Best Music of 2010, Pt. 2: Albums #5-1

#5
Heartland
Owen Pallett

This isn’t the first time Owen Pallett’s work appears on this list. He remains primarily known as Arcade Fire’s string arranger, working on all their albums including The Suburbs. However, few could have predicted that this Arcade Fire sideman would musically eclipse his more famous friends this year with the evocative Heartland. Although Pallett has been recording under the name Final Fantasy since the mid-2000s, Heartland is a radical artistic leap forward from anything he’s ever done. Filling out his characteristic violin loops with keyboards, horns and understated drumming, the songs on Heartland are rich with detail. “Oh Heartland, Up Yours!” pulses with subtle bass guitar, while the glistening “E Is For Estranged” simply wouldn’t work without the waltzing lilt of its piano figure. Adding in Pallett’s yearning, evocative lyricism and fragile voice, Heartland is an emotional masterpiece. It deals with the age-old themes of frustration and doubt, but does so with unmatched grace and beauty.

#4
Sir Lucious Left Foot: The Son Of Chico Dusty
Big Boi

If this had joined The Love Below on Outkast’s legendary 2003 double album, the result would have been nothing short of the best rap record of all time. Alas, at the time, Big Boi dedicated his half of that project to the mediocre Speakerboxxx. Of course, the double album would go on to win Grammy after Grammy… but oh the possibilities! From beginning to end, Sir Lucious Left Foot is bursting with slick grooves, catchy hooks and enough witty turns of phrase to keep even the most cynical rap fan content. The bouncy synths of the lead single “Shutterbugg” are only the very beginning of what this album offers. Highlights include the exquisite Janelle Monáe guest feature “Be Still” and the smooth R&B of “Turns Me On,” which serves as a nice counterpoint to the album’s heavier tracks. Big Boi also seems determined to remind us what a fantastic and unique lyricist he is, jumping from subject to subject with playfulness and humor. While Big Boi will never have the mind-expanding experimental streak of his Outkast partner Andre 3000, that was never his style. Sir Lucious Left Foot proves that he still has a tremendous amount of talent to offer, delivering the kind of high quality, mainstream rap album that has been absent for years.

#3
Small Craft On A Milk Sea
Brian Eno

Sneaking out during the first weeks of November, Small Craft On A Milk Sea received little attention. This is surprising, given that Brian Eno remains one of the world’s true cutting-edge musicians, continuing a breathtaking career that has seen him release a handful of legendary solo albums, invent a few genres and produce some of the most successful albums of all time. Small Craft fits perfectly into that legacy. Its sixteen instrumental tracks may not have words, but Eno remains a master of atmosphere. These intricate, electronic compositions range from elegant to jarring to downright violent. Whether it’s the unexpected guitar work on “2 Forms Of Anger” or the exquisite piano progression of the opening “Emerald And Lime,” Eno’s music feels perfectly realized and controlled. It may have been five years since Eno last released a solo album, but Small Craft proves that he hasn’t lost a step.

#2
High Violet
The National

It’s not easy making bleak music anthemic. Yet, that’s exactly what the National did with High Violet, a seething pit of self-loathing dressed up as the most uplifting of indie rock. The New-York-by-way-of-Ohio band has been on quite the tear since 2005, releasing three landmark albums in succession, all fueled by Matt Berninger’s distinctive baritone croon. The National have always traded in downcast songs about literate angst, but few of their songs have ever mined the depths that High Violet plunges into. The lyrics constantly turn inward, as Berninger bemoans lost loves and his own failings. The poignant lead single “Bloodbuzz Ohio” is heavy with nostalgia and regret, taxing the very limits of Berninger’s word-weary voice. The rest of the band more than delivers musically, particularly in the chiming guitar interplay of brothers Aaron and Bryce Dessner. Berninger’s emotional tumult is perfectly mirrored in the cascading arpeggios of “Runaway” or the claustrophobic pressure of “Afraid Of Everyone.” These songs are raw and emotional, but they also have a complex sense of dignity to them. They’re more than just personal expression. High Violet may not explicitly be a breakup album, but it might as well be one. The National take misery, doubt and regret and transform them into something universally relatable and compelling.

#1
My Beautiful Dark Twisted Fantasy
Kanye West

We live in a world where it’s hard to be a Kanye apologist. For those few of us who have kept the faith through all the award show stupidity, PR fiascos and overblown demonstrations of ego, My Beautiful Dark Twisted Fantasy is nothing short of the holy gospel. Coming two years after his extraordinary-but-alienating 808s And Heartbreak, Kanye has finally reclaimed his throne atop the pile of mainstream rappers. Hell, that’s not even a big enough mountain for Kanye. Listening to Fantasy, it’s tempting to put Mr. West in the esteemed company of Messrs. Cobain and Mathers in the pantheon of great pop artists. Like both of those legends, Kanye’s genius manifests itself in controversial ways. It’s clear that in our celebrity-obsessed world, someone as volatile as Kanye will never be fully accepted. Yet that doesn’t matter when he makes music this strong. There was no song this year better titled than “Power,” the King-Crimson-sampling barrage that was unleashed upon the world late in the summer. It only gets better from there. You’ve got the slinky pop of “Devil In A New Dress,” blending two of Kanye’s favorite themes, religion and sex, into a seamless whole. There’s the snarling, spitting rage of “Monster,” featuring an all-star team of guests, all foaming at the mouth to rip their detractors to shreds. On top of everything, there’s “Runaway,” a shockingly personal confession regarding everything Kanye’s done in the past two years. He’s seen his stock sink to its lowest, but through sheer willpower and incomparable musical talent, he’s risen from the ashes and delivered the year’s best album. Kanye will never be a great rapper, singer or maybe even a good person. His flaws are big and very, very public. But there simply aren’t any other pop stars putting so much of themselves into their music. That Kanye can do so while still scoring hit after hit is truly astounding. As he says, “I guess every superhero needs his theme music” and with My Beautiful Dark Twisted Fantasy, the world’s greatest pop star has that soundtrack.

Best Music of 2010, Pt. 1: Short Form and Albums #10-6

It’s my favorite time of the year: best-of list season! While Pretzel Logic has had a confused and somewhat schizophrenic year, that won’t prevent me from tossing my own vote into the fray. Despite a wealth of great releases, I’ve decided to pare the list down to eleven entries, covering one short form release and ten long-playing albums. These select few represent the music I’ve enjoyed the most over the past twelve months, forging the way into our brand new decade. So, read ‘em and comment away. Tell me what you liked and what you hated. If something piques your fancy, go listen. Above all, enjoy the great music that 2010 has brought into the world.

Best Non-Album Single/EP Release of the Year
“Art Czars”/“Racer-X”
Japandroids

Vancouver’s Japandroids had a lot of work to do in 2010, touring and promoting last year’s Post-Nothing album and generally doing all those things ambitious young rock bands need to do to make a name for themselves. Yet, amidst the busy schedule, they found time to release a series of incendiary 7” singles, each backed by a cover song. Of the three that appeared this year, “Art Czars” is the most thrilling and vibrant, honing the noise of their debut album into lean, mean, anthemic aggression. Yet, it’s the b-side cover of Big Black’s “Racer-X” that steals the show, somehow topping the original in terms of snarling nastiness while still retaining that crucial, precise edge. In a year when old fashioned, loud rock music was all but extinct, Japandroids kept things kicking with this fantastic single.

#10
The Suburbs
Arcade Fire

Even when they’re off their “A” game, Arcade Fire manage to win. The Suburbs is a massive work, clocking in at a clean hour and spread across sixteen tracks. There’s no denying it: some of those songs are weaker than others. The Suburbs is the first Arcade Fire album that feels unessential at times. Yet, the high points of the album are truly wonderful. From the spiky “Ready To Start” to Win Butler’s chest-beating breakdown in the middle of “We Used To Wait,” The Suburbs delivers those classic moments fans expect. There’s a running narrative about childhood and suburban life tucked within the tunes, but the best selling point of The Suburbs remains Arcade Fire’s patented brand of larger-than-life drama. The size and scope of their music seems to know no bounds and The Suburbs will only catapult them to newer, grander heights.

#9
Plastic Beach
Gorillaz

During the five year silence between Plastic Beach and Gorillaz’s last album, Demon Days, most people assumed we’d never see Damon Albarn’s cartoon band ever again. They always felt strangely temporary, with their gimmicky concept and sporadic output. Then along comes Plastic Beach, a staggeringly complete and crafted album, bursting with guest artists and musical diversity. Albarn and his conspirators have moved noticeably away from hip-hop, but the songs here are still unlike anything else around. Lead single “Stylo” sounds like Ground Zero for some future Bee-Gees revival, while the lovely “On Melancholy Hill” and “To Binge” return Albarn to his English-rock songwriting roots. Above all, though, is the fact that Gorillaz are clearly no longer a cartoon band. Plastic Beach meditates on serious issues of ecology, responsibility and loss. Albarn has asserted control, put all joking aside and delivered the great Gorillaz album we always knew could happen.

#8
Homeland
Laurie Anderson

“And so finally, here we are, at the beginning of a whole new era, the start of a brand new world… and now what?” This is the question Laurie Anderson asks at the beginning of “Another Day In America,” the eleven-minute centerpiece of Homeland. Anderson doesn’t have the answers, but she’s more than willing to shine an analytical light on where America stands at the beginning of our very young century. The result is an icy, eerie trawl through the repercussions of the past hundred years of society, witnessing the consumption of the world’s resources and the fracturing of our emotions. However, Anderson’s social critique is never as blunt and heavy-handed as all that. Homeland’s songs have the brisk beauty of snow, a motif that reoccurs constantly throughout the album. Whether she’s singing in her natural, piercing voice or processing it through her trademark vocoder, her words have an alien, poetic grace to them. Anderson’s return to the recording industry is more than welcomed. The world needs artists like her.

#7
Hidden
These New Puritans

No one can ever fault These New Puritans for not having enough ambition. On only their second album, this young English band decided to pull out all the stops: bassoons, Japanese drums, elaborate sampling, Foley work and a seemingly endless ability to stretch the definitions of rock music to the breaking point. Hidden is an angular, claustrophobic work, recalling the oppressive atmosphere of postpunk, while also relying heavily on the rhythmic assault of contemporary rap. This is an album ruled by percussion, meaning that listening to it is always a visceral experience. There’s little humor to be found, but there was never room for irony in the first place with music this iconoclastic and eclectic. These New Puritans have delivered a true art rock album, letting their wildest musical fantasies loose and turning in an astonishing sophomore effort in the process.

#6
The ArchAndroid (Suites II and III)
Janelle Monáe

It’s probably no coincidence that Outkast’s Big Boi appears on “Tightrope,” the lead single of Janelle Monáe’s world-conquering debut album. It's time that Outkast passed the torch of progressive pop music to someone and Monáe has proved herself to be a very capable heir. There’s just so much within The ArchAndroid to love. The lean funk of “Tightrope” is sandwiched neatly between anthemic electro-pop (“Cold War”), folk balladry (“Oh, Maker”) and basically every other genre known to humanity. Oh, and did I mention that the whole thing is united by a storyline inspired by sci-fi classics like Metropolis and name checks Philip K. Dick? Monáe has arrived and the world is still trying to understand just where she came from. We can only hope that she stays for as long as possible before hopping back in her spaceship and returning to her home on the planet of perfect pop.

The Cust Era Begins

The Mariners have a designated hitter. His name is Jack Cust. He's left-handed. He hits home runs. He's from New Jersey. Let joy ring out.

All kidding aside, I like the Cust signing. The M's have picked up a guy who more-or-less suits their needs, for a very reasonable price. Cust is essentially another Branyan type of player: walks, strikeouts and home runs. Thankfully, he doesn't have Russ' injury history and is coming off a somewhat surprising year for Oakland. His .395 OBP is something special, to be sure. He won't be the savior of Seattle, but he looks to be a decent cog in our slowly improving offensive. Hopefully, he'll bat fourth or fifth, knock in some runs, get on base and generally play good baseball.

The Winter Meetings also brought news that we're on the verge of signing Miguel Olivo as our primary catcher. This is a substantially less awesome move, but I'll save that commentary for when everything becomes official. There are also rumors that we've offered a contract to Laynce Nix. Oh boy.

Finally, we snagged reliever Jose Flores from Cleveland in the Rule 5 Draft. His numbers look decent, but they come from Single-A. Flores doesn't look like a great shot to make the team by opening day.

Addition By Subtraction

...and we've survived the deadline to tender contracts to arbitration eligible players. It's been a long, suspenseful evening and there are some big stories for the Mariners.

First, here's who's gone:

-Jose Lopez: It finally happened. The Jose era of Seattle baseball is officially over. Right at tonight's deadline, the club traded him to the Colorado Rockies for right-handed pitcher Chaz Roe. Yes, that's a real name, get over it. Roe looks like a decent starter, especially considering the minor league environment he was pitching for with Colorado. As for Jose...I wish him the best. I'm just glad that he'll be not getting on base for another team instead of mine.

-Ryan-Rowland Smith: I am sad. My fellow Aussie has not been tendered a contract by the Mariners. Of course, he could still re-sign with the team, but currently, he is indeed a free agent. He had an undeniably horrible year, but the promise he's shown in the past could very well resurface. We'll see what happens.

Ahh, but there were additions as well!

-Josh Wilson: Our favorite overachieving infielder is back! The team tendered him a contract, meaning the Paperboy will be keeping his route with the Mariners for yet another season. Hopefully, in 2011, he stays as a backup infielder rather than our full-time shortstop like he was for most of this past season. Remember, Kazmar and Rodriguez are breathing down his neck for that backup job.

-Erik Bedard: Oh yeah. He's back, too. Our infamously fragile Canadian, who has been dominating when he's been healthy...which has also been never. Awkward. He's reportedly going to be ready for Spring Training, but we've heard this routine before. Of course, if he does put everything together, he could be a huge asset for the team in 2011. But that's a ridiculous "if." It's worth noting that his contract is non-guaranteed, meaning that he'll actually have to pitch to make money. Better take care of that shoulder, Erik. Your paycheck depends on it.

Day 16 – A song that you used to love but now hate

Song: "Been Caught Stealing" - Jane's Addiction, Ritual De Lo Habitual (1990)

Don't get me wrong: I don't hate "Been Caught Stealing." I just like it way less than I used to. High-school-Simon was a huge grunge fanatic and Jane's Addiction were a band that came along with those obsessions. Since "Been Caught Stealing" was their biggest single, I felt compelled to love it on principle. But the years have not been kind to the song. The media has overexposed it, especially on any VH1-esque feature on music downloading. Plus, as I've discovered more and more bands and songs and sounds, Jane's Addiction have been relegated to a third or fourth tier interest. I respect them for their the musical ground that they broke and their reputation and legacy among other artists. I just tune out when I hear those dogs barking.

(30 Days List)