LCD Soundsystem's album before 'This is Happening', 'Sound of Silver', was a really slow burner for me. It made it in the end, though, making my top ten of 2007. 'This is Happening', however, is far more immediate, with some tracks I would just love to hear in a club.
It also includes one of the best lyrics of the year - “Drunk Girls, wait an hour to pee” - and a very, very creepy video.
If, as he has suggested, James Murphy does call time on LCD Soundsystem, it would be a shame, but would leave a near-faultless body of work.
I'm pretty sure I'll get a hard time from some for not rating this higher than nine, and I'm pretty sure that I'll give myself a hard time about this in the future. But...
This is a good album – a very good album. Sometimes brilliant. 'Ready to Start' is one of my live tracks of the year, and there's at least another half-dozen belters. The problem lies in the amount of filler there is on this album. 'Modern Man', and 'Sprawl' (I and II) really don't need to be on this album. And, don't start me on 'Rococo' – the title alone makes me shudder.
I very nearly didn't include this in my ten at all, out of sheer disgust for the BBC review of it, that said The Suburbs gives OK Computer a run for its money. That it rescued itself in my eyes to make my ten at all, after that ludicrous suggestion, ought to suggest just how good it is, at times.
One final thing – 'We Used to Wait'? Best video of the 21st Century.
How much fun is this album? So much fun that I saw them play live twice in three days back in May. If you listen to opener '1MD' expecting an indication of what this album is like, prepare to be disappointed – it's the preface. Jump to 'Latin America' – one of my tracks of the year – for something far more representative. You'll be head-nodding and foot-tapping within a minute.
Album closer 'P.I.G.S.' is worthy of attention too. Great way to end an album.
If you're a fan of Rumours-era Fleetwood Mac, than you'll be a fan of this. One of the better guitar-pop albums of the year, Catching a Tiger maintains a high standard from beginning to end, with 'When I'm Alone' making my playlist of the year.
And, crikey, what a voice.
And, crikey, she's hot.
The follow-up album may struggle to hit these heights, though, so get her while she's hot.
Back in 2007, Cherry Ghost's debut album, Thirst for Romance, was the surprise package of the year for me, coming in second to (of course) Radiohead. Three years later, and the boy from Bolton has done it again, helped by his band, who joined in the writing of this album and helped flesh out Simon Aldred's ideas even further.
Beneath this Burning Shoreline has an old-time, almost crooner quality about it: think, a poppier, more radio-friendly Richard Hawley. Tracks like 'The Night They Buried Sadie Clay' sound like they come from the 1950s. Add in other crackers like 'We Sleep On Stones' and 'Luddite' (great title), as well as one of the tracks of the year in 'Kissing Strangers', and album #2 proves conclusively that album #1 was no fluke.
Whether you like the Manics or not, at very least you have to admire their resilience. I first saw them live in 1991, and have seen them in concert more than any other band. This, their tenth – tenth! - album reminds me of why I keep going back to them. What's all the more impressive is that Postcards from a Young Man holds its own against its magnificent predecessor.
By their own admission, this is their “one last push for the mainstream”. Sure, there are orchestras, choirs, rousing choruses and radio-friendly riffs. But, that's not to say it's overblown. This is not the Everything Must Go-era Manics rehashed: More, a sleeker, more honed push for the populace.
Everyone – you included – will have already made their minds up about the Manic Street Preachers. Should that preclude you from giving this album its due attention, then that would be a real shame.
I can't help feeling that I owe The National an apology. I never really got their two albums prior to this one, despite protestations from many. Sure, there were one or two stand-out tracks on both Alligator and Boxer, but they never hit me particularly hard with either.
Until High Violet. This album is far more immediate (which may bug some amongst us), and remains consistently impressive throughout. Indeed, final track 'Vanderlyle Crybaby Geeks' may be one of the best on the album.
High Violet hung around the lower branches of my top ten throughout the Summer. But, if only they'd tidied the muddy-sounding guitar on 'Terrible Love' and let drummer Bryan Devendorf go for it as much as he does live. If only they'd used a live version of 'England' so we could hear singer Matt Berninger reach his furious crescendo.
And then, this happened. And, that's why The National broke my top five.
This album is a triumph of longevity. Having got hold of it in January, it has remained on heavy rotation for me throughout this year, and has more than held its own throughout in 2010. Blissed out (almost stoned) drumming, melodies, harmonies, grooves and guitars. There genuinely is nothing to dislike about this album, except that it's perhaps too short.
I don't know how many times I've listened to this when walking Beano, but the beat matches a walking pace perfectly, even if the temptation is there to act out the video.
The best way to describe Broken Bells is to quote a line from 'October': “Don't run, don't rush – just flow”.
I kept going back to this album throughout 2010. It really is marvellous and certainly my favourite debut album of this year. Folky in a Mumford & Sons-way, only without the mumbo jumbo lyrics, Beachcomber's Windowsill bodes well for Stornoway's future.
1: Jónsi - Go
Jón 'Jónsi' Þór Birgisson is better known as the lead singer in Sigur Rós. He's got previous, then. Go is my #1 of 2010 by far. Whereas Sigur Rós produced classical music for the 21st century, Jónsi has taken this in a more pop direction.
The results are astounding.
This is one of those albums that you feel sad when it ends. Which is why I've listened to this more than any other album in 2010.
'Special Mention' Award
It felt strange considering this for my top ten. After all, these tracks were recorded over 30 years ago.
Had it not felt strange, this would have made #1. It's the Boss, it's from his Olympus period, it's faultless.
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