell like hell to the heavens!” Celebration Rock‘s 8 tracks are a nonstop onslaught of high-energy distorted guitars and low-fi gang vocals, but its short length (just 36 minutes) suits it well. You’re fairly exhausted by the time you finish rocking out to “The House That Heaven Built,”one of the best songs of the year. “Remember saying things like ‘we’ll sleep when we’re dead’?” King sings wistfully on “Younger Us,” which is simultaneosly a nostalgic paean to youth and a call to arms written for all the mid-to-late-20-somethings who ever felt like life just isn’t as much fun as it used to be.

 

Standout Tracks: “The Nights of Wine and Roses,” “Evil’s Sway,” “Younger Us,” “The House That Heaven Built”

 

5. The Peace of Wild Things – Paper Route

Probably the biggest surprise of the year after Yellowcard’s Southern Air (see below), Paper Route’s superb follow-up to their 2009 full-length debut Absence successfully avoids the sophomore slump. At first I thought that toning down the guitars and emphasizing the pop and electronic aspects of their sound would be a losing formula (at least for me), this album grew on me substantially with subsequent listens. Far more pronounced production of frontman J.T. Daly’s unique vocals and Gavin McDonald’s percussion pay off on poppy tracks like “Two Hearts” and the single “Better Life.” In my opinion, this album is worth buying for the stunning “Glass Heart Hymn” alone – a masterpiece, complete with relentlessly pulsating synth instrumentation, soaring harmonized vocals, and haunting children’s choir. Daly’s crooning on the heartfelt, piano-driven “Sugar” is no less impressive, and although it may be somewhat buried in the back half of the album, I think “Letting You Let Go” is an insanely catchy highlight. Also, just listen to the dual male-female vocals on the hauntingly eerie “Tamed” while walking home at night. The stuttering, screeching “Rabbit Holes” is an obvious attempt to replicate the awesomeness of Absence‘s “Gutter,” but the dissonant chorus isn’t quite as successful, though fortunately the gorgeous closer “Calm My Soul” ends the album on a high note.

 

Standout tracks: “Two Hearts,” “Better Life,” “Glass Heart Hymn,” “Sugar,” “Letting You Let Go,” “Calm My Soul”

 

6. The Heist – Macklemore & Ryan Lewis

Ah yes, the album that everyone aged 16 to 30 has on their Top Albums of 2012 list. Only the second hip-hop album to ever make my top albums list, pretty much everything I could say about this album would either be a) already cliché, or b) already wryly dismissed by Macklemore himself (“A Wake”). So I won’t even try. Lyrical genius and perfectly executed production choices. Released independently without any major label support (see “Jimmy Iovine” for the story on that), these guys deserve every penny they make off this record. Macklemore’s socially-conscious sermonizing can get a little overly preachy at times, but he says it all so well that you can’t help but forgive him.

 

Standout tracks: “Ten Thousand Hours,” “Can’t Hold Us,” “Thrift Shop,” “Make The Money,” “Neon Cathedral,” “A Wake,” “Starting Over,” “Cowboy Boots”

 

7. Southern Air – Yellowcard

Maybe it was because I didn’t have high expectations for this album, I don’t know. But this was one of the biggest surprises of 2012 for me. After 2011’s decent but very unremarkable album When You’re Through Thinking, Say Yes, Yellowcard’s eighth studio album is a breath of fresh air from a band I thought had pretty much expended most of its freshness back in 2007. I raised my eyebrows approvingly at the pitch-perfect opener “Awakening,” and by the time the singles “Always Summer” (killer violin solo!) and “Here I Am Alive” (co-written by Patrick Stump) were through I knew this album was going to be in heavy rotation for me this year. Evoking the youthful exuberance of 2003’s Ocean Avenue while also showcasing the band’s growth and maturity in its songwriting, Southern Air features an impressively solid slew of catchy, high-energy pop-punk tunes with fantastic hooks – and a lot more electric violin. Also, I’m a sucker for the epic rock-out riff in the outro of the title track closer.

 

Standout tracks: “Awakening, “Always Summer,” “Here I Am Alive,” “Telescope,” “Rivertown Blues,” “Southern Air”

 

8. Babel – Mumford & Sons

Yes, I know, it’s basically Sigh No More: Part II. But then again, if you’ve found a winning formula (and your debut album went single, double, triple, and quadruple platinum in 7 countries), why tinker with success? Marcus Mumford and company took the bluegrass-folk-pop sound they mainstreamed with Sigh No More and polished it to an extremely fine sheen, while adding in a healthy dose of the energy found in their live performances. In short, they played it safe, and the result is an extremely enjoyable, though ultimately very predictable collection of songs that follow the same slow-build-to-epic-banjo-fueled-stomp-fest formula that fans have come to know and love. These guys are phenomenal musicians, so here’s hoping they push the envelope a little bit more the next time around.

 

Standout tracks: “Babel,” “Whispers In The Dark,” “I Will Wait,” “Holland Road,” “Broken Crown,” “Below My Feet”

 

9. Everybody Left – The Forecast

It’s not quite as good as 2010’s self-titled effort, but it’s pretty amazing how consistent this band is. Entirely funded by KickStarter donations from fans, Everybody Left is a more melancholy, subdued version of the Peoria, IL-based quartet’s trademark Midwestern rock sound. The Friday Night Lights-inspired hook-laden single “Clear Eyes, Full Hearts” and the sing-along-chorus of “Skyline” are standouts, but “Like A Habit” and “Sing It Out” shine as well, and I love Shannon Burns’ vocals on the outro of “Take Me Down.” Everybody Left is full of thoughtful, introspective reflections on feeling trapped in a small town, having big dreams, and yearning to join friends have already ventured out into the wide world to chase their own.

 

Standout tracks: “Clear Eyes, Full Hearts,” “Like A Habit,” “Skyline,” “Sing It Out,” “Take Me Down,” “Way We Were”

 

Honorable Mention:

The 2nd Law – Muse

Red – Taylor Swift

Overexposed – Maroon 5

Neck of the Woods – Silversun Pickups

In Currents – The Early November

Kids In The Street – The All-American Rejects

Go – Motion City Soundtrack

 

Top 11 Songs of 2012:

1. “California Gold Rush” – Audiostrobelight (really wish I could link to the soon-to-be-released music video for this song…)

2. “Some Nights” – fun.

3. “Glass Heart Hymn” – Paper Route

4. “Glad You Came” – The Wanted

5. “The House That Fire Built” – Japandroids

6. “I Will Wait” – Mumford & Sons

7. “Timelines” – Motion City Soundtrack

8. “Thrift Shop” – Macklemore & Ryan Lewis

9. “All The Rowboats” – Regina Spektor

10. “Payphone” – Maroon 5

11. “Too Close” – Alex Clare

(Annual) Disclaimer: These selections are not supposed to be “the” top albums of the year. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best.

 

1. The Whole Shebang – Audiostrobelight

I know what you’re thinking. Yeah, yeah, sure. He’s just being nice and putting this as #1 because his friend is in this band. It’s true that Adam Cohen, Audiostrobelight’s electric violin/mandolin player, is my dear friend and former college roommate. But my loyalty as a friend isn’t the reason that The Whole Shebang is the best album of 2011. This album tops my list because it is objectively and without question the most outrageously fun, addictive, raucous, insanely catchy album of the year – a claim vindicated by the fact that I have listened to its songs well over 100 times according to my last.fm profile’s conservative estimate. Their single “A Fifth of Feelgood” is legitimately my #1 most-played song this year, and often gets stuck in my head for days at a time. The members of Audiostrobelight toiled for over a year to track and produce this album, and their dedication and meticulous attention to detail has resulted in what is a near-perfect collection of seven irresistably infectious pop-punk tunes. From the bombastic Four Year Strong-esque opener “You Aren’t Funny You Stupid Clown,” to the softer, nostalgic “Argyle” (featuring one of the best breakdowns I’ve heard on any album in a long time), the raw, bitter, in-your-face angst of “Blisters,” the crowd favorite sing-along “Drop the Act,” or the breathtaking triple-overlapping-vocal-line outro of the magnificent, epic closer “Anchors Aweigh,” this album is, simply put, a masterpiece. Having seen firsthand this band’s progression from their first rough demo in 2005 and witnessed the staggering amount of hard work, time, and energy they’ve invested along the way in order to get to where they are today – playing on Warped Tour, opening for nationally touring bands like Fall Out Boy, Taking Back Sunday, Cartel, Red Jumpsuit Apparatus, etc. – I could not be prouder to know these guys. And the best part? I have a feeling they’re just getting started.

 

Standout tracks: “You’re Not Funny You Stupid Clown,” “A Fifth of Feelgood,” “Argyle,” “Drop the Act,” “Anchors Aweigh”

 

2. Odd Soul – Mutemath

An apt title for this eccentric, eclectic blues-70s funk-disco-electronic-rock concoction, Odd Soul made me an instant Mutemath fan. I had heard great things about this band before, but never really gave them a serious listen until I stumbled across Odd Soul on Spotify. And I’m very glad I did. As the raw, foot-stomping percussive blues energy of the opening title track segueued into to the catchy, upbeat “Prytania,” I realized I was already hooked, a conviction that was cemented when the falsetto vocals and bass-driven verses of the bluesy single “Blood Pressure” exploded into the big, guitar riff-heavy chorus. Mutemath clearly pushed the boundaries with their sound on this album (something I always appreciate), but the old Mutemath is still in evidence on the slower, stripped-down “All Or Nothing,” which also features an unexpected but awesome electronic dance breakdown about halfway in. The phenomenal musicianship on this album is second to none, and the drumming by Darren King and bass playing by Roy Mitchell-Cardenas is truly – and at times jaw-droppingly – impressive (see “Prytania,” “Blood Pressure,” “Allies,” “Cavalries,” or the epic 7-minute “Quarantine”). Apparently the band lost their original lead guitarist last year, but I certainly neither noticed nor minded. Other highlights are lead vocalist’s Paul Meany’s channeling of Dan Auerbach on The Black Keys-inspired “Tell Your Heart Heads Up,” and the album’s gorgeous closing ballad “In No Time.”

 

Standout tracks: “Odd Soul,” “Prytania,” “Blood Pressure,” “Allies,” “Walking Paranoia,” “One More,” “Quarantine,” “In No Time”

 

3. Killing Time – Bayside

Killing Time is the quintessential Bayside album – bitter, dark, aggressive, and epic. Bayside took all the best parts of their breakout release The Walking Wounded (#4 in 2007) and Shudder (#11 in 2008) and fused them into what is without a doubt the band’s best album to date. The group has clearly perfected their self-described “gloom pop” punk sound – the hooks are sharper, the choruses bigger and catchier, and the fantastic musicianship and lyricism evidence of both the band’s maturity and growth over the years. The opening tracks “Already Gone” and “Sick, Sick, Sick” are the album’s big singles, and for good reason. Bayside’s sound is more mainstream than previous efforts – probably a result of their teaming with legendary producer Gil Norton (Foo Fighters, Counting Crows, Jimmy Eat World) for this album – but that’s in no way a bad thing. Much of the album’s themes are familiar, if memorable attacks on evil-hearted vixens: “You’re the black ice on my road to wholesome,” (“Mona Lisa”) and “You’re the type of girl who puts on cyanide perfume / then asks for kisses on the neck from every boy in the room” (“The Wrong Way”). Lead singer Anthony Raneri also explores frustrations with the music industry and the the band’s fan base on “Seeing Sound” (“So what do you want from me? Another song about apathy? ‘Heartbreak is a friend these days, but I couldn’t care less’—that’s what I get paid to say.”). The album’s final two closing tracks offer a dash of optimism, Bayside-style: “I’m halfway to happy now,” croons Raneri on the closing title track, “And I always mistake it for progress.”

 

Standout tracks: “Already Gone,” “Sick, Sick, Sick,” “Mona Lisa,” “The Wrong Way,” “The New Flesh,” “Killing Time”

 

4. 21 – Adele

It’s rare for a chart-topping album with multiple hit singles on Top 40 radio to make this list. The sophomore release from British crooner Adele Adkins sold over 5 million copies in the U.S. and 13 million worldwide, more than any album released in the past six years. 21 graced the top of dozens of “Best Albums of 2011” lists (AP, EW, Rolling Stone). But in this case, the fame and accolades were all entirely well-deserved. The album’s instrumentation is minimal (often only a piano), letting Adele’s stunning, powerful vocals shine, and truly immersing the listener in her pain over the end of an 18-month relationship. I can hardly top the praise already heaped on this beautiful album by the reviews mentioned above: “At its heart was that voice: giant, classic-sounding, promising emotional depth way beyond its years…21makes you feel its pain.” (Rolling Stone) “21 features a rare thing: A singer who can actually sing.” (EW) And honestly, the fact that I still love “Rolling In The Deep” despite pop radio’s best efforts to overplay it to death should say something.

 

Standout tracks: “Rolling In The Deep,” “Rumour Has It,” “Turning Tables,” “Set Fire To The Rain,” “One and Only,” “Someone Like You”

 

5. Vice Verses – Switchfoot

In my opinion Switchfoot’s best album since 2005’s Nothing Is Sound (#3 on my list that year), Vice Verses is a return to form for the San Diego five-peice. Produced by Neal Avron (Fall Out Boy, Yellowcard, NFG), the album emphasizes Chad Butler’s drumming and Tim Foreman’s bass more prominently than on previous Switchfoot records, but the shift definitely suits them (see “The War Inside,” ). Vice Verses has a darker, edgier sound than the band’s previous efforts (“Afterlife,” “Dark Horses”) but retains the same soul-searching, introspective lyricism from frontman Jon Foreman that fans have come to expect. Switchfoot also experiments with some new sounds, including spoken word on “The War Inside” and “Selling The News”. The reason this album outshines Switchfoot’s previous few efforts is the much-improved quality of its slower ballads (“Restless,” “Thrive,” “Vice Verses,” “Where I Belong”). If you were a fan of these guys back in the day but haven’t listened to them for years, you might want to give them a second look.

 

6. Quill – Bison

If Mumford & Sons’ Sigh No More paved the way for contemporary folk artists to cross over into mainstream success, then Bison’s Quill is certainly one of the most impressive attempts to take advantage of their trailblazing. The indie folk rockers from Chesapeake, VA has been taking the Hampton Roads area music scene by storm over the past year, including a significant amount of radio airplay for their instantly memorable hit single “Switzerland.” Passionate, earnestly delivered, and distinctive vocals are backed by a panoply of instruments ranging from acoustic guitar and banjo to cello, violin, and even some killer xylophone (see “Setting Our Tables,” also one of the best songs on the album). Not only can you feel extra cool being able to say you listened to these guys before they get huge…Quill is just legitimately good music.

 

Standout tracks: “Switzerland,” “They Are Filled,” “Quill,” “Setting Our Tables,” “In Your Room,” “Autumn Snow”

 

7. Simple Math – Manchester Orchestra

I’ve loved everything Manchester Orchestra has done since their 2006 debut I’m Like A Virgin Losing A Child, and their third studio album is no exception. A concept album that explores lead vocalist/songwriter Andy Hurley’s very personal questioning of love, relationships, and young married life. Opening with the melancholy “Deer,” the album is a searing, deeply introspective, beautifully executed portrayal Hurley’s heartbreaking frustrations and soul-searching of his early 20s (he and his wife have since resolved the problems explored on the album and are happily married today). With a far more diversified musical palette and liberal use of of strings than previous albums, Hurley’s raw emotion bleeds through these tracks (see, for example “Pale Black Eye”). The album’s highlights are the upbeat, guitar riff-laden “April Fool” and the spine-tingling, jaw-dropping, eerie children’s choir-backed “Virgin,” without a doubt one of the best songs I’ve heard in years.

 

Standout tracks: “Mighty,” “Pensacola,” “April Fool,” “Pale Black Eye,” “Virgin”

 

8. El Camino – The Black Keys

After launching themselves to mainstream success with 2009’s Brothers, The Akron, Ohio blues-rock duo of guitarist/vocalist Dan Auerbach and drummer Patrick Carney take a more upbeat, raucous approach on El Camino. The foot-stomping, head-bobbing tempo is set with the opening single “Lonely Boy,” and rarely lets up for the remainder, perhaps with the exception of the subdued, acoustic-guitar intro of the phenomenal “Little Black Submarines”…before then blasting the listener with a no-holds-barred rock-out for the rest of the song, and ending with Auerbach’s rollicking guitar solo. A lot of longtime Black Keys fans complained about the “mainstream” sound of this album, but it would take a serious concerted effort to not enjoy this.

 

Standout tracks: “Lonely Boy,” “Little Black Submarines,” “Money Maker,” “Run Right Back,” “Sister,” “Mind Eraser”

 

9. Bon Iver – Bon Iver

Bon Iver’s Justin Vernon has already established himself as one of the most revered and popular American indie folk artists just three years after the release of his breakout 2008 debut For Emma, Forever Ago – and the strength of the self-titled follow-up album is a testament to why. The Grammy-nominated sophomore release is a gorgeous, lush musical tapestry – far more ambitious, experimental, and interesting than Bon Iver’s sparse, minimalistic debut. Featuring no less than 25 different instruments, ranging from banjo, guitar, assorted saxophones, violin, horns, synthesizers, pedal steel guitars, clarinets, and flutes (just to name a few), this album is definitely one of the gems of 2011.

 

Standout tracks: “Minnesota, WI,” “Holocene,” “Towers,” “Wash.,” “Beth / Rest”

 

10. Mylo Xyloto – Coldplay

I didn’t have high expectations for this album after hearing the awful first single “Every Teardrop Is A Waterfall,” but fortunately for Coldplay, that mediocre track is actually by far the worst on Mylo Xyloto. Say what you want about Coldplay, but one thing is certain: these guys have found the magic platinum-selling formula, and they’re sticking to it. There may not be anything particularly groundbreaking about the random-word-generator-titled fifth studio album from the UK alt-rock superstars, but their success in executing that formula cannot be dismissed. Like Viva La Vida, this album was still written primarily to be played in large, sold-out 70,000-seat arenas, but Coldplay does return to its acoustic-guitar roots on a few more intimate tracks that make for pleasant surprises (“Us Against The World” being the best example of this). While the band’s experimentation with a Rihanna collaboration (really, guys?) on “Princess of China” falls flat, the excellently-executed “Major Minus” (featuring a sweet bass riff) is one example of how Coldplay’s sound can evolve in a good way. “Charlie Brown” is my favorite track off this album for the simple reason that it manages to combine the best of the band’s old and new sounds and, well, actually sounds like Coldplay. Not the band’s best effort by far, but worth a listen.

 

Standout tracks: “Charlie Brown,” “Us Against The World,” “Major Minus,” “Don’t Let It Break Your Heart”

 

11. Symphony Soldier – The Cab

To be perfectly honest, I hated this album the first time I heard it. While I loved The Cab’s soulful, funky 2008 debut Whisper War (#7 in 2008) the sophomore effort seemed like a blatant sell-out, filled with overproduced, radio-friendly, shallow, uber-poppy singles engineered for commercial success. But after a few plays it grew on me enough for me to admit that while it may be all of those things, it’s also an irresistably fun listen–and catchy as hell. With songwriting help from Bruno Mars (“Endlessly”), Maroon 5’s Adam Levine (“Animal”), and Fall Out Boy’s Pete Wentz and Joe Feldman (“Grow Up And Be Kids”) among others, The Cab lets frontman Alex DeLeon’s undeniably impressive vocal ability carry this album. The lyricism is as straight Top 40 radio-generic as you get, but the truth is that “Bad” is without of a doubt one of the most brilliantly-written, infectious singles I’ve heard all year. It may be nowhere near as good as their debut, but judging by the number of plays Symphony Soldier has in my iTunes, I’d be remiss in leaving it off this list.

 

Standout tracks: “Angel With A Shotgun,” “Bad,” “Animal,” “La La,” “Another Me,” “Grow Up And Be Kids”

 

Honorable Mention:

 

Wasting Light – Foo Fighters

We Are All Where We Belong – Quiet Company

Deas Vail – Deas Vail

When You’re Through Thinking, Say Yes – Yellowcard

Lucky Street – Go Radio

 

 

Top 11 Songs of 2011:

 

1. “Rolling in the Deep” – Adele

2. “Already Gone” – Bayside

3. “Anchors Aweigh” – Audiostrobelight

4. “Virgin” – Manchester Orchestra

5. “Switzerland” – Bison

6. “Midnight City” – M83

7. “A Fifth of Feelgood” – Audiostrobelight

8. “Bad” – The Cab

9. “Charlie Brown” – Coldplay

10. “Common Sense” – Deas Vail

11. “Someone Like You” – Adele

 

Honorable Mention:

 

“Friday” – Rebecca Black

“Dark Horses” – Switchfoot

“No Church In The Wild” – Jay-Z and Kanye West

“The Sound of You and Me” – Yellowcard

“Summer Forgets Me” – Deas Vail

“Blood Pressure” – MUTEMATH

“You, Me & The Boatman” – Quiet Company

“You Are A Tourist” – Death Cab For Cutie

Yes, it’s that time of year again! I hereby present you my list of the top 11 new albums that I have most enjoyed this year. This also marks the 5-year anniversary of my top 11 albums list! I’ll also be giving you my top 11 songs, a new addition I started last year.

 

[(Annual) Disclaimer: These selections are not supposed to be “the” top albums of the year, hence the “my” in the title. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best.]

 

1. Enemy of the World

Four Year Strong

 

 

At first glance, I had a hard time picking out a #1 album this year. While there were plenty of great albums this year, none really blew the others out of the water the way that fun.’s Aim and Ignite and Brand New’s Daisy did last year, or My Chemical Romance’s The Black Parade did in 2006. To decide, I thought a little bit about the original purpose of this list — to identify the albums which I enjoyed the most. When I put it that way, the answer became clear. No, it’s not just that their amazing cover art was hands down the best of the year. In truth, no other album came close to matching the raw enjoyment I got out of listening to FYS’s sophomore effort Enemy of the World this year. This album is a non-stop, in-your-face party, and FYS’s blend of hardcore and pop-punk has been honed to a level that far surpasses their fantastic debut, Rise or Die Trying (#4 in 2008). Brutal guitar hooks (“It Must Really Suck To Be Four Year Strong Right Now,” “Nineteen With Neck Tatz,” pretty much every other song on here), some of the most phenomenal gang vocals I’ve ever heard (“Wasting Time” is epic in this regard), and a healthy dose of double bass pedal mesh perfectly with Dan O’Connor and Alan Day’s scream-tinged, aggressive dual vocals. There’s not a skippable song on this entire album. It doesn’t matter what you’re doing — on your way to work? A job interview? An IM sports game? A late-night paper writing session at the library? The dentist? Go ahead and put on Enemy of the World. You’ll be pumped for it, guaranteed.

 

2. Easy Wonderful 

Guster

 

 

It’s been quite a while — four years in fact — since Guster’s last studio album, Ganging Up On The Sun (2006). And it has been well worth the wait. Far sunnier and more upbeat both lyrically and musically, Easy Wonderful  is written almost entirely in major keys. The instrumentation seems more playful (for instance on the single “Do You Love Me?”, which also showcases frontman Adam Gardner’s vocal range), and the album is peppered with “doo doo doo” and “oh oh oh” gang vocals galore. Each song seems to have a little extra effort put into the arrangement to make it memorable. Take the slide guitars on “This Could All Be Yours,” for instance. The infectious calypso percussion and harmonica of “This Is How It Feels To Have A Broken Heart.” The mandolin, pizzicato strings, or almost mariachi-band horns on “What You Call Love.” “Jesus & Mary” is one of my favorites, and trust me, you’ll be whistling that riff for days. The electronic loops and drum machine on the closing “Do What You Want” (plus a cool little electric guitar riff) are a nice bit of experimentation, and it works. While other albums on this list grew on me over time, I fell in love with Easy Wonderful pretty much immediately. Don’t be surprised to find yourself singing along on the second listen.

 

3. Would It Kill You?

Hellogoodbye

 

 

 

This album is one of the true gems of 2010. Hellogoodbye fans have also been waiting four years for the band’s highly anticipated follow-up Zombies! Aliens! Vampires! Dinosaurs! (#7 in 2006), mostly due to an extremely protracted legal battle between the band and its former label Drive-Thru Records, which was finally resolved this year. During that time, Hellogoodbye also went through an extensive lineup change — their keyboard player, drummer, and bassist have all been replaced, and Forrest Kline’s vocals remain the only constant. The fact that they also added a mandolin/ukelele player in Andrew Richards should tell you a little something about how the band’s sound has evolved. All that time also allowed Would It Kill You? to be finely honed into a gorgeous, wonderfully complex instrumental tapestry, with a half-dozen interweaving layers — mostly acoustic ones — shedding the digitized, loop-heavy simplicity of their previous efforts. While this might cost Hellogoodbye a little in terms of instant sing-along-ability, they more than compensate for it with brilliant instrumentation (see the romping horn section on “Betrayed by Bones” or the xylophone, guitars, piano, and soaring strings on “I Never Can Relax”) and dramatically improved lyricism. From the “oh oh oh” gang vocals in the opening seconds of the adorable “Finding Something To Do” to the slow, mandolin-backed crooning by Kline on “The Thoughts That Give Me The Creeps,” to the building climax of the title track — honestly I have fun just trying to pick out all the different instruments as I listen. Highly recommended — gets even better with each listen.

 

4. Some Things Don’t Wash Out

You, Me, and Everyone We Know

 

 

 

This album is just irresistibly fun. Singer Ben Liebsch channels the vocal range of Cartel’s Will Pugh and the ironic lyricism and half-spoken delivery of Say Anything’s Max Bemis. The band adds a shake of lacksadaisical horns, a sprinkle of tasteful gang vocals and stirs in a liberal helping of tight pop-punk guitars. The first three tracks of this album (“Shock and Awe,” “I’m Losing Weight For You” and “Livin’ Th’ Dream”) are a seamless, boisterous flow of high-energy, major-key merriment. In fact, the remainder of the album hardly lets up, with “A Bigger Point of Pride,” “Bootstraps,” and the title track delivering a virtually non-stop audio joy ride. It’s hard not to smile at the lyrical wittiness and disco beat of “James Brown Is Dead,” and when the band finally takes a breath, slowing it down briefly with “The Next 20 Minutes,” the claps and horns keep things interesting. “A Little Bit More” is hands down the best song on the album, with one of the catchiest hooks I’ve heard this year (not to mention the brilliance of the lyrics). “In case you don’t like blunt, let me make this less clear,” warns Liebsch on “The Puzzle.” And just like that, the album ends, with the the thundering bass drum hits, cymbals, and claps on the swaying closer “Moon, Roll Me Away.”

 

5. High Violet

The National

 

 

This is an album best listened to on big speakers, sitting alone in your apartment’s couch on a Sunday afternoon with a good book — on which you cannot focus because you keep getting constantly distracted by the brilliance of this album. I’ve been listening to The National since Alligator (2005) and I think this band has gotten exponentially better with each release, both lyrically and musically. Lead singer Matt Berninger has perfected his low, melancholy delivery on High Violet, perfectly nonchalant, but simultaneously earnest. Lyrically, there’s a sad overtone to this album (the track “Sorrow” might be a dead giveaway on that point). I also really love the way Bryan Devendorf’s drumming style has evolved on this album in comparison to previous efforts. While the magnificent singles “Lemonworld” and “Bloodbuzz, Ohio” deservedly steal the show on this album, I also appreciate the brooding, slow building “Afraid of Anyone,” which features a really neat unique little distorted guitar riff and pulsating percussion. The triplet acoustic guitar rhythm and haunting vocals of “Runaway” and the shimmering but eerie “Conversation 16” (a zombie confession?) are also well-worth checking out.

 

6. The Forecast

The Forecast

 

 

Despite being dropped from their record label after 2006’s In The Shadow of Two Gunmen, the Peoria, Illinois-based quartet The Forecast managed to put out one of the best albums of 2010. Blending country/western influences with an edgy, raw rock sound and the signature dual vocals of lead singer Dustin Addis and bassist Shannon Burns, this self-titled album is about leaving home — and coming back. Maybe it’s the Illinois roots (the album also contains a song titled with our state’s name), or the fact that it came out during the long winter in Prague when I was feeling a little homesick, but right from the melancholy acoustic guitar of the opener “Losers”, I just fell in love with this album. The emotion of the single “Lost At Sea” makes it one of my favorites on the album, and the simple, catchy hook of the upbeat “I’ll Set You Free” is also a highlight. The sunny “Kisses” is followed by the mesmerizing riff of the slow-burning “Snake Charmer,” and Burns’ and Addis’ traded vocals over the huge guitars of “If I’m Not Mistaken” are memorable. The lyrical trajectory of the album comes to a climax with exceptional dual vocals on “Life’s A Garden, Dig It,” “A Better Man”, and the epic closer “Double On The Rocks” (one of the best songs of the year, see below).

 

7. All Day

Girl Talk

 

 

Gregg Gillis proves he’s still the master of mashup. While All Day isn’t as instantly infectious as Feed The Animals (#3 in 2008), it is still, as one reviewer put it, “stupendously danceable.” The album is Gillis’ most dense, boasting 373 separate samples to FTA‘s 322. I also got the sense that Gillis tried to broaden his horizons, reaching back into the 60’s and 70’s for more samples this time around, and featuring older artists more prominently (as well as female rappers…but maybe that’s just me). As to my favorite mashup on the album, it’s hard to say… Missy Elliott and the Ramones? Juicy J and Electric Light Orchestra’s “Mr. Blue Sky”? Wale and Beck’s “Loser”? M.O.P.’s “Ante Up” and Miley Cyrus’ “Party In The U.S.A.”? Radiohead’s “Creep” and Ol’ Dirty Bastard? Lil’ Kim and Jackson 5’s “I Want You Back”? Lil’ Jon’s “Get Low” and Simon and Garfunkel’s “Cecilia”? U2 + Twista + Daft Punk? Rage Against The Machine’s “Killing In The Name Of” and Rye Rye feat. M.I.A.? Rick Ross + Basement Jaxx’s “Where’s Your Head At?” Birdman and Arcade Fire’s “Wake Up”? I could go on. There’s just so much to like here.

 

8. Danger Days: The True Lives Of The Fabulous Killjoys

My Chemical Romance

 

 

No, it may not be quite The Black Parade (#1 in 2006), but this is a superb album. Lead singer Gerard Way and company reinvent themselves yet again, discarding whatever remnants of the “emo” label they might have had left and opting for a much more straightforward rock sound (though Way’s distinctive vocals are easy to recognize). Despite Way’s insistence that Danger Days is not another concept album (because it has no discernible plot), it comes pretty darn close — taking place in a dystopian future in the year 2019, the band’s alter egos (the Killjoys) are a band of renegade outlaws fighting a hopeless battle against an evil mega-corporation that has taken over. The album also features periodic narration by an underground pirate radio DJ named Dr. Death Defying. My Chem has become famous for their music videos, and this album does not disappoint (you can watch them here and here).  Opening with the high-energy, riotous single “Na Na Na (Na Na Na Na Na Na),” and continuing through the irresistible dance-rock of “Planetary (GO!),” and “The Only Hope For Me Is You,” which seems destined to be a radio hit. The frenetic “Party Poison” and “Save Yourself, I’ll Hold Them Back” (which has a raw, Three Cheers For Sweet Revenge sound to it) are followed by “S/C/A/R/E/C/R/O/W,” a slower track which features an oddly catchy falsetto chorus. While the last half of the album is a little uneven, it features the album’s two most aggressive offerings, “Destroya,” and the manic closing track “Vampire Money,” a sarcastic send-off the band wrote after turning down an invitation to contribute a song to the Twilight: New Moon soundtrack. Good choice, guys.

 

9. My Beautiful Dark Twisted Fantasy

Kanye West

 

 

Not only the first hip-hop album to ever make it onto my top 11 albums of the year, Fantasy is also one of the only hip-hop albums I actually enjoy listening to in its entirety. While I continue to despise Kanye West as a person, I have to admit that the man is a musical visionary. Blending soul, R&B, hip-hop, and eyebrow-raising production choices which include samples ranging from Black Sabbath to Bon Iver, Kanye has put together an album with enough musical complexity, intrigue, and variety to keep me listening to the end. Lyrically, Fantasyseems deeper and cleverer than Kanye’s previous work, and serves as a rather fascinating window into the troubled rapper’s psyche (most interesting is how cognizant — and comfortable with — Kanye is of his own arrogance). From the epic soulful opener “Dark Fantasy” to the fist-pumping single “Power,” to the horns and staccato percussion of “All Of The Lights,” the dark pulse of the guest-heavy “Monster” (how many songs feature both Jay-Z and Bon Iver?), the piano samples and electronica-vocoded outro of “Runaway.” I appreciate the variety found on this album.  The heavy synth saw of “Hell Of A Life” leads to the album’s conclusion with “Lost In The World,” a fantastic dance-inducing adaptation of Bon Iver’s “Woods.”

 

10. Epilogue

The River Empires

 

 

What do you get when the former frontman of a hard rock band starts a “bluegrass/cinematic” project? Answer: The River Empires. Not satisfied with the creative juices stirred by Falling Up’s final effort Fangs! (2009), a strange science-fiction concept album, Jesse Ribordy decided to take it a step further. The River Empires’ Epilogue is intended to be the final piece of a five-part soundtrack to a miniseries Ribordy is writing and pitching to TV stations (yes, seriously), which the band will release as separate albums in reverse chronological order. Overly ambitious? Maybe. But all of that aside, Epilogue is a fantastic musical journey. The lyrics are rather cryptic (and the “plot” impossible to decipher) but Ribordy’s vocals are so beautiful you don’t really care. Brimming with accordions, bells, strings, mandolins, tambourines, pianos, and a myriad of other instruments, the album is a lush — and at 29 tracks, exhaustive — masterpiece. For those intimidated by the album’s length or depth, check out “A Toast To The Snake King,”  “The Coventry,” “Three Tigers,” or “The Curse of Maybel Cains,” some of the album’s more accessible tracks.

 

11. Invented

Jimmy Eat World

 

 

While I appreciate that Jimmy Eat World’s follow-up to Chase This Light (#6 in 2007) takes a darker, less radio-friendly approach, the execution is a little uneven. The album bursts off to a fantastic start with the acoustic, folksy “Heart Is Hard To Find,” and the crunching guitar riffs of the hit single “My Best Theory.” The next track, “Evidence” — perhaps the most classic JEW-sounding song on the album — features one of the biggest, most epic guitar hooks any JEW fan could ask for. I’m not sure what the band was going for with the awkward falsetto of the chorus on “Higher Devotion,” but I nearly always skip this one. The album loses focus through the middle, but I’m a sucker for the twinkly piano accents in “Littlething.” After suffering through the filler “Cut,” the band kick-starts the album again with the aggressive “Action Needs An Audience,” which almost seems to have a bit of 80’s-goth vibe to it. The final two tracks are by far the album’s best — the phenomenal title track, featuring twangy acoustic guitar and female vocalist on duet, simmers along for five minutes before exploding into a cacophony of plugged-in sonic glory. “Mixtape,” sure to become a fan favorite, is a simple but poignant closer.

 

Honorable Mention:

 

Brothers – The Black Keys

The Suburbs – Arcade Fire

My Dinosaur Life – Motion City Soundtrack

Masterpiece Theatre – Marianas Trench

Terrible Things – Terrible Things

Dark Is The Way, Light Is A Place – Anberlin

 

Top 11 Songs of 2010: (with a little help from my last.fm profile) 

Click on the links to listen to each song.

 

1. “Sleep Well” – Mae

2. “Double On The Rocks” – The Forecast

3. “It Must Really Suck To Be Four Year Strong Right Now” – Four Year Strong

4. “Everlasting Light” – The Black Keys

5. “Clap Hands” – Denis Jones

6. “Invented” – Jimmy Eat World

7. “A Little Bit More” – You, Me, and Everyone We Know

8. “Bloodbuzz Ohio” – The National

9. “Betrayed By Bones” – Hellogoodbye

10. “Do You Love Me?” – Guster

11. “A Toast To The Snake King” – The River Empires

Yes, folks, it’s that time of year again — my annual review of the top 11 new albums I’ve enjoyed most during the past year.

In past years, I’ve always faced a nagging problem: I’ll happen to discover amazing albums that were released during the previous year, but which escaped my notice at the time, which always leaves me wishing I could re-do my top 11 albums with the great finds that I inadvertently omitted.

In an attempt to remedy that error, this year I was as diligent as possible about keeping track of when new albums were going to be released and obtaining them as soon as possible. The upside was that I don’t think I missed very many albums this time. The downside is that I have to make really tough choices in order to narrow down a list of about 30 albums. Needless to say, competition this year will be the fiercest yet.

Also, I’m introducing a new feature this year…a list of the top 11 songs of 2009 (to highlight some great songs that may have appeared independently or on albums that weren’t quite stellar enough to make the cut). Check it out at the bottom.

So, without further ado…

[(Annual) Disclaimer:These selections are not supposed to be “the” top albums of the year, hence the “my” in the title. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best.]

1. Aim & Ignite
fun.

I’m not sure if Nate Ruess picked this band name out of a desire for a cheeky indie-sounding moniker, a lack of imagination, or pure laziness, but it also just might be the most appropriate label these guys could have chosen for themselves. Formed in 2008 by Ruess, former frontman of The Format, fun. is a huge upgrade for Ruess, in my opinion. (And yeah, I liked The Format.) The unique arrangements are experimental, free-spirited, and…yes…fun, replete with lush horn and string sections, bright piano riffs, and tastefully accompanying gospel choirs. Lyrically, too, Aim & Ignite impresses throughout, from the opening track “Be Calm,” but perhaps best exemplified by the closing track, “Take Your Time (Coming Home).” And no, the fact that this album happened to be released on my birthday did not bias my decision. Much.

2. Daisy
Brand New

The line between insanity and brilliance has always been a razor-thin one, and Brand New fortunately comes down on the latter side of this edge with Daisy. For example, it’s hard to describe the bizarre opener, “Vices,” which begins the album with over a minute of a scratchy old gospel recording (the second half of which closes the album) before suddenly exploding into a frenzied cacophony of sound behind Jesse Lacey’s barely intelligible screaming vocals. Thankfully, the rest of the album is far less erratic, though this album, like Brand New’s previous effort, The Devil And God Are Raging Inside Me, takes a few listens before you can really get your mind around it. That said, Daisy is a dark, brooding, blistering masterpiece. Following Brand New’s daring musical evolution from album to album has been a breathtaking ride, and Lacey’s lyricism in Daisy is the most stunning yet, if also the most grim. An album that is best listened to while sitting in a dark room, or driving home alone at night through the backwoods of the northern Midwest.

3. The Long Fall Back To Earth
Jars of Clay

Jars shows why they continue to be one of my favorite bands of all time with their latest release, these guys prove that 16 years and 10 albums later, they’ve still got it. Jars has the distinction, in my mind, of being the band that consistently proves that Christian artists can make good music too. Unlike most of the other “original” contemporary Christian artists, Jars has never settled for making the same record twice, re-inventing themselves musically with each album, and succeeding on each step of their rock-pop-folk-bluegrass-electronica evolution. Dan Haseltine’s songwriting has never been better (“Closer” taking the #1 spot for songs this year, see below), and the band’s maturity shows — it’s pretty hard to put together 12 songs on a single album that are all genuinely awesome, but Jars pulled it off.

4. Ocean Eyes
Owl City

This album just makes me happy. In fact, I think you’d have to have a heart of cold, impenetrable stone to not enjoy this album at least a little bit. Ocean Eyes is the sophomore album that The Postal Service never made, right down to Adam Young’s voice, which is eerily similar to Ben Gibbard’s. While Young’s lyrical abilities aren’t quite at the depth of Gibbard’s yet, the two do share a knack for penning clever, witty lines. The unbelievably catchy synth and keyboard riffs Young manages to put together for nearly every track aren’t too bad either. And you have to admit, for a solo project reportedly begun two years ago in his parents’ basement as a result of insomnia — and with a debut album now certified Gold — it’s pretty impressive.

5. (m)orning / (a)fternoon / (e)vening EPs
Mae

While this isn’t technically an “album,” per se, Mae’s 2009 project deserves some recognition. After losing their keyboardist and bassist in late 2007 after the release of Singularity, Mae was dropped by their record label, and most people probably assumed they’d finish out their tour and then fade into obscurity. But Mae’s three remaining members weren’t done yet. And so, in 2009, frontman Dave Elkins, along with guitarist Zach Gehring, and drummer Jacob Marshall embarked on an ambitious project — “12 songs. 12 months. Make a difference.” Each month, the band would release a new single on their website, which would be available for a minimum donation of $1. All proceeds would go to various charitable causes sponsored by the band. The proceeds from the songs on the first EP, (m)orning, resulted in the successful completion of a Habitat for Humanity house for a needy family in the band’s hometown of Virginia Beach, VA. Freed from the restrictions of making an album, Mae has written the songs they’ve felt like writing, including several longer than 7 minutes, one with a two-minute guitar solo (“The Fight Song”) and even a 14-minute piano instrumental (“Seasons”). While the theft of all the band’s equipment and instruments from their trailer in October has delayed the release of the final two songs of the (e)vening EP, Mae’s perseverance, selflessness, and dedication to their music — and their community — has inspired thousands of fans.

6. Mean Everything To Nothing
Manchester Orchestra

While their 2006 debut album, I’m Like A Virgin Losing A Child, was pretty impressive, Manchester Orchestra has put themselves in another league with Mean Everything To Nothing. While a bit darker and heavier than their previous release, the album hits all the right notes, from the energetic opener “The Only One,” to the edgy “Shake It Out,” the heavy riffs of “Pride,” and the big power chords of “My Friend Marcus.” The real highlights, however, are the catchy, rockin’ single “I’ve Got Friends,” and the beautiful, driving ballad “I Can Feel A Hot One” (#7 song, see below).

7. 11:11
Rodrigo y Gabriela

Rodrigo y Gabriela are proof that they still do make good music these days. The Mexican acoustic guitar duo of Rodrigo Sanchez and Gabriela Quintero have their jaw-dropping talent on display in full force in their latest release. To really grasp what you’re listening to, I recommend checking out a few videos of the two playing live (like this or this), if only to watch in amazement at how fast their hands and fingers are moving. Also, they both used to play in a thrash metal band together, a fact I find both incredible and amusing.

8. New Again
Taking Back Sunday

A lot of TBS fans were unhappy with New Again, but for the life of me I can’t figure out why. No, TBS will never make Tell All Your Friends again. Get over it. But I think this is a far better album than every other TBS album besides the debut, including Louder Now. Filled with memorable choruses and crunching guitar riffs, New Again showcases TBS’s harder side, particularly on tracks like “Catholic Knees,” “Cut Me Up Jenny,” and “Carpathia.” But it’s not only on the high energy cuts like the title track opener or the single “Sink Into Me” — the band shines on the album’s lone ballad, “Where My Mouth Is.” The highlight though, is undoubtedly the epic closing track, and one of my now all-time favorite TBS songs, “Everything Must Go.” (#9 song below)

9. Everyone You Love Will Be Happy Soon
Quiet Company

With many thanks to a friend for the recommendation, I must say that the discovery of Austin, Texas-based Quiet Company was one of the best finds of the year. Everyone You Love is pure, beautiful, piano-driven indie rock at its best, and with 15 tracks, you’re getting your money’s worth with this one. The piano of the opening track “A Nation of Two” grabs your attention, secures it with the danceable “It’s Better To Spend Money,” and pretty effectively keeps it for the remainder of the album, which never gets boring despite the number of tracks. The slow building rock-out at the end of “Well, The Truth Is” is worth checking out, as are the outstanding “On Husbands & Wives” and “On Modern Men.”

10. Cycles
Cartel

Amid a plethora of extremely disappointing releases in the pop punk field this year, Cartel’s Cycles proves that the genre isn’t quite dead yet. While there’s nothing especially groundbreaking here lyrically, Cartel still manages to write enough interesting, catchy hooks and sing-able choruses to make this album very much worth listening to. The guitars are big (see “Deep South”), and there are power chords a-plenty, but the band puts together some impressive instrumentation behind Will Pugh’s ever-impressive vocals. True, there’s some filler sandwiched in the middle between the very good opening and closing few tracks, but this album will definitely get stuck in your head.

11. Say Anything
Say Anything

Let’s just forget about that last album, okay guys? Say Anything returns to the catchy hooks of …Is A Real Boy and finds success with this self-titled effort. Maybe it’s because I wasn’t expecting anything much from this album, but I was genuinely and pleasantly surprised by how good this album was both lyrically and musically. From the big guitar riffs of the single “Hate Everyone” to the oddly catchy pizzicato string instrumentation of “Do Better,” Say Anything fills the album with the savvy, witty lyrics of Max Bemis — and signals that they’re back on the right track.

Honorable Mention:

The Resistance – Muse
Brand New Eyes – Paramore
Swoon – Silversun Pickups
Forget And Not Slow Down – Relient K
Stir The Blood – The Bravery
QU – Sherwood

Top 11 Songs of 2009 (with the help of my last.fm profile)

1. “Closer” – Jars Of Clay
2. “On The Wing” – Owl City
3. “Walking The Dog” – fun.
4. “Destroyer” – Project 86
5. “A Melody, The Memory” – Mae
6. “Sink” – Brand New
7. “I Can Feel A Hot One” – Manchester Orchestra
8. “Finish What You Started” – Every Avenue
9. “Everything Must Go” – Taking Back Sunday
10. “The Few That Remain” (feat. Hayley Williams) – Set Your Goals
11. “Alpha Dog” – Fall Out Boy

Happy 2009 everyone! To celebrate the new year, I give you my annual list of the top 11 albums I most enjoyed this past year.

2008 was a competitive year. After making an initial compilation of my favorite albums of the year, I found myself with over twenty on the list. Consequently, there were some genuinely fantastic albums that didn’t make the cut this year. See “Honorable Mention” at the bottom for those.

[(Annual) Disclaimer:These selections are not supposed to be “the” top albums of the year. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best.]

1. Folie A Deux – Fall Out Boy

Say what you like about Fall Out Boy, but you can never, ever accuse these guys of lacking creativity. Folie A Deux is a masterpiece of sonic experimentation, a veritable feast of musical treats for your ears. Success has given FOB the ability to push the boundaries, mixing and blending all sorts of genres, and the guest artists featured throughout the album, from ‘Lil Wayne to Elvis Costello, prove yet again that FOB is unafraid to take huge risks musically in order to reap huge rewards. Patrick Stump’s singing is stellar — I find myself frequently shaking my head at his vocal gymnastics. The departure from traditional pop-punk in Folie is even more dramatic than it was in Infinity on High, as FOB masterfully blend in R&B, soul, 80s pop, and many other ingredients, creating a genre-defying sound that is very much unlike anything you’ve ever heard before. Tracks like “What A Catch, Donnie” and “w.a.m.s.” in particular resist traditional conceptions of what “Fall Out Boy” sounds like. FOB has come a long way from Take This To Your Grave — in fact, so far as to be virtually unrecognizable — but in every subsequent album their reinvention has paid off. This is the most fun you’ll have listening to any album this year.

Standout Tracks: “Disloyal Order Of Water Buffaloes”, “I Don’t Care”, “ِAmerica’s Suitehearts”, “Headfirst Slide Into Cooperstown On A Bad Bet”, “The (Shipped) Gold Standard”, “(Coffee’s For Closers)”, “w.a.m.s.”, “20 Dollar Nose Bleed”, “West Coast Smoker”

2. Pretty. Odd. – Panic At The Disco

Panic dropped the exclamation point from their name as well as the weird circus stage theatrics for their follow-up to A Fever You Can’t Sweat Out, stripping down and starting over, rebuilding their sound from the bottom up. That wasn’t the only thing they started over — in July 2007, the band decided to scrap the entire original album they had written and start over from strach. If there was any doubt as to the musical genius of Brendan Urie, or any suspicion that Panic was little more than a flash in the pan, those were put to rest with Pretty. Odd. The pop-punk is gone, and so are the teen-marketed lyrics, replaced with impressive songwriting (with a much more positive tone) and bright, piano-based ditties that end up sounding more like Sgt. Pepper-esque Beatles than anything else. The results are brilliant.

Standout Tracks: “Nine In The Afternoon”, “She’s A Handsome Woman”, “That Green Gentleman (Things Have Changed)”, “Northern Downpour”, “When The Day Met The Night”, “Folkin’ Around”, “Mad As Rabbits”

3. Feed The Animals– Girl Talk

Perhaps it is strange that an indie mashup artist’s album should make it to #3 on this list…but then again, perhaps not. The genius of fair-use champion Gregg Gillis’s vision in Feed The Animals is almost hard to describe without hearing the results for yourself. Where else can you find Michael Jackson, Kanye West, and Radiohead blended together, or a perfect mixture of Ace of Base, Ben Folds Five, and Cassidy? (“Still Here”) Or perhaps Phil Collins, Busta Rhymes, and The Police? (“What It’s All About”) Ever wanted to know what Jackson 5, The Beastie Boys, and Nine Inch Nails would sound like together? Probably something “Like This”. Feed The Animals is infectious, addicting, and never fails to spark a dance party whenever it comes on. Yet the album’s dynamic, serving-size segments mean that it virtually never gets old or seems overplayed. This album was an unforgettable part of my fall semester.

Standout Tracks: “Play Your Part (Pt. 1)”, “Shut The Club Down”, “Still Here”, “Like This”, “In Step”, “Here’s The Thing”

4. Rise Or Die Trying – Four Year Strong

Easily one of the best new artists of 2008, Four Year Strong’s debut album is a perfect blend of hard rock and metal instrumentation with pop-punk-ish vocals, in the style of bands like Fully Down — but better. Double bass drum pedals and epic, crunching guitar riffs galore, it’s almost impossible not to rock out every time you listen to this album.

Standout Tracks: “The Takeover”, “Prepare To Be Digitally Manipulated”, “Heroes Get Remembered, Legends Never Die”, “Catastrophe”, “Bada Bing! Wit’ A Pipe!”, “Maniac (R.O.D.)”

5. The Silver Cord – The Classic Crime

It was going to be hard to top their debut album, Albatross, but the Seattle-based group did a pretty impressive job with their follow-up, The Silver Cord. Expanding their horizons and improving their musicianship (see the Black Parade-esque keyboards on “5805”, or the sick guitar solo on “Gravedigging”), TCC manages to keep just enough of the huge, sing-along choruses that characterized their first album. The Silver Cord also has a distinctive structure — the first 10 tracks on the album, from the somber, mournful opening track, “The End”, to the brooding, intense “Medisin”) are all written in minor keys and explore themes of despair, depression, and loneliness. Then comes the epic instrumental interlude “The Ascent”, which serves as a turning point on the album, and the final four tracks are all written in major keys, with messages of redemption, renewal, and hope, culminating finally with “The Beginning (A Simple Seed)”, easily one of the best tracks on the album.

Standout Tracks: “Gravedigging”, “The Way That You Are”, “5805”, “Abracadavers”, “Medisin”, “Sing”, “Everything”, “The Beginning (A Simple Seed)”

6. Viva La Vida – Coldplay

No, it wasn’t X&Y (#2 for me in 2005). But Coldplay’s highly anticipated release was still one of the best albums of the year. Perhaps they’ve lost a little bit of their edge, and perhaps several of the B-sides that made it onto the Prospekt’s March EP should have replaced some lackluster tracks on Viva La Vida, but there is no denying that the album offers some fantastic tracks, from the hip-hop-inspired beat of “Lost!” to the gorgeous piano on “Lovers In Japan,” and the crunching guitar hooks of “Violet Hill” to the building crescendo of “Death And All His Friends”. Not too shabby, Chris Martin.

Standout Tracks: “Lost!”, “Lovers In Japan”, “Viva La Vida”, “Violet Hill”, “Strawberry Swing”, “Death And All His Friends”

7. Whisper War – The Cab

Also without a doubt one of the best new up-and-coming artists this year, the 17-year-old members of Las Vegas-based The Cab made a statement with their debut album early this year. If the explosive opening track, “One Of Those Nights” — featuring guest appearances from a few friends, including Panic’s Brendan Urie and Fall Out Boy’s Patrick Stump — doesn’t get your attention, then The Cab’s roaring guitars, tight vocal harmonies, and infectious blend of rock, soul, pop, R&B — even a little disco — on the remaining tracks certainly will. Trendy? Check. Witty, tongue-in-cheek lyrics? Check. But you have to try really hard not to enjoy this album.

Standout Tracks: “One Of Those Nights”, “Bounce”, “High Hopes In Velvet Ropes”, “Take My Hand”, “Risky Business”, “Zzzzz”, “This City Is Contagious”

8. Want – 3OH!3

Let’s face it — 3OH!3 is everyone’s guilty pleasure. Sure, the lyrics might be trashy — see the “pseudo-pornographic” lyrics of “Starstrukk”, as my friend put it, for example. But the dance-electronic-pop-punk-hip-hop blend of 3OH!3 is catching on. Don’t deny it — it’s just about impossible not to get up and dance to “Don’t Trust Me.” And everyone loves angrily screaming the lyrics to “I’m Not Your Boyfriend Baby”. The synth lead in in “PunkB*tch” is awesome. Plus, who can argue with this advice: “Don’t trust a ho / never trust a ho / won’t trust a ho / ’cause the ho won’t trust me.” Plus, “Shush girl, shut your lips / Do the Hellen Keller, and talk with your hips.” These two white guys can rap.

Standout Tracks: “PunkB*tch”, “Don’t Trust Me”, “I’m Not Your Boyfriend Baby”, “Starstrukk”, “Richman”, “Holler Till You Pass Out”

9. Fast Times At Barrington High – The Academy Is…

The Academy Is…well, back. Let’s just pretend Santi never happened, okay? I knew I had a good feeling about this album when I heard the title — which comes from a high school about a half hour from my house (the band is from Hoffman Estates, IL) — and it lived up to my expectations. Everything about the album, from the lyrics to the chord progressions — screams high school summers…and I mean that in the best possible way. It makes you want to drive around your hometown with your friends in June, with the sun shining and the windows down (and blasting this album, of course). It never takes itself too seriously, and TAI has apparently rediscovered how to write rockin’, singable choruses after filling a whole album with forgettable, mid-tempo mush for Santi. William Beckett’s soaring vocals are always a highlight, especially in the high-tempo opening track and first single, “About A Girl.”

Standout Tracks: “About A Girl”, “Summer Hair=Forever Young”, “His Girl Friday”, “The Test”, “Rumored Nights”, “Coppertone”, “Beware! Cougar!”, “One More Weekend”

10. Narrow Stairs – Death Cab For Cutie

A lot of DCFC fans didn’t like Narrow Stairs. I am not one of them. I thought it was fantastic. Death Cab branched out, shedding the acoustic emphasis of Transatlanticism and Plans in favor of more synth, more electric guitars, and more electro-pop deliciousness. It’s a departure from their traditional sound, but I thought it worked extremely well. I adore “Bixby Canyon Bridge” (dream sequence and all) and the catchy bass guitar riff of “I Will Possess Your Heart” makes it an instant classic. “Long Division” is easily one of my all-time favorites.

Standout Tracks: “Bixby Canyon Bridge”, “I Will Possess Your Heart”, “Cath…”, “You Can Do Better Than Me”, “Grapevine Fires”, “Long Division”, “Pity And Fear”

11. Shudder – Bayside

Bayside’s follow-up to The Walking Wounded (#4 in 2007) is only this far down on the list because of all the other incredible albums that have come out this year — not because it was disappointing. The anthemic opener, “Boy”, starts the album off with a bang, and while this album isn’t a radical departure from Bayside’s standard self-described “gloom pop” sound, it does take a few interesting forays into new territory — case in point is the closing track, “Moceanu”, which features lead singer Anthony Raneri crooning a melancholy dirge in which he spells out many of the lyrics, accompanied by only a sparse, rhythmic keyboard. Jack O’Shea’s lead guitar riffs are still impressive throughout, though less noticeable than they were on Walking Wounded.

Standout Tracks: “Boy”, “The Ghost of St. Valentine”, “What And What Not”, “I Can’t Go On”, “Demons”, “Roshambo”, “Moceanu”

And as for those additional excellent albums that also deserve some recognition…

Honorable Mention:

– The Glass Passenger – Jack’s Mannequin
– Underdog Alma Mater – Forever The Sickest Kids
– State of the Art (EP) – Audiostrobelight
– New Surrender – Anberlin
– Can’t Love, Can’t Hurt – Augustana
– Day & Age – The Killers

Feel free to leave me your comments!

Following the annual tradition that I started two years ago, I present everyone with a ‘lil holiday treat: My Top 11 Albums of 2007. (If you’re interested, you can check out 2005 and 2006.)

(Annual) Disclaimer: These selections are not supposed to be “the” top albums of the year. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best.

Without further ado, here is the list:

1. Singularity – Mae

Maybe my judgment is biased because Mae as I know it is dead, following the departure of keyboardist Rob Sweitzer and bassist Mark Padgett in late September. Nevertheless, it just seemed wrong to put Singularity at any other position than the top of this list. Dave Elkins’s songwriting is as beautiful as ever, and Mae’s blend of piano- and synth-driven pop-rock has never been more perfect than it is in Singularity. Perhaps that makes the band’s disintegration at this moment an even more bitter pill to swallow. I have never been happier with an album than I was as soon as I heard the synth riff of the opening “Brink of Disaster” and throughout my first listen to this album, and it only got better with each subsequent listen. From the crunching guitars of “Sometimes I Can’t Make It Alone,” the incredible synth line of “Waiting,” and the hook of “Sic Semper Tyrannis,” to the pretty love song “Just Let Go” or the soaring “Release Me,” this album just makes me smile from start to finish.

Favorite tracks: “Brink Of Disaster,” “Sometimes I Can’t Make It Alone,” “Just Let Go,” “Waiting,” “Sic Semper Tyrannis,” “Release Me,” “Rocket”

2. Our Love To Admire – Interpol

Melancholy and brooding, listening to Our Love To Admire is much like listening to a funeral dirge — and a hauntingly beautiful one at that. Frontman Paul Pank’s 80’s post-punk vocals perfectly deliver lyrics that can only be described as genius. Every single track on this album consistently delivers the most brilliant writing I have encountered this year. Upbeat tracks like “The Heinrich Maneuver” and the sarcastic “No I In Threesome” punctuate the methodic pace of the album, but the real brilliance is the hypnotizing closing track, “The Lighthouse,” almost entirely percussion-free, played almost exclusively with an echoing 50-year-old guitar, from which guitarist Daniel Kessler experienced painful sores from toxins that were on the strings. The pain was worth the price — this track is the best on the album, and breathtakingly beautiful.

Favorite tracks: “Pioneer To The Falls,” “The Scale,” “The Heinrich Maneuver, “Pace Is The Trick,” “All Fired Up,” “Rest My Chemistry,” “The Lighthouse”

3. Even If It Kills Me – Motion City Soundtrack

Glorious. From the orchestra tuning note before the frenetic opening of “I Fell In Love Without You,” to the driving, reflective “Last Night,” and the Ben-Folds-ballad-esque “The Conversation,” Even If It Kills Me is a masterpiece. Jesse Johnson’s synth work also reaches a new level of incredible on this album. The lyrical quality is as clever and witty as ever, but notably brighter than MCS has been in the past. While Commit This To Memory had an air of hopelessness lyrically, Even If It Kills Me is full of hope for the future, of picking up the pieces and moving on to bigger and better things. Some songs, like “This Is For Real,” and “It Had To Be You” are downright cute. Also, “Antonia” makes me smile.

Favorite Tracks: “I Fell In Love Without You,” “It Had To Be You,” “Last Night,” “Calling All Cops,” “Where I Belong,” “Point Of Extinction,” “Antonia”

4. The Walking Wounded – Bayside

This album is basically all I listened to for the entire month of January 2007. On repeat. Self-described “gloom pop,” Bayside suffered a devastating blow in the death of their drummer when the band was involved in a car accident in 2005. Despite the tragedy, The Walking Wounded manages to be somehow slightly less bitter than their self-titled 2005 release…but only slightly, as tracks like “They’re Not Horses,” “Choice Hops,” and “Thankfully” can attest. The one exception is the strangely sweet and uplifting “Landing Feet First” — a highlight. Anthony Raneri’s songwriting is absolutely magnificent throughout, as are the tight guitar licks and even a tasteful bit of piano sprinkled in.

Favorite tracks: “The Walking Wounded,” “They’re Not Horses, They’re Unicorns,” “Duality,” “Carry On,” “Choice Hops And Bottled Self Esteem,” “Dear Your Holiness,” “Landing Feet First,” “(Pop)ular Science”

5. Infinity On High – Fall Out Boy

Despite the polarizing effect FOB seems to have on people, I still say you have to actively try to dislike this album. Although they have come a long, long, long, way from Take This To Your Grave, FOB’s evolution has continued to impress me. Taking big risks musically, Patrick Stump’s instrumentation experiments all managed to somehow work out really well — R&B influences and all. The pop-punk roots are still there, of course, despite Stump’s almost boy-band-esque vocals on “I’m Like A Lawyer” and “This Ain’t A Scene.” Pete Wentz’s pretentious, pompous, and ever-witty lyrics are still there, too, as are the classically clever song titles. The final track, “I’ve Got All This Ringing” also showcases Stump’s impressive vocal chops.

Favorite tracks: “Thriller,” “The Take Over, The Break’s Over,” “This Ain’t A Scene, It’s An Arms Race,” “I’m Like A Lawyer With The Way I’m Always Trying To Get You Off (Me & You),” “Hum Hallelujah,” “Thnks Fr Th Mmrs,” “Bang The Doldrums,” “Fame < Infamy”

6. Chase This Light – Jimmy Eat World

As I think was the problem for many J.E.W. fans who listened to this album, it just took so long to finally make it all the way through the thing. It was almost impossible to resist the urge to keep replaying the first 5 tracks, all of which are amazing. Turns out that the second half of the CD is just as good as the first. From the explosive opening of “Big Casino” to the reflective moodiness of “Dizzy,” Chase This Light is a masterpiece of lyrical prowess — and although perhaps a bit pop-oriented, still flavored with plenty of genuine rock.

Favorite tracks: “Big Casino,” “Let It Happen,” “Always Be,” “Carry You,” “Electable (Give It Up)” “Gotta Be Somebody’s Blues,” “Firefight,” “Dizzy”

7. Captiva – Falling Up

A very different sound from their previous standard hard rock efforts, Captiva finds Falling Up breaking new ground. A sonic journey, the band’s trademark piano background is still complemented by synth and guitar hooks, though the combination is perhaps a bit more melodic than in the past. Jessy Ribordy’s uniquely captivating voice and the album’s lush instrumentations take the listener into a dream-like world, especially on tracks like “A Guide To Marine Life,” “Captiva,” and “How They Made Cameras.” Falling Up still finds plenty of time to rock out, as evidenced by the energy of tracks like the single “Hotel Aquarium,” as well as “Goodnight Gravity,” “Good Morning Planetarium,” and the edgy “Murexa.” The album ends with the piano-heavy tracks “Arch to Achtilles” and “The Dark Side of Indoor Track Meets,” both of which are remarkably beautiful.

Favorite tracks: “A Guide To Marine Life,” “Hotel Aquarium,” “Goodnight Gravity,” “How They Made Cameras,” “Good Morning Planetarium,” “Arch To Achtilles,” “The Dark Side of Indoor Track Meets”

8. Cities – Anberlin

By far Anberlin’s best album to date, Cities boasts more complex instrumentation and lyrical work than their previous efforts. With instantly memorable hooks and singable choruses, this album showcases Anberlin’s powerful punch on driving tracks like “Godspeed,” “Dismantle.Repair,” and “There Is No Mathematics To Love And Loss,” while also executing well on the mellower tracks like “The Unwinding Cable Car” and “Inevitable.” The blending of crunching guitars with keys and synth is also appropriate and adds to the texture of each track, unlike other bands which seem to be jumping on the synth bandwagon recently. The epic majesty of “*fin” has also attained a special status as one of my favorite songs of all time.

Favorite tracks:“Godspeed,” “Adelaide,” “There Is No Mathematics To Love And Loss,” “Alexythmia,” “Dismantle.Repair,” “*fin”

9. A Weekend In The City – Bloc Party

Although this is going to be controversial, I’m going to just go ahead and say I liked this album better than Silent Alarm. Yes, yes, I know, I’m crazy. Told chronologically as the story of one man’s weekend, Bloc Party’s execution is brilliant on A Weekend. From the driving guitar riffs of “Song For Clay (Disappear Here)” and “Hunting For Witches” to the hip-hop-esque beats of “The Prayer” to the awesome tempo change in the middle of “Uniform,” this album is British indie rock at its best. The lyrics are likewise a thought-provoking and provocative narrative of life in the modern Western world — yes, references to Sudoku in “Waiting for the 7.18” and even the left-wing social commentary of “Hunting For Witches” and “Where Is Home?” included.

Favorite tracks:“Song For Clay (Disappear Here),” “Hunting For Witches,” “The Prayer,” “Uniform,” “Where Is Home?,” “I Still Remember”

10. Paper Walls – Yellowcard

This album is everything I love about Yellowcard. They managed to take the edginess and hook-laden riffs from One For The Kids and Ocean Avenue, and combined them with the (very few) good bits of the disappointing Lights and Sounds and hit all the right notes with Paper Walls. While certainly more radio-single-friendly than previous efforts, Paper Walls still contains enough raw pop-punk energy to make it a very worthwhile listen. What can I say? I’m a sucker for an electric violin.

Favorite tracks:“The Takedown,” “Keeper,” “Shadows and Regrets,” “Afraid,” “Date Line (I Am Gone),” “Cut Me, Mick,” “Paper Walls”

11. Boxer – The National

Despite obtaining this album only 4 days ago — after repeated requests to several of my friends who had been raving about it…(coughBencoughJon)…it clearly deserves to make this list. Even better than their previous release Alligator, with Boxer The National solidify their spot as one of my favorite artists. There is something strangely soothing about Matt Berninger’s gravelly, mumbling voice, and accompanied by perfectly sparse guitar and piano instrumentation it produces an effect that is beautifully methodic — the sound is never rushed, never too full or complex. It’s also completely entrancing.

Favorite tracks: “Fake Empire,” “Mistaken For Strangers,” “Brainy,” “Squalor Victoria,” “Start A War,” “Ada”

Some other albums didn’t quite make the top 11 list — it was a very competitive year — but deserve a little recognition:

Honorable Mention:
– Alive 2007 (Daft Punk)
– Five Score And Seven Years Ago (Relient K)
– La Vida Es Un Ratico (Juanes)
– Riot! (Paramore)
– Cover Your Eyes (Sullivan)

Yes, it’s that time of year again.

Last year I started the tradition of doing a “Top Albums” post in which I listed my top albums of the past year. There was however some confusion over this, so let me be clear — these selections are not supposed to be “the” top ten albums of the year. In other words, I am not trying to be a music expert. In no way am I suggesting these albums are better than all other albums that were released this year. These are simply the ones that I liked best. Hence the hopefully clearer title “My Top 11 Albums of 2006.”

2006 was a very good year for music, and, like last year, I was not able to narrow my choices down to a top 10. So again, here are my top 11 albums of 2006, in descending order:

1. The Black Parade – My Chemical Romance

Incredible. Simply put, My Chemical Romance’s third studio album is a masterpeice. The whole concept album idea was executed masterfully, and the “emo” label and sound have been completely erased from MCR’s new image. There is not a single song on this album that I do not absolutely love.

Favorite tracks: Dead!, The Sharpest Lives, Welcome to the Black Parade, Mama, Teenagers, Famous Last Words

2. Sam’s Town – The Killers

The Killers had a tall order to fill in following up on the smash hit Hot Fuss. They found a way, however, and although their sound shifted rather perceptibly towards the rock ballad sound of Hot Fuss’s “All These Things That I’ve Done” and less of the synth of “Mr. Brightside,” they managed to retain just enough of the old Killers to satisfy my expectations. Brandon Flowers and company have released a excellent sophomore album that showcases the band’s broad lyrical and musical prowess.

Favorite tracks: Sam’s Town, Bling (Confessions of a King), For Reasons Unknown, Read My Mind, My List, This River Is Wild

3. Albatross – The Classic Crime

The best debut album of 2006, The Classic Crime have crafted an outstanding rock album that is easy to fall instantly in love with — and indeed I did. I listened to this album for three months straight this summer, and never got sick of it. With unbelievably catchy hooks and choruses, The Classic Crime has the potential to be the next big thing.

Favorite tracks: The Fight, Who Needs Air, Blisters and Coffee, The Coldest Heart, Say the Word, Bitter Uprising, Headlights

4. The Devil And God Are Raging Inside Me – Brand New

I’m going to be honest: I hated this album when I first heard it. It had been three years since Brand New released Deja Entendu, a staple of the emo wave of the early 2000’s. The Devil and God is so different from their previous work that I think I was in shock. Once I listened to the album a few times through, however, it began to grow on me — a lot. Elements of the old sound can still be seen, in the blistering single “You Won’t Know,” for example, but even there the band’s transformation is evident. Brand New’s radical shift paid off, and I think this album has shown that they’re here to stay. Also, the lyrical genius of this album cannot be overstated.

Favorite tracks: Millstone, Jesus Christ, Degausser, You Won’t Know, Not The Sun, Luca, The Archer’s Bows Are Broken

5. Good Monsters – Jars of Clay

Oh Jars. What can be said but that they are one of those great bands that really does improve with every album. As a lifelong fan who has bought every single one of Jars’ six studio albums (as well as the live album), I love Good Monsters. The band’s maturity shows clearly in both the lyrical and musical arenas, and the band has also pushed it’s musical boundaries and explored a new sound, departing somewhat from the stripped-down bluegrass/gospel sound of Who We Are Instead and bringing back a bolder, almost British-rock-esque sound, as showcased in the opening track “Work” and “Dead Man (Carry Me).” There’s still plenty of fantastic acoustic work mixed in though, and the haunting “Oh My God” sends chills down my spine every time.

Favorite tracks: Work, Dead Man (Carry Me), Good Monsters, Oh My God, Surprise, Mirrors & Smoke

6. The Bravery – The Bravery

The obvious comparisons to The Killers’ debut aside, The Bravery have managed to release a debut album that brings something unique to the synth-pop wave. Dance rock is alive and well with The Bravery, and slick synth riffs (“Out of Line” is one of my favorites) coupled with killer beats and frontman Sam Endicott’s perfectly laid-back vocals make this album irresistable.

Favorite tracks: An Honest Mistake, Fearless, Tyrant, Swollen Summer, Out of Line, Unconditional, The Ring Song

7. Zombies! Aliens! Vampires! Dinosaurs! – Hellogoodbye

I have been a fan of Hellogoodbye ever since I heard their demo, released back in 2004, and I was not disappointed by their first full-length album. Combining some of the best synth dance riffs around with catchy vocals, Zombies! is a fun and well-produced album that is very, very hard not to dance to every time it is played. Also, the acoustic mandolin-driven “Oh, It Is Love,” is one of the most adorable songs I have ever heard.

Favorite tracks: Here (In Your Arms), All Time Lows, Stuck To You, Homewrecker, Oh, It Is Love, Figures A and B (Means You And Me), Two Weeks In Hawaii

8.Under The Iron Sea – Keane

An absolutely amazing follow-up to their debut, Under The Iron Sea shows how much the British 3-peice Keane has grown. Strings and organs add depth and richness to Keane’s sound while staying true to their pop-rock roots. It’s one of those albums that is even better as a whole when you listen to it all the way through.

Favorite tracks: Is It Any Wonder?, Nothing In My Way, Bad Dream, Hamburg Song, Crystal Ball, The Frog Prince, Let It Slide

9. The Chess Hotel – The Elms

Really. Good. After a long hiatus, The Elms are back with The Chess Hotel, and have abandoned their old Beatles-esque pop-rock for pure, old-fashioned, unadulterated rock ‘n roll. With killer guitar riffs and lyrics that any small-town Midwesterner can sympathize with, The Elms are one of my new favorites.

Favorite tracks: Who Puts Rock ‘n Roll In Your Blood, Nothing To Do With Love, She’s Cold!, The Chess Hotel, Bring Me Your Tea, The Downtown King, The Towers and The Trains

10. Decemberunderground – A.F.I.

I’m not really a huge A.F.I. fan, but my friend Adam made me listen to Decemberundergroundand I must admit it is an excellent album. I also think it’s ironic that my two favorite songs on the album are “Love Like Winter” and “Summer Shudder.” Ha.

Favorite tracks: Miss Murder, Summer Shudder, The Interview, Love Like Winter, The Missing Frame, 37mm

11. Chroma – Cartel

It may be average, typical pop-punk, but I like it. And, after seeing them live, I do think the lead singer’s voice is very impressive. The big guitars and hooks may not be anything new or unique, but they succeed in making some really catchy songs. Especially the chorus of “Burn This City,” which sometimes gets stuck in my head for days at a time.

Favorite tracks: Say Anything (Else), Honestly, Runaway, Burn This City, Settle Down

I hope everyone had a happy and safe Christmas and New Years’ celebration! As an avid music fan, here’s my list my list of the top 11 albums of 2005. Because 10 just wasn’t enough.

1. The Everglow – Mae

It’s a rare but beautiful thing when an extremely talented band releases a sophomore album that is better than their debut — but Mae did just that. Piano-laced rock, with driving guitars and catchy melodies, this is an album that I almost wore out because I played it so much.

Standout tracks: We’re So Far Away; Suspension; The Ocean; The Everglow; Ready And Waiting To Fall; The Sun And The Moon

2. X&amp;Y – Coldplay

Although X&amp;Y presents a bit of a departure from the sound of Coldplay’s previous albums, the album is no less stellar than A Rush Of Blood To The Head or Parachutes. I probably played this album 100 times this summer.

Standout tracks: Square One; Fix You; Talk; Speed of Sound; A Message; Swallowed In The Sea

3. Nothing Is Sound – Switchfoot

Switchfoot’s best album to date. It would be accurate to say that this band does actually get better with each album. Great lyrics, great music, great band — a solid album.

Standout tracks: Stars; The Shadow Proves The Sunshine; Easier Than Love; The Blues; The Fatal Wound

4. …And The Rest Will Follow – Project 86

After their blockbuster Drawing Black Lines album, Project 86 seemed to have lost their focus with subsequent releases. Lets just say: they’re back. Hard music at it’s best.

Standout tracks: Sincerely, Ichabod; Something We Can’t Be; Subject To Change; From December; The Hand, The Furnace, The Straight Face

5. A Fever You Can’t Sweat Out – Panic! At The Disco

One of the best debut albums of 2005, Panic!’s exceptional lyrical and musical talent belie the youth of the band (all members are under the age of 20). Their music can be described as are Fall Out Boy meets The Postal Service, with plenty of piano and synth mixed in. The sarcastic, clever lyrics are FOB-esque and extremely catchy — Panic! is poised to become the next big thing.

Standout Tracks: The Only Difference Between Martyrdom and Suicide Is Press Coverage; Nails For Breakfast, Tacks for Snacks; Camisado; Time To Dance; Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off; I Write Sins, Not Tragedies; Build God, Then We’ll Talk

6. From Under The Cork Tree – Fall Out Boy

While not as good as their debut Take This To Your Grave, FOB nevertheless offers a solid sophomore album with lyrics that explore the band’s experiences and growing cynicism that has accompanied their rise to celebrity status.

Standout Tracks: Of All The Gin Joints In The World; Dance, Dance; Sugar, We’re Goin’ Down; Nobody Puts Baby In The Corner; 7 Minutes In Heaven (Atavan Halen); Sophomore Slump or Comeback of the Year; XO

7. Never Take Friendship Personal – Anberlin

An awesome follow-up to Blueprints for the Black Market, Anberlin delivers on their sophomore effort with catchy guitar riffs and plenty of hits that you find yourself singing along with after only a few listens.

Standout Tracks: Paperthin Hymn; Stationary Stationery; The Symphony of Blase; A Day Late; Audrey, Start The Revolution

8. Move Along – The All-American Rejects

Another sophomore effort that surpasses the debut, The All-American Rejects return with more mature lyrics and musical quality, with better production and, well, a less whiny sound than their previous album.

Standout tracks: Dirty Little Secret; Move Along; It Ends Tonight; Night Drive; Dance Inside; Straightjacket Feeling

9. Plans – Death Cab For Cutie

One of the most musically solid albums of the year, Death Cab delivers an all-around great record in Plans, showcasing the band’s considerable talent and growth on their fifth full-length album. Great to play while relaxing on a laid-back Sunday afternoon.

Standout tracks: Marching Bands of Manhattan; Soul Meets Body; I Will Follow You Into The Dark; Your Heart Is An Empty Room; Crooked Teeth; Brothers On A Hotel Bed

10. The Boy vs. The Cynic – John Reuben

Without a doubt John Reuben’s best album, the rapper pulls no punches with his cutting, hard-hitting lyrics about politics, pop culture, and American society. It’s hip-hop for the thinking man.

Standout tracks: Out Of Control; Nuisance; Follow Your Leader; Sales Pitch; Sunshine; Cooperate; The Boy vs. The Cynic

11. The Question – Emery

I had to add this album to the list because I believe it deserves a spot on any list of the best albums of 2005. Showcasing growth and maturity, Emery delivers their signature sound with provocative lyrics, this is another album that is easy to listen to over and over.

Standout tracks: So Cold I Could See My Breath; Returning The Smile You Had From The Start; Studying Politics; Left With Alibis and Lying Eyes; The Terrible Secret