AUX's Top 10 Indie/Rock Records of 2010

by Nicole Villeneuve

December 21, 2010

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Picking the “best” albums of any year is a duplicitous venture at best; a struggle to pare down—hopefully not laboriously round out—the list into something comprehensible/agreeable. Inevitably however, someone gets forgotten or shuffled out of a deserved place, people disagree and we’re left wondering how we could have possibly chosen only 10 children, leaving the others to torment in purgatory, obscurity or whatever the hell happens once these lists are done. Though, if you think about it, even these tabulations inevitably wind up suffering the same fate when we do it all over again twelve months later. At that, we provide you with a starting block for razing discussions over what are, in fact, the TOP 10 INDIE/ROCK RECORDS OF 2010. Our choices:

10. The Thermals – Personal Life (Kill Rock Stars)

Back with another concept record (this time about love), the Thermals further scale back their brash exterior in favour of melodic, more heavily featured bass and restrained vocals. The Thermals have yet to put out a boring record and though Personal Life doesn’t hit as hard at first, the repeated listens required to unlock its deeper-rooted structures are more than worth it. Plus, the analog textures sound so warm and substantial, you’ll want to listen often, out loud, or up close on headphones. ……………………………………………………………………………………………………………………………………………………………………………

9. Hooded Fang – s/t (Daps Records)

The darkest twee band this side of the Atlantic, Toronto-based Hooded Fang took their time to hone their very-independent debut record into one that showcases all the songwriting and instrumentation nuances as clearly as deserved, blooming from a group of band-nerd friends into a downright exhilarating pop ensemble. Smooth on the surface with a surprising level of sophistication, this is another sneak-attack record from a young Canadian outfit. ……………………………………………………………………………………………………………………………………………………………………………

8. Male Bonding – Nothing Hurts (Sub Pop)

It’s easy to lump this Dalston, UK trio into the noise-pop trend of the past too-many years, but the tuneful early-90s alt-aggression on their SubPop-sought debut Nothing Hurts isn’t so easily found anywhere else, currently. A succinct, sloppy grunge record like we haven’t heard in too long. ……………………………………………………………………………………………………………………………………………………………………………

7. Apollo Ghosts – Mount Benson (Independent)

From out of left field on the west coast of Canada came the strange stylings of Apollo Ghosts; part folk, part pop, part punk, all wrapped in a tale of young love and loss, Mount Benson was one of the best Canadian music surprises of 2010. It was a captivating, dynamic creation, only augmented by their ecstatic live performances. ……………………………………………………………………………………………………………………………………………………………………………

6. Vampire Weekend – Contra (XL)

With an approach that sounds simultaneously more focused and laid-back than their debut, Vampire Weekend are almost irresistible on Contra. Easing their poppy art-brat unrest into a refined effort that’s bright, confident, experimental, and of course so totally Graceland-esque, we don’t have to choose between Vampire Weekend old and new because they’ve done a stellar job of giving us the best remainders of one while moving onto something else. ……………………………………………………………………………………………………………………………………………………………………………

5. PS I Love You – Meet Me At the Muster Station (Paper Bag)

The buzz was surrounding Kingston two-piece PS I Love You before the album was even released, and they delivered—Meet Me At the Muster Station is a messy, catchy indie-rock guitar record. It’s that simple. “2012” is one of the best songs of the year, with a searing riff that opens the song, guides the fierce percussion into a melody of its own before weaving itself through the chorus and headfirst into a radiant, rapturous wall of noise. ……………………………………………………………………………………………………………………………………………………………………………

4. Owen Pallett – Heartland (Domino)

Orchestral-pop maestro Owen Pallett once again makes an album that has no business being lumped in with the standard constraints of indie pop/rock, but, where else do we put him? Pallet saves us (and him) from ourselves with a concept album that is outrageously ambitious and funny and, really, nothing short of genius. ……………………………………………………………………………………………………………………………………………………………………………

3. Land of Talk – Cloak and Cipher (Saddle Creek)

Liz Powell comes into her own in a big way on Cloak and Cipher, a complex and moody pop album that mines everything from classic R.E.M. to Fugazi to Stevie Nicks, all under Powell’s composed and transfixing lead. A true watershed for the band. ……………………………………………………………………………………………………………………………………………………………………………

2. Arcade Fire – The Suburbs (Merge)
Conceptual and rich without the bits of contrived bloat that weighed Neon Bible down, The Suburbs delivers on all the promises the Arcade Fire made by staying grand while aiming small. Smart, biting, and touchingly emotional; hell, it’s Arcade Fire. ……………………………………………………………………………………………………………………………………………………………………………

1. The National – High Violet (4AD)

Everyone’s favourite nu-male generational-crisis officials remain at the top of their game on High Violet. Immediately darker and sparser than Boxer, the layers of music and muse are thick and plentiful, making for a reveal that’s challenging in the best way. Tense and meaningful, poetic and plaintive, The National sit in a modern league of their own by creating records akin to timeless literature.

Tags: Music, Featured, News, apollo ghosts, arcade fire, hooded fang, Land of Talk, Male Bonding, owen pallett, The National, The Thermals, Vampire Weekend

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