I don't know that I would declare the following "the best", but they were "my favorite"...
10. The Night Marchers - Allez Allez
Arguably the best release from the Drive Like Jehu/Hot Snakes gentlemen since Hot Snakes' Audit in Progress (2004). John Reis, a self-proclaimed "downstroke warlord", and his Marchers are in excellent form on their second full-length together, settling into a somewhat relaxed yet familiarly aggressive, driving sound led by John's unmistakable rousing growl. For those initiated with Hot Snakes and Rocket From the Crypt, Allez Allez should come as no surprise, as we all know Reis's instincts rarely let us down. While the record is mostly a fairly straight-forward guitar-bass-drums game, the ears are occasionally tickled by some Rocket-esque horn section parts ('Big in Germany') and classic blues-rock harmonica wails ('I Wear the Horns').
9. Kronos Quartet with Bryce Dessner - Aheym
Like most others who recognize the Dessner name, I knew of Bryce only as one of the guitarists in The National - until now, that is. It turns out the dude is a fairly accomplished classical composer, and this is his first proper album release under his own name. Enlisting the help of the prolific Kronos Quartet to perform the dense pieces on Aheym, the album begins frantically with a palpably tense arrangement of jagged layered harmonies that eventually open up to provide some much-needed, spacious relief... until it sucks you back into the tension (which is what you wanted anyway, the masochist that you are). 'Little Blue Something' is mostly an easier, almost feather-light listen until its dark build at the end, which momentarily harkens back to the first track's theme. All in all, this is a great record for doing some deep thinking or working on that script you've had half-finished for the last three years.
8. Coliseum - Sister Faith
After dabbling in some slower, sludgier material on 2010's House With a Curse, Coliseum are back in true form with their dark brand of no-bullshit, riffy punk rock. The album's closer, 'Fuzzbang', exudes a more hopeful tone than anything else in the catalogue (is that a major key I hear?), but there's enough confrontation and occult imagery in singer-guitarist Ryan Patterson's growl throughout the record to soundtrack a fistfight at a seance. To add another kicker to this shebang, as if that was necessary, they included some enviable guest appearances on Sister Faith by J. Robbins (who also produced this beast), Wata of Boris, Jason Loewenstein of Sebadoh, and Jason Farrel of Bluetip/Retisonic.
*Further reading/shameless plug: an interview I did for ALARM with Ryan Patterson about the album and some other stuff
7. Yuppies - Yuppies
This is definitely not a typical record for me to become attached to, but when a co-worker suggested it to me (comparing it to the awesome Bostonian trio Pile), it really struck me. While they may certainly draw reasonable comparisons to apathy-rock bands like Parquet Courts and Pavement, there seems to be a totally different force driving Yuppies. I can't help but make some connection between the sonic attitude on this record with the junkie ramblings of William S. Burroughs. The anger sometimes feels tongue-in-cheek, juxtaposed with positively-charged chords and upbeat (but not necessarily aggressive) drumming ('Getting Out') - but it all feels very real, nonetheless. Then other times, the frustration and aggression is so overwhelmingly in the foreground ('Worms') that the uncomfortably dissonant nature of the music forms one of the most uniquely "heavy" songs in recent memory. The delivery may come off as simple on the surface, but this onion has some fragrant layers worth peeking under.
6. Cass McCombs - Big Wheel and Others
Big Wheel... is about as musically and lyrically expansive as the American western frontier that is its setting and subject matter, which is no simple task. While the vibe sits comfortably within a general folky style, McCombs paints the vast expanse with a pretty wide brush, employing some outright rock & roll, a jammy jazz instrumental, and a little avant-garde to breathe life into the gritty characters in these vignettes. It's lines like "A man with a man - how much more manly can you get?" ('Big Wheel') and "In a perfect world, we'd all have 40 acres and a mule / But this ain't a perfect world, it's a perfect storm" ('Everything Has to Be Just-So') that reveal McCombs's complex challenges to the seemingly obvious routine and "it is what it is" mentality that plagues our day-to-day. The album's title lends itself nicely to imagery of modern semi trucks, covered wagons, and even the childish plastic tricycles of our childhood, which allows McCombs to explore widely and wildly with his mellow, matter-of-fact storyteller's voice on this excellent (very-) full-length.
5. The National - Trouble Will Find Me
The National just keep finding new and subtle ways to make their unassuming songs interesting as hell to the attentive listener. Two songs in and both have had non-traditional time signatures, without striving to let you know they're being "mathy". If you like The National because of this and because of Matt Berninger's gentlemanly baritone and bizarre-ish lyrics and because their recordings are always full of sweet, sweet ear candy, then you probably already know why Trouble Will Find Me is on this list.
4. Comadre - S/T
Sadly, these guys broke up not too long after this excellent swan song of a release but, to the Comadre dudes: way to go out with a fucking bang! This record, equal parts youthful and thoughtful, is probably what I always wanted Kid Dynamite to be. It's hard to imagine that an album full of almost nothing but atonal yelling could be catchy, but surrounding the edgy, combative vocals are melodic guitars, tight, groovy bass lines wound neatly around solid, energetic drums, seasoned with modest piano and organ with a little trumpet to taste. ("No keyboards, synthesizers or artificial reverb used in the making of this recording.") The tunes have a way of lodging themselves into your head and begging you to come back as if they were a diabolically inviting ex-lover's bed. There's also something to be said when a band with fairly abrasive music acknowledges the listener's need for occasional relief - Comadre got that memo, strategically placing a few nearly soothing interludes that act as the twine to neatly tie the album together. Do yourself a favor and jam 'Cold Rain' as loud as your stereo goes, but be prepared to break some shit in the process.
3. Volcano Choir - Repave
*To read my full review of this album, go here
2. Savages - Silence Yourself
Post-punkish trend benders Savages came out of the gates fast and bearing razor-sharp teeth this year - and seemingly out of nowhere. Actually, they came from London, and while the post-punk label isn't inappropriate, it certainly feels like a lame attempt at pigeonholing a band that is much more than a Joy Division or Siouxsie & the Banshees worship act. The fierceness with which singer Jehnny Beth fuels her wide-eyed wailing is arresting, and her voice manages to be calculated and spontaneous simultaneously. The band plays with unrivaled purpose, matching its catchy, even danceable, moments with angular, artful dissonance which reminds you that, even if you're smiling, Savages are still angry. You ought to find that 'Shut Up' and 'She Will' are shining examples of a healthy marriage between the ghosts of punk's past and future.
1. Speedy Ortiz - Major Arcana
What may have begun humbly as singer/guitarist Sadie Dupuis's solo project has blossomed into something truly special. When she begins 'No Below' with "You didn't know me when you were a kid", it almost makes me wish I did - the songs on Major Arcana all give off this pungent sense of guiltless nostalgia as Dupuis's stories are spun into appropriately fuzzy, jangly pop songs that bounce back and forth between recklessly heavy and delicately sobering. Something about her quirky vocal melodies reminds me of the best parts of Craig Wedren's (Shudder to Think) playful and sometimes confusing vocal patterns, and they're perfectly complemented by the conversational guitar work between Sadie and fellow guitarist Matt Robidoux. Speedy Ortiz may not be re-inventing the wheel, but they've certainly managed to use it their own way. Of all the excellent records that have come out this year, this one has tested with the most addictive results for me, and who am I to resist such urges?
THE HONORABLY MENTIONABLE
Red Hare - NITES of MIDNIGHT
Bosnian Rainbows - Bosnian Rainbows
Owen - L'Ami du Peuple
The Bronx - The Bronx (IV)
Phosphorescent - Muchacho
INVSN - INVSN
Islands - Ski Mask
Nick Cave & the Bad Seeds - Push the Sky Away
Waxahatchee - Cerulean Salt
Native - Orthodox
Kurt Vile - Wakin on a Pretty Daze
Pissed Jeans - Honeys
Boards of Canada - Tomorrow's Harvest
Into It. Over It. - Intersections
Sombear - Love You in the Dark
