Enfiladed Productions - Best Albums Of 2010

Alex (Enfiladed Productions) has sent over his best albums of 2010. Click read more to check them out!

When Sound in the Signals asked me in mid November if I would do a best of 2010 list for them, I came to a shocking realization. I had been so deep in project mode, working on 2 full length albums, that I had completely neglected music released in 2010. As audio engineer I try to constantly update my music library with the gems that will soon be the reference albums of the next 10 years, but it's difficult while working on 2 large scale projects to listen to the most current music because the fear is you'll slip something in that was trendy in 2010 and played out in 2011. So, I've not been keeping up, and I have in the time intervening between Thanksgiving and now I have been fanatically sampling all the fruits the past year has had to offer musically. Unfortunately that didn't include an new GlassJaw record, but here are 8 of the best (10 is so passe)!

8.) Ironiclast-The Dammed Things
This was a combination I was all but poised to hate. It shouldn't work. Supergroups never do. However, it seems this strange pairing has created something very good. Frontman Keith Buckley of Every Time I Die fame has teamed up with Fall Out Boys Joe Trohman and Andy Hurley, AND Scott Ian and Rob Caggiano of Anthrax to produce the guitar ladened Ironiclast. I think the knee jerk reaction is to call The Dammed Things heavy metal, but honestly this feels like a 70s rock band much more then what is termed heavy metal nowadays. This thing is so unbelievably hooky. Go ahead listen to "We've Got a Situation Here" and try to get it out of your head, I dare you! It's everything you might expect from a group who have routinely mentioned Thin Lizzy and Led Zeppelin as primary influences. Unlike some bands that might claim such lofty things, The Dammed Things have avoid the bullshit associated with that type of big rock, instead keeping the best parts of those bands: big riffs and a pop sensibility that is completely undeniable. Buckley's sardonic wit and way with words are much subdued and straight forward on "Ironiclast," as is his signature yelp, but it works for the style and it's nice to see he has an outlet for his "Gutter Phenomenon" singing. Watch for this one to spawn at least one massive rock radio hit in 2011.

7.) King of the Beach-Wavves
For his 2010 release Nathan Williams cleans up the productions, removes a layer of grimy distortion and comes up with a surf punk album for the summer. Riding the crest of the seemingly endless droll of darling no-fi bands that have popped up over the past few year, it's nice to see that Wavves have taken their game to a whole new level. Without the thick layer of distortion to hide it, one sees that Wavves is actually a magnificent songwriter. This album has just the right mix of pop polish and punk snark. The production on King of the Beach is real breath of fresh air. There's depth, textures, and layer upon layer of interesting elements that really demand repeat listenings. There is a very bright future for Nathan Williams and Wavves. If his stellar progression keeps up, we might just see Wavves with a massive hit on their hands very soon, because the songwriting is just that compelling.

6.) Option Paralysis-The Dillinger Escape Plan
Metal's resident mathematicians have done it again with "Option Paralysis". Instead of trying to one up 2007's "Ire Works" in heaviness and raw anger, "Option Paralysis" sees the band move in a new direction. Though their sound has changed a bit it's a very natural out growth of "Miss Machine" and "Ire Works." This album is much more atmospheric then any DEP album before it, and certainly their most mature offering yet. Frontman Greg Puciato is much more measured this time around. While his signature wails and shrieks are ever present throughout "Option Paralysis," singing plays a much larger role. Of course Dillinger is Dillinger no matter how many darkly haunting piano parts or metallic clangs they add to the mix. Hyper-technical riffage and angular abrasive stabs abound on "Option Paralysis." There's the absolute pit rager "Good Neighbor" and the standard Dillinger fare in "Crystal Morning" and "Endless Endings," which aren't crossing a lot of new territory for DEP but are so well done that they are sure to be fan favs. "Option Paralysis" takes it's real turn with 'Widower,' a track that starts with a soft piano and Greg crooning away. The track threatens all out chaos for the majority of the song and finally gives in briefly while it transforms itself into an epic climax and down again. Moreover, DEP seems to groove more on this offering, which is a welcome addition to the sometimes sterile technicality DEP is so known for. Showing they're no one trick pony, DEP is posed to press on with technical mastery and a new and interesting direction.

5.)Long Live-The Chariot
Douglasville's The Chariot have had a bit of trouble in conquering the studio starting with 2004's overly screechy "Everything Is Alive..." and 2007's lack luster "the Fiancee." From their inception they've been a must see live band, but you wouldn't know it from their first 2 studio efforts. Then came last year's "Wars and Rumors of Wars" which was their finest studio effort, but still missing just a little something. With 2010's "Long Live" we can officially say The Chariot has finally found their artistic voice in the studio. Back are the screechy guitars of 2004, but this time they've turned something that really hurt their 2004 effort into a pointed spear driving home their point: this is raw music. Rather then just let things screech and moan untethered, the chaos is much more controlled and the listener isn't assaulted but rather raptured up into the rebellion that is "Long Live." In a year where much of hardcore seemed to be listening to Nine Inch Nails and making ambient dark brooding records, The Chariot have unleashed an abrasive rage-fest more in the vein of American Nervoso era Botch. Long Live The Chariot, Long Live Hardcore!

4.) Fences-Fences
First off and an audio nerd, let me just say this album had the best snare sound of the year. Wow, so good! With a style somewhere between Bright Eyes and Elliot Smith, Fences debut self-titled album is one of the strongest of 2010, and definitely gets my nod for best new artist. Chris Mansfield's voice is subtle but with a certain ragged edge that draws you in. He can sing sweetly on the albums more down beat tracks (Fires), but he has enough fire in his throat to be convincing on the more rocked up tracks (Girls with Accents). Simple and engaging arrangements are the key to the this album. Mansfield doesn't need orchestral movements or a lot grandiose moments to break your heart. In fact, much of the album is simply guitar and vocals with some very Nashville inspired drums. Songs that do swell into bigger arrangements are still sparse and spared allowing the thoughtful an and well executed lyrics and vocal performance to shine. I wouldn't be surprised if we saw a lot more of Fences soon, and I suspect his sophomore effort will catapult him through as a breakout artist.

3.) Root for Ruin-Les Savy Fav
For a guy who once claimed the album as a concept was dead, Tim Harrington and Company sure have been putting out great albums for a long time. Root for Ruin sees the band take a more mature and measured mania. In the 3 years since 2007's "Let's Stay Friends" the band has definitely grown up some, as evident on the much more personal songs like 'Let's Get out of Here' and 'Sleepless in Silverlake.' But Harrington's signature word smithery is still present, and his storytelling is even better. Of course this album is helped by two of indie rock's finest ax men. Seth Jabour and Andrew Reuland have complete mastery over their six strings. Weaving complex tapestries of interlocking guitar work, the pair really one up most of their indie rock peers. Of course all of the edge of chaos guitars and vocals is facilitated by Syd Butler's bass playing. Songs like "Lips'n'Stuff" are completely held together by Butler and Haynes rhythm section which allows everyone else to go off and explore their own space. Les Savy Fav might have grown up and mellowed a bit from "3/5" or "Go Fourth," but they've proved for 2 albums now that they are still one of indie rock's most interesting bands.

2.) Saint Bartlett-Damien Jurado
On his ninth studio album Damien Jurado has struck gold and made his masterwork. Jurado has largely been a very consistent artist producing good albums, but they've just never raised up to the level of his peers like the late Pedro the Lion. However, on Jurado's latest release he's really created something special. Gone is the 'band' feel of 2008s Caught in the Trees, but the brooding of "Caught in the Trees" best tracks remains. Saint Bartlett is a very haunting album that is masterfully written, arranged, and mixed. Tracks like "Rachel and Cali" and "Pear" showcase Jurado's abilities as masterful songster who can hold you even with just his voice and guitar. Tracks like "Arkansas" and "Kansas City" ooze with wanderlust and otherworldliness. What makes this album one of the best of 2010 is what's just below the surface of these songs. Jurado's voice and guitar are the central elements, but just below that is a swirl of slightly out of tune pianos, make shift precussion, and electronics that effortlessly move in and out of the tracks as Jurado croons away his idiosyncratic lyrics of longing and despair.
As a side note, number 1 and 2 on this list share a common thread. TW Walsh (ex-Pedro the Lion) mastered both of these albums. I find it is hardly an accident, as TW Walsh has established himself as a very capable engineer, mastering or otherwise. Both of these albums are smooth and polished, loud enough to stand a interstate car ride, but not so overwhelming as tire ones ears or sound dated once the trend towards louder and louder masters subsides. Hats off to TW Walsh for his excellent ability to leave subtly and dynamics intact on both these albums.

1.) Age of Adz-Sufjan Stevens
In a year where it was very fashionable to be low-fi, Sufjan dared to be epic. As an audio engineer I respect Stevens for his willingness to embrace low-fi equipment, facilities, and situations (often at a level that would make most season pros weep with frustration). However, unlike other artists of the past year, Sufjan always puts out a decidedly hi-fi product. While I don't know that Age of Adz was recorded in the same manner as 2005's "Illinois", I have to imagine that at least part of the album was made in a Brooklyn apartment on a stack of Behringer equipment. That something this dense, atmospheric, and grand could come out of those conditions is nothing short of a technical marvel.
Electronic wizardry has replaced the much more acoustic sound of Sufjan's previous work. The electronic bent Age of Adz works so well as a vehicle for Sufjan that you will not miss the eclectic acoustic feel of past works. 2005's "Illinois" was good but Age of Adz takes the brilliant songwriting, arranging, texturing, and knack for the intimately grandiose to a whole other level. This album is about an artist finding himself, and does Sufjan ever find himself. Each listen of this album will show you something you'd not heard before, and as such it holds up as the years best repeat listen. Age of Adz is far less conceptual then Sufjan's usual offering. In fact, it's is almost hyper-personal which is a bit of a leap for someone who was going to put out a so called 'fifty states project.' It all works for Age of Adz. We hear the word 'I' on Age of Adz some 270 times, and the listener is made to feel right there through Sufjan's struggle to find his artistic voice without the high concept and without much his signature instrumentation. As the song "I Want to be Well" clearly states Sufjan is not fucking around. I've seen a lot of 'best of lists' with Kanye in the number one spot, and I'm going to let them finish, but Sufjan Stevens' had the best album of the year! (ok, sorry for that I just couldn't resist) This disc is powerful, epic, and on a scope that no other album of 2010 even came close to. Do yourself a favor and spend those iTunes cards you're about to get on this album.