20. Kanye West – “Graduation”
9/11 on Roc-a-fella
Metacritic: 79
Q: 60
Pitchfork: 87
The best hip-hop album of the year. Mr. West must have done something special to rise from the most decadent, commercially-driven genre of music and be among the folk, rock, and house on this list. He certainly has, and while his third solo album isn't great, history and the music industry's self-promotion will inevitably cement it as a classic. Of course, the highlight of the album and popular music this year is "Stronger", a profound recontextualisation of the Daft Punk anthem. It's a shame that millions of listeners are unaware of the source material, much less the Edwin Birdsong original.
-RJR
19. Andrew Bird - "Armchair Apocrypha"
2/08 on Righteous Babe
Metacritic: 85
Q: 70
Pitchfork: 83
The quirkiest man in indie rock (a difficult title to win) has returned to follow his excellent “Mysterious Production” with “Armchair Apocrypha,” a collection of songs that show that Bird has grown up. Rather than highlighting his singularity by way of letting his obtuse lyrics take the forefront (as he did, to lovely effect, on “Mysterious Production”), he has turned his attention to arrangement and song craft. He is less reticent to pull out the electric guitar and throw in the kitchen sink, and thank heaven for that. Instead of “Mysterious Production” Redux, this record is far more nuanced, more subtle and confident than its predecessor was, and certainly more so than most other records released this year.
-PTC
18. Feist - "The Reminder"
5/01 on Interscope
Metacritic: 79
Pitchfork: 88
Q: 40
The cutest girl in indie rock (okay, maybe it’s a tie between her and Jenny Lewis...but that’s neither here nor there) knocked everyone - from Steve Jobs to your friendly co-bloggers - flat with this work of art. Feist couples the gritty sophistication of Broken Social Scene with her own brand of squeaky clean pop sensibility. Tack on the Feist’s sugary sweet voice and knack for understatement, and presto, you’ve got “The Reminder.” But don’t be fooled by its name; this is not a record any of us are going to forget any time soon.
-PTC
15. Sunset Rubdown - "Random Spirit Lover"
10/09 on Jagjaguwar
Metacritic: 76
Pitchfork: 85
Alternative Press: 50
“Random Spirit Lover.” is an exhausting record to listen to, clocking in at just under an hour. But it is, without a doubt, the most unique record of the year. It is far more energetic and honest than its self-aware predecessor. What proved infuriating about “Shut Up I Am Dreaming” was that Krug seemed so hell-bent on proving that he was an innovator that he forgot to write a listenable record. Here, he has settled into himself, and the result is a record that actually is brilliant. The record is true to its name - it is charmingly erratic and incurably effervescent. This is Spencer Krug doing what he wants, not what he thinks a side project should sound like. He is no longer trying to escape his Wolf Parade roots, but instead tastefully incorporates them here.
-PTC
15. Battles - "Mirrored"
5/22 on Warp
Metacritic: 86
Pitchfork: 91
NME: 80
Say what you will about Battles, say what you will about this record, few releases this year make you listen more closely than “Mirrored” does. It is challenging in every sense of the word, but that makes it ultimately fulfilling. You don’t need to like it to appreciate its merit as music. And the record is rife with innovative flashes of brilliance. Battles are not going anywhere, so you may as well get used to the sound.
-PTC
15. Justice - "Cross"
6/10 on Vice
Metacritic: 81
Pitchfork: 84
NME: 60
Aping the Daft Punk aesthetic is a better technique than sampling them wholesale, judging by this list. In a genre where everyone aspires to copy Guy and Thomas, Gaspard and Xavier do a better job than just about anyone else. The album throughout articulates such grand notions about where dance music has been and is headed that it simply cannot be ignored.
-RJR
Our album of the year coverage will continue in future posts.
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