It’s January 1 so I’m a little late with this but here’s a list of my favourite new releases in 2010.
Ted Leo and the Pharmacists – The Brutalist Bricks
Ted Leo’s first record on Matador seems like a dedicated response to the oft but unfairly maligned Living With the Living. Bricks is pithy whereas Living was, at times, ponderous. Bricks is also relentless (indeed, Leo doesn’t seem to take a breath until “One Polaroid A Day”, the record’s eighth track) and feels like it’s over too quickly whereas Living admittedly tended to drag on a bit in places. To this extent, it’s a return to the form displayed successfully on Shake the Sheets. “Bottled in Cork”, something of a sequel to “Ballad of the Sin Eater” from 2003’s Hearts of Oak, is Leo’s best song in years.
Paul Weller – Wake Up the Nation
Weller’s solo work since the early 1990s has a bit of a spotty reputation. Some records, especially early on, were brilliant (Wild Wood and Stanley Road); others not so much. Wake Up the Nation was a pleasant surprise from the Modfather. Even at 52 years old he’s still capable of (and willing to) writing and recording new, adventurous and ultimately interesting music. Speaking of interesting, contributions from My Bloody Valentine’s Kevin Shields (“7&3 is the Strikers Name”) and, for the first time since the break up of the Jam in 1982, Bruce Foxton (“Fast Car/Slow Traffic”), are worthy of mention, too.
OFF! – First Four EPs
In my opinion, the best punk rock record of the year. Keith Morris is still spitting mad and dizzyingly frenetic in his delivery despite the fact he’s now 55 and dealing with the aftermath of adult onset diabetes. When you listen to these songs spread across four 7-inch EPs you can’t help but feel conflicted: it’s astonishing to witness Morris bring it to the table at this age yet profoundly depressing when you consider the gulf between these songs and most of what passes for punk among the under-30 crowd these days.
The Sadies – Darker Circles
Darker Circles is probably the most complete and consistent record in the Sadies’ impressive catalogue. (I think it’s highly objectionable that it didn’t win the Polaris Prize this year but that’s a rant for another day.) With each record the Sadies seem to embrace the darkness of the human condition a little bit more—Darker Circles seems to represent a culmination of that journey both lyrically and musically.
forgetters – forgetters
If you ever worried that Blake Schwarzenbach had lost his grit and growl, particularly after Jets to Brazil’s last two records, consider this sufficient evidence to alleviate those concerns. Although this debut has only four songs, it’s ample indication that Schwarzenbach still has it in him to be a thoughtful punk rocker. Make no mistake: this isn’t simply a more matured Jawbreaker. It’s evolution. And it’s exciting to think about where Schwarzenbach and forgetters might be headed.
Arcade Fire – The Suburbs
I fully expected the hype surrounding the release of Arcade Fire’s third record to leave me disappointed when I heard it. I was wrong. While this isn’t up to the standard of Funeral, it’s a much better record than Neon Bible. There’s no denying that Win Butler is a terrific songwriter and the creativity of this band continues to impress.
The National – High Violet
After releasing Boxer the National firmly established themselves at the top of the American indie rock heap. High Violet doesn’t do much to alter the formula that made the last two records in particular such critical favourites. That said, the sombre tones and existential malaise so poignantly captured by the band is amplified and, arguably, more sophisticated on this record. That this might come as a surprise to the listener is evidence of this record’s achievement.
Titus Andronicus – The Monitor
Punk rock band from New Jersey evoking Springsteen as they journey along their transition into more sophisticated indie critic darling—haven’t we heard this before? It would be easy to lump Titus Andronicus in with Gaslight Anthem and forget about them. But that would be a mistake. The grit is palpable and the songs are often epic (a Civil War theme is used to frame much of the record). This is an outstanding record in its own right.
The Fall – Your Future, Our Clutter
What is this now, the 74th Fall record? (Actually, it’s the 28th.) Regardless, it’s further evidence (not that you needed it) that when the Fall are on (perhaps, better put, when Mark E. Smith feels like it) they can still put out interesting and eminently enjoyable records.
