Every year I will speak to at least a handful of people who will say "this year's been pretty poor for music," and each year I have to disagree. Whilst this year has been full of upheaval and uncertainty in politics and world affairs, both at home and abroad, and mainstream music has been dire to say the least, 2011 has smiled kindly on the world of alternative music. Below are thirty albums that I've enjoyed this year, arranged in some form of order. It's not exhaustive (sadly, I can't have heard every record that came out this year) and I'm still debating the order of importance... but what I will say is that these records have helped define and guide me through 2011 in some way. Please drop me a line if you have any comments, or would like to recommend any records you think I would have liked and have missed! - it's always nice to know there's someone out there. Anyway, on with the show...
#1 - Johnny Foreigner – Johnny Foreigner vs Everything (Alcopop)
Although a late contender, I feel that Johnny Foreigner deserve the accolade whole-heartedly. Easily their most comprehensive record to date, their third full-length holds a lot more depth than previous offerings, and as such appears even more personal than normal. Whilst the majority of material doesn't stray too far from the JoFo formula, tracks like ‘200X’ and ‘Supermorning’ show an inventiveness that I don’t think we’ve previously seen. Whilst shunned by the NME, for the fans and the UK underground this record is a triumph, and demonstrates the hard work and dedication of independent thinking. If you haven’t heard this album already, get on it, or at least check out ‘With Who, Who and What I've Got’ and ‘You vs Everything.’
#2 - British Sea Power – Valhalla Dancehall (Rough Trade)
British Sea Power never fail to impress me, and this, their fourth studio album to date, is a prime example of why I love them. Never afraid to be themselves, BSP mix rock, post-punk and post-rock to create a sound which is both distinctive and original. ‘Who’s In Control?” became my soundtrack for the summer riots, but also give ‘Mongk II’ and ‘Observe the Skies’ a spin if you haven’t already. I think they may win the award for best album title of the year too.
#3 - Mogwai - Hardcore Will Never Die, But You Will (Rock Action)
What sets Mogwai apart from other bands that have jumped on the post-rock bandwagon is that they are always one step ahead of the curve, and this record is testament to that. You would think after more than 10 years on the game, Mogwai's pool of ideas would be running dry, or at least thin, but you only need to hear the crunch of 'Rano Pano,' the driving, bassy riff of 'San Pedro' or the squelching electro of ''George Square Thatcher Death Party' to know that the Scots are far from finished.
#4 - Los Campesinos! - Hello Sadness (Wichita)
On first listen to Los Campesinos! latest offering I was a little underwhelmed. Then, I was going into it expecting it to be Romance is Boring Pt.II. Instead, what I was treated to was a sublime grower of a record. Past the instant gratification (ahem) of 'By Your Hand', LC! have produced their most diverse record to date, and one that will split fans opinions. However, with tracks like the superb 'The Black Bird, The Dark Slope', and the stomping 'Baby I Got The Death Rattle,' Los Campesinos! show there is more to them than the tweexcore tag that they used to be lumped in with. Lyrically, it's a dark album, but when the light shines through it's uplifting, life-affirming, and amazing.
I remember hearing 'Used for Glue' for the first time, back when I was in school. United by Fate became a soundtrack for my last year in school and the transition into college. They were good times, and I waited patiently for Rival Schools to make that second album. 10 years in the making, and a reformed Rival Schools finally release their second full-length. Was it worth the wait? You bet it was. Whilst nowhere near as grand as their début, Pedals sparkles with anthemic rock and riffs that the Foo Fighters would give their left hand to have wrote. I could recommend you pretty much anything off of this album, it's such a solid effort, but I'd say 'Big Waves' and 'Eyes Wide Open' may just take the prize for top cuts. If it takes another 10 years for Rival Schools to make another album that's just half as good as this, well, I'll happily wait it out.
And there was me thinking that 2008's Nights Out would be Joseph Mount's high watermark, and then out of nowhere came The English Riviera. Mount and gang produced a record that balances the line between sounding retro and contemporary. Don't ask me how. From the unsettling pop of 'She Wants,' to the retro-tinged seaside-themed keyboard hook of 'The Look'; from start to finish it's an album that washes over you in wave after wave of analogue synths, syncopated guitars and funk-flavoured bass lines, begging you to get lost in the landscapes it conjures up. Just like a fine wine, I think this is a record that will continue to improve with age. A modern classic in waiting.
#7 - Death Cab for Cutie - Codes and Keys (Atlantic)
With their last record Death Cab through everyone a curve ball. Instead of delivering another Plans, they went more experimental. Whilst the results may have made for an interesting listen, ultimately it didn't quite hit the spot for me. Codes and Keys on the other hand fills that empty spot in my heart I reserve for Gibbard. 'You Are A Tourist' is a mighty example of DCfC's song writing capabilities, with a soaring lead reminiscent of Big Country's 'In A Big Country', or the title track 'Codes and Keys' with its plodding piano refrain and beautiful string accompaniment. 'Doors Unlocked and Open' reminds me of R.E.M.'s 'I Remember Nothing' which leads me to conclude that perhaps Death Cab are in fact the last great American rock band? Big claim, but I think given time they will transcend their cult status and deserve the mainstream success they deserve.
With their last record Death Cab through everyone a curve ball. Instead of delivering another Plans, they went more experimental. Whilst the results may have made for an interesting listen, ultimately it didn't quite hit the spot for me. Codes and Keys on the other hand fills that empty spot in my heart I reserve for Gibbard. 'You Are A Tourist' is a mighty example of DCfC's song writing capabilities, with a soaring lead reminiscent of Big Country's 'In A Big Country', or the title track 'Codes and Keys' with its plodding piano refrain and beautiful string accompaniment. 'Doors Unlocked and Open' reminds me of R.E.M.'s 'I Remember Nothing' which leads me to conclude that perhaps Death Cab are in fact the last great American rock band? Big claim, but I think given time they will transcend their cult status and deserve the mainstream success they deserve.
#8 - &U&I - Light Bearer (On Dry Land)
&U&I: the true champions of the UK underground. After the untimely demise of Blakfish, few of us would have expected the remaining three Brummies to bounce back so successfully. But here we are, less that 2 years later and &U&I have delivered up their début and silenced all that doubted they had it in them. A whole lot more palatable than Blakfish's LP, Light Bearer is both heavy and instantly accessible. Guitars intertwine around rattling bass, before slapping you into place with some meaty, mathy riffage. 'Talk With Steam' screams sing-a-long with its "push your foot into the floor" refrain, or how about the bass-driven previous single 'Stalk this City'? Favourite cut, and fan favourite 'Belly Full of Fire & A Heart Full Of Blood' also sounds incredible, like Reuben at their angriest circa In Nothing We Trust. Essential listening.
&U&I: the true champions of the UK underground. After the untimely demise of Blakfish, few of us would have expected the remaining three Brummies to bounce back so successfully. But here we are, less that 2 years later and &U&I have delivered up their début and silenced all that doubted they had it in them. A whole lot more palatable than Blakfish's LP, Light Bearer is both heavy and instantly accessible. Guitars intertwine around rattling bass, before slapping you into place with some meaty, mathy riffage. 'Talk With Steam' screams sing-a-long with its "push your foot into the floor" refrain, or how about the bass-driven previous single 'Stalk this City'? Favourite cut, and fan favourite 'Belly Full of Fire & A Heart Full Of Blood' also sounds incredible, like Reuben at their angriest circa In Nothing We Trust. Essential listening.
#9 - And So I Watch You From Afar - Gangs (Richter Collective)
For anyone who's been following And So I Watch... over the last few years, you too will probably agree that Gangs is with ease there best material to date. Their self-titled début, while a good album, just didn't quite hit the mark. But Gangs not only hits said mark, it totally obliterates it. It's the album we all knew ASIWYFA had in them. In years to come, we shall look back at Gangs and recognise it as a turning point in post-rock, just as Mogwai's Young Team was back in the late 90s. From the massive opener 'BEAUTIFULUNIVERSEMASTERCHAMPION', to the shred-tastic 'Search:Party:Animal,' the Belfast trio show that it is possible to make immense math rock tunes without the need of a singer to carry the melody. This is exemplified superbly on the beautiful '7 Billion People All Alive At Once,' whose waltz-like quality, builds you up and up before breaking into the most heart-achingly amazing chant-along at 2:16. And if this wasn't enough, you get what can only be described by the aural equivalent of fireworks at 4:10. If you aren't moved after hearing that, well, you probably don't have a heart.
For anyone who's been following And So I Watch... over the last few years, you too will probably agree that Gangs is with ease there best material to date. Their self-titled début, while a good album, just didn't quite hit the mark. But Gangs not only hits said mark, it totally obliterates it. It's the album we all knew ASIWYFA had in them. In years to come, we shall look back at Gangs and recognise it as a turning point in post-rock, just as Mogwai's Young Team was back in the late 90s. From the massive opener 'BEAUTIFULUNIVERSEMASTERCHAMPION', to the shred-tastic 'Search:Party:Animal,' the Belfast trio show that it is possible to make immense math rock tunes without the need of a singer to carry the melody. This is exemplified superbly on the beautiful '7 Billion People All Alive At Once,' whose waltz-like quality, builds you up and up before breaking into the most heart-achingly amazing chant-along at 2:16. And if this wasn't enough, you get what can only be described by the aural equivalent of fireworks at 4:10. If you aren't moved after hearing that, well, you probably don't have a heart.
#10 - Limp Bizkit - Gold Cobra (Flip/Interscope)
A controversial choice? Probably. But then, as anyone who knows me will confirm, I've never been one to pretend I don't still have a soft spot for Fred & Co. Finally LB have gone back to basics and realised no-one buys into a quasi-seriousness (see: Results May Vary) or simply aping political funk-rock that's been done before to better result (see: The Unquestionable Truth Pt. 1). What you get with Gold Cobra is what Limp Bizkit do best: big, dumb rap-metal slabs that make you want to jump around like it's 1999. Wes still writes fantastic guitar riffs, and even throws down some solos which is interesting. Fred's lyrics are laughable ("...often called by my alias, polar bear" comes to mind), but what do you expect? Whilst they don't quite match the dizzying heights of Chocolate Starfish..., there's enough on this disc (maybe a little too much... especially if you picked up the extended edition like me) to make an old school soldier happy.
A controversial choice? Probably. But then, as anyone who knows me will confirm, I've never been one to pretend I don't still have a soft spot for Fred & Co. Finally LB have gone back to basics and realised no-one buys into a quasi-seriousness (see: Results May Vary) or simply aping political funk-rock that's been done before to better result (see: The Unquestionable Truth Pt. 1). What you get with Gold Cobra is what Limp Bizkit do best: big, dumb rap-metal slabs that make you want to jump around like it's 1999. Wes still writes fantastic guitar riffs, and even throws down some solos which is interesting. Fred's lyrics are laughable ("...often called by my alias, polar bear" comes to mind), but what do you expect? Whilst they don't quite match the dizzying heights of Chocolate Starfish..., there's enough on this disc (maybe a little too much... especially if you picked up the extended edition like me) to make an old school soldier happy.
#11 - Funeral for a Friend - Welcome Home Armageddon (Distiller)
I lost faith in Funeral for a Friend. I loved the first record, but everything after that just seemed to get progressively predictable. I thought I knew what I was in for when I pressed play on my CD player to listen to Welcome Home Armageddon... What I didn't know was that FFaF had taken it back to basics, and possibly have made the best record of their career to date, and one of my most enjoyed records of the year. If you'd told me this time last year I'd be typing that, I'd have told you where to go - but honestly, they sound like a band revitalised. Lead single 'Front Row Seats to the End of the World' is as heavy as anything they've done before, some lovely contrasting melodic/screamed vocals, whilst 'Sixteen' beats many of my previous faves from Casually Dressed hands down - just listen to that lead riff! 'Aftertaste' is equally as tasty, not hard to imagine singing along to this at a show. Whilst there are a couple of ballads that slow down the pace of the album, overall it's hard not to be taken-aback by Funeral's transformation. Welcome home boys, welcome home.
I lost faith in Funeral for a Friend. I loved the first record, but everything after that just seemed to get progressively predictable. I thought I knew what I was in for when I pressed play on my CD player to listen to Welcome Home Armageddon... What I didn't know was that FFaF had taken it back to basics, and possibly have made the best record of their career to date, and one of my most enjoyed records of the year. If you'd told me this time last year I'd be typing that, I'd have told you where to go - but honestly, they sound like a band revitalised. Lead single 'Front Row Seats to the End of the World' is as heavy as anything they've done before, some lovely contrasting melodic/screamed vocals, whilst 'Sixteen' beats many of my previous faves from Casually Dressed hands down - just listen to that lead riff! 'Aftertaste' is equally as tasty, not hard to imagine singing along to this at a show. Whilst there are a couple of ballads that slow down the pace of the album, overall it's hard not to be taken-aback by Funeral's transformation. Welcome home boys, welcome home.
#12 - Thursday - No Devolución (Epitaph)
By now I'm sure you've heard the sad news that Thursday have called it a day. After over 10 years producing some of my favourite records, they decided enough was enough. That's not before leaving us with one final reminder of why Thursday were one of most original and imaginative of the early 2000 emo groups. Whilst many fans seemed to turn up their noses at the direction they took with No Devolución, I see it as the final stage of the band's progressive sound which they have been developing since Full Collapse. Far more ephemeral-sounding, an obvious influence on this record would be The Cure, best exemplified on 'No Answers.' Where Common Existence has seemed an album concerned with the direction of society, this release reads as a much more personal affair, with Rickley's most audible vocals to date. 'Sparks Against the Sun' has a chorus that glimmers with hope, contrasting with the bass-y rumble of the verse. 'Magnets Caught in a Metal Heart' harks back to War All The Time era material, whilst 'A Gun in the First Act' has become one of my favourite Thursday tracks, distinctly Disintegration. 'Stay True' forms a worthy closure to their career: they've come a long way since the naivety of Waiting, and will be sorely missed.
By now I'm sure you've heard the sad news that Thursday have called it a day. After over 10 years producing some of my favourite records, they decided enough was enough. That's not before leaving us with one final reminder of why Thursday were one of most original and imaginative of the early 2000 emo groups. Whilst many fans seemed to turn up their noses at the direction they took with No Devolución, I see it as the final stage of the band's progressive sound which they have been developing since Full Collapse. Far more ephemeral-sounding, an obvious influence on this record would be The Cure, best exemplified on 'No Answers.' Where Common Existence has seemed an album concerned with the direction of society, this release reads as a much more personal affair, with Rickley's most audible vocals to date. 'Sparks Against the Sun' has a chorus that glimmers with hope, contrasting with the bass-y rumble of the verse. 'Magnets Caught in a Metal Heart' harks back to War All The Time era material, whilst 'A Gun in the First Act' has become one of my favourite Thursday tracks, distinctly Disintegration. 'Stay True' forms a worthy closure to their career: they've come a long way since the naivety of Waiting, and will be sorely missed.
#13 - Young Legionnaire - Crisis Works (Wichita)
This was always going to do well in my list. There are two major facts to consider: the band features Paul Mullen of yourcodenameis:milo, the band features Gordon Moakes of Bloc Party. Whilst heavier than anything Bloc Party, Young Legionnaire are way more accessible than ycni:milo ever were. The result? A formidable debut, crammed full of massive riffs and angsty vocals. Opener 'Twin Victory' is a statement of intent as good as any, whilst 'Numbers' is a huge pop song trying to disguise itself as a angular post-hardcore (or visa-versa, who knows?). I could go through the album track by track and reason why it is such a great record, but that would be redundant. Just listen to lead single 'Chapter, Verse' and you will see why Young Legionnaire are such an exciting prospect for UK rock. They've a new EP out in the new year, and by the sounds of things 2012 will be a big year for Young Legionnaire.
This was always going to do well in my list. There are two major facts to consider: the band features Paul Mullen of yourcodenameis:milo, the band features Gordon Moakes of Bloc Party. Whilst heavier than anything Bloc Party, Young Legionnaire are way more accessible than ycni:milo ever were. The result? A formidable debut, crammed full of massive riffs and angsty vocals. Opener 'Twin Victory' is a statement of intent as good as any, whilst 'Numbers' is a huge pop song trying to disguise itself as a angular post-hardcore (or visa-versa, who knows?). I could go through the album track by track and reason why it is such a great record, but that would be redundant. Just listen to lead single 'Chapter, Verse' and you will see why Young Legionnaire are such an exciting prospect for UK rock. They've a new EP out in the new year, and by the sounds of things 2012 will be a big year for Young Legionnaire.
#14 - Dananananaykroyd - There Is A Way (Pizza College)
Another band that called it quits this year, Danan were always a band best enjoyed live, and will be much missed on the UK live circuit. There Is A Way is choc-full of classic Dananananaykroyd. The first side of the LP really demonstrates the bands solid pop appeal, with songs like 'E Numbers,' 'Muscle Memory' and 'Think and Feel.' If anything, it's a much more focused and successful effort that their début, and whilst I'm sad to think that I'll never see them live again, I'm happy in the fact they've left us with two solid albums, a couple of EPs and a smattering of singles.
#15 - Joan of Arc - Life Like (Polyvinyl)
Having only encountered Tim Kinsella in his previous incarnation as Cap'n Jazz, I didn't really know what to expect from Life Like. What I got was reminiscent of his previous project, but far more polished and accomplished. The schizophrenic guitar style still present, however Kinsella's ability to craft a song has come a long way from the somewhat scrappy and childish sounds produced by Cap'n Jazz. Throughout the album, Kinsella's distinctive guitar sound gleams, however highlights for me would be 'Love Life,' whose last 35 seconds are possibly my favourite of the whole record, or the dreamy repetition of 'Night Life Style.' The militaristic drums and call/response vocal of 'After Life' concludes a satisfying album, and one I am sure I will return to again and again in 2012.
Having only encountered Tim Kinsella in his previous incarnation as Cap'n Jazz, I didn't really know what to expect from Life Like. What I got was reminiscent of his previous project, but far more polished and accomplished. The schizophrenic guitar style still present, however Kinsella's ability to craft a song has come a long way from the somewhat scrappy and childish sounds produced by Cap'n Jazz. Throughout the album, Kinsella's distinctive guitar sound gleams, however highlights for me would be 'Love Life,' whose last 35 seconds are possibly my favourite of the whole record, or the dreamy repetition of 'Night Life Style.' The militaristic drums and call/response vocal of 'After Life' concludes a satisfying album, and one I am sure I will return to again and again in 2012.
#16 - Crash of Rhinos - Distal (Audacious Art Experiment)
#17 - Everyone to the Anderson - The Man Born From Inside Of A Horse (Unlabel)
#18 - Tubelord - Romance (Pink Mist)
#19 - Battles - Gloss Drop (Warp)
#20 - Tellison - The Wages of Fear (Naim Edge)
#21 - Gang of Four - Content (Gronland)
After seeming like forever for this record to land, Gang of Four's latest offering isn't actually that bad. Of course it was never going to match their output from the late 70s, but there are enough interesting moments on here to justify its existence. The sad irony of Content is that despite being one of the pionneering bands of the post-punk era, many of the tracks on this record, only the seventh of their career, end up sounding like Franz Ferdinand or Bloc Party - the very bands they inspired. That said, the dubby downbeat 'A Fruit Fly in the Beehive' and angular pop of 'Who Am I?' show there's still life in Go4. So much for growing old gracefully, long live Gang of Four.
After seeming like forever for this record to land, Gang of Four's latest offering isn't actually that bad. Of course it was never going to match their output from the late 70s, but there are enough interesting moments on here to justify its existence. The sad irony of Content is that despite being one of the pionneering bands of the post-punk era, many of the tracks on this record, only the seventh of their career, end up sounding like Franz Ferdinand or Bloc Party - the very bands they inspired. That said, the dubby downbeat 'A Fruit Fly in the Beehive' and angular pop of 'Who Am I?' show there's still life in Go4. So much for growing old gracefully, long live Gang of Four.
#22 - Taking Back Sunday - Taking Back Sunday (Warner Bros.)
With the news that TBS had reunited with the original line-up that wrote the now classic 'Tell All Your Friends,' I was very interested to see what they would come up with on this, the bands fifth studio album. After being severely disappointed with 2009s New Again, I was nicely surprised that their self-titled is a strong return to form, albeit strolling into Thirty Seconds to Mars territory. Lead single 'El Paso' is easily the bands heaviest track to date, and probably my favourite cut. 'Money (Let It Go)' could have easily appeared on Louder Now, whilst 'It Doesn't Feel A Thing Like Falling' sounds like a live fan favourite from the first listen. Whilst the band will never quite meet the heights they achieved in the early 2000s, TBS have proved that the are still an important and vital link in American mainstream emo-rock.
#23 - Cold Cave - Cherish the Light Years (Matador)
Far more polished than 2009s much loved Love Comes Close EP, and it's for that reason this record didn't reach higher climes in my list. Described by my girlfriend as sounding like a Killers album, there is a lot to be said for Wesley Eisolds' song writing - he sure knows how to write massive, dark synth-pop - as witnessed in tracks like 'Catacombs' and 'Underworld USA.' Where Love Comes Close had shades of early New Order, ...Light Years is the shiny pop of latter-day New Order a la 'Crystal', albeit loaded with gothic, quasi-religious imagery. Bookended by the machine-like precision of 'The Great Pan is Dead' and closer, the beautiful and fragile 'Villains of the Moon,' it makes for an interesting listen, but not as essential as previous material.
Far more polished than 2009s much loved Love Comes Close EP, and it's for that reason this record didn't reach higher climes in my list. Described by my girlfriend as sounding like a Killers album, there is a lot to be said for Wesley Eisolds' song writing - he sure knows how to write massive, dark synth-pop - as witnessed in tracks like 'Catacombs' and 'Underworld USA.' Where Love Comes Close had shades of early New Order, ...Light Years is the shiny pop of latter-day New Order a la 'Crystal', albeit loaded with gothic, quasi-religious imagery. Bookended by the machine-like precision of 'The Great Pan is Dead' and closer, the beautiful and fragile 'Villains of the Moon,' it makes for an interesting listen, but not as essential as previous material.
#24 - Three Trapped Tigers - Route One Or Die (Blood and Biscuits)
Three Trapped Tigers' Route One... really is something special. Somehow they manage to blend the key elements of Justice and Battles, with a lashing of Liars for good measure, and in the process successfully create a unique sound of their own. Rhythm plays a major part in the band's sound - as they are essentially a rock outfit, they give many electronic outfits a run for their money in the drumming stakes, and in terms of heaviness. Opener 'Cramm' gives a good indication of the albums overall sound, so start there and I'm sure you'll get hooked.
Three Trapped Tigers' Route One... really is something special. Somehow they manage to blend the key elements of Justice and Battles, with a lashing of Liars for good measure, and in the process successfully create a unique sound of their own. Rhythm plays a major part in the band's sound - as they are essentially a rock outfit, they give many electronic outfits a run for their money in the drumming stakes, and in terms of heaviness. Opener 'Cramm' gives a good indication of the albums overall sound, so start there and I'm sure you'll get hooked.
#25 - Funeral Party - The Golden Age of Knowhere (RCA)
Funeral Party's major label début doesn't quite cut it for me. It's a good album, but as with Cold Cave above, it's the production that leaves me with a slight distaste in my mouth. Where their earlier 'Bootleg EP' was raw and a little rough around the edges, the recordings revisited on the full-length are just a little too clean. Early similarities drawn to the likes of At the Drive-In are embraced fully, with production being down to Mar Volta producer Lars Stalfors. Omar Rodriguez-Lopez even guests on 'Car Wars,' playing a pretty mental solo. I like this album, I really want to love it, and maybe with time I will, as their blend of post-hardcore and dance funk fills the void left since The Rapture went boring.
Funeral Party's major label début doesn't quite cut it for me. It's a good album, but as with Cold Cave above, it's the production that leaves me with a slight distaste in my mouth. Where their earlier 'Bootleg EP' was raw and a little rough around the edges, the recordings revisited on the full-length are just a little too clean. Early similarities drawn to the likes of At the Drive-In are embraced fully, with production being down to Mar Volta producer Lars Stalfors. Omar Rodriguez-Lopez even guests on 'Car Wars,' playing a pretty mental solo. I like this album, I really want to love it, and maybe with time I will, as their blend of post-hardcore and dance funk fills the void left since The Rapture went boring.
#26 - Brigade - Will Be Will Be (Home Spun)
Sadly, since releasing this record Brigade have thrown in the towel and called it a day, which is a shame as it’s only with this album, the bands third, they’ve come to my attention. Strangely they’ve been overlooked whilst many other bands of their ilk were pushed into the limelight. However, that injustice aside, this album is a great Brit-rock album in the vein of Hundred Reasons, Funeral for a Friend et al. Massive hooks, catchy choruses, had not to fall into this record. I recommend 'Eden' and 'Laughter Lines' as worthy places to start.
#27 - Cut Copy - Zonoscope (Modular)
Standard Cut Copy fare on this, their third full-length. This record sees the Australian group push their sound into far more poppier territory than heard on their last LP, and at more than one point sounding like the 80s distilled. This is probably most explicit on ‘Take Me Over’ which in inarguably influenced by Men at Work’s ‘Land Down Under.’ Just listen, you’ll hear it. These 80s synths and new wave styling aren’t necessarily a bad thing though, if anything Cut Copy have benefited.
#28 - The Joy Formidable - The Big Roar (Canvasback/Atlantic)
After a series of self-released singles and EPs, TJF got around to releasing their debut proper, and it’s not too shabby. Their album conjures up the likes of Sonic Youth, And You Will Know Us By The Trail Of Dead, and a plethora of post-grunge bands. Full of epic guitars and huge choruses – the fact they could hold their own when they toured with And So I Watch You From Afar earlier this year is testament to their talent.
#29 - Art Brut - Brilliant! Tragic! (Cooking Vinyl)
You could ask why Art Brut are still plying their trade long after the NME have moved onto pastures new. Well, I’ll tell you the reason – it’s because Argos and Co. still know how to write a great tune – ‘Axl Rose’ and ‘Is Dog Eared’ being my picks of the litter.
#30 - Algernon Cadwallader - Parrot Flies (Big Scary Monsters)
After how excited I was after hearing last years’ Fun EP, this album had a lot to live up to. Sadly the Philadelphian 3-piece don’t quite match the devil-may-care attitude that the EP had in buckets, and whilst there is no denying some interesting ideas on this here LP, Parrot Flies doesn’t quite do it for me.
