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An Aids-y 2010

Here it is for those interested. My ordered list of the fifty best albums of the year. I could only muster enough energy to do full write-ups for the top 15, but your feedback is appreciated. Here's to 2011 being just as good as 2010 was (that would be unbelievable O_O).
50Kings of Leon
Come Around Sundown

If the entire album was as strong as the first five or so tracks, this would be much higher on this list.
49Caleb McAlpine
Science Fiction

That's right, Waior makes the cut.
48Vampire Weekend

Say what you want about this band, but this album if fun as fuck

I already made a sperate EP list, so his EP Static Nocturne isn't here, but it's brilliant. At least 10 times better than this. Still, this is good.
Fake History
45Tera Melos
Patagonian Rats

A lot of people here seem to hate this but I don't know it seems sweet. Granted, I haven't heard their earlier efforts.
44The Felix Culpa
Sever Your Roots
43Delta Spirit
History From Below

This has grown off me quite a bit, but it's still good.
42Gold Panda
Lucky Shiner

Uhn-tss Uhn-tss
41The Republic Of Wolves

This is the band responsible for the fake Brand New demos before Daisy was released, lulz
40Jaga Jazzist
One-Armed Bandit

What We Must >>>>>>>>> This, but then again, What We Must >>>>>>>>>> most music, so
39Flying Lotus
37Laura Marling
I Speak Because I Can

To be honest, this was a disappointment. When I saw she had a release slated for this year I thought "top 20, easy"
36Youth Pictures of Florence Henderson
Youth Pictures of Florence Henderson

Terrible band name
35Foxy Shazam
Foxy Shazam

what is this i dont even
33Brian Eno
Small Craft on a Milk Sea

Super good. Not Another Green World, but I mean, duh
32Look What I Did
Atlas Drugged

It's like if Minus The Bear went post-hardcore. Which they might as well do, it's not like their current direction is any good... (spoiler alert! Minus The Bear didn't make the cut)
31At The Soundawn

This nearly slipped under my radar, don't let it slip under yours!
30Broken Bells
Broken Bells

"Buy this. Buy the vinyl. Buy ten." - Sobhi
29Red Sparowes
The Fear Is Excruciating, But Therein...

These guys kind of sound like my band. Or, I guess, we kind of sound like them. Good stuff.
28The Black Keys

I thought this was gonna be poopie for sure. Boy was I wrong.
26The Saddest Landscape
You Will Not Survive

Rest in Peace Brandon (youaremysilence), I think of you whenever I listen to these guys
Messy, Isn't It?
Dead Waves

Not post-rock. I don't know why it's listed as such.
23Broken Social Scene
Forgiveness Rock Record
Self Preserved While The Bodies Float Up
Public Strain
20More Than Life
Love Let Me Go

19Fang Island
Fang Island

Whichever reviewer said it hit the nail on the head, this album is totally the sound of a group of friends giving each other high fives.
18Pantha Du Prince
Black Noise

Uhn-tss Uhn-tss
17Arcade Fire
The Suburbs
16Mountain Man
Made The Harbor

'Animal Tracks' is one of the prettiest songs I've ever heard.
15Crippled Black Phoenix
I, Vigilante

This is post-rock for the new era. With I, Vigilante, Crippled Black Pheonix take the 'post' out of 'post-rock.' I know, sounds stupid, but bear with me, it's actually awesome. Post-rock music usually aims to do everything that rock did not. Gone are the vocals, gone are the clear, straightforward guitar lines, and gone is the travesty that is the chorus. Enter Crippled Black Phoenix. Let's call it "post-post-rock." (Actually let's not, but I think you understand the general sentiment). I, Vigilante has vocals. It has slide- guitar riffs. It has clean tones lacking tremolo. Cover your ears, but I think I heard a chorus too. But there's one aspect of post-rock that remains intact for this album: the epic sound. The crescendos, while somehow incorporated with vocals and other rock cliches, are present and as glorious as those of Mono. The brooding, epic tone carries throughout the entire album and ties Crippled Black Phoenix securely to the post-rock side of the spectrum. But that doesn't mean they can't insert a little flair of their own. Seriously, the guitar solos (yes that's right, solos) could have been found in a Led Zeppelin or Lynyrd Skynyrd song. But Crippled Black Phoenix still manages to convince me that this is a post-rock album. It's for that uniqueness (and for all it's epic tendencies) that I, Vigilante makes my top 15.
14Little Women

...I have no words to describe what this sounds like. I guess the closest reference would be jazz, but even that is a bit of a stretch. Little Woman are hard-hitting and batshit insane. That's about all I can say about that. Just listen to the album, I am at a loss for words.

Mines, Menomena's fourth outing, admittedly starts off a little slow. As the first song moves into its chorus for the first time, you would swear that you were listening to Kings of Leon. No disrespect intended to Kings of Leon, they're a fantastic rock band, but their music isn't exactly top 20 quality (not in my books anyway). From track three on however, Mines is an exquisite piece of clever music rooted in expansive song structures. Dirty Cartoons, the fourth song on the album, is a stirring ballad which evokes memories of relationships past. Tithe, track five, is an epic progressive track. The next track, Bote, is a straight-up rocker with a sing- along pre-chorus. Menomena are a great band continuing to make great, fun music. Mines, while probably not their best (that would probably be 2007's Friend and Foe), is a fantastic rock album.
12Six Gallery
Breakthroughs In Modern Art

Remember how Minus The Bear released an album this year? Remember how it sucked compared to their previous albums? Well, it's alright. Rejoice, fellow Minus The Bear fans, Six Gallery is here! Six Gallery are a talented band musically; after all, they were formed as a purely instrumental group. The guitar lines found throughout the album's ten tracks are angular and difficult to play. In fact, most of the instrumentation is immensely compound in its structure. Although the instrumentation is likely quite difficult to pull off, the members of Six Gallery keep it all clean. The guitar notes are picked cleanly and without a sense of rushing through a scale (as is often the case with this sort of music). The band seems well-composed, like they're all clear of their roles. They may be creating spacey complex sounds, but their feet never leave the ground, and it's immensely refreshing. So let that copy of Omni gather dust and wipe that tear from your eye. Minus The Bear may be dead, but Six Gallery are here to ease the pain.
11Max Richter

Max Richter is a pianist and composer who was educated at The Royal Academy of Music, among other prestigious music schools across Europe. His 2010 album, Infra, follows in the lineage of his earlier works and displays his phenomenal classical piano playing. Infra is far from an exercise in neo-classical however. Richter is a wise man; he knows it's all been done before. So, he keeps his music fresh. Behind his beautiful piano lines, Richter inserts aspects from the Electronica realm of music. Computers bleep and bloop away in the background as Richter's fingers fly over the keys. While this might sound a little bit odd to the uninitiated, trust me when I say that is it executed with the utmost expertise and in an amazingly listenable fashion. Richter is a maestro on the piano. His playing is touching and immensely poignant. But Infra is so much more than that. It is proof that there is something to behold in the combination of old and new.
Foreign Tapes

Parades are an indie-rock band from Australia and Foreign Tapes in their debut. And my oh my, what a debut it is. Parades seem to have skipped the awkward phase of shoddy song-writing that usually plagues new rock bands and have shot to the top of the heap. Whether you find yourself listening to a jaw-dropping extended rock jam, or clever vocal tradeoffs between the male and female vocalists, each moment of this album contains something to behold. Parades show incredible poise and maturity with this album. They stray away from cliche and opt instead to create something that is entirely their own. What takes most bands three or four mediocre albums to figure out, Parades have nailed on their first try.
A Determinism Of Morality

Rosetta takes cue from some of post-metal's pioneers like Isis and Cult of Luna. On their latest effort, A Determinism of Morality, their penchant for creating heavy, atmospheric tracks reaches new heights. The album is a whirlwind of fast riffing, moody guitar textures, and powerful vocal lines. The post-metal approach to music is quite refreshing, and Rosetta pulls it off perfectly. The heavy, riff-oriented song structure most commonly found in metal is combined with the spacey aesthetic and atmosphere driven dynamics usually found in post-rock. The result is an album that is at once soothing and heavy. It is heavy and in your face, but relaxing and brooding. Let me put it this way: A Determinism of Morality will crush your balls. But it'll give them a nice soothing massage after. If that doesn't convince you to listen to this, nothing will.
8Basia Bulat
Heart Of My Own

Basia Bulat is a Canadian singer-songwriter based out of Toronto. Hear of My Own is here second album and is criminally underexposed. It's a surprise that Bulat has yet to find the mainstream, because her music is accessible and fantastic. Think Feist meets Laura Marling. Her music is wonderfully inoffensive, which isn't to say that it's safe. Bulat lays her heart on the line here (at the album title may suggest) and her sincerity shines through. This is a woman who dropped out of school and used the remainder of her student loan to pay for the production of her debut album (2007's Oh My Darling, also great). Her passion for music is clear, as is her talent for creating forward-thinking folk songs. The instrumentation on this album is somewhat more varied than what one would usually find on an album coming from the singer-songwriter arena. Besides the obvious necessities of singing and playing acoustic guitar, Bulat plays the autoharp on several songs and does so in a distinctive and intriguing manner. This touch helps to separate Bulat from the heap of acoustic folk artists that seem to be over saturating the market these days. Heart of My Own is Basia Bulat's expression of passion for her music. She is a talented young woman whose talents in lyric writing are comparable to that of a young Joni Mitchell. Do yourself a favour and listen to this album before her next album drops and she hits the mainstream. Then you can tell everybody how cool you were; that were listening to her "before she was big."
7Sed Non Satiata
Sed Non Satiata

Hailing from Toulouse, France, Sed Non Satiata is one of emo music's last great bands. They draw on the influence from punk legends like pg. 99 and Orchid, but at the same time, create a sound that is new and fresh. Post- rock is clearly a heavy influence here, as several of their songs foray into beautifully dark instrumental sections devoid of any real driving riff or vocal line. The vocal work on this release is incredibly polarizing. If you're not one to enjoy a passionately delivered scream in a language you likely don't understand (French), then you might want to shy away from this. If you've broken your hardcore punk cherry and enjoy that rough sort of vocal work, Sed Non Satiata is essential. Sed Non Satiata's self-titled LP is an interesting and refreshing approach to the screamo scene, and one that is sure to be emulated in the future. If emo is to survive as a genre, then there needs to be more bands like this. There needs to be more bands that are capable of constantly moving the genre forward with a unique approach and intelligent song-writing.
6The Dillinger Escape Plan
Option Paralysis

The DEP returns in 2010 with yet another cryptic and infinitely complex album. The band has seen line-up changes in the past years (notably the switching of drummers), but Ben Weinman, the creative force behind the music, remains. Instrumentally, Option Paralysis is vintage DEP. I'm not sure if there's any truth to the rumours that the time-signatures are determined by rolling a twenty-sided die, but I wouldn't be surprised at all to hear confirmation of this myth. Just when you think you've figured out how to tap that toe along to the beat, Weinman and friends launch into an angular riff- centred breakdown that switches between obscure time signatures rarely heard in popular music (or metalcore and grind for that matter). The Dillinger Escape Plan is a very harsh sounding band. The vocals are usually screamed in classic hardcore punk fashion. The drumming is chaotic and hard to follow. Nothing about this band is radio friendly. So, what really stands out about this album is its accessibility. Gold Teeth on a Bum is probably the band's least heavy song in recent memory, but it's still excellent. Album opener and lead single, Farwell, Mona Lisa, is (dare I say it?) catchy. The album even closes with Parasitic Twins, a song that could have been found on a Nine Inch Nails album, clean vocals and all. With Option Paralysis, The Dillinger Escape Plan have created an album that people outside of the metal scene may find themselves enjoying, but have cleverly and expertly kept their edge about them to avoid accusations of "selling out" or of "becoming too mainstream."
Cold and Distant, Not Loving

Kerouac is a hardcore punk band from Southampton, and they don't screw around. Clocking in at under seventeen minutes, Cold and Distant, Not Loving, is an all-out aggressive assault of heavy hitting punk. Think Converge on a deadline. That's not to say that this album sounds rushed. It's anything but rushed. Every chords, every fill, every scream is perfectly placed. It's like they made an average album of about forty minutes and decided to cut all the filler, leaving nothing but pure awesomeness. Kerouac plays fast and heavy, really heavy. The album only gets faster from the opening moments and the heaviness rarely relents. When it does relent, it's only for a moment, and it's only to lure the listener into some false sense of comfort. For nearly twenty minutes, this album will have you sitting on the edge of your seat; it will have your jaw on the floor. Multi- tasking will become an impossibility; Kerouac's urgent approach and insistent delivery demand the listener's full attention. By the time the album reaches its final moments, I'll bet you a million doll hairs that you?ll be hitting repeat.
The Fool

At the risk of sounding like a silly boy, this release from the all-girl quartet from Los Angeles astounded me. I mean, I respect women probably more than the average guy, but music is a heavily male-dominated area. Sure, I love Regina Spektor, Hole has some pretty OK songs, and Taylor Swift writes a pretty great pop tune, but it's a rare thing that a woman makes waves as an instrument playing member of a somewhat reputable band. So, the stupid testosterone drive male inside of me approached this album with a massive grain of salt. And boy did I feel stupid because after a couple of tracks, it became clear the Warpaint is the real deal. Not only can they sing like angels, they're masters of their musical instruments, all of them. Wicked psychedelic guitar lines with perfect tone? Check. Tight, expressive drumming? Check. Interesting basslines? Check. Track after track, Warpaint deliver the goods. On this, their debut LP, they create a unique sound that is equal parts post-punk and new-age psychedelic. So, women everywhere, I am sorry for doubting your gender. Music, like basically everything else these days, is male-dominated. So forgive me for not having faith, or whatever you want to call it, but I didn't think I'd see the day when an all-girl band would release an album that would push for a top spot on a list of the year's best albums. So, my penis-wielding friends, I beg of you to lay down your free weights. Pause whichever sports game you happen to be watching. Put down that Jager-bomb, if only for a moment. Now, go buy this album; it's better than a million fist pumps. Who knew broads had it in them?
3Sufjan Stevens
The Age of Adz

I don't know what Sufjan is smoking, but I want some. Seriously, what is with this album? Previous to this year, Sufjan Stevens was pretty easily defined as a folk musician. With his latest effort pair of releases (the other being his EP, All Delighted People), Sufjan has shown that he is impossible to pigeonhole. Listen to The Age of Adz, and at any given moment, you'll be caught in the middle of a musical wonderland. Keyboard melodies flutter overheard as a percussion loop plods away. Meanwhile, Sufjan tinkers with heavy industrial sounds and sings about his aging mind. On the album's opening track, Sufjan sings "words are futile devices," and by golly, he?s right. Words can not begin describe this album and trying to explain how it sounds truly is futile. Analysis will never do it justice. Just hold your breath and take the plunge.
2The National
High Violet

Does The National even know how to make bad music? Prior to the release of High Violet, we were all waiting for The National to screw up. They were four LPs into their career, and while their first two can't come close to the brilliance of their later efforts, Alligator and Boxer, they were still to release an album of less than excellent quality. Well, we're going to have to keep waiting for an Interpol-like slip-up, because High Violet is probably the best music they've made to date. The album is full of songs that are overflowing with genuine emotion and heart. What is astonishing about this album is the level of honesty that lyricist Matt Berringer is still presenting after four gut-wrenching albums. The National writes songs that the listener can connect with on a deeply personal level. Album opener "Terrible Love" is a cut about the bitter disappointment of a great love turned sour. "Afraid of Everyone" could easily be interpreted as an expression of anxiety and loneliness. It's Berringer's affinity for choosing highly relatable topics that makes The National such an easy band to enjoy. Lyric after lyric, song after song, The National reaches out to their audience through their relatable lyricism, as if to let them know that it's all been experience before, and nothing is so bad that we cannot come out of the other side as a stronger person. And then there's "Bloodbuzz Ohio," easily the best song of the year. On this track, Berringer reaches new levels of honesty and openness with his audience. I challenge you, dear reader, to listen to this track and not be covered in goosebumps by the end. If you can do this, you are a robot. Matt Berringer's trademark low vocals are back as emotionally distraught as ever. The brothers Devendorf are as tight as ever and make a case for greatest rhythm section in indie music with their phenomenal work throughout the album. Lastly, the Dessner twins return with beautifully melodic, soaring guitar lines. Put it all together, and combine it with the genius lyricism of Matt Berringer, and you have The National: the undisputed champions of the indie-scene, still perfect at 5-0.
1Kanye West
My Beautiful Dark Twisted Fantasy

If you had told me one year ago, that I would be crowning Kanye West for album of the year, I would have punched you in the face and then defriended you on facebook. As a rule, I hate hip-hop. It's sexist, egomaniacal, and self-indulgent; sometimes so much that I can't even listen to an entire track without cringing, let alone an entire album. There's not much different here. Kanye's latest effort is all of those things. It's full of sexist lyrics, it's full of ego-stroking (come on, we're talking about Kanye here) and it is, at time, so self-indulgent it's ridiculous. But the thing is the songs are too good to care. They're excellent; brilliant even. Say what you want about Kanye's terrible decision making skills in the public arena, but the man knows how to make music. From Nicki Minaj's unsettling intro, to Justin Vernon's electro-fiddling, through Chris Rock's hilarious rant, right up until the closing moments of "Who Will Survive In America?" this album is produced perfectly. Each beat, each sample, each subtle bit of instrumentation is expertly applied. Not once in the 60+ minutes of playtime does Kanye leave the listener wishing that the bridge had been slightly different, or that the intro was too short. Musically, this album is objectively perfect. And the rest is just attitude, trademark Kanye West, roll-your-eyes, never-play-in-front-of-family, attitude. Kanye West is nothing if not aware and he takes clever jabs at nearly everyone who had a negative word about the man in the last 12 months. No one is safe, not even South Park's writers. Not enough can be said about this album. It is a masterpiece in every sense of the word. My Beautiful Dark Twisted Fantasy is everything you hoped it could be and more. It's catchy, it's clever, it's angry, it's funny, and at times it's brilliant. But most of all, it's human. And while the human may be a crazy, egomaniacal douchebag, did you really expect anything different? Kanye's latest album is perfectly titled. Strap yourself in and enjoy the ride. But don't say he didn't warn you.
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