10. Justice – Audio, Video, Disco

The general critical consensus of Justice’s sophomore album seems to be that of mild disappointment in comparison to their debut album. I confess, I’ve yet to hear their first album, but perhaps that’s a good thing since I came into Audio, Video, Disco with no expectations and was pleasantly surprised. It’s an album with an obvious electronic bent but the focus here is on nostalgic pop-rock. Instead of using synths in ways you might expect, they use them in place of traditional instruments to serve the same purpose. Some listeners may not even realize that most of this album is constructed this way. Prog-rock-influenced instrumentals weave in between pop songs, giving the album a very cohesive feel and an excellent flow. Audio, Video, Disco is an album that is more than the sum of its parts, and it works best listened to as a whole rather than as individual tracks.

9. Tom Waits – Bad As Me

The first Tom Waits album of all new material in seven years is perhaps the quintessential Tom Waits album. There’s really nothing new or surprising here, but there is a taste of nearly every style he’s ever done. There’s something for everybody here. Bad As Me could function as the perfect introduction to Tom’s off-kilter persona for someone new to his music. These songs are short, to the point, and they leave you satisfied but still wanting more.

8. Steve Hackett – Beyond The Shrouded Horizon

As a guitarist, Steve Hackett has been responsible for some extremely influential techniques (such as tapping in a rock context), but restraint has always been his greatest strength, and that’s exactly what often causes him to be overlooked. Unlike so many other talented guitar players, he realizes that the song should always come first. Hackett hasn’t put out a weak album in years, and Beyond The Shrouded Horizon continues that streak. He proves he still knows how to make classic-style progressive rock that isn’t just flashy demonstrations of instrumental prowess. There is true honesty and emotion behind his work, which is something that is very hard to find in progressive rock artists these days. Hackett is just as comfortable with quiet classical guitar pieces as he is with loud metallic rock, and you’ll find all that and more on this record.

7. They Might Be Giants – Join Us

Join Us brings They Might Be Giants back to their glory days and is perhaps their best album since 1994’s John Henry. It contains all the elements that make TMBG a great band: a fun atmosphere, off-the-wall arrangements, silly esoteric lyrics, and catchy, catchy melodies. Their last few albums were aimed at kids and while they were decent for what they were, I didn’t think they’d be able to hop so easily back into making great albums for all ages. But it turns out I needn't have worried. Both John Linnell and John Flansburgh know what they’re doing and are once again writing songs at the top of their game. I do wish the production had been beefed up a little though.

6. Kate Bush – 50 Words For Snow

Kate Bush has never made the same album twice, and her main offering of 2011 is no exception. 50 Words For Snow is a slow-paced, moody concept album that demands intensive listening to extract its intricacies. Lyrical tales of everything from a romantic encounter with a snowman to unrequited love spanning decades paint pictures as vivid as any in Kate’s catalogue. Steve Gadd’s masterful drumming feeds off the feel of Kate’s piano, and lulls the listener into a hypnotic rhythm of sound. These songs are longer and more drawn out than any in her back catalogue, but patience will reward you. 50 Words For Snow may not be an easy album to digest but it is a triumph of subtlety and songcraft.

5. St Vincent – Strange Mercy

For her third full-length effort, Annie Clark has given her songs a big boost in energy. Unlike her previous records, which were largely solo home-recordings (and sounded like it), Strange Mercy sparkles with personality and verve. She’s still writing pop songs, but these tracks indicate that something greater is beginning to develop. She’s got an experimental edge but knows how to use that to bolster the quality of the songs instead of distract from them. Before, St. Vincent could have been mistaken for nothing more than yet another female singer-songwriter (albeit a very good one). This album makes it clear once and for all that there’s a lot more to her music than that.

4. Fucked Up – David Comes To Life & David’s Town

Fucked Up’s massive rock opera project spanned two full-length albums and numerous singles, telling the story of David Eliade and exploring his character, life, and relationships. Listening to it all in one go can be a little trying thanks to how relentless it is, but it certainly rewards those that do. The guitar work on David Comes To Life is incredible; layer upon layer of distorted guitar lines wash all over the mix constantly evolving and changing with every moment. Just make sure you have a lyrics sheet beside you as the excellent lyrics are generally very difficult to discern underneath frontman Damian Abraham’s harsh vocal rasp. The album may only have one core sound (anthemic hardcore) but the number of different moods they’re able to achieve within it is astounding. David’s Town is the complete opposite; it’s short, messy, and very diverse but every bit as good, and makes for a fine companion piece.

3. Colin Stetson – New History Warfare Vol. 2: Judges

New History Warfare Vol. 2: Judges is a bold artful work of saxophone performances. Not only is Stetson’s playing stunning (most of these compositions were performed live in just one take), but the production is absolutely masterful. Multiple microphones captured different aspects of the same performance and when mixed together it sounds like there’s a lot more to these songs than just one instrument. The various textures and atmospheres that he’s able to pull out of his saxophone make for a hypnotizing experience that someone can lose themselves in. I’m not sure what to call the genre Stetson is playing (ambient avant-jazz perhaps?), but I know he does it really well and I can’t wait to hear more.

2. Fleet Foxes – Helplessness Blues

Robin Pecknold’s songwriting has developed to the point that his songs would sound deep performed by almost anybody. Thankfully, he’s got the gorgeous vocal harmonies and earthy instrumental tones of the rest of his band to give these songs the treatment they deserve. Helplessness Blues leans much more on roots influences like The Band and Cosby Stills & Nash without losing the eccentricities that made their debut album so special (such as their fondness for inserting seemingly unrelated short snippet segments between the full length songs). No modern band has production quite as warm and inviting as the Fleet Foxes. The lyrics are thoughtful but never overbearing, the melodies are memorable but never obviously hooky, and the arrangements are mature but never boring. Helplessness Blues sounds incredibly lush, full, and detailed. And just like their previous work, it’s got a timeless quality to it that suggests that it will be enjoyed just as much years from now.

1. The Beach Boys – The Smile Sessions

Argue all you want about this not belonging here because it was recorded over four decades ago. It was released in 2011 and that’s what matters to me. It certainly never had a chance to be on any “best of the ‘60s” lists did it? It’s difficult to keep coming up with new words to keep things interesting when praising an album like this, because every single aspect of it just makes me feel so overwhelmed with positive emotion. Had Smile been completed and released in 1967, the entire face of popular music as we know it could have been altered, who knows? While this 2011 version isn’t quite perfect (even as finished as possible it’s still clearly missing some things), it’s a testament to the quality of the music that even unfinished and compiled from various sources it still stands tall as one of the greatest albums of all time.