The Most Anticipated Albums of 2010

The Most Anticipated Albums of 2010

By: The AudioSuede Staff

With a new decade comes new expectations and new possibilities. It may take us a few more years to define the Aughts; with so much information and transformation to wade through, what will be the past decade’s lasting legacy? “Indie” became the new “Alt-rock” which had once been the new “Punk.” But “indie” was hardly the defining genre of the Aughts, right?

The debate about the past is still fresh. But time doesn’t stop to reconsider. We must forge ahead into new territories of musical history, and gladly we oblige to do just that. Of course, it being the first year of this new decade, what better way to look to the future than to get excited about new releases from artists of the recent past?

What can we say? No one can expect us to predict this decade’s first big breakthrough artist when there are still so many unanswered questions about the breakthrough artists of the last ten years. I mean, have you heard about some of the albums coming out in 2010? It’s a veritable who’s who of Aughts buzz bands who we may finally see reaching their full potential. Read on, and get ready for a good year.

The Arcade Fire, as-yet-untitled (May? Fall?)

The Arcade Fire produced one of the most lush, most unexpectedly impactful albums of all time in 2004 with Funeral. With one of the largest bands in the indie rock scene (both figuratively and literally), they took over the music world with anthemic songs the evoked the power of humanity and life and love and death. “Wake Up” has become the go-to song for anyone looking to score their movie trailer, Super Bowl commercial, or television drama with an inspiring soundtrack. And yet, after a massive tour to promote their 2007 follow-up Neon Bible, the band has been mostly silent the last few years. The only new material to surface has been a song on last year’s charity compilation Dark Was The Night, a song which sounded notably similar to early recordings such as those on their debut EP. But the time has come again for The Arcade Fire to prove their status among the world’s best and most promising bands. It was reported way back in June of last year that the band had begun recording their third full-length, which was to be released later that year. Then, a release date was tentatively set for May, and there are some reports (though rare) that say this might still happen. Most estimates now have the album, which was produced with Marcus Dravs who worked with the band on Neon Bible, coming out in the second half of 2010. What will the recordings ultimately hold? Will we see the bright, dynamic choruses of Funeral, the darker, Springsteen-esque moodiness of Neon Bible, or something we’ve yet to hear from the band before? There has been literally no indication about the album’s intended sound, effects, production quality, or anything in between. Regardless, fans and critics will be giddy with anticipation for what’s to come.

Broken Social Scene, Forgiveness Rock Record (May 4)

The Canadian super folks behind such sprawling masterpieces as You Forgot it in People and Broken Social Scene are finally returning to an album proper after a few years of members churning out semi-solo albums. The new album is called Forgiveness Rock Album and will be coming out on May 4 through their Arts & Crafts label. The album isn’t quite as overloaded at its core this time around, with the main cast of characters down to a minimal six, including ringleaders Kevin Drew and Brendan Canning. However, those of us hoping for another “Lover’s Spit” or “Anthem of a Seventeen-Year-Old-Girl” are in luck, as Leslie Feist and Amy Milan are both scheduled to make appearances on the forthcoming album. Along with these two, expect to see Emily Haines, Spiral Stairs, and Sebastien Grainger added to the mix. The album’s first single has been released, it is titled “World Sick” and you can give the seven minute epic a listen below! The track is initially reminiscent of something off their first album Feel Good Lost when they were only a ludicrously tiny two-man operation. The track eventually opens up into a lightly bouncing verse before a crashing, guitar smashing, shout-a-long chorus. Probably the most interesting facet of the song is how it never quite reaches the all out release that made songs like “It’s All Gonna Break” such great songs, and instead supplants a fortissimo ending for something more relaxed, and it feels just right.

Goldfrapp, Head First (March 23rd)

After 2008’s lackluster Seventh Tree I wasn’t sure if I’d ever get excited about a new Goldfrapp album again. Not that it was even necessarily bad, it’s just my interest in the pop-tronic British duo has always wavered as they continue to release everything from astounding albums (2005’s Supernature), forgettable ones like the aforementioned, and pretty solid efforts (2003’s Black Cherry). This wishy-washy sense completely changed, however, when I recently heard the lead single “Rocket” from their forthcoming fifth LP. This song blows the roof off basically all 80s-inspired dance pop that I’ve heard in recent years. It’s basically the culmination of the entire Kate Bush/Simple Minds revival that was spearheaded and brought to a truly awesome climax by M83 in 2008, plus it’s got Alison Goldfrapp’s voice on it, which is the best trait the band has anyway. If at least 2-3 other songs on this record give me the same delightful buzzies that this track did, I will be in heaven. Thus, I am severely psyched.

The Strokes, as-yet-untitled (September)

The Strokes caused more than a small ripple throughout the music industry in 2001 when they released their debut album Is This It? Critics were united in their love of the punky, old-but-new swagger of the New York-based quintet. Most listeners were equally enamored. But shortly after the album’s release and subsequent stratospheric hype, naysayers began to creep up to start the chants of “overrated” or “all hype,” making The Strokes the recipients of possibly the first major buzz-band backlash that many bands would find themselves facing in the subsequent years of the indie scene’s explosion. The cries built slowly after the band’s second album, Room On Fire, received critical acclaim but failed to outsell its predecessor. People accused the band of having no range, of making the same album twice. All of this negativity came to a head in 2006 as the band released their first truly divergent record, First Impressions of Earth. Critics were underwhelmed, and sales were a disappointment, and the naysayers had time to celebrate as the group splintered, taking a massive break as each member went off to attempt solo projects and figure out what went wrong. But it appears that The Strokes may be the ultimate winners here; time has shown the band’s third disc to be stronger than on initial listens, featuring some thrilling guitar work and showing off Julian Casablancas’s voice in a way the distortion-laden vocals of the band’s first two albums couldn’t. And now, after four years of solo side projects, the band has diversified their sound and can now return with renewed vigor into the consciousness of the masses. Basically, no one knows quite what to expect. The Strokes can make whatever album they want, and that element-of-surprise mentality may be the what the band needs to return to their place at the top of the heap.

Interpol, as-yet-untitled (Early 2010)

Speaking of New York City indie/post-punk bands whose debut albums appeared to large critical acclaim in the early Aughts who are coming off of several years’ worth of solo side projects to release their fourth album (seriously, are Interpol and The Strokes the same band?), Interpol has announced a follow-up to 2007’s Our Love To Admire. The band recorded at Electric Lady Studios in NYC during the Spring of 2009, but no release date has been set as of yet. As for what the band’s saying about it? It’s a real good news/not great but not bad news situation. Drummer Sam Fogarino told Paste that it was going to sound a lot more like the band’s excellent debut, Turn on the Bright Lights. This is good news. However, in a later interview, Paul Banks told the BBC that the album will sound nothing like TotBL, but will feature some “classical” sounds. Okay? While it may seem a little discouraging that the band apparently can’t agree how the album in question will ultimately sound (strange considering they’ve finished recording it already), the album is definitely being released. And when it’s out, we’ll definitely let you know whether it was worth the wait.

Lupe Fiasco, Lasers (Summer 2010 (if we’re lucky))

Oh, Lupe. You were originally supposed to release an epic 3x LP but Joanna Newsom beat you to it. Then you were supposed to literally write and record “The Great American Rap Album“, as you called it, but then you realized you’re still moving toward the zenith of your career, not the nadir. Sorry, bud. You’ll just have to settle for putting out another phenomenal hip hop album chock full of intelligence, wit, and thoughtful contemplation. Too bad so sad. Hey, it worked for The Cool back in 2008 and even your debut (right out of the gate!) Food & Liquor in 2006, so why not just keep at it? And while those records had “concept” written all over them (youth first, then fame), maybe what you need is just a great collection of songs to keep yourself from going overboard with trying to outdo yourself every record. Apparently “Lasers” stands for “Love Always Shines Everytime Remember 2 Shine” so by my calculations, 12-15 catchy and vibrant hits about optimism and rejoicing is just what the alternative hip hop genre needs a fresh jolt of today. Just put the finishing touches on it already and give it to us this June or July (it was supposed to be out in December).

LCD Soundsystem, as-yet-untitled (Late Spring, Early Summer)

I hated LCD Soundsystem until I saw them at Lollapalooza in 2007. I hated them during that set then until they played “Someone Great”. And then Daft Punk played right after LCD, and the night became glazed in my mind forever. Despite my respect for LCD, I do think James Murphy’s songwriting is frustratingly uneven, but when he gets it rights, he fucking nails it (see http://www.youtube.com/watch?v=gw-nYD0GQwI ). Murphy is also a great producer who, like Holy Ghost!, is obsessed with creating an amazing sound through the use of older analog equipment.

The blogosphere absolutely loved LCD’s last album Sound of Silver. Again, I was very impressed with the sound and I loved a few tracks, but a lot of the album felt self-indulgent and left me bored. LCD Soundsystem is in strange position where they are a good band, but groupthink has vaulted them into “masters of the universe” territory. I respect Murphy more for what he has done with the DFA record label than his musical output, but I do think he has the potential to create a masterpiece. I am hoping his new record blows my mind.

New Pornographers, Together (May 4)

In more Canadian super group album news, the New Pornographers will coincidentally (?) release their fifth album through Matador on May 4^th as well. This one is called Together and the bulk of the album was handled by lead-man A.C. Newman while the ever-busy Dan Bejar took the reins for a few tracks. The rest of the usual members are all here as well which includes Neko Case who put out a fantastic album of her own last year. Guest-appearances will be made here as well, and it seems the New Pornos spared no expense, enlisting the help of St. Vincent’s Annie Clark, Beirut’s Zach Condon, Will Sheff of Okkervill River, as well as the Dap Kings. What makes all this so exciting is just how different every artist is while working on their own stuff; Newman’s indie-pop, Bejar’s Bowie-like storytelling and recent sprawling electronic experiment on Bay of Pigs EP, Case’s country siren force-of-nature voice, Annie Clarks sensible shredding, and the Dap King’s undeniable swagger. How all these pieces will fit together has yet to be fully seen, but oh boy is it tantalizing. You can preview the melting pot on the energetic single “Your Hands (Together)” right now!

Dosh, Tommy (April 13th)

By my estimation the most talented musician to come out of the Twin Cities in this decade, Martin Dosh is also the most singularly unique. What I believe makes his next release so anticipatory is not only will be another thematically-minded collection of stark yet gorgeously overlapping melodies, but it is also a tribute record to his longtime friend and soundman, Mr. Tom Cesario. The power that an album dedication to a loved one can do should be obvious, but even more so when you’re an artist like Dosh, who has to convey his love and adoration for his colleague largely through instrumentation. Yes, Andrew Broder of Fog (also now of Why?) will be there to contribute a vocal line or two, plus when I saw him perform live this past December he played a track of the record where the octopus of drums/keys/loops himself sang a few lyrics, but really the spotlight here is on the manic yet magnificent orchestration of beats and melodies. To hear how this kind of no-frills straightforward love letter will be articulated in Dosh’s style should be an emotional and magnetic journey, to be sure.

The Rapture, as-yet-untitled (Possibly June/July)

I remember buying the The Rapture’s first album Echoes in the Rough Trade record story in West London in the autumn of 2003. I had very little money, but I felt like I had to listen to the album after seeing the cover. When I first put it on, I was somewhat taken aback. I had not heard anything like it before. For me, Echoes felt like it was right on the crest of a large cultural upheaval that was happening all around me: the deep disillusionment with the war in Iraq and the Bush presidency, the proliferation of hipster culture, and the rise of independent music.

Looking back on it now, I think I underestimated the importance of The Rapture’s debut. It is true that Echoes tapped into the counterculture zeitgeist of 2003, but perhaps more importantly, I think the album transcended the scene and became something more than just a testament to post-millennial escapism. I have no doubt that I can put Echoes on in 30 years and still get that same rush I have every time I listen to it.

My love for Echoes probably is the reason I hate The Rapture’s second album, Pieces of the People We Love. I have tried to listened to it a few times, but it always falls flat. It’s too loose, too happy, and too unhurried. Echoes felt vital, People We Love felt complacent. I have high hopes for The Rapture’s 3rd album. One of its integral members, Matt Safer, left the band last year, and I am interested to see what they can create without him. The album has been mostly recorded, and they are shooting for a summer release. Let’s Hope.

of Montreal, False Priest (working title) (Summer?)

This band has been one of the most fun and interesting acts to follow over the last few years. First creating one of the best break-up albums of all time with Hissing Fauna, Are You the Destroyer? which gave birth to Georgie Fruit, lead-singer Kevin Barnes’ black hermaphrodite ex-funk musician alter ego whose personality and sexual escapades were fully explored on the subsequent Skeletal Lamping. The of Montreal camp has been relatively quiet since then, but news has surfaced that Kevin Barnes has been working on a “psychedelic, No Wave, funk album” and has released an early demo of a ballad-y song “Enemy Gene” on YouTube earlier this year. Beyond that there aren’t too many concrete details, not even word if Georgie Fruit will be making a return or if the foil has been put down. The album is going to be called False Priest and it will be out “sometime in the spring” so keep your eyes peeled for this release. If it’s anywhere near the sexual-fever-dream/dance-till-you-collapse levels of their last few releases it’s sure to be the album of the summer.

Holy Ghost!, as-yet-untitled  (Fall?)

I have not been this excited about an album yet to be released since Oasis’ Be Here Now in the summer of 1997. It was a crushing disappointment when I finally listened to that album, which was sad mixture of overindulgence and narcissism. I never loved Oasis again.

This is perhaps why I have never let my excitement level get too high for upcoming albums since that terrible summer of 1997. I have been disappointed since then as well… Interpol’s Antics comes to mind. Finally though, a band has come along to wash away my doubt and cynicism. Holy Ghost! is duo of Manhattan-born best friends who have been making music together since they were in grade school. The fact that they have only released two original songs as Holy Ghost! may have something to do with my strong desire to hear what they have concocted in their Brooklyn studio. They have done a few brilliant remixes, but it is their original stuff that puts me into music-nerd seizures.

Holy Ghost! is affiliated with DFA records, which makes sense when you hear the disco drums and bass synth in their tracks . I geek-out over Holy Ghost! for two reasons. First, they are analog nerds who love to use old gear like Sequential Circuits’ Prophet 5 synthesizer and Roland Space Echo tape delay. Second, they are meticulous producers and songwriters. They are perfectionists when comes to the sound and structure of their songs. This is why I have listened to “I Will Come Back” more than other song in the last 6 months. It approaches perfection.

Beyond just the aural aspects of their music, Holy Ghost! is definitely tapping into a resurgence of the 70’s feel good disco vibe. The cultural history of disco is quite fascinating. I always thought it was really lame commercial fluff till I learned more it. It appears the backlash against disco had more to do with homophobia and blatant racism than with any sort of grievance concerning leisure suits or the Bee Gees. http://www.youtube.com/watch?v=MpQfCcsqQ0E I like to think that Holy Ghost! will help bring back and popularize the optimistic and communal aspects of disco so people start grooving again.

-Christian Hagen, Cooper Foyt, Chris Polley, Daniel Wipert