And here it is ladies and gents. I just about have enough cohesion left to make this happen. I would personally like to thank the following members for their amazing hard work in making this Top 50 even happen. Mark191082 for bringing it back to life, Heron for his persistence in making this Top 50 a piece of journalistic brilliance, Jack for his sheer hard work, determination and enthusiasm. But also thanks to all the staff that voted to make this happen. I honestly believe we have the most real, down to earth and honest Top 50 of the year and am proud of what we have done. 2010 is going to be a big year for Altsounds.com so keep your eyes and ears peeled girls and boys. LONG LIVE ALTSOUNDS.COM! ^5

This is a 70's fantasy mash-up that will recall almost anything that these musicians have touched during their careers at various times over the course of its 66 minutes. Opener 'Nobody Loves Me & Neither Do I' encroaches with a laid-back stoner vibe that hints at menace in Homme's crunching riffs and Jones hulking rhythm that will eventually hulk up whilst Dave Grohl keeps everything steady making you long for him to sit on the drum stool more often than he does these days. The track keeps a steady pace with Homme crawling "When I told her I was trash / She winked & laughed & said I already know / I gotta beautiful place to put your face" and then comes 2:44 and Jones explodes in what can only be described as a behemoth of a bassline that quakes the whole track to its foundations as we are treated to a mighty jam that just assaults the ears with ferocity. Its mayhem and I love it. The scene is set.

Follower 'Mind Eraser, No Chaser' continues apace with an intro that is beguiling with as Homme teases out more meat from his guitar as the drums fall out of sync and the bass rumbles in another continent. What on earth is going on? But it all ties together as the chorus rushes with Grohl on backing duty for the only really noticeable time on the album and it's something that should have been used to more effect as it works well here complimenting Homme's intentionally lackadaisical delivery as bizarre lyrics flow "New age goosestep on a karma collision - Dulling the edge of a razor blade." Jones gets his moment of playfulness and then the outro that shows the complete lack of seriousness put into the album as horns parp and you realise this is one big bowl of fun.


'New Fang' is a straight-edged affair that no doubt owes a debt to Grohl's way with pop sensibility as it's very regimental in its delivery but also has a certain accessibility to it until Homme wigs out in the end. 'Elephants' is possibly the stand out moment from Them Crooked Vultures and is almost a template for what they can achieve. It melds all that is great about the musicians laying it down and instantly makes you want to simultaneously make love to something, anything, whilst head-banging, drinking beer, and playing pool which although all technically impossible to do together it is what 'Elephants' makes me want to achieve! The intro just thuds into your soul with Grohl demonstrating why he's one of the best around driving the track into the ground as Homme tries to keep pace and Jones no doubt does that wonderful Led Zeppelin bass groove he perfected. Hell even when this track settles down it just makes you go with it, swaying with your rock arm held firm in the air. It's the pinnacle moment and they know it "Like lumbering giants in a shameful parade - We came to ruin all & make a rotten trade." And in the end its back to the intro and they all recall their "A" game - simply breath-taking.


'Reptiles' is a bit of a workout for them as it's twists and slithers it way with fractured, squealing riffs and and incessant pounding that becomes infectious, this is all tied together into what sounds so disjointed and unworkable that you can't help admiring them pulling it off. Homme also shows a little gift for words that sometimes goes unnoticed in his day job such as "Tongues flash & flick as if they're screamin / Oh they lie like any lover / Oh do they, those kisses will burn."

For the finale we get 'Spinning In Daffodils' which is just an exercise in being outrageous with an intro cut from the Matt Bellamy school of melody that is then torn into by Homme's razor wire guitar and a droning drum beat that looks to unsettle but merely makes me hang my head in silence at its spectacularity (yes I made that up!).

"Them Crooked Vultures" is stunning; sure we can all go and stick on 'In Utero' or 'Physical Graffiti' or 'Rated R' and experience these three rock gods at their peaks but this seems like a genuinely exciting new chapter in their careers that neither seeks to replicate past glories nor doff there cap to them but instead looks to embrace a new dawn as an altogether different beast.

As proving her vocal talents in abundance Two Suns confirms Natasha Khan as one of this country’s most ambitious and intriguing songwriters. It also cements the reputation of David Kosten (otherwise known as 'Faultline') as a borderline genius producer, the whole record feels like a complete work, everything is perfectly balanced and every song has at least one genuine 'wow' moment. Khan's melodies appear to be unbound by classic pop convention and more often hark back to folk and classical music, these delicate melodies really compliment Kosten's arrangements and dense, reverberated textures. Sonically the only other record of this year I could compare Two Suns with is Animal Collective’s 'Merriweather Post Pavillion'; there's not quite as much going on here granted, but the hazy, dreamlike state it induces is near identical. At its heart though this is a pop record bursting at the seams with melody and invention.

The single 'Daniel' should really tell you everything you need to know, it's the most immediate thing she's recorded yet and contains one of the most memorable chorus's I've heard in months. However it's sparse oddly karate kid indebted dream-pop might be considered a red herring when you compare it with the other 10 tracks here. The most immediately striking track is the opener 'Glass', a song that bursts out of the gates with melody, ambition and intent. Khan's glacial voice sits almost alone for 30 seconds before a wave of tribal drums and distant guitars join the party as the track gently builds to its climax. There is so much going on in the track you'd think it would be all a little much, the haunting, Bjork-like melody and constant tempo keep it grounded though, it's a perfect opener. Next comes the comparatively sparse 'Sleep Alone', a more electronic song that repeats it's forlorn lyrics and simple melody over a stuttering bass and exotic string instruments like a post modern sea shanty. The chorus introduces a more modern synth line that sounds like something off The Knife’s 'Silent Shout' album, in fact the similarities to the Swedish duo crop up later as well in a more avant-garde setting with the aching darkness of 'Two Planets', a track that really stands out on an album otherwise full of melody driven songs. Here rhythm and atmosphere take centre stage and it shows a different side of Khan's personality.


The album is supposedly a concept album regarding a split personality of Khan's known as Pearl, and it's on 'Siren Song' that we first come face to face with this doppelganger. It's the most powerful thing I've heard this year, the booming piano provides both the tracks chord progression and it's rhythm as everything around it comes crashing down to earth in beautiful, ecstatic agony. This intense, towering, self loathing epic almost brought me to tears. it could be for that very reason that the next track 'Pearl's Dream' never really connected with me, it's a much more straight-forward electro-pop song and is the least inspiring thing on the record. That's not to say it's a bad song, it's just in such grand company here that it suffers by comparison. 'Good Love' however has no such worries, the hushed delivery really brings out the poetic catch in the lyrics and the chorus shows a sensual edge to Khan's song-writing which works in tandem with her onstage persona (a kind of sexy, hippy Pocahontas in case you were curious).


The penultimate 'Travelling Woman' recalls PJ Harvey's softer side with its strident piano chords and solitary snare drum. It's one of the albums most straight-forward moments and might be the best track to prick the ears of the uninitiated. Another beautiful, ambient pop song on an album stuffed to the gills with beautiful, ambient pop songs. Of course being the Scott Walker fan that I am (yes I even love 'The Drift'), the highlight of this record has to be Khan's pin-drop duet with the dark one himself on closer "The Big Sleep". Accompanied by just piano the two voices weave a beautiful tapestry, they really do complement each other perfectly, so much so that I myself would be well up for seeing a full albums worth (ala Robert Plane and Alison Krauss). It's dramatic yet subtle and that our Natasha manages to hold her own up against such a legend really vindicates her tremendous talent. Two Suns is an exceptional record and Bat For Lashes are an exceptional act.

It was only a matter of time until Patrick Wolf produced a masterpiece. With every album he released, his sound became more focused; his vocals more mature; his lyrics attained more clarity and his production skills were honed. Each track on ‘The Bachelor’ is easily able to disprove the mass media which, the majority of the time, has dismissed and underestimated him.

The instrumental track ‘Kriegspiel’ leads us into ‘Hard Times,’ a rebellious track that starts with distorted electronics and is soon permeated with the distinct sounds of a violin – Wolf’s signature instrument. The deep vocals heard are a clear indication that Wolf’s voice has further matured since the last album. The heightening determination for ‘resolution’ and ‘revolution’ in the vocals and music ensure a strong opening for the album and make this track an excellent choice for a single.


Wolf’s love for the traditional is reflected in ‘The Bachelor,’ adapted from the old Appalachian poem entitled ‘The Turtle Dove.’ As such, the whole track is greatly influenced by folk music and uses no electronic elements, choosing a piano instead. The decision to perform the song as a duet with Eliza Carthy was a wise one, her rough vocals complementing Wolf’s smooth ones. If albums had trailers the way films do, this song would most probably be it. It is the essence and theme to the whole album. Melancholic and morose, resigned to the idea of eternal loneliness. Let’s be honest and say that this is quite an overused and over exploited theme in music and art in general, but few can communicate it as truthfully as Wolf.

Written after a 7 day trip to LA during which he was involved in all kinds of morally questionable activities and even found himself in the company of a Satanist, ‘Vulture’ is a sinister track filled with synthesisers and dark vocals that will lodge themselves persistently in your memory. ‘Blackdown’ is on the opposite end of the spectrum. It is a simple, honest track comprised of piano and vocals for the most part. The track is almost shy at first but it finally explodes into a colourful melody, complete with enthusiastic drums and joyous vocals as Wolf sings "desire, you are not the maker of me." This is perhaps the most cheerful point in the whole album and the feeling of liberation clearly experienced by Wolf is most definitely passed on to the listener.


The track that follows is a brutally personal track written about the suicide of one of Wolf’s friends and is personally, one of my favourites off the album. This song perfectly showcases how far his vocals have come and the addition of a choir only highlights them further. Paradoxically, despite the difficult theme of the song, I find it one of the most optimistic on the album with the realization that "the sun is often out." 'Theseus,' is another brilliant track with intricate lyrics drawn from Greek mythology. Tilda Swinton’s voice seems to guide Wolf through the song the way Ariadne’s ball of string led Theseus out of the maze.

‘Battle’ is the loudest and angriest song on the album, a desperate cry for equal rights. It has Alec Empire written all over it which is unsurprising since he co-produced and co-wrote it along with ‘Vulture.’ It is heavily distorted with some classic Empire beats and is the head banging track on the album. Outspoken and unrestrained.

The album closes with ‘The Messenger’ which starts off with some surreal, Alice-falls-down-the-rabbit-hole instrumentation, fast-paced drumming and choral synthesizers. Wolf ends the album on a positive note and there really is a sense of catharsis as he states that he regrets nothing and will continue to travel "the open road."

If you’re looking for an album to play in your car on the way to the supermarket, this is not it. This is not a pop record or a rock and roll record. It is a truly personal work of art that you will either love or hate.

This album will either change the way you think about music or leave you with a grinding headache and a desire to wash out your ears with battery acid.

Not since Scott Walker’s incomprehensibly intense and awesome 2006 album 'The Drift' has something so dark, powerful and just plain 'different' invaded my ear-space with such careless abandon. If Marilyn Manson or My Chemical Romance constitute your ideals of 'dark' music then simply put, this aint for you.

The album clocks in at just under 55 minutes and contains only 4 tracks, Anderson and O'Malley include more guests here than they ever have before and the performances from everyone involved are stellar. We have Earth's Dylan Carlson on guitar, Jazz trumpeters Julian Priester and Cuong Vu, a full male and female voice choir and Mayhem vocalist Attila Csihar, who provides a vocal contribution of such overwhelming menace you would almost be forgiven for thinking Satan himself was delivering the monologues. Sunn 0))) here seem to have taken an approach similar to avant-garde composer John Cage, utilising not only the method of using silence as its own instrument, but also in his thorough and heavily collaborative work processes.

The album opens with "Aghartha", a blast of down-tuned guitars which builds slowly over 5 minutes before Csihar enters the frame, delivering an epic poem concerning the creation of Earth. The song gathers more instrumentation as it advances with acoustic basses, piano, horns and reeds entering the fray one by one until the piece builds to an epic climax as Priester and Dempster blow away on a heavily effected 'conch shell' (don't ask) and Csihars vocals take on a ritualistic resonance, matching in bowel shattering reverberation the rumble of Anderson and O’Malley’s guitars. Thunderous resonant sounds call from beyond the grave before a group of creaking basses eke out of the speakers like a chorus of ancient, rusty doors. It builds to a heady blast of noise before receding to Csihar, who ends his esoteric tale of inner Earth to the accompanying sounds of the tide crashing upon some invisible shore and finally dissipating into a single booming moan.


'Big Church' opens on a dramatic a-cappella female choir which is joined almost immediately by a barrage of guitar feedback. After a relatively short build up Csihar enters with a more melodic vocal style than he used on 'Aghartha' and a discordant, clean guitar plays a lonely refrain over the reproaching choir as it builds to a shocking full stop only minutes into the song. The bells that mark the periods of almost absolute silence throughout the song stand out drastically and mark a subtle shift in tone that isn't revisited fully until the final track 'Alice'. Also layered above the feedback here is a lonely organ, viola and heavily panned brass section which against all odds manage to find adequate space amongst the crushing distortion. Csihar's vocals fade in and out of the mix like a wandering apparition, speaking incantations that are just audible over the din. It is disturbing stuff and not for the weak of constitution. The choir is an inspired addition as it adds an almost operatic sense of drama which takes the track into a musical realm I don't think I have ever had the pleasure of experiencing. 'Big Church' is truly like nothing I've ever heard before, and it's been years since I've been able to make that proclamation!

'Hunting & Gathering' is by and large the most conventional track the album has to offer with what could almost be classed as a conventional metal riff underpinning Csihar's most traditional performance on the record. The addition of sparse percussion here marks it out as the albums black sheep with droning cymbals and huge, parping horns bleeding into the most brutal synth sound ever concocted. Its textures have more in common with the bands White1 & 2 albums than anything else here but it's more refined, excessive and overly affecting. There are cracks of melody showing here too, the last vestments of dark matter still clinging to the rocks slowly being chipped away by Priester and Dempster's simple and jarring horn arrangements. It's basically one final slab of black granite before the gleaming fountain of light that is 'Alice', Sunn 0)))'s beatific nod to Alice Coltrane and the first time the band has ever truly embraced their more jazz based leanings. It's orchestral grandeur and ambient tones have more in common with 'Stars Of The Lid' than any kind of metal music and it's heavy contrast with the rest of the record only deepens its connection, its impact and its beauty. The acoustic instruments seem to be gradually overtaking the feedback, pulling light from the darkness which results in an orgasmic musical head-rush.... it's like the metaphysical, musical equivalent of the bends.

To give the record a genre tag would be a grave disservice; it’s a monumental achievement both artistically and musically and is thus far my album of the year. If you can stomach it and you've prepared yourself adequately, then sit back, relax and turn up the black.



It’s a marvellous piece of work; one of those albums (like many of the greats) that keeps on giving. It slowly reveals its charms over repeated listens, rewarding the patient and brave with musical treasures, some of the likes of which they will have never heard before (even from Animal Collective). It’s impossible to digest in one, or even a few listens. Even upon writing this review, I know I still have much more to discover with Merriweather, which is an exciting prospect. To be considered great, an album has to have legs, and Merriweather is likely to have more than most. One key to this is the way the band don’t ram melodies down your throat. They know when less is more, and tend to tease the listener, with melodies drifting in and out of the songs, giving a hint of their beauty rather than a glut.

Opener “In The Flowers”demonstrates this perfectly. Building slowly from a mystical opening, Avey Tare easing us into the album with uncustomary restrained vocals, it suddenly explodes after two and half minutes into a cacophony of electronic insect noise and tribal drums. It’s typically unworldly, and rather fitting then that the album should really kick in after the line “If I could just leave my body for the night”. Staying with the album’s lyrics for a moment, Merriweather is a binary affair. At times the lyrics are extremely candid. On second track “My Girls”, Panda Bear sings about life leaving his twenties, about the things that matter to him now. “Is it much to admit I need, a solid soul and the blood I bleed, with a little girl, and by my spouse, I only want a proper house”. It’s comforting to see a band produce amazing music, without feeling the need to use it to soundtrack tired old rock‘n’roll clichés and histrionics.


Of course, as we have come to expect from Animal Collective, the lyrics elsewhere are typically bizarre. On “Summertime Clothes”, perhaps the most straightforward pop song on the whole album, Avey Tare sings, “Let's see the sound of the heat from the sound of the rain, it's easy to sleep when I'm with my brain, it colours my rest with a saccharine sheen, kissing my wind through my window screen”. The lyrics reinforce the offbeat way they approach pop music. When A.C do pop, they don’t do it quite like anyone else (if indeed they do it at all).


The album’s spirited opening makes way for a slightly more composed remainder. It’s still effervescent, but offers the listener more time to survey the musical landscape, as they often did pre-‘Strawberry Jam. “Bluish”, “Guys Eyes” and “No More Runnin” all breathe a little more evenly before they regain their opening pace in the final track; the afro-house of “Brothersport”.

This is their ninth album (including a live album) in almost as many years and very possibly their finest. Merriweather Post Pavillion already sounds like the career pinnacle we thought they may have produced with their previous three albums, but the band truly do get better and better. It’s hard to see how they can keep beating themselves though, and it doesn’t seem like anyone else is capable of doing it, not yet at least.

AND THAT'S IT. HAPPY NEW YEAR. LONG LIVE ALTSOUNDS.COM AND THANKS TO HERON, JACK S AND MARK191082 IN PARTICULAR FOR HELPING MAKE THIS A REALITY AND THANKS TO ALL THE STAFF FOR VOTING. HERE IS TO ALL THE GREAT NEW MUSIC IN 2010, ITS GONNA BE A BIG YEAR. CHEERS!