Musically 2011 has been the year of skepticism - ahem #fixfactorgate, of tentative self-doubt - "CHER LLOYD IS HORRENDOUS. WTF IS SWAGGER JAGGER!" "Oh, I quite like her new one" *sings along* and of chart culture condemnation - let's try not to mention any of David Guetta's woefully inaccurate and gratingly frustrating lost in translation speeches shall we. There seems to have been a true musical schism, and not just a Gallagher musically obsolete split, this is a charts versus hipster bandcamp movement like never before. Where some people think James Blake and Bon Iver sound like tortured kittens and others hail them as the musical future. There's been the long awaited and overall rather lacklustre returns, not just of cult pop band Steps but of Red Hot Chili Peppers, Justice and Beyonce. Speaking of Bey, following that Glastonbury performance and that baby announcement we've not only "felt the love that's growing inside of" her but hailed her as the female artist of the year, mentioning her 8,868 times per second on Twitter post VMA's and pushing her album back into the iTunes Top 10 repeatedly. Rihanna, who seems to have had a single out every week, eat your heart out. There's been a whole host of new talent prancing onto the scene, from the youthful hauntings of Birdy at the beginning of the year to the goosebump giving girl crush Lana del Rey at the close. Festivals have been dominant, both in Britain and overseas, with tickets selling faster than ever before, they've been traditionally muddy, wild and hazy. But there's also been the sobering moments, such as the tragedy at Pukkelpop and death of musical legend Gil Scott Heron. We've had interactive music videos, pop careers launched via Youtube, music made entirely by ipads and gigs streamed live online to demonstrate 2011 is the year music finally is ready to embrace the omnipresent Internet culture. Ironically, as the frontman for this dream, Steve Jobs passed away. Dubstep has surreally found its way into the charts, the Judge has finally budged and Skream and Benga have their own Radio One show. Skrillex has made the BBC Sounds of 2012 longlist and Stateside Azealia Banks has stylistically sashayed her way into our subconscious and got everybody saying that 'c' word. This has been an interesting year for music, where innovation and boundaries have become increasingly pushed. More music has been embraced than ever before; with Totally Enormous Extinct Dinosaurs finding his way into an advertisement for a mobile phone, the big guns Alex Turner of Arctic Monkeys fame and Cliff Martinez one time RHCP member being called in to add style and substance to film soundtracks and Underworld chosen to co-compose the Olympics music with Danny Boyle. With all that being said, this is the launch of my countdown of 50 of the best albums of 2011. The choice is largely personal, obviously, but I've factored in their contribution to musical genre, their critical acclaim and their live performance too. I'd love to know your opinions.
50 Ed Sheeran, + & Jessie J, Who You Are
Youtube babies, Ed Sheeran and Jessie J jointly just sneak into the Top 50, more for the self-fulfilling prophecy of the website than their albums, though both straddle just the right amount of talent, chart success and attitude that is required to be a pop star or sell tons of records (with both albums making it into the Top 10 iTunes Album Sales in 2011). And most importantly, both are perfect live. Jessie J lending her Glastonbury set to a child star-to-be whilst she jived away from a throne to support her cast. Whilst Ed Sheeran beautifully showcased his way through intimate shows in the petite Croissant Neuf tent and the lively BBC Introudcing before taking to the MEN in a suit at the close of the year. For me, highlights from Sheeran's album are the unreleased singles Small Bump and Kiss Me whilst Jessie J's XFactor favourites 'Who You Are' and 'Nobody's Perfect' provide just the right amount of saccharine and motivational messages to her target audience. These artists aren't selling sex, they are delivering music with a message, and their records are all the more beautiful because of this. These are not popstars screaming "be like me" but popstars singing "be you."
49 Rizzle Kicks, Stereo Typical
Possibly a controversial choice, Rizzle Kicks make number 49 on my list largely for their potential, their Youtube creativity and their absolutely flawless stage presence. If they can stick together I believe Rizzle Kicks are in it for the long haul; whilst their current album verges on too teeny bopper, their Youtube videos prior to their BBC Introducing fame demonstrated glints of great cultural commentary, quirky word play and on-point humour that album favourites Fatboy Slim produced 'Mama Do The Hump' and 'Prophet' allude to. These are talented boys, primed to be the next Example - lively, likeable and wholly listenable.
48 Fleet Foxes, Helplessness Blues
Fleet Foxes 'Helplessness Blues' has amassed over a million Youtube hits, propelled by the success of last year's hit folksy predecessors Mumford & Sons, Fleet Foxes second album has somewhat of a British sound, prevailing to the early Glastonbury days, despite the bands Washington origins. Like Yeates' poetry, this album conjures up imagery of quaint countryside, their organic music is perfect for festivals and roadtrips alike. Scoping yet intimate, beautiful yet brimming with realism, peaceful yet lively this is a wonderful album that seems to successfully emulate exactly how Fleet Foxes were feeling when they made this album, shrouded in pressure from their Platinum debut and weary world travellers, this is an album for the modern day pilgrimage.
47 Beyonce, 4
'4' arguably hasn't had quite the same hard-hitting, sit-up-and-notice, sing-your-little-heart-out attention grabbing status as Bey's other previous solo forays. However within '4' Beyonce's maturity, ability to blast out a tune a la 'Love On Top' and recognition as one of the greatest singers of our generation were heralded. There's been no sex driven material with this album, bar the risque cover, but a more wholesome and complex side to Beyonce has been demonstrated, with marriage and baby in tow Beyonce is no longer that 'Crazy In Love' girl next door but the tuxedo donning starlet whose feminist message really shone through both within this album and her Glastonbury performance. Perhaps the music videos to accompany each single from '4' really emphasises this new Beyonce; whether it's the mock wedding of heartfelt 'Best Thing I Never Had' or the cultural compilation of 'Countdown' this is an album that musically illustrates Beyonce's persona. And for a star whose largely managed to avoid tabloid scandal it displays just the right amount of public intimacy. It may not be Beyonce's best album, but it is a progressive statement album broadcasting Beyonce's vocal range and message to the world.
46 Neon Indian - Era Extrana
Fun frolicking disco made for accompanying beachside parties and cocktails at Sunset this is an album for the Ibiza generation, whose straddling of the dance and indie genres is most successfully wrapped up by the Ibiza Rocks venue. Surprisingly, Neon Indian haven't made an appearance at this iconic White Isle venue yet. However with the mishmash of hazy catchy lyrics with sun infused electro beats it would be a poolside match made in Heaven. This uncategorised genre bending blend of Summery beats has instantaneous appeal for the cocktail swilling hard clubbing crowd, yet also demonstrates the widening waves music itself has made within 2011. This is digital craftsmanship at its best; with exquisite sampling, discordant sounds and haunting lyrics all mixed together into a new type of cocktail.
45 Washed Out - Within and Without
Also slipping into this newly formulated genre of modern music is Washed Out, whose album 'Within and Without' is a multidimensional onion of metaphors and emotions. There is something rather nostalgic and vintage within these (almost muzak) lowfi chillwave vibey beats, as if the record should be set to a 1970s roadtrip or the throwback serial Romanzo Criminale. Some would call this music to get high to, others would call this music to get laid to, the critics say this is music to get inspired by. The record would probably chart higher if it was not for the blurred consistency of all the tracks, requiring a pinch more of adventure, joints and sex to lift it to higher levels. But, the album soundtracks Summers past perfectly, bubbling beats, suggestive tempos and faded barely distinguishable lyrics create an ambience that is powerfully enveloping and inviting.
44 New Look - New Look
Favoured by the likes of new music aficionados Annie Mac, Nick Grimshaw and Rob da Bank New Look's self-titled debut album could have easily soundtracked the super cool cinema hit 'Drive'. Effortlessly stylised and with just the right blend of modernity and 80s vibe this is a record that is almost impossible not to entrance. Racking up the editorial features, with printed stints in Mixmag and ASOS magazine, this is a duet on the brink of success. And it is not often that statement can be uttered. The album is slick, simple and sublime; and most likely will find itself being blasted from catwalks to hipster bars alike. 'The Ballad,' recently remixed by rising superstar Koreless, is the track with the most instantaneously permeating grooves, 'Teen Need' offers a Azari & III homage, whilst 'Numbers' and 'A Light' proffer beats that slowly niggle their way into your subconscious - leaving your toes tapping and your heart beating.
43 Amy Winehouse - Lioness
Released too late to find its way onto many popular top album lists 'Lioness' is as complex an album as Amy Winehouse herself. Family and close friends have admitted how emotional they found the first listen and it's easy to see why; in every track the listener is searching for answers. As Amy croons her way through new material and twisted versions of her classics we are confronted with the juxtaposition of the rumoured to be reformed Amy with reworks of her tumultuous and controversial 'Back To Black' hits. This album is a celebration of her work, but it is also a sonic obituary; a probing and touching treasure chest of an album. Perhaps nobody expected it to be this good, perhaps you never do realise just how good something is till it's gone, but Lioness is a soulfully sublime album from a woman whose talent will always haunt us. This album illustrates wholly and truly, there will never be another Amy.
42 Noah and the Whale - Last Night On Earth
Arguably the last few years have seen the biggest rise in Indie boy bands, with Noah and the Whale's 'Five Years Time' leading the pack of Indie anthems following the success of quirky teen cinematic hit 'Juno'. Noah and the Whale have become the posterboys for Shoreditch culture; messy hair with prim and proper suits, philosophical lyrics with catchy choruses, soundtracking indie films and shorts starring hipster queen Daisy Lowe herself. The album is a starry eyed surprise, an echo of easy breezy festivals, midnight drives and a complete compilation of teenage personification wrapped into ten little songs. The anthemic 'L.I.F.E.G.O.E.S.O.N' details the hopes and dreams of wannabe starlets and writers, of characters lost in the big city, of perceptions and projections and like 'Dreams Of A Life' it questions how well anybody really knows anyone whilst maintaining a positive and hopeful outlook. It is an album that emphasises the diversity of Noah and the Whale whilst simultaneously eluding to recklessness and careless abandon perfectly.
41 Bjork, Biophilia
The Biophilia Hypothesis suggests an instinctive bond between human beings and other living organisms exists, anyone that listens to Bjork's otherworldly album may begin to believe that this is definitely the case. A hypnotic and entrancing eighth album from the Icelandic legend that wholly illuminates Bjork's creativity, individuality and frenetic energy - as if we're learning of these facts for the first time. Many may find the concept of heady chimes with verges of drum and bass a nightmarish combination, yet under Bjork's magical construction the tracks become delicate, dreamy lifeforms of their own. This is an album, that more than any other in 2011, asserts itself by facing the brave challenge of combining modern music with the old fearlessly. The result is an energetic fantastical blend of ideologies, genres and personalisation that is entirely enchanting. It is simply experimentalism at its best.
