10. Murder by Death - Good Morning, Magpie (Vagrant)
If you’re still unfamiliar with Murder by Death’s amalgamation of rock and roll, folk, and Americana, then I’m not quite sure what to tell you other than, “Shame, shame, shame...” With their fifth full-length release, the band continues to excel at what they do best: country-tinged indie rock anchored on the lyrical imagery of vocalist/guitarist Adam Turla. Unlike it’s predecessor, Red of Tooth and Claw, the pop-direction of the songs are scaled back and the group has focused in on writing delicate, slower, and thought-provoking pieces, such as heard on the title-track and “Foxglove.” On the flip side Murder by Death doesn’t allow you to forget their knack for writing an upbeat danceable tune to sing-along with; “On the Dark Streets Below” is a prime example of that. (Michael)
9. Nails - Unsilent Death (Six Feet Under)
Without a doubt, Unsilent Death will be seeing continuous heavy rotation in sound systems of hardcore fans, junkies, aficionados, what have you simply because it is one hell of a record; realistically, Nails is one of those bands that do not come along often, but when they do it is quick and harsh punishment that burns out quick. Hopefully, there is more to come from this trio, but even if Unsilent Death (and its predecessor Obscene Humanity) is all that we get to hear, it will be entirely worth it; time will tell, but this just might be one of the best releases this year. (Bob)
8. Johnny Cash - American VI: Ain’t No Grave (American)
As the songs on American VI: Ain’t No Grave play, I get the distinct impression that the album feels like a letter to those that John was leaving behind (family, friends, and fans) that was meant to ease all our minds, not just about his passing, but also about life in general in the face of adversity. There are some records out there that artists made in the face of death or major adversity (such as the loss of a loved one) that sound and are full of moods like grim resignation or anger or defiance; American VI: Ain’t No Grave sounds nothing like these, but rather the purveying mood of the record is a calm and stately reserve that seemingly comes from Cash’s experience and faith as well as hope. (Bob)
7. Crime in Stereo - I Was Trying to Describe You to Someone (Bridge Nine)
As a final chapter in the all-too-brief career of Crime in Stereo, I Was Trying To Describe You To Someone is far from a footnote. Unpredictable and challenging, it defies the melodic hardcore of their debut and offers a meaty, progressive spin on punk and post-hardcore, keeping things heavy and deep throughout. We may mourn their loss but their legacy was untainted. (Matt)
6. The Gaslight Anthem - American Slang (Side One Dummy)
The Gaslight Anthem have a consistency of a band twice their age. Each album shows growth but never strays too far from their well worn ethic. Strong guitar chords ring out with the sound of a band that has played a few bars in their time. Meanwhile a songwriter in the classic Cohen and Springsteen vein calls out lost loves and forgotten youth like he has never left Jersey. Every song sound clean but dirty enough to be believed the band fought for its creation. The Gaslight Anthem was punk rock's pre-eminent rock and roll bar band now becoming something bigger without ever losing their touch for great songs. (Jon E)
5. Arcade Fire - The Suburbs (Merge)
Arcade Fire’s third full-length release was arguably one of the most anticipated records of 2010 in all of music. The band’s ever-increasing popularity led to high expectations, and yet the Canadian-based indie rock outfit seemed to meet and exceed those expectations with the greatest of ease. The Suburbs is a captivating listen from start to finish. Even as it pushes beyond the hour-long mark, the album with the varying subtleties of rock, folk, and dashes of punk enthralls the listener for its entirety. (Michael)
4. Minus the Bear - OMNI (Dangerbird)
It’s no secret Seattle’s Minus The Bear is at the forefront of the complex indie-pop movement. With their fourth full-length, Omni, the band continues their stay at the top, but in a different way than before. While we wouldn’t suggest someone who has never heard Minus The Bear start out with Omni, it is a great record for an already-established Minus The Bear fan. It’s not as technically complex as their previous releases, but it shows the catchier side of the band not many could initially see. (Gregg)
3. Ted Leo and the Pharmacists - The Brutalist Bricks (Matador)
Their first record for Matador; their first record featuring new bassist Marty Key: The Brutalist Bricks is a record of firsts. Slick songwriting, absurdly catchy choruses, and all-round organic rock and roll, stripped down and urgent. Whether a new label, new bandmate or new government has inspired Leo to return to his roots, the major point to note is that he’s lost none of his songwriting abilities and desire to remain hopeful, urgent and intelligent. Long may he continue. (Matt)
2. Dillinger Escape Plan - Option Paralysis (Season of Mist)
Many fans and critics considered The Dillinger Escape Plan’s 2007 release Ire Works to be a bit of a misstep for the band. However, those same individuals have been quick to call Option Paralysis a return to form and praise the band’s latest full-length as their best work outside of Calculating Infinity. The band’s continued fusion of melody and experimentation with electronica into their own twisted, dynamic, face-melting math-metal formula has truly reached its apex on the band’s latest full-length. Cuts like “Good Neighbor” and “I Wouldn’t if you Didn’t” easily recall the band’s Miss Machine-era output while album gem “Widower” showcases the band’s progression and development as songwriters as they push the boundaries of what we’ve come to expect from the band, leaving us eager to hear what’s next. (Michael)
1. Swans - My Father Will Guide Us Up A Rope To The Sky (Young God)
Comparing My Father Will Guide Us Up A Rope To The Sky to previous efforts by Swans is considerably difficult (when thinking of how it stands up to their brute force, understated beauty, or entrancing sounds) because Gira and company do not sit still and simply regurgitate motifs or methodologies from the past; instead, Swans pushes forward much as they did in their first go around over the course of over a decade and fashions an excellent addition to their discography. For every bruising sonic explosion on the album there is an equally passive and introspective counterweight to balance and flesh the record out into a much more moody affair. Without pretense Swans returns with an excellent album that firmly announces their wish to move forward with their music and sound, and, if this record is not on your list to at least hear this year, then you are missing out because it is an essential release that will surely hypnotize other listeners just as much as it has us. (Bob)
