2011 Albums of the Year

This year I return to the tried and trusted formula of the meaninglessly numbered list. The reason? I looked at last year’s entry to see which album I’d chosen as my number one, and was disappointed to find I hadn’t bothered. Too lazy, I reckon, and it wasn’t a particularly good year. This year, though, I was spoilt for choice, and so (already thrilled readers, musicians and music biz executives), I gift you the shivering anticipation of the countdown. As ever, my criterion was simple: I chose albums I wanted to keep playing, again and again. It’s not really a list of records classified for technical or creative or cultural reasons, but a list of albums I most fell in love with (though from around number 30 downwards it’s less love, and more ‘fancied a lot/bit’).

20. Beirut – The Rip Tide (Pompeii Records)

With this band, you feel that anything’s possible, although more than likely it will involve brass bands and some kind of folk influence from an unlikely source. iTunes laughably classifies this as “indie-rock”. Think of any other combination of genres besides indie-rock, throw them into a catalytic converter and let Beirut toy with the result using seductive syncopation, blasted riffs, and a pale but fetching vocal. Track you’d want your town band to play at the annual parade: The Rip Tide

Classically Deathcabbish

19. Death Cab For Cutie – Coats and Keys (Atlantic)

I sometimes buy albums by bands like Death Cab For Cutie out of a sense of duty that they’re the kind of band I ought to be into, rather than actually being into. So it’s always a pleasant surprise when their records turn out to be far better than I’d expected. This is a solid, archetypally articulate DeathCabbish collection, though it sometimes takes years for their best songs to sink in – I only realized when I saw them live how much I love their earlier work. Indie-pop track to the core: Doors Unlocked And Open. Advice I won’t take track: Stay Young, Go Dancing.

18. The Feelies – Here Before (Bar/None)

Seeing as no one makes blissfully good old-style indie-pop any more, call back the old hands that did it right the first time around, as the album title hints. Okay, second time around, given that so many 1980s bands like The Feelies and Galaxie 500/Luna unblushingly but very successfully rode on the riffs of the Velvet Underground. They’ve still got what they always had – cheerfully shambolic but somehow addictive scratchy guitars on top of understated vocals in a world beyond Autotune. Track to dance badly to while wearing your retired leather jacket, smoking a cigarette and drinking get-pissed-quick, extra-strength lager: the whole album