Best of 2011: The Albums

Mastodon - The Hunter (Roadrunner)//The Atlanta quartet took another quantam leap in 2011, with the excellent The Hunter. Brann Daillor's powerful percussion are the album's driving force, alongside the heavy guitar work, that even the most Mastodon novice can head-bang to. You don't even have to be a metal fan to enjoy this.

Fucked Up - David Comes to Life (Matador)//Described as a "rock opera", the Canadian punks' concept record was one of the years' highlights. It's catchy, it's fun, it's hardcore, but it's also downright brilliant. The ambition of the record pays off and gives the six-piece a deserved masterpiece.

The Antlers - Burst Apart (Transgressive)//When mentioning The Antler's Burst Apart, it's hard to see a review that doesn't mention ther previous masterpiece, Hospice. Whilst this album probably isn't on the same level, it is still a terrific album which shows why the New Yorkers are one of the most underrated bands around at the moment. It's heartbreaking atmosphere yet elegant production, will break your heart, yet still requires repeated listens.

PJ Harvey - Let England Shake (Island)//Album of the year from 13 different publications and Mercury Music Prize winner, it was hard to argue against the success and critical praise that Polly Jean Harvey received. Written through emotions of anger and passion, it is Harvey's best work to date of an impressive back catalogue. Powerful and deeply layered, bloody and bruised, it tells of England being built on bloodshed and battles.

M83 - Hurry Up, We're Dreaming (naïve)//A double album is always a shaky ground to tread; it could either be a grim prospect of a twin dose of boredom or a generous extended reward for the listener. Thankfully, Anthony Gonzalez (aka M83) gives us the latter. It's breathtaking force and grace travels through a dreamy experience, which is gradually culminating to a resounding climax. It's an ambitious album and one that will put Gonzalez on a much grander pedestal.

Best of 2011: The Singles

Does exactly what it says on the tin: The best singles of 2011.

Cold War Kids - Royal Blue (Cooperative Music)//Cold War Kids returned with their third album Mine Is Yours in February, and the standout track from that record was this scorcher. Nathan Willett's soaring vocals mixed in with groovy basslines and hand-clapping percussions, showed the Kids at their damned good best.

The Horrors - Still Life (XL)//The Southend band's transition from goth rock to shoegaze continued in 2011, with their critically accliamed ablum Skying. The atmospheric basslines are evident of Joy Division influences, plus the dream pop vocals of Faris Badwan will help you drift off into the sunset.

Arctic Monkeys - Don't Sit Down, 'Cause I've Moved Your Chair (Domino)//The Sheffield band dropped the casual lad rock to a deeper grunge/psychedelia sound for their fourth album, Suck It and See. Alice In Chains would be proud of those kind of basslines that Nick O'Malley sported in this song. A definite return to form after the mixed Humbug.

Foster the People - Pumped Up Kicks (Columbia)//You couldn't escape this song in the summer. After being used in a mobile commercial, the LA trio scored the catchiest hit of the year, with the re-release of "Pumped up Kicks." Despite it's catchy chorus and dancefloor vibe, the song had much darker connotations, written from the point of view of a high schooler wanting to go on a killing spree. Yikes.

The Antlers - I Don't Want Love (Transgressive Records)//From it's opening chords, you can feel the tears beginning to fall and this track doesn't get any happier after that. Peter Silberman's voice will break your heart, yet remains beautiful and poignant. A great song that makes you look back on past regrets.

The Black Keys - Little Black Submarines (Nonesuch)//The Akron duo's El Camino became an eleventh hour contender to the "album of the year" ranks. With tracks such as this, you can see why. Starting off with a "Stairway to Heaven"-style riff, the blues rock number gradually builds up pace and noise levels, before launching into a psychedelica-garage rock chorus and excellent solo from Dan Auerbach.