Aphera Music

Click here to hear selected songs from each album

Honorable Mention: KiD CuDi: Man on the Moon II: The Legend of Mr. Rager

#10 Vampire Weekend: Contra

While I’ve been a Vampire Weekend diehard since last January, George says “it makes me want to vomit cartoon rainbows.” Maybe there is something kitschy about Ezra singing about horchata, cheese steaks and toothpaste, but this is no reason to write off Contra. I’ve mentioned before that a good artist can take something simple, commonplace and present it in a completely novel way – in other words, make us pay attention to the clothes rubbing against our skin. This is what Vampire Weekend does. On one level, each song is completely unassuming, on another it’s mind blowing. Take “California English”, so fraught with auto-tune and syncopated rhythm you’re forced to ask “why?!” But the auto-tune is just a creative way to present “California English” or Spanish perhaps? Another way Vampire Weekend present simplicity is through perfectionism – the attention paid to minute detail. Although “White Sky” could be repetitive till dullness, it is instead subtly different through the use of changing percussion and inflections in Ezra’s voice. This is 2010’s version of XX – restraint, simplicity yet subtle complexity. The rarity of this combination is what makes such albums winners.

-Larissa

#9 Major Lazer: Lazers Never Die EP

Pure epinephrine runs through the veins of MAJOR LAZER. This causes him to create perfect dance music. This is what I imagine must be true for such unapologetically obscene dance music to exist. This EP is in part a recognition of all ML has done this year but also an appreciation of the EP itself. The remixes on this album do nothing less than improve upon the originals in the case of “Bruk Out” and in the case of “Jump Up” and “Can’t Stop Now” they remixes present the songs in a form that seems just as natural (or perhaps just as ridiculous?) as the originals.

-George

#8 Arcade Fire: The Suburbs

Talk about album cohesion! Thematic, melting of one song into another, and even similar chord cadences in every song, Arcade Fire produced a soundtrack-like album. It even seems to have a beginning, middle, and end (it ends with “The Suburbs (continued)” that brings us right back to the first song on the album). On a smaller scale, within each song, the chord progressions are also circular. Where the cadence ends is also the beginning of the next cadence. Thus, every song is circular, and the effect is a continuous anticipation for a “real” ending. Maybe, that’s why this album is so catchy and debuted at #1 on the U.S. Billboard and received three nominations at the Grammys.

-Larissa

#7 Tame Impala: Innerspeaker

Listening to tracks like “Alter Ego” and “Solitude Is Bliss” really makes me want to put Tame Impala’s, Innerspeaker as number one on our list. But I honestly have to admit, the album as a whole just doesn’t make it that far. If you dig The Beatles, you might disagree with me, but as fresh as the whole classic rock, phased-out style, backed up by the “I don’t give a s**t” feels, may be, we have better justifications for our current higher rated picks. Innerspeaker succeeds in being nostalgic, without making the same mistake other indie bands make who just succeed in sounding stupid. Their 2008 EP sounds like it could have been made today by the band. That’s because Innerspeaker is Tame Impala’s genuine sound.
-Alexander

#6 Beach House: Teen Dream

Teen Dream is a very personable album. This may sound vague, but Teen Dream is vague. The entire album collectively makes a mess of your emotions. Obviously, from the song titles there is some theme of love, but honestly I can’t tell if the album is about falling in love or breaking up. Every song is introspective and absorbing. For example the song, “Lover Of Mine”, may begin like another kitschy song by MGMT, but after the bass and piano enter to accompany the guitar, the song becomes a pool of thought (perfect day-dream material). I personally found this album to be reflexive but I believe you can perceive this album in any way you wish. You can sympathize with it, embrace it, philosophize, etc. Every track on Teen Dream is unique to any listening aspiration. I don’t know how crazy I am about Alex Scally’s voice singing higher than his female counterpart, Victoria Legrand, but the duo together create a very luscious, yet translucent feel. The perfected and smooth production amplifies its imagery and tone. This album isn’t anything mind-blowing, but it pains me to pause my iPod midway through a song. You can claim that music is ear-candy, but Teen Dream is food for thought.

-Alexander

#5 Gorillaz: Plastic Beach

Damon Albarn clearly strives for grandeur with this album. Heavy beats, soaring orchestrations and collaborations out the wazoo do not mask Albarn’s intentions and in fact do quite well to propel this album most of the way towards what it seeks to accomplish. However, the album is plagued by just a few shortcomings that keep this album inches away from perfection. Unfortunate this was for Damon in a year like 2010 where these kinds of minor shortcomings keep a really incredible album at fifth place amidst some other really incredible releases. One or two really expendable songs (“Glitter Freeze” comes to mind) and a couple other hit or miss moments are the only real flaws and unlike in Demon Days, Damon proves that the Gorillaz project is more than just a vehicle for radio friendly pop singles.

-George

# 4 Sufjan Stevens: The Age of Adz

“Letting loose” doesn’t exactly evoke ideas of frivolous brass and superfluous choir. We usually associate “letting loose” will sloppiness, incompletion and disorder. The wonderful, absolutely amazing, extraordinary thing about The Age of Adz is that it’s everything we wouldn’t expect from a free-form, sufjan-finally-let-loose album – it’s saturated with technical orchestration, complex ideas, story lines and masterful song writing. But even more impressively, the free form is still there – themes meander, noises pop out of nowhere, there seems to be little restraint. What makes this a top ten album is the effortlessness – orchestration that would sound contrived if written by anyone else, flows out of Sufjan like drunken ramblings; song structure that would normally either confuse us or put us to sleep, is instead enthralling and deeply emotional. Sufjan is naturally complex and often stabs at the air with odd “noises”. Every so often he stabs us in the heart and throughout his chaos he carries a beautiful melody and story – the combination of chaos, dissonance and harmony and peace is something only Sufjan could have crafted and something that may never be achieved on such a high level ever again.

-Larissa

#3 Flying Lotus: Cosmogramma

I initially wanted Cosmogramma to be album of the year. This was because from the moment I heard the leaked tracks in early 2010 and still to today, the album hit me on a supremely spiritual level. Its huge “cosmic” sound left me paralyzed. However, perhaps its scope was alienating; you’ve really got to get inside your own head to get into this music. Is this enough to push FlyLo off the top spot? Is it problematic at all? Perhaps, if you’re afraid of dementia or insomnia.

Aside from the psychological problems the album chaperones, FlyLo does some innovative things with his music. For instance, he seems so deliberate with his beat placement and ultimately you can tell because FlyLo’s seemingly sloppy, lazy beat (which in reality is probably incredibly delicately timed) really kills it, in a good way. I mean, if it was just a tad more sloppy in places, it straight up wouldn’t work and it is exactly that teetering on the threshold, that suspended dissolution that makes FlyLo’s music so kickass.

-George

#2 Kanye West: My Beautiful Dark Twisted Fantasy

The reason this album is so perfectly effective is because Kanye created an album that is a self portrait of a megalomaniac: A cinematic self portrait that is never self-effacing and always opportunistic. The cinematic aspect of it comes from his ability to sculpt an album that shows his true self from several angles: his obsession with power and opulence, his monstrous ego, his inability to sustain a relationship, his devils and his tribulations. Perhaps the reason MBDTF touches so many people so deeply is because it has an protagonist with whom we can clearly relate: a protagonist who is his own antagonist. Kanye’s got a pretty twisted mind to create such a fantastical album, full of dark imagery yet beautifully brilliant music.

-George

#1 LCD Soundsystem: This Is Happening

Exceptionally danceable. Stylistically nouveau. Tastefully self-deprecating. Often humorous. The facets of this album which, when working in tandem, make this our favorite album of the year are surprisingly actually not that hard to pin down.

In effect, this album just hit our pleasure centers from the very start and the music on this album hasn’t really stopped doing that even now. It’s not even a drip feed of pleasure, it’s like an endless waterfall of pleasure. However, it goes beyond that. The album goes the other way too. The absurdly ridiculous simplicity that this album exudes at first glance is a front for what is actually a crazy synthesis of several incongruous genres into one pseudo-dance-punk-who-cares-for-proper-labeling awesome piece of musical ass. I safely assert that this album contains the songs that James Murphy has been trying to make since “Losing My Touch”. This would be irrelevant if not for the fact that Murphy feels perfectly at ease in these songs. The production is tops, and in fact quite interesting, as Murphy finds way to play with your perception of the sounds he records. The sounds all sound framed in space yet still succulently clear. No sound is hidden or masked but there’s still an infinity of depth. In the end, This Is Happening just happens to be the most perfect album of the year.

-George

Last time I was home we set up an old WWII-era projector to watch the 16mm reel of a film my mother made during her days in film school. Due to having misplaced the reels for quite a while and a lack of necessary equipment and perhaps chagrin from quitting her profession in film production, she hadn’t watched her films in 21 years. Thus, it was our first time seeing her hidden artistry.

It was also my first experience with the kind of equipment it took to play a film made in the late seventies.  It took nearly an hour for my dad to set up the reel – first it was backwards, then it started going in reverse. We didn’t attempt to pair the audio with the video because it was distributed over four different reels that were meant to be perfectly synced with each other and with the film but we didn’t even have one tape player! Yikes, how did anyone do anything back then?

Anyway, we got the movie playing and black and white images flashed onto the suspended projection screen before us. The movie was about a personal apocalypse and as the character spiraled downward the rate of the cuts increased and scenes whirred in front of our eyes to create an effect of tension. Cuts are edits where the film has been manually cut and taped back together so as the movie climaxed it began to jump off the track because the tape used to hold the cuts together was old and stiff and deteriorating. I guess one of the tricks to help guide the film is for someone to guide the film with his or her finger as it’s passing through the projector. This was George’s job; every time the film jumped and started to get out of sync the image would move around on the screen until George corrected the movement of the film and it returned to normal. It was just as stressful to watch George holding the film steady as it was to watch the main character’s eventual identity apocalypse. Finally, at one point, as George was struggling, the film tore completely (not to worry, this was remedied with fresh editing tape).

The reason I described this is because LCD’s song, “All I want,” has the same effect. It begins with a steady drum beat, then the guitar comes in with a slow melody while underneath there is a quicker keyboard meandering.  Finally, layered on top is the complementary vocal melody followed later by a completely independent synth. As the song progresses these components begin to fall apart like different parts of a machine; or one melody seems to get off track kind of like the film and then it would resume its normal pattern as if someone was holding it back from skipping completely. Just as you think the song is going to ‘rip’ it jumps right back onto its track. At the end, there is no taming every component and as James Murphy sings “take me home” the machine has completely broken and even the steady, simple drum beat is gone.

The incredible thing about this album is that every song on the album was constructed as meticulously as “All I want,” yet somehow it manages to sound like an effortless disarray of sounds. I imagine that each piece is a taming of wild noises. It’s like Murphy is conducting an out of control orchestra and somehow produces a symphony. For those of you who have seen Howl’s Moving Castle, think of Howl’s castle and how every disjoint component seems like it’s going to collapse or roll away, yet each gear, leg and door contributes to how the entire castle can gracefully move.

P.S. the lyrics in the title of this post are from the song, “Drunk Girls”. Great song with spot on lyrics.