15. Hot Chip – One Life Stand: The fourth album by British band Hot Chip really stood out as one of the best dance/electronic albums of 2010. The brilliant opener ‘Thieves In The Night’ sets the tone for the rest of the album. It is quickly followed by the sweeping, jittery piano-led ‘Hand Me Down Your Love’ and the euphoric synths of ‘I Feel Better’, which almost steals the album before it has really begun. The first single, ‘One Life Stand’, initially makes for fairly difficult listening through the electro distortation, that is, until the throbbing beat breaks into Alexis Taylor’s subtly anthemic chorus. One Life Stand is full of the consistently brilliant hooks which Hot Chip are known for, but vocally the album is much more mellower, as captured in the heartfelt ‘Brothers’ and softly, softly ‘Alley Cats’.14. Villagers – Becoming A Jackal: Shortlisted for the 2010 Mercury prize, Becoming A Jackal was one of the biggest breakthrough albums from last year. Villagers’ music is strangely disquieting, yet utterly captivating, especially the majestic and uplifting title track, ‘Becoming A Jackal’. Conor O’Brien – the main creative force behind Villagers – is certainly very talented, crafting beautiful poetic songs such as ‘Ship Of Promises’ and ‘That Day’. Becoming A Jackal may have missed out on the Mercury, yet it is a wonderfully charming album, one that is definitely worth checking out.
13. Beach House Teen Dream: The third album from the American duo Beach House was released early in 2010, yet managed to hold up to the rest of the music released during the year. Teen Dream is an uncomplicated album; however, it is beautifully composed, often creating the hypnotic, dreamy landscape that is aptly represented by the blank white album artwork. The mellow sounds of lead single ‘Zebra’ are a particular highlight, yet the rest of Teen Dream is just as strong. An album that will leave you feeling calm relaxed and refreshed with its mixture of intricate guitars and vocals that rest comfortably in your head.
12. Foals – Total Life Forever: Foals’ second album, Total Life Forever, moved away from the quick-fire, math-rock formula of their debut album quite drastically, and it worked. The Oxford five-piece sounded much more mature, yet still managed to retain the intricate sounds of their incredibly successful debut album. Songs such as ‘Blue Blood’ and ‘Total Life Forever’ maintained an evolved version of the frenetic sound that consumed Antidotes. However, where Foals really excelled themselves on their second album was with the new sounds on songs such as ‘Miami’, ‘This Orient’ and the magnificent ‘Spanish Sahara’. The latter was easily one of the songs of 2010, a beautiful, building epic that slowly evolves into a triumphant, yet haunting climax of noise.
12. Foals – Total Life Forever: Foals’ second album, Total Life Forever, moved away from the quick-fire, math-rock formula of their debut album quite drastically, and it worked. The Oxford five-piece sounded much more mature, yet still managed to retain the intricate sounds of their incredibly successful debut album. Songs such as ‘Blue Blood’ and ‘Total Life Forever’ maintained an evolved version of the frenetic sound that consumed Antidotes. However, where Foals really excelled themselves on their second album was with the new sounds on songs such as ‘Miami’, ‘This Orient’ and the magnificent ‘Spanish Sahara’. The latter was easily one of the songs of 2010, a beautiful, building epic that slowly evolves into a triumphant, yet haunting climax of noise.
11. Kid Cudi – Man On The Moon II: The Legend Of Mr. Rager: Kid Cudi’s second album, Man On The Moon II, was released only a year after his debut album and was once again greeted with critical approval. Whilst Cudi’s dry delivery can occasionally be grating, he is a supremely talented as both a producer and as an artist. Cudi continues with his characteristic chilly electronics that were the foundation for his debut album and were his prevalent contribution to Kanye West’s 808’s and Heartbreak. However, the real standout track from the album is the brilliantly infectious ‘Erase Me’, which coincidentally features Mr. West himself. It is quite a departure from the rest of the album, with an insanely catchy guitar-rock chorus. The album for the most part, is very dark, exploring Cudi’s past drug addictions. Yet this combination of spacious, electronic beats and his deep toned voice creates an intense atmosphere throughout the album that captures his drug infused past perfectly in sound. Whilst Cudi still hasn’t quite matched his true potential, his second album suggests he will get it right, sooner rather than later.
10. Bombay Bicycle Club – Flaws: Bombay Bicycle Club can seemingly do no wrong. Their debut album, I Had The Blues But I Shook Them Loose (2009), was critically successful and quickly established a dedicated fan base. A year later, and the band decided to release an acoustic album, which happened to coincide with the new wave of folk music that really made an impact in 2010. This was not a sound business plan, but a Mumford and Sons-induced coincidence. Their second album, entitled Flaws, was in fact, flawless. It is a beautiful melodic album from start to finish with Jack Steadman’s wonderfully delicate voice complimenting the acoustic arrangements. Whether it is the stunning acoustic version of ‘Dust On The Ground’, the intricate Spanish guitar of ‘My God’, or the magical cover of Joanna Newsom’s ‘Swansea’, Flaws is another sterling effort from Bombay Bicycle Club.
9. Warpaint – The Fool: There is certainly a lot to like about Warpaint. Whilst they haven’t been around for long, the four girls from Los Angeles have already released their debut album, The Fool, to a great deal of praise, and achieved a spot on the BBC’s Sound Of 2011. ‘Undertow’, the lead single from The Fool, makes use of pretty vocal harmonies over the top of intricate guitars, which is essentially the formula for most of the songs on the album. However, Warpaint are more complex than that. There is a particular quaintness to their sound, they leave you feeling isolated in a similar way to The xx – who they have recently been touring with - yet there is also something comforting about their raw melodies and stunning harmonies.
10. Bombay Bicycle Club – Flaws: Bombay Bicycle Club can seemingly do no wrong. Their debut album, I Had The Blues But I Shook Them Loose (2009), was critically successful and quickly established a dedicated fan base. A year later, and the band decided to release an acoustic album, which happened to coincide with the new wave of folk music that really made an impact in 2010. This was not a sound business plan, but a Mumford and Sons-induced coincidence. Their second album, entitled Flaws, was in fact, flawless. It is a beautiful melodic album from start to finish with Jack Steadman’s wonderfully delicate voice complimenting the acoustic arrangements. Whether it is the stunning acoustic version of ‘Dust On The Ground’, the intricate Spanish guitar of ‘My God’, or the magical cover of Joanna Newsom’s ‘Swansea’, Flaws is another sterling effort from Bombay Bicycle Club.
9. Warpaint – The Fool: There is certainly a lot to like about Warpaint. Whilst they haven’t been around for long, the four girls from Los Angeles have already released their debut album, The Fool, to a great deal of praise, and achieved a spot on the BBC’s Sound Of 2011. ‘Undertow’, the lead single from The Fool, makes use of pretty vocal harmonies over the top of intricate guitars, which is essentially the formula for most of the songs on the album. However, Warpaint are more complex than that. There is a particular quaintness to their sound, they leave you feeling isolated in a similar way to The xx – who they have recently been touring with - yet there is also something comforting about their raw melodies and stunning harmonies.
8. The Dead Weather – Sea Of Cowards: The Dead Weather – another of Jack White’s ever-expanding side-projects – released their second album, Sea Of Cowards, in 2010. It isn’t exactly laid-back, more of a snarling, bluesy, gritty upsurge of noise. The vocal talents of The Kills’ Alison Mosshart are used sparingly; however, when she appears as lead on the electronic synth number ‘The Difference Between Us’ it proves to be one of the highlights of a very strong album. When I say strong, I really mean strong. As in this album could probably catch you unawares and beat you up if you weren’t paying attention. Even the first single from the album, ‘Die By The Drop’, is a raw and quite disconcerting tune, with White yelling “I’m gonna take you for worse or better” over crunching guitars. Whether the world has seen the last of The Dead Weather is unknown, but if Jack White does decide to resurrect the band for a third album it will have to go some way to beat this.
7. The Black Keys – Brothers: The sixth album by the American blues/rock duo, The Black Keys, proved to be unexpected favourite of mine in 2010. It is the first album by The Black Keys to really grab my attention with some brilliant bluesy riffs and Dan Auerbach’s falsetto vocals slightly more controlled than on previous records. ‘Everlasting Light’ opens the album perfectly, with Auerbach’s beautiful vocals complemented by chugging guitars in the background. The rawness of the album is what really wins through on Brothers, though. Songs such as ‘She’s Long Gone’ and ‘Howlin’ For You’ are distinctive through their simmering tension, the sort of sound that would be perfect for a barroom brawl.
6. MGMT – Congratulations: After the success of their first album, Oracular Spectacular, it would have been easy for MGMT to follow a similar route on their second album. However, MGMT decided to do the complete opposite, much to the disapproval of more or less everyone. Yet, the second album, Congratulations, is in fact, a fantastic follow-up. MGMT relaxed the techno, computerized effects of Oracular Spectacular, instead opting for acoustic numbers that still managed to retain the psychedelic imprint that marks the band out. Songs such as the brilliant ‘Flash Delirium’ and opening album track ‘It’s Working’ do stand out, but they are certainly less instant than the singles from Oracular. Whilst MGMT may have disappointed the casual fans that enjoyed their radio-friendly debut album, their second album certainly shows a band willing to take necessary risks to be regarded as more than that.
5. Gorillaz – Plastic Beach: Whatever form he decides to take, one thing is always certain, Damon Albarn rarely fails to deliver. Whilst Gorillaz have changed quite drastically from the bouncy pop tunes of their self-titled debut album, the end product of the third album, Plastic Beach, is as refreshing and interesting as ever. With such a long list of contributors and cameos, the Gorillaz themselves – essentially Damon Albarn’s himself – get a little bit lost during the album. However, Albarn is a masterful producer, and still manages to combine an album full of influences spanning a variety of genres, into something cohesive, and thoroughly different.
4. Sleigh Bells – Treats: This album is stomping, exuberant and highly entertaining. It is a wonder how so much noise can emanate from just two people. Yet Sleigh Bells further demonstrated the wealth of talent emerging from America in 2010. Whether it is the infectious fuzzy guitars and thumping beats of ‘Infinity Guitars’, the thunderous machine-gun drums of ‘Tell ‘Em’, or the catchy pop of ‘Rill Rill’, Sleigh Bells’ debut album is raw, fresh, in-your-face music. So, expect them to feature on the new series of Skins.
3. The National – High Violet: Whilst 2010 was fairly poor as a whole there were a few real breakthroughs. One of the most important – and deserved - was the universal acclaim that The National finally achieved with their fifth album, High Violet. It is a dark, brooding and atmospheric affair, yet whilst initially coming across very depressing, it is in fact a beautifully uplifting and masterful album. ‘Bloodbuzz Ohio’ is without doubt the standout track, although it is no more than a diamond amongst an album full of pearls. Other songs to checkout include the mesmeric ‘Runaway’, the epic and sprawling sounds of ‘Terrible Love’ and the poignant ‘England’. The National excelled themselves with High Violet, an album that fills you with nostalgia, hope and despair.
7. The Black Keys – Brothers: The sixth album by the American blues/rock duo, The Black Keys, proved to be unexpected favourite of mine in 2010. It is the first album by The Black Keys to really grab my attention with some brilliant bluesy riffs and Dan Auerbach’s falsetto vocals slightly more controlled than on previous records. ‘Everlasting Light’ opens the album perfectly, with Auerbach’s beautiful vocals complemented by chugging guitars in the background. The rawness of the album is what really wins through on Brothers, though. Songs such as ‘She’s Long Gone’ and ‘Howlin’ For You’ are distinctive through their simmering tension, the sort of sound that would be perfect for a barroom brawl.
6. MGMT – Congratulations: After the success of their first album, Oracular Spectacular, it would have been easy for MGMT to follow a similar route on their second album. However, MGMT decided to do the complete opposite, much to the disapproval of more or less everyone. Yet, the second album, Congratulations, is in fact, a fantastic follow-up. MGMT relaxed the techno, computerized effects of Oracular Spectacular, instead opting for acoustic numbers that still managed to retain the psychedelic imprint that marks the band out. Songs such as the brilliant ‘Flash Delirium’ and opening album track ‘It’s Working’ do stand out, but they are certainly less instant than the singles from Oracular. Whilst MGMT may have disappointed the casual fans that enjoyed their radio-friendly debut album, their second album certainly shows a band willing to take necessary risks to be regarded as more than that.5. Gorillaz – Plastic Beach: Whatever form he decides to take, one thing is always certain, Damon Albarn rarely fails to deliver. Whilst Gorillaz have changed quite drastically from the bouncy pop tunes of their self-titled debut album, the end product of the third album, Plastic Beach, is as refreshing and interesting as ever. With such a long list of contributors and cameos, the Gorillaz themselves – essentially Damon Albarn’s himself – get a little bit lost during the album. However, Albarn is a masterful producer, and still manages to combine an album full of influences spanning a variety of genres, into something cohesive, and thoroughly different.
4. Sleigh Bells – Treats: This album is stomping, exuberant and highly entertaining. It is a wonder how so much noise can emanate from just two people. Yet Sleigh Bells further demonstrated the wealth of talent emerging from America in 2010. Whether it is the infectious fuzzy guitars and thumping beats of ‘Infinity Guitars’, the thunderous machine-gun drums of ‘Tell ‘Em’, or the catchy pop of ‘Rill Rill’, Sleigh Bells’ debut album is raw, fresh, in-your-face music. So, expect them to feature on the new series of Skins.
3. The National – High Violet: Whilst 2010 was fairly poor as a whole there were a few real breakthroughs. One of the most important – and deserved - was the universal acclaim that The National finally achieved with their fifth album, High Violet. It is a dark, brooding and atmospheric affair, yet whilst initially coming across very depressing, it is in fact a beautifully uplifting and masterful album. ‘Bloodbuzz Ohio’ is without doubt the standout track, although it is no more than a diamond amongst an album full of pearls. Other songs to checkout include the mesmeric ‘Runaway’, the epic and sprawling sounds of ‘Terrible Love’ and the poignant ‘England’. The National excelled themselves with High Violet, an album that fills you with nostalgia, hope and despair.
2. Kanye West – My Beautiful Dark Twisted Fantasy: Yes, he’s controversial and therefore very easily disliked, but Kanye West is surely one of the most talented artists in the music industry. From the very go, West’s fifth album displayed more innovation, talent and genius than most of 2010’s music combined. Not that it was surprising, after the impressive and experimental 808’s and Heartbreak, but West was certainly under pressure from his ability to generate his own publicity. Yet, this worked to his benefit on My Beautiful Dark Twisted Fantasy, songs such as the anthemic ‘Power’ and the haunting ‘Runaway’, channel the criticisms of Kanye – and there are a lot – to great effect. The production is really what sets the album apart, though. The triumphant ‘All Of The Lights’ is a perfect example of West’s superior production, merging the vocal talents of huge superstars such as Alicia Keys, Rihanna, Fergie and Elton John, with incredible ease. In the hands of any other artist it could have been a disaster, but West’s sheer ego – and talent - allows him fuse international stars without giving it a second thought. The man is unquestionably a huge talent, but there is one question that the world will wait for with bated breath. What’s next?
1. Arcade Fire – The Suburbs: Arcade Fire’s third album, The Suburbs, was the most impressive album of 2010. It quite rightly appeared towards the top - or at the top - of most end-of-the-year lists. Songs such as ‘Modern Man’, ‘Rococo’, ‘Suburban War’ and ‘City With No Children’, displayed the musical variety and unrelentless brilliance of the Canadian band. The album may not have the huge, anthemic songs of its predecessors, such as ‘Wake Up’ and ‘No Cars Go’, but The Suburbs has a momentum that drives the record throughout. This is emphasised by ‘Ready To Start’, a sprawling, unrelenting and truly thrilling song. Yet, The Suburbs is the best album of 2010 because it doesn’t sit on its laurels, it isn’t one dimensional. No song emphasizes this more than the ABBA-esque ‘Sprawl II (Mountains Beyond Mountains)’, with the delicate vocals of Régine taking over from Win Butler with great success. In a year with very few genuine musical highlights, The Suburbs displayed all the subtlety and musicianship that suggests Arcade Fire are a band at the height of their powers.
1. Arcade Fire – The Suburbs: Arcade Fire’s third album, The Suburbs, was the most impressive album of 2010. It quite rightly appeared towards the top - or at the top - of most end-of-the-year lists. Songs such as ‘Modern Man’, ‘Rococo’, ‘Suburban War’ and ‘City With No Children’, displayed the musical variety and unrelentless brilliance of the Canadian band. The album may not have the huge, anthemic songs of its predecessors, such as ‘Wake Up’ and ‘No Cars Go’, but The Suburbs has a momentum that drives the record throughout. This is emphasised by ‘Ready To Start’, a sprawling, unrelenting and truly thrilling song. Yet, The Suburbs is the best album of 2010 because it doesn’t sit on its laurels, it isn’t one dimensional. No song emphasizes this more than the ABBA-esque ‘Sprawl II (Mountains Beyond Mountains)’, with the delicate vocals of Régine taking over from Win Butler with great success. In a year with very few genuine musical highlights, The Suburbs displayed all the subtlety and musicianship that suggests Arcade Fire are a band at the height of their powers. 
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