10. The Gaslight Anthem – American Slang

While it could be considered “more of the same,” the branch of great stories and upbeat rock ethos of vocalist/lyricist Brian Fallon and his men makes this feel more like a great welcome as opposed to a cringe. “American Slang” picks up where the brilliant and depressing “The ’59 Sound” left off by being brilliant and also depressing. Fallon’s rock touchstones are in a mix of lost times and hopelessness, but also earnestness. “American Slang” succeeds by burying its old American stories in great rock ‘n roll.

9. Janelle Monae – The ArchAndroid

Genre-bending barely even covers the highly creative full-length debut from 22-year-old genius Janelle Monae, a woman whose whims create an insane Metropolis-inspired story arc of R&B, jazz, hard funk, and pure talent. Not all of Monae’s whims work, but her record is one of the finest risk-taking endeavors of the past few years, made even more surreal by being bankrolled by Sean “Diddy” Combs, of all people.

8. Sharon Van Etten – Epic

A beautiful ode to harsh post-relationship recovery, Sharon Van Etten’s “Epic” yearns with a dark personality. Etten’s words just hang there. Even when hitting on subject matter that is constantly tackled, Etten’s words feel less like a melodramatic experience and more like life.

7. LCD Soundsystem – This is Happening

While extremely tough to follow the classic “Sound of Silver” from 2007, James Murphy’s pet project swerves from trying to go for that sound. While great beats are still all over the place for the electronic-based band, guitars play a heavier effect in songs like “All I Want” and “Drunk Girls.” “This Is Happening” is great simply by playing on more of Murphy’s romanticism and by playing a different tune.

6. The National – High Violet

Creators of always consistently great songwriting, the members of The National earned their greatest success in 2010, and deservingly so. From zombies to narratives about the upper middle class, the baritone of vocalist Matt Berninger keeps a steady tone even when the subject matter seems to border on ridiculous. “High Violet” is a great work of wonderful American stories and indie rock craftsmanship.

5. Dum Dum Girls – I Will Be

The Dum Dum Girls bring a lot of pleasant noise to the forefront with their garage-pop debut “I Will Be.” The record might seem a bit similar to the Vivian Girls’ 2009 “Everything Goes Wrong,” and guess what? That record was awesome. A softer, more cooing style in comparison to the Vivian Girls breeds an album of the type of pop I wish would ingrain popular culture.

4. Kanye West – My Beautiful Dark Twisted Fantasy

Gushed to the point of absurdity, Kanye West’s latest album almost stops being an album and more a critical touchstone designed to annoy music geeks. I would suggest separating the album from the response (even my own in this very column), because I am shocked to say that this is the hip-hop record of the year by far.

3. Broken Social Scene – Forgiveness Rock Record

After the pop success of member Leslie Feist as well as the solo efforts of honcho Kevin Drew and bit player Brendan Canning, the beloved Canadian supergroup brings it all back home on “Forgiveness Rock Record.” Songs hit at a fascinating mix of the crudeness of society and the bombast that the band has operated to classic territory in the past. This record never falters, always fascinates, and somehow doesn’t overextend its hour-long runtime.

2. Marnie Stern – Marnie Stern

Marnie Stern has never been one for an impassioned point, letting her purely amazing technical skill on the guitar do the talking. Yet something actually hits home over time on her third full-length release – a more vulnerable side to Stern.  Technical work always tends to hit home on the tenth play, and songs like “The Things You Notice” apply Stern to something rare for even her in her attempts to respond to the “normal world.”

1. Arcade Fire – The Suburbs

An album so great musically and conceptually that it almost dogged the year in annoyance, Arcade Fire’s third full-length album was expected to be great and ended up being remarkable. Lyricist Win Butler’s cynical neurosis throughout the record could have bordered on laughable, but instead his words are poignant at every step.