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50-31 | 30-11 | 10-1


30. Givers – In Light

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In the ever-changing world of the music industry, indie-pop is no longer the flavor of the month. Even its stalwart mainstays from New York City, California and England are expanding their instrumental palette in order to open up new sounds, vibes and textures. Who knew that it would be the Cajun and Zydeco hotbed of Louisiana which would produce one of the most promising talents that the genre has seen in years: Lafayette’s Givers. Their debut LP ‘In Light’ takes you on a trip around the musical world, with subtle Cajun & funk influences differentiating the band from the pack. The finger-picked acoustic guitar of ‘Saw You First’ adds a Southern feel, ‘Ripe’ has a decidedly Asian flavor, ‘In My Eyes’ and ‘Ceiling of Plankton’ contain some Caribbean calypso, while the beautiful ukulele boasting ‘Atlantic’ convincingly carries a Celtic vibe! With all 5 members being multi-instrumentalists and a brilliant boy/girl vocal dynamic, an expansive array of sounds and influences are apparent. Creative and experimental without sacrificing accessibility, ‘In Light’ is without filler and begs for repeated listens to explore its numerous layers, rhythms & melodies. Recommended Tracks: Meantime, Up Up Up, Atlantic, Noche Nada & Ceiling of Plankton. – Davey Boy

29. BNJMN – Black Square

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What sets Black Square apart from BNJMN’s earlier 2011 album Plastic World (yes, The Weeknd wasn’t the only overly ambitious artist of the year), is that while all the nuances and subtle sensibilities that made his debut the charmer that it was are all still very much present, now all those delightful little intricacies and knowing nods to the past are simply refined and accentuated even more. Whereas Plastic World was the hazy after-thought where lines felt deliberately smudged and open to interpretation, here BNJMN’s musical playground is more rigid and defined, still deliberately mechanical but now not afraid to show its beating heart.

And whether the musical tableau finds itself investing in shards of more wistful techno, or staring straight at vintage Warp Records material, BNJMN’s not-house house music is a somewhat subdued yet meticulously thought out exercise in teasingly ambiguous dance music. It tends to breeze by, almost matter-of-factly, but hidden within its 30-odd minute runtime lies some of the most gorgeous and delicately crafted music of the year, almost even more precious because of its apparent shyness. Black Square is an exercise in haunted restraint, and shows BNJMN joining the pantheon of artists indebted to their respective genres but choosing to instead play to their own strengths rather than the strengths of their allegiances. – Deviant

28. Pianos Become the Teeth – The Lack Long After

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The loss of a family member is always a hard thing to go through, especially when it is due to disease or illness. Those who you once saw as strong and invincible are reduced to a feeble shell of their former selves. Regardless of how strong the mind is, the body eventually gives out. Pianos Become The Teeth’s vocalist Kyle Durfey has touched on this in the past with tracks like “Houses We Die In” and “Cripples Can’t Shiver”, documenting his father’s slide into Multiple Sclerosis and the fear of the inevitable. The Lack Long After is that inevitable moment. It documents the loss, the anger and fear leading up and after the death of those closest to us. In a genre that prides itself on being “emotional”, and sometimes to an over the top extent, The Lack Long After is a beautiful yet melancholy catharsis that shimmers and shines on the weight of its inspiration. – Adam Thomas

27. A Winged Victory for the Sullen – A Winged Victory for the Sullen

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After a decade where the more arty end of rock has been in thrall in post-rock’s extreme dynamic shifts, 2011 has brought a neat line in albums that lean back towards ambient structures where nothing happens – even the likes of Kate Bush, James Blake, and Tori Amos have been getting in on the act. Yet of the less song-based albums, A Winged Victory for the Sullen stands above Julianna Barwick, Kashiwa Daisuke, and Tim Hecker, and alongside Grouper as the best of the lot. This is a melting pot of ambient, drone, post-minimalism, impressionism, and the quieter, more orchestrated ends of post-rock, with cellos and piano aplenty. Fans of Adam Wiltzie’s previous bands (most notably Stars of the Lid) will know what to expect, but this is his consistently gripping release in a decade; his style blends perfectly with Dustin O’Halloran’s Phillip Glass-esque piano. – Nick Butler

26. Girls – Father, Son, Holy Ghost

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There’s something both odd and unsurprising about the spirituality of Father, Son, Holy Ghost. Given Christopher Owens’ backstory, his rejection of the the Children of God cult, it follows that his music would be devoid of all spirituality, but at the same time, you can’t fully escape your upbringing. The gospel organs that run rampant throughout the album come straight out of a Baptist service, and Owens’ ability to raise the simplest lyrical lines to the highest power is something divine. Never has “come into my heart” sounded so heartfelt. It’s a turn of phrase reserved for Christian idioms (“Jesus, come into my heart”), and the allusion is all too purposeful. Father, Son, Holy Ghost is album that worships love in the cultish way that his parents worshipped Jesus Christ. The album sounds classic because of Owens’ great taste in aping only the best 60s music, but it works as a classic by making Love proper. – Tyler Fisher

25. Colin Stetson – New History Warfare, Vol 2: Judges

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Tautology fascinates me. Especially in literature, the circular repetition of specific phrases creates a sort of broken metaphor; not quite a metaphor because this is a comparison of identical things, but at the same time the contexts surrounding the repeated phrases have changed and, therefore, so to have the phrases. Example: in E.M. Forster’s A Passage to India there is an oriental song sung twice by a character named Professor Godbole. Both times the British audience is unnerved by the foreignness of the melodies and scales. But there is an event in the middle that changes the context between the first performance of the song and the second: a purported rape of a British woman in the Marabar caves. Whereas the first performance elicits general confusion, the second is altogether something darker and more menacing. The tautological appearance of the song, therefore, becomes a broken metaphor representing two cultures—East and West—forever split asunder, never able to coalesce. This is exactly where New History Warfare, Vol. 2: Judges derives its remarkable power.

Stetson is a beast on the sax. The tautology of the album, the continuous looping of scales and figures, is absolutely entrancing. Judges is hypnotic and utterly impressive once its secret is unveiled; the circular breathing techniques mean that most of the record’s sounds are produced live by Stetson. The languid, flowing, repetitious, foundation of these compositions, collide with the metallic screeching and hums of dissonance. At times the outcome is necessarily harsh, while at others it is transcendentally ethereal in its beauty: the way the fluttering sequence of the album’s first few tracks rolls into the spoken word sampling of “A Dream of Water,” or the avant-blues of “Lord I Just Can’t Keep from Crying Sometimes,” or the droning finale. New History Warfare, Vol. 2: Judges is a remarkable work for its circulation and continuity. Imagine the album as a large sphere of ideas always turning back on itself; but this is not a stagnant sphere, no, this sphere is forever pushed and rolling with gravity along an even greater sphere. Tautology, you see. Perhaps the only way to end this album with any sort of justice is to click repeat and play it all over again. And again. – Keelan H.

24. The Dodos – No Color

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Presenting No Color, the closest The Dodos could get to directing art house cinema. This, their idea of maudlin, of sepia tone: “Black Night,” which propels forward at an almost contradictory speed, played fast and loose by a guy strumming ’til he bleeds and a mentalist drummer who sounds metal-gone-indie as he thrashes his way through another kit. Which is to say, this album is just what people saw in Visiter, as vibrant with every movement, but, yeah, consisting of one, flowing movement in a way that album never could. Visiter was intentionally choppy, fragmented with tragic songs like “Winter” sliced atop whacky interludes like “It’s That Time Again.” But if Pitchfork awarded Bon Iver the ‘Flows Like a Freaking River’ award this year, The Dodos should claim runner-up for effort alone. A song as split down the middle as “Going Under” still fits cohesively with the gorgeous album filled in around it, the percussion willing each song striaght from the last into its sweet little life. No Color may not be “edited” in the way we so want to believe it was- like Visiter, but with an editor, as we say- but its vibrancy is never lost. There are no distractions for the band trying and failing, failing so hard, to write their tragedy. – Robin Smith

23. The War on Drugs – Slave Ambient

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“I’ve been ramblin’, I’m just driftin’,” Adam Granduciel sings on “Come To The City,” and that’s just what Slave Ambient invites us to do – sink in and drift along. That cover is more telling than I initially thought, an ECG of color against a cloudy background, a nice little visual of just how the War on Drugs see themselves, an image hazy through all the feedback. 2010’s Future Weather EP was okay, but meandered rather than surged forward, lost in Adam Granduciel’s smoky tenor and half-baked songs. Slave Ambient has no such qualms. “Best Night” roars out of the gate drenched in waves of reverb and the classiest of classic rock riffs, Granduciel doing his best Bob Dylan (surprise! He sounds like Bob Dylan) impression, and from there it’s an unvarnished look back through rock’s heyday as seen through a psychedelic soup. Old tracks like “Brothers” have had a fresh coat of treble fuzz applied and sound better than ever, while new ones like “Your Love Is Calling My Name” rip through the foggy production with Tom Petty-sized riffs and a rock tradition indebted to the American heartland. The guitars here don’t so much punch and kick as they do claw and scratch through the finely crafted layers of noise that drift from track to track. The overriding sensation is of being carried along, with the occasional signpost (Springsteen and Spiritualized come to mind), but mostly just you and the Ginsburg-esque mumblings of Granduciel escorting you through an abstract, stoned treatise of Americana. It’s wonderful to let go. – Rudy Klapper

22. Thursday – No Devolucion

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I know it’s fairly cliché to do this, but Thursday live up to this album’s namesake in spades. No devolución literally translates to “no return” in English; this is truly an honest insight into the real essence of No Devolución. Quite literally, the group’s gone on an indefinite hiatus – but they have also forged new sonic territory for not only themselves, but the somewhat waning genre of post-hardcore in general. Straddling the line between deliberate atmospherics and traditional emo, Thursday combine the two in ways that are not so obvious as bands like Moving Mountains for example. “A Darker Forest” definitely nods in this direction, yet the chorus forgoes post-rock distinctions in favor of Geoff Rickly’s heartbroken crooning over the bleak minor key breakdown. No Devolución is a record devoid of filler and full of heart, expounding the key features of every genre statement in the past decade while creating new exclamations at the same time (seeming footnotes). “Stay True” sums this up effectively with an anthemic plea:

Disregard the cynics’ path.
They’ll buy a drink and laugh with you
While you trade defeats.
Disregard your fear of death.
We’ve all got a lot to lose.
Whatever else you do,
Stay True.  – Sobhi Youssef

21. Tim Hecker – Ravedeath, 1972

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Ambient music’s a hard thing to talk about. Basically this is because it’s such an impressionable style of music: what I hear, or what I get out of, Ravedeath, 1972 is going to be entirely different what you get out of it. But there’s no doubt that Ravedeath is something special, a simultaneously ugly and beautiful work of art, organic and synthetic, dissonant and soothing. Its ambient music that works in both the background and the foreground, just to catch the subtle changes, the little shifts in tone and mood and sound. It’s an inscrutable record, one that I’ve enjoyed trying to wring a meaning out of over and over again. – Cam

20. The Weeknd – Thursday

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It’s the forgotten mixtape, sandwiched between the surprise hit House of Balloons and the bombastic Echoes of Silence, but Thursday more than holds its own against them. Indeed, Thursday makes Echoes of Silence possible, as The Weeknd becomes less about Abel Tesfaye. Although he weaves the most cohesive storyline of the three releases in this mixtape, the production duo of Doc McKinney and Illangelo force themselves beyond the backing track, drenching Tesfaye in reverb and expanding their sonic palette. Drake guests and allows a second voice to enter the fray. To describe House of Balloons in one verb, I would use “surprise”, but for Thursday, I would use “immerse”. – Tyler Fisher

19. Fair to Midland – Arrows and Anchors

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With Arrows & Anchors, Fair to Midland maintain their idiosyncratic folk/art-rock mannerisms while aligning their rather unorthodox songwriting into a more conventional approach – look no further than straightforward rocker/lead single “Musical Chairs” receiving ample radio play outside their native Texas. The record’s production has been understandably slighted because of the album’s somewhat claustrophobic, there’s-a-lot-going-on-at-once sound; consequently, this is pretty easily their heaviest – yet still most accessible – album to date. Darroh Sudderth is still a monster with his three-octave range, the guitars maintain a thick crunch throughout the record, but just like last time, it’s Matt Langley who’s the unsung hero as the keys connoisseur, and it’s his work throughout that truly completes the band’s eccentric sound. Although longtime fans seem to wince at the band’s tilt towards being more radio-friendly, the lyrics and structure are just as quirky and weird as ever, and Arrows & Anchors is – without question – a grower. It doesn’t make the record any less of an absolute gem, though. Recommended tracks: “Uh-Oh”, “Whiskey & Ritalin”, and “Amarillo Sleeps on My Pillow”. – Jom

18. Laura Stevenson and the Cans – Sit Resist

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One of the best songs on Sit Resist – “Master of Art” – has a pretty tongue-in-cheek attitude toward Laura Stevenson’s career aspirations. She half-jokingly suggests that a man wait for her until she is “a master of art,” until she’s “learned everything.” I guess that’s part of the reason why people are content to call the album cute, but that’s only because they aren’t listening hard enough. The monumental amount of tenderness and uncertainty present in “Master of Art” is one of the album’s most heartbreaking aspects. It may be dressed up as indie-pop, but there are confessions in the song that most indie artists never even dream of making in their music – namely, that Laura knows she will never be considered the best and she will never be the most well-known, and she wonders what she will be worth to people without those claims to fame. For all its illusions of openness, indie is an insufferably blasé genre, and it is Laura’s willingness to lay herself bare that sets her apart. By the time the album addresses the interminable wait for people to notice what she’s doing, Laura is not nearly so ready to poke fun at herself as she did in “Master of Art.” The album’s last three songs do not conclude Sit Resist with any sort of hopeful resolution; there is only the everlasting presence of a darkness that becomes harder and harder to keep at bay as time passes. – Chan

17. The Dear Hunter – The Color Spectrum (Complete Collection)

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There’s little left to be said about The Dear Hunter’s Color Spectrum that hasn’t already been jubilantly exclaimed, eloquently expressed, or meticulously explained. But for those of you who have managed to miss the hype train surrounding this 36 song behemoth, The Color Spectrum is actually a collection of nine EPs, each one pertaining to a specific color and possessing its own unique traits. It begins with the blistering, gritty Black and gradually works its way into the warm, gentle arms of White. The juicy center is where this album really rolls on all cylinders, though, with Andy Hull’s guest vocals on Red, the swaggering guitar licks on Orange, the unbridled joy of Yellow, the earthy feel of Green, the placid flow of Blue, the vibrant electronic influences woven into Indigo, and the passionate, theatrical progression of Voilet. Phew. If reading that run-on description wasn’t enough to derail you, then you just might have the patience to listen to this entire thing! – Steve

16. The Jezabels – Prisoner

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The Jezabels came to me out of nowhere, fully formed and ripping my speakers a new one with the gothic organs of “Prisoner” and the resulting cascade of drums. I had never heard their previous EPs and only knew them as “that Australian band with a chick singer,” a description that, while apt, was not particularly informative. It’s so easy to tag on a lazy analogy with the help of the Internet nowadays – “the Jezabels’ adventurous song structures and innovative drumming call to mind the similarly hyped Parades,” or “vocalist Hayley Mary’s powerful pipes and dramatic style resemble a Florence Welch or a Kate Bush with a more tenebrous tone.” Really, though, Prisoner creates its own vibrant universe distinct from genre tags and simple comparisons, and the one-two combo of the dark title track and the more buoyant “Endless Summer” pushes you in and leaves you there enraptured. The Jezabels are an Epic Rock Band, one content to explore melodies for well over five minutes on a regular basis, an attitude consistent with their defiantly DIY ethos. For a self-released record, Prisoner sounds practically flawless, all cavernous reverb, stadium ready drums, fuzzy guitar lines and, of course, Hayley Mary, who oscillates between a pissed-off Tori Amos to a more versatile Dolores O’Riordan and everything in between with the ease of a veteran. There are no gimmicks here, and Prisoner stands on its own as a complete, full-bodied album, a welcome surprise in an era where so many bands can get by on the strength of one unusually brilliant song. Prisoner is not a singular event – this kind of dynamic, consistent effort speaks to meticulous preparation and a painstaking diligence that will get this band far. “Watch it grow,” Mary sings at the close of the album, and damn, that’s going to be such a pleasure in the years to come. – Rudy Klapper

15. WU LYF – Go Tell Fire to the Mountain

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Today, when I read the line from my review of this that says “I want nothing more than to love this, just this, forever,” I can see how I was prepping myself for the cynicism I saw this record succumbing to. I’m not gonna lie and tell you that Go Tell Fire to the Mountain packs the same emotional wallop as it did when it dropped in June. Then, it was perfect, all thundering drums and twinkling guitars supporting those now-infamous, vaguely working-class howls no one could decipher. And let’s not forget that air of political mystery, the extratextual discourse centered around what exactly WU LYF was. There weren’t any answers, at least none that were satisfying. Something about a whosiewhatsit called Lucifer Youth Foundation and a soccer club and anarchy! and denim, but nothing concrete. And that’s what worked. Go Tell Fire to the Mountain’s appeal was not what it said but what it allowed its audience to think it said. There it was: feeling, shot to the stratosphere; rebelliousness, I guess, in a scream-for-the-fuck-of-it kind of way; the kitsch of belting “I love you forever,” moving in spite of the knowledge that the platitude was merely that. This record really wasn’t saying anything, but because I wanted it to, it did, see?

I know that now. And I think I knew that at the time too because I never got sick of this album like I thought I would. I never got angry that there were just some giggly boys and a brilliant PR strategy behind the curtain because the music was still there. Now, the record sounds like a pleasant memory, a Disney movie you liked when you were 10, a nostalgia trip to a less complicated, more promising place. And fuck it, I’m still moved by that. I’ve had too real a year to deny myself the chance to scream along to “We Bros” when I’m alone in my car or to dance to the end of “Heavy Pop” when the whole thing becomes a giant shindig because I know my feelings aren’t “real,” whatever that means. Sometimes I need a little kitsch in my life to know I’m still a person. This record, more than any other in 2011, reminded me of that. – Adam Downer

14. La Dispute – Wildlife

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“King Park,” La Dispute’s fictionalized retelling of a drive-by shooting, receives most of the attention as Wildlife’s best song – and rightly so – but it’s not the song that best captures the overall mood of the album. Wildlife highlights the parallel decay of Michigan and its inhabitants, the crumbling walls and crumbling lives, the lack of financial security and the lack of hope. The microcosmic, hyper-personal “King Park” could never hope to paint in such broad, arcing strokes. But that’s exactly what makes the album so great. Jordan Dreyer finally realized that his sad tales of heartbreak meant nothing without proper grounding in the real world. The rest of the band – an already excellent group of musicians – stepped things up as well with some of the most inventive and unexpected post-hardcore music in years. “The Most Beautiful Bitter Fruit” stands as the best example of La Dispute’s growth as a whole; lyrically, it’s the most similar to Dreyer’s work on their previous albums, but his words are given heft by the surrounding tracks, and the band turns what could have been a sappy heartbreak song into an excellently aggressive hardcore track by never giving Dreyer a chance to pull his vocal punches. La Dispute have always been a band with massive amounts of potential. The problem was that they tried to live up to that potential before they were able to. With Wildlife, they’ve finally come into their own. – Chan

13. Shabazz Palaces – Black Up

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Palaceer Lazaro, Ishamel Butler, Shabazz Palaces – whatever you call him – this man just sounds like the future, until you find out that he’s actually been rapping since 1992 and was in Digable Planets. Then you start working backwards, tracing the grey hairs in Butler’s beard, ignoring the bass swells and bleeps and bloops associated with Black Up. “Shit, I’m dressin’ like I was at the Ali/Frazier fight!” he exclaims in “Recollections of the wraith”. Butler’s prose is closer to cummings than Kanye. And finally, there’s that ever-telling moment at the end of the album, where “Black is you, black is me, black is us, black is free” invokes “Escapism” from his Digable Planets past. While Black Up looks forward musically, it’s an album all about establishing identity in the past and the present. – Tyler Fisher

12. The Weeknd – House of Balloons

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In a year following the overhyped, yet worthy My Beautiful Dark Twisted Fantasy, it is unfortunate that the hip-hop genre has done almost nothing to pick up where Kanye left off. We saw the emergence of a new production demigod in Clams Casino, yet the artists he pairs with leave much to be desired. Danny Brown continues to do his best Lil Wayne -in-Detroit impression, yet falters in the beats department (hint hint Clams Casino). No single rap record encompassed a complete package enough in 2011 to make a true musical statement for the future.

Enter Toronto’s Abel Tesfaye, aka The Weeknd, the spiritual inheritor of Kanye’s cross-genre torch. House of Balloons introduced the world to Tesfaye’s beautiful R&B falsetto, while firmly entrenching his art as innovation through Downtempo-laden production. The title track has easily become an anthem for 2011 in its indiefied interpretation of the original post-punk classic “Happy House”. Follow-up Thursday proved HoB wasn’t just dumb luck and met his new found audience head-on with a less chilled out offering, more influenced by trip-hop than anything else and maintaining a high standard for production and atmosphere. Tesfaye closes out a completely massive 2011 with Echoes of Silence – doing the nearly unheard of and releasing three genre classics within the span of a single calendar year. While many grasp for thematic interpretation of the Balloon-trilogy, they are missing the real essence of The Weeknd; drug/sex references and hazy nightclub escapades only take a potential artist so far with poor songwriting and create-a-rapstar production. Let the complete composition wash through your neurons and take it for what it is: a completely brilliant beginning to what hopes to be a long and bright career. – Sobhi Youssef

11. Thrice – Major/Minor

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With Thrice going on an indefinite hiatus as a full-time band after their upcoming spring tour, it’s comforting to listen to Major/Minor as a final act, some kind of denouement that helps us (i.e. rabid fans) encapsulate and reflect upon their entire career. Most people I know who like the band, myself included, discovered them during adolescence and as Thrice’s music evolved, so did we. The frenetic riffing and punk energy of their earlier albums was what initially hooked us and the artistry and experimentation that emerged with Vheissu and The Alchemy Index pushed us to enjoy new textures and think about music not just as a vehicle for our youthful energies, but as a much more complex and multilayered canvas. To cap off the changes to the band’s sound is to do the same for our own growth, so of course we will listen to the album as a send-off.

As this convenient coda, Major/Minor is indeed a great swan song, but it’s more than that. Whether you’ve been listening to Thrice since First Impressions or just discovered them, it’s a great album. Each song is well-rounded and emotive. Choruses are uplifting and resonant. The instrumentation and production is tight. Dustin’s vocals are sonorous and powerful albeit gruff. Teppei’s guitar is understated and complementary. The brothers are synced with one another so well that most songs are propelled by rhythmic as much as melody or harmony. But, regardless of how great this album is standalone there’s nothing wrong with enjoying it as a summation. If the sly allusions to Thrice’s oeuvre throughout “Anthology” are any indicator, we should be getting a little wistful by the time “Disarmed” peters out. – Nick Greer

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Crysis
01.12.12
Looking great once again Trey

Poet
01.12.12
Metal the genre that doesn't exist on Sputnik anymore.

Crysis
01.12.12
Coding in Nick's Thrice blurb is messed up though.

Crysis
01.12.12
"Metal the genre that doesn't exist on Sputnik anymore."

This isn't the user's list so don't fret just yet.

Xenophanes
01.12.12
27, 21, and 28 are nice surprises. Feature looks great too.

Trebor.
01.12.12
In no universe should la dispute be above Laura

Xenophanes
01.12.12
"This isn't the user's list so don't fret just yet."

User's list looks soooooooooo different

Xenophanes
01.12.12
"In no universe should la dispute be above Laura"

Yesssss. I absolutely hated "Wildlife"

Trebor.
01.12.12
yeah, it blew hard

robertsona
01.12.12
wouldve liked a house of balloons soundoff more focused on the actual album and not just taken from the EoS review i guess

Eko
01.12.12
crap hoped wu lyf would be top 10

yay hecker, war on drugs

iswimfast
01.12.12
yay 19 :)

Blackbelt54
01.12.12
yay the Weeknd, War on Drugs, WU LYF

Sit Resist at 18? :(

Willie
01.12.12
--Coding in Nick's Thrice blurb is messed up though.--

Thanks.

iambandersnatch
01.12.12
j/w when do we see the user list?

Crysis
01.12.12
"User's list looks soooooooooo different"

Yes, yes it is.

Lucid
01.12.12
I like how sobhi's review for echoes of silence is a blurb here haha

zxlkho
01.12.12
TDH should be SO much higher.

AliW1993
01.12.12
"Metal the genre that doesn't exist on Sputnik anymore. "

Maybe 2011 was just a poor year for metal? That's certainly how I'd explain it.


Trebor.
01.12.12
yeah, I only have a few metal albums from this year

ohfoxxxycole
01.12.12
i was expecting wu lyf and laura stevenson in the top 10
predicting vacation at 8

Lucid
01.12.12
glad that james blake made the top ten

AsoTamaki
01.12.12
Oh, hey. I actually like 6 of these albums. I'm surprised.

lancebramsay
01.12.12
Nicolas Jaar top 10. Nice.

dimsim3478
01.12.12
If Thrice is only #11, NUMBER ONE WILL BE MINDBLOWING FOR SURE!

theacademy
01.12.12
its time to stop staffing people who don't like thrice

m/m at 11 is an unforgivable crime against the integrity of the site!

Lucid
01.12.12
The ten artists that will be in the top ten are James Blake, Bon Iver, PJ Harvey, Frank Turner, Florence and the Machine, Fleet Foxes, St. Vincent, m83, Swarms, and Destroyer.

kingsoby1
01.12.12
yeah i actually started writing the EoS review as my soundoff for the staff list, but i decided to make it a review too

Trebor.
01.12.12
Vacation better be there

theacademy
01.12.12
it will be

silence, lucidity

mynameischan
01.12.12
man you guys are gonna be sad when you find out vacation came in at number 304

Trebor.
01.12.12
goddamnit


Gyromania
01.12.12
Very good list. I enjoy every one of these (except 11).

Blackbelt54
01.12.12
chan I hope you're joking

NeutralThunder12
01.12.12
i enjoy everything i've heard on here but 11 is only okay like all their other stuff. really glad to see 16, 17 and 28 though i cant say im surprised

Ire
01.12.12
seeing tim hecker is awesome until the weeknd pop up twice.

mynameischan
01.12.12
yeah then all of a sudden it's like man tim hecker sucks after all

stfu ire

theacademy
01.12.12
tim heckler is the guy from rancid right

NeutralThunder12
01.12.12
ire is a fruit and he likes btbam

captaincrunch11
01.12.12
Props for Thursday being on here

robertsona
01.12.12
no hes tim hecker from popular comedy duo tim and eric

Ire
01.12.12
hate u

Trebor.
01.12.12
Tim Heidecker is my hero

theacademy
01.12.12
sweet i love comedies

Eko
01.12.12
manchester orchestra, james blake, bon iver, st vincent, m83, fleet foxes, swarms, frank turner, florence, pj harvey, destroyer

that's 11

Lucid
01.12.12
manchester won't make top ten

FromDaHood
01.12.12
Laura getting slighted too! What gives?

SowingSeason
01.12.12
top 10 has some surprises IMO but overall I'm glad with how the top 50 all turned out

Eko
01.12.12
if sowing is happy Simple Math HAS to be top 10

but both adams liked it and some others did too right?

Athom
01.12.12
how was laura stevenson slighted in the slightest. her being in the top 20 meant that she got multiple, high ranking votes by the staff.

dimsim3478
01.12.12
Wonder Years should be in top 10 but it's not as popular among staff than users.

Trebor.
01.12.12
Chan is a mod
He should just make Sit Resist #1

Athom
01.12.12
the wonder years shouldnt be top anything.

Trebor.
01.12.12
Top 100

dimsim3478
01.12.12
"the wonder years shouldnt be top anything."

They really don't sound that much like Starting Line, at least by pop punk standards.

Blackbelt54
01.12.12
"the wonder years shouldnt be top anything."

hahaha

Athom
01.12.12
out of all the new school pop punk bands i do like the wonder years but all that shit sounds the same. at least you're not telling us to put something like the shitty story so far album up on a pedestal

Trebor.
01.12.12
the story so far is a 3

Satellite
01.12.12
la dispute ahead of laura

lol staff

Satellite
01.12.12
"tim heckler is the guy from rancid right"

lol

Satellite
01.12.12
in all seriousness this was very well done. good job to all involved.

Trebor.
01.12.12
seriously, how drunk?

Satellite
01.12.12
i feel like we've been through this

Deviant.
01.12.12
I'm just glad BNJMN is on here

Kris.
01.12.12
omg did btmi make the top 10 FUCK YEAHHHHH

Satellite
01.12.12
the top 10 are all weeknd albums

Kris.
01.12.12
every single one of them

Trebor.
01.12.12
7 of them didn't even make the list

theacademy
01.12.12
lol sowing the top 10 has no surprises

Deviant.
01.12.12
But in all honesty have they ever, really? Every album in that section has been hyped and appeared in all of our end of the year lists. To me the surprise has always been the order

theacademy
01.12.12
^^agreed... "top 10" is an arbitrary threshold

Ignimbrite
01.12.12
"In no universe should la dispute be above Laura"

truuuuuuuth

thebhoy
01.12.12
Fuck you guys I managed to write half an entry on E.M. Forster. Also I think I made it all the way through Sit Resist once... that record was nothing all that special idk :O

ThyCrossAwaits
01.12.12
Fuck I'm excited to see 10-1, all my expectations are already listed.

Trebor.
01.12.12
You gotta hear it a few times man

Hawks
01.12.12
Not enough m/ once again.

Deviant.
01.12.12
I don't think CoF put an album out this year though Hawks

Hawks
01.12.12
That was original dude tell me more.

Willie
01.12.12
They are putting out one this year, though. Fully symphonic too.

Hawks
01.12.12
If the new EP was any indication of the album then it's gonna suck really hard.

Deviant.
01.12.12
"That was original dude tell me more."

Not enough m/ once again.
That was original dude tell me more


Willie
01.12.12
--If the new EP was any indication of the album then it's gonna suck really hard.--

The EP has no relation to the new album.

Xenophanes
01.12.12
Will there be an EP list, as there is with the user list?

Hawks
01.12.12
I should say the last song on the new EP. It's taken from the new album.

TMobotron
01.12.12
"James Blake, Bon Iver, PJ Harvey, Frank Turner, Florence and the Machine, Fleet Foxes, St. Vincent, m83, Swarms, and Destroyer."

I hope Submotion Orchestra or Zomby makes it in over one of these.

Ignimbrite
01.12.12
I'll be happy to see Fleet Foxes in the Top 10

Satellite
01.12.12
btmi better be 1

Willie
01.12.12
--Will there be an EP list, as there is with the user list?--

There isn't anything currently in work.

immortalizepain
01.12.12
This list is going pretty well. Good job guys.

UnnamedOcean
01.12.12
Hmmm yes, I do agree with this list.

Electric City
01.12.12
god you guys are going to hate the top ten

TMobotron
01.12.12
Well that's nice to hear

Butkuiss
01.12.12
Empty Days and Sleepless Nights for top 10, maybe?

Deviant.
01.12.12
Lol

Satellite
01.12.12
you'd better get yr hopes up!

theacademy
01.12.12
"Empty Days and Sleepless Nights for top 10, maybe?"

awww that was cute

Eclecticist
01.12.12
It scares me that 26, 16, and 12 aren't in the top 10, I really wonder what is

mvood
01.12.12
Im expecting a very indie top 10

mvood
01.12.12
I'm guessing PJ Harvey, Bon Iver or Frank Turner will be number 1

Satellite
01.12.12
i'm guessing you're utterly fucking wrong

mvood
01.12.12
then im intrigued as to what will be

clercqie
01.12.12
Epic list, this. Glad to see The Jezabels so high

Eclecticist
01.12.12
The Jezabels are 'high'? Where?

Deviant.
01.12.12
Try looking up

Eclecticist
01.12.12
When I browse this page, I have to scroll 'down' to see.

Deviant.
01.12.12
And yet The Jezabels is conveniently positioned above my comment! What a trip!

Eclecticist
01.12.12
Not necessarily convenient, the aforementioned task of scrolling down can get quite tiresome , especially with all of these comments phew!

Rowan5215
01.12.12
Surprised that The Color Spectum wasn't in Top 10, interested to see what could beat it.

Tyrael
01.12.12
Well, at least they included 21

rest of the list is pretty lol

fulgrim
01.12.12
Thought 18 would have been a little higher.

IrishJay91
01.12.12
Hey, there's some stuff that I like on this. cool.

Aids
01.12.12
my #1 and 2 are on this section, kinda gutted Sit Resist isn't higher. Oh well. list is looking nice so far, and kick ass with BNJMN being decently high on it.

CasinoColumbus
01.12.12
List is shaping up nicely. Didn't read all the comments, but no one mentioning Oneirology? That album rules.

Omaha
01.12.12
What the hell, Laura Stevenson not even in the top 10? Sput-staff loves that girl.

Pentagon
01.12.12
laura stevenson aint that great

00mee
01.12.12
So does this mean Goblin misses the top 50?
or a highly unlikely top 10?

Xenophanes
01.12.12
Hm, I would say James Blake for Number one, but a good number of the staff truly did not enjoy it. Yet that, along with the much more likely Bon Iver, is my best guess...

dimsim3478
01.12.12
^I think the opinions of it are too divided (and its not really considered high enough among most of the staff) to make this list.

Laura not making the top 10 is one hell of a shocker.

CasinoColumbus is probably right; Oneirology will probably pop up on there.

Irving
01.12.12
Looks like a lot of work went into this. Kudos guys. Some of the write-ups here are particularly spot-on.

Surprised Sit Resist and Slave Ambient didn't manage to jizz their way into the top ten.

iswimfast
01.12.12
Submotion Orchestra?

dimsim3478
01.12.12
OH GOD JUST POST 10-1 ALREADY THE SUSPENSE IS KILLING ME

FelixCulpa
01.12.12
Surprised to see Black Up so high up on the list. Didn't know it was well received among the staffers except for maybe tyler since I knew he reviewed it.

AggravatedYeti
01.12.12
Dodo's eh?


kingsoby1
01.12.12
yeah goblin didn't make it b/c it sux

Tyrael
01.12.12
10 bucks says that Frank Turner is n. 1

Knott-
01.12.12
For how "predictable" and "obvious" the top 10 is, a lot people don't seem to be able to "predict" it very well.

wabbit
01.12.12
top ten is so painfully boring...and frank turner/ m83

Tyrael
01.12.12
Giles Corey
Bomb The Music Industry!
Fleet Foxes
Bon Iver
Swarms
CunninLynguists

yea

wabbit
01.12.12
swarms, james blake, bon iver are gonna be like the top 3 and I like fuck them.


the 50-31 list is fucking awesome though.

immortalizepain
01.12.12
Haven't thought I was really missing on something. But I just downloaded all of Thursday's mixtape today. And they are all awesome. I'll try Sit Resist next time.

AngelofDeath
01.12.12
Number one is Antediluvian, right?

Adabelle
01.12.12
But Colin Stetson should be higher.. Also hoping this means Crash of Rhinos got into the top 10, right?

Hep Kat
01.12.12
yeah needs more punk

Crysis
01.12.12
"Number one is Antediluvian, right?"

I wish

Irving
01.12.12
User List > Staff List?

;)

Jethro42
01.12.12
obviously

Tyrael
01.12.12
"Number one is Antediluvian, right?

I wish"

you did your best man

Athom
01.12.12
a guess for cunninlynguists? really? who do you think we are?

WeepingBanana
01.12.12
ah nice this means BTMI! will be top 10 right?


right?

Tyrael
01.12.12
"a guess for cunninlynguists? really? who do you think we are?"

Dunno, I just listed every overrated album that was being fapped over by at least 1 staffer

Tyrael
01.12.12
Still hoping for the new Raekwon to make the list but yea

fish.
01.12.12
yay 28
fuck yes 22
14 and 17 had a few good tracks
11 was great

KeithStone582
01.12.12
thursday needs more love

MO
01.12.12
whoa a list where 18 isn't being incredibly jizzed over, amazing

DraconForsaken
01.12.12
Adele best not be #1

AsoTamaki
01.13.12
^ No way. Most of those seem likely, but The Roots will make it in for sure.

Knott-
01.13.12
Haha, wrong.

Knott-
01.13.12
(WHO AM I TALKING 2)

Knott-
01.13.12
Also, if there;s one opinion I agree with most out of these comments, it's that No Devolución should be higher on this list.

mothercountry
01.13.12
'Nicolas Jaar top 10. Nice.'

Not so fast Lance. Taking a look at the Ratings page for 'Space', I'm thinking there's a good chance that the staff whiffed on Mr. Jaar.

Electric City
01.13.12
cant wait for the shitstorm

robertsona
01.13.12
DJ Khaled swoops in at #1

fish.
01.13.12
Nothing came close to touching No Devolucion last year.
I'm gonna go and say Simple Math will be number one. Didn't like it though. Hated James Blake, but I think it'll be there too. Swarms, M83 and Submotion as well. I reckon it'll have a real electronic bent. Dunno about Florence. Saying that, I don't really pay attention to what the staff listen to

AsoTamaki
01.13.12
La Dispute and Thrice over Thursday is indeed a small travesty.

letsgofishing
01.13.12
Jaar better be in the fucking top ten

or else there is no God.

robertsona
01.13.12
take it from me: it's not

dimsim3478
01.13.12
#1 is way, way too close to call.

klap
01.13.12
dj khaled just missing the cut

FromDaHood
01.13.12
It's obviously Design the Skyline, why are we even arguing?

Athom
01.13.12
Gold Cobra is #1. just sayin' guys

Deviant.
01.13.12
"For how "predictable" and "obvious" the top 10 is, a lot people don't seem to be able to "predict" it very well."

^^^^

Irving
01.13.12
Never have I felt like I'm being trolled so hard before in my life.

dimsim3478
01.13.12
Now you know how we feel when you post those damn Nickelback news articles.

Athom
01.13.12
was gonna make a joke about how i was going to go listen to the number one album while going on a walk but then realized i have last.fm on my phone a decided against it

AsoTamaki
01.13.12
If it's an album you can enjoy while going on a walk, it's gotta be Bon Iver!

Athom
01.13.12
lol.that would be the most tepid walk ever

thebhoy
01.13.12
#1 Is thelast Mars Volta album, even though there wasn't one this year, it's hard not to choose them because they're this generation's Simon and Garfunkel

Knott-
01.13.12
looooooooooool

Maniac!
01.13.12
EIGHTEEN?



EIGHTEEN?


WTF

TOP 3 OR GTFO

Athom
01.13.12
Stargasming so hard right now

AutoRock
01.13.12
Not Bad. But No the Roots? At all? No Youth Lagoon? At All? No Submotion Orchestra? At All?
All of them should easily appear in the top 50 i think.

Pentagon
01.13.12
Adele won't make the top 10 hopefully

Phideaux
01.13.12
Hooray for The Dear Hunter and Fair to Midland. They're both easily top 10 for me though.

Phideaux
01.13.12
Hooray for The Dear Hunter and Fair to Midland. They're both easily top 10 for me though.

omnipanzer
01.13.12
I'm glad some of these were set as low as they were.

Imperial
01.14.12
Too hip.

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