You only have to take a peek at this years Glastonbury line up to see how dominated the festival circuit has become by a few 'classic' artists who can command a crowd of over 70000. Britain's is practically crying out for a new act with which it can forget its credit crunch woes but thus far nothing has emerged with either the sheer magnetism or mainstream appeal to topple the current hierarchy. That said 2009 and has thus far been marked as 'the year of pleasant surprises', previous no hopers have vindicated themselves above and beyond the minimal expectations held for them whilst more established acts have wallowed in the 'what do we do now' mire. It's not been spectacular but it hasn't been dull either…
10. Lilly Allen - It's Not Me, It's You (EMI)
Lily Allen is a narcissistic, loud mouthed, media junkie and almost certainly makes great pop music because of these horrific character traits. Wavering between humble self-deprecation and wild bravado, her sophomore LP delights and frustrates in equal turns. Fewer tracks in the headline grabbing vein of 'It's Not Fair' and more with refreshing honesty of 'The Fame' would have seen the West London singer songwriter grab a higher spot.
9. The Horrors - Primary Colours (XL)
Another year comes by and once again it's fashionably fucked up to champion The Horrors purely on the basis of their iconoclastic qualities. Remembering that Glasvegas produced a slightly more anthemic yet similarly shoe-gaze indebted debut in September 2008 'Primary Colours' is still pretty damned impressive. Hiring Geoff Barrow to man the production desk, especially in light of swirling album closer 'Sea Within A Sea,' is probably the best decision the band made since deciding to whore themselves out to the NME.
8. Doves - Kingdom Of Rust (Heavenly Records)
A lengthy break between albums which saw their 'critical darlings' tag snatched away by Mancunian brethren Elbow and widely circulated rumours of intra-band conflict didn't bode well for Doves' fourth album. Perhaps openly castigating this lack of faith, "My God it takes an ocean of trust / in this kingdom of rust", Jimi Goodwin et al produced another LP expansive indie rock. Few differences between current and past output may be forthcoming but there's a lot to be said for a band which revels in such effortless consistency.
7. Animal Collective - Merriweather Post Pavillion (Domino)
Uncut Magazine say "one of the landmark american albums of the century so far". Pitchfork says "what they've constructed here is a new kind of electronic pop-- one which is machine-generated and revels in technology but is also deeply human, never drawing too much attention to its digital nature." I say, "overlong and preposterously over hyped but still a decent slice of truly alternative music."
6. The Virgins - The Virgins (Atlantic)
Harnessing the angular post punk of Gang of Four, Orange Juice and Franz Ferdinand into one easily accessible package, this self-titled debut straight out New York is as fun as it is frivolous. Frontrunner for the best lyric of 2009 with "Well is there something you like about her yes / I like the way that her body bends in half" subject matter rarely strays from sex. However, when such rampant promiscuity produces tunes of the quality of 'Rich Girls' and 'Private Affair' who am I to take the moral high ground.
5. Passion Pit - Manners (Frenchkiss Records / Columbia)
It is doubtful that any band has ever had a more appropriate record label than Passion Pit because Manners is a tongue in cheek delight. The story of how the project began as a Valentine's present has been told before, what's most pleasing about Michael Angelakos' debut is how his band have kept the same sense of innocent abandon. A dizzying combination of falsetto vocals and sugar-rush melodies are present from opener 'Make Light', lead single 'The Reeling' and standout track 'Sleepyhead'. Good clean fun.
4. Bat For Lashes - Two Suns (Parlophone)
Proudly following in the proud line of British female eccentrics Natasha Khan followed up her Mercury nominated debut album with a record that may well sweep the prize come September. All the elements for a critical choice award are here, most potently on album highlight 'Daniel': orchestral wall of sound (check), ethereal lyrics (check check), bonkers mystical persona (triple check). An album that certainly requires its listener's perseverance but rewards in ample quantity.
3. Jack Peñate - Everything Is New (XL)
"I'm in a haze / an in between stage", taken from single 'Today's Tonight', is an apt summary of Peñate's 2007 debut album Matinée in which he largely eschewed his toe tapping inclinations for the same Libertinesesque scuzz-pop everyman and his guitar was peddling. 2009's 'Everything Is New' however, brings back into fold all that was so lacking only two years earlier. With a fresh shrill spooky sound each musical style adapted be it disco or soul tends to fit the new template. Lulling ever so slightly towards its climax, this is still a fantastic indie pop record at a time when indie pop is so often the same derivative three chord schtick.
2. The Maccabees - Colour It In (Fiction)
The word 'mature' may be a hideous cliché in the world of music journalism but there seems no other adjective to describe the second album from this Brighton based five piece. Maintaining the intensity of their debut whilst upping the lyrical ante from tales of teenage hormones to fully fledged adult encounters. Love You Better, No Kind Words and William Powers are all fabulously restrained until suddenly swooning in a whirlwind of brazened chords and roundhouse choruses. The bar has been set stratospherically high for their follow up.
1. Yeah Yeah Yeahs - It's Blitz! (Interscope)
Fully erasing the memory of the dire Show Your Bones, It's Blitz! represents the best work so far in the bizarrely eclectic Yeah Yeah Yeah's cannon. For a group that made their name with the liberal use of ignoramic shock tactics, see "As a fuck son, you sucked" on early EP track Bang, the New York three piece did well to steer clear of the 'take guitar add synth' route to 'progression' used by so many lesser acts. From the outset of 'Zero', a pulsating vitality is present throughout this Dave Sitek produced record that has no fear in handling complex emotions. Indeed tender peon 'Hysteric' represents the album's highlight with a audibly restrained Karen O crooning "Flow sweetly, hang heavy / You suddenly complete me". A welcome return and the best LP released in 2009 so far by a country mile.
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