Embassy Row: Embassy Row's 20 Favorite Albums of 2010

I made sure to word the title of this post very carefully. I find that year end lists tend to send music lovers into a bit of a tizzy (I'll admit to being upset with Pitchfork for placing High Violet at number 23 on their list.) I'm well aware that my lowly little blog doesn't draw enough attention to cause anything close to an uproar, but still, to clarify, these are my favorite albums of the year, I'm not saying they're the best, but they're the albums that really stuck out to me, so I'll say they're worth at least a listen (or two.) So with all of that considered, from me to you- Embassy Row's Favorite Albums of 2010:

1) The National: High Violet

With 2007’s Boxer, The National took a few steps towards expanding their sound, on High Violet the band has been completely flushed out. Heavy on the violin, keyboards and horn section, High Violet is nothing short of grandiose. Every moment of High Violet swells with intensity, but manages to never feel excessive or over-indulgent. The album’s lush sound parallels nicely with singer Matt Berninger’s deep voice and quintessential “sad bastard” lyrics. Lines like “You’ll never believe the shitty thoughts I think” and “I don’t have the drugs to sort this out,” represent what has defined The National since their debut in 2001. The National present a sort of rally cry for the everyman, they’ve never been triumphant or fantastical. On High Violet, Berninger sings about finances and family, and captures it all with complete honesty and little complexity. High Violet is truly a triumph for The National; they’ve managed to make marked changes in their sound, while still staying true to the band they established 9 years ago.

2) LCD Soundsystem: This is Happening

James Murphy is a sort of god among men. His work with LCD Soundsytem has established him as perhaps the hippest man in the industry, and at 40 years old, that is an accomplishment worth mentioning. It’s true that LCD Soundsytem is meant to be danced to, it’s heavy on beat and provides more than a few expansive synth filled moments, but with a closer listen it’s clear that this is so much more than simple dance music. Murphy combines elements of 70’s punk, art rock and traditional electronic beats with a style and lyricism all his own. The newest LCD offering continues the more personal approach Murphy took on 2007’s Sound of Silver, but while Sound of Silver was Murphy’s ode to aging, This is Happening is an ode to relationships. On I Can Change, Murphy pleads: “I can change, I can change, I can change, if it helps you fall in love,” all the while asking his significant other to stay exactly who he fell in love with. This is the type of confusion and honesty that pervades the album. The lyrics range from self-deprecating to punch line worthy and seem to prove that Murphy has abandoned his former off the cuff style of recording. The longest song on the album, Dance Yrself Clean, shows off one of LCD's most intriguing abilities. The song starts with Murphy talking in circles, and suddenly breaks into a massive impossible-not-to-dance to beat. These transitions make LCD Soundsystem songs listenable both on and off the dance floor, which is one of the things that make their albums worthy of reverie. If This is Happening is Murphy’s last LCD Soundsytem album, he will have left us with an almost perfect example of his talents, a gift from the coolest man in music.

3) Beach House: Teen Dream

Beach House is comprised of Baltimore's singer/songwriter/keyboardist Victoria Legrand and guitarist Alex Scally. The duo creates thick dream pop anchored by Legrand’s powerful, husky voice. Teen Dream adds bends and shifts to the groups sound, allowing it to feel bright and sometimes bouncy. Teen Dream is more listenable than the band’s previous albums, partly because they abandoned some of the shadowiness that seemed to linger. There’s crashing cymbals, “ah ah ah’s,” and perfect arrangements all of which allow Legrand’s voice to gallop alongside her keyboard. The lyrics aren’t exactly the most important element here, the Sonics of the album and Legrand’s voice give them a hunting power, but on paper they’re much less pervasive. Teen Dream is a moody album, filled with shadows of gospel organ, churning keyboard and perfectly placed drum kicks. There is a soulful quality here that makes the album’s dark and light moments both powerful and serene at the same time, a paradox that has allowed Beach House to create and album that is not only unique, but also extremely listenable.

4) Arcade Fire: The Suburbs

Arcade Fire’s first album, Funeral has achieved something close to worship amongst their fans. Their baroque style, ambitious orchestration and anthemic momentum pushed Arcade Fire into the music world’s consciousness, and created a sort of larger than life presence for the band. Their follow up, Neon Bible was deemed a let down by some, it’s songs collapsed a bit under the weight of political statement and overdone arrangements, which made the anticipation for the group’s third album even more prevalent. Finally, 3 years after Neon Bible, Arcade Fire delivered The Suburbs, an epic quasi concept album that explores the connection between adulthood and youth, what constitutes wasted time and wasted effort, the results of looking back with regret. The album isn’t as depressing as it’s concept may sound though, in fact, with The Suburbs, Arcade Fire seem to be returning to the connective optimism that made Funeral an almost universally lauded album.

5) Sufjan Stevens: The Age of Adz

In 2005, Sufjan Stevens gifted the music world with his beloved Illinois, which placed his heavenly vocals and thoughtful lyrics alongside clever arrangements. 5 years later, Sufjan reemerged earlier this year with the All Delighted People EP, which set the stage for a new, more ambitious sound. Then we got the release of The Age of Adz, a monumental, electronics infused take on Sufjan’s usual gorgeous vocals and orchestration. This album features some of Steven’s most personal lyrics yet, mostly concerning his struggle with a prolonged illness prior to the release of the album. The Age of Adz requires an attentive listener (for example, the epic 25 minute closer Impossible Soul) its songs are long and shift periodically. Parts of the album can seems chaotic at times, but it’s Stevens’ ability to balance simplicity with chaos that makes The Age of Adz function as one of the best albums of the year.

6) The Tallest Man on Earth: The Wild Hunt