This year is a little different than others. For the past few years, it was pretty clear what most critics would have as their number one album. In 2010, it was obvious most would put Kanye West’s My Beautiful Dark Twisted Fantasy on the golden Throne. 2009 saw critics placing Animal Collective’s Merriweather Post Pavilion at the top of their charts. A number of critics had a huge thing for Fleet Foxes’ debut album in 2008 as well. But this year, it looks like people are more divided and things aren’t so expected — which is great. So let’s see if your favorite is my favorite or at least makes it in the top 20!

20. Architecture in Helsinki -  Moment Bends

I don’t think it’s really cool to like Architecture in Helsinki anymore. I think most people believe their time has come and gone, despite still making great music. On their fourth LP, Moment Bends sees the Aussie group retreating to a quieter style that they pulled off on their debut. Unlike 2007’s aggressive Places Like This, Moment Bends’ is silky and soft. There are no shouts or weird sounds found on any of the songs. AiH went for a clean-sounding, sophisticated approach, which resulted in a delightful and pure indie pop record.

19. jj - Kills

jj wear their influences on their sleeve. From their first hit “Ecstasy,” which samples Lil Wanye’s “Lollipop” the duo has never been shy about sharing their love for top 40 pop and rap. And on their mixtape, Kills, Joakim Benon and Elin Kastlander blend a medley of stadium-club-bangers into 10 cohesive and magical tracks. Elin’s auto-tuned vocals glide over Taio Cruze’s “Dynamite” (and that’s after the song opens up with a small cover of Robyn’s “Hang With Me”) on “Die Tonight” and there about three different samples of Kanye West’s My Beautiful Dark Twisted Fantasy. jj spin some of their favorite jams from 2010 into a brilliant and addictive mixtape but still keep their signature jj sound throughout the entire LP.

18. YACHT - Shangri-La

YACHT never stops evolving. What started off as a one man project with just Jona Bechtolt and his laptop is now a full band using real instruments for the first time. Unlike past YACHT records, Shangri-La is fuller and mature. It is the first time the band has recorded in a professional studio and the results shine through. Everything sounds richer and sharp but the YACHT still holds on to their quirky, comical and cultish sound. Standout “Utopia” is a blast, and the punk “Beam Me Up” shows a possible and interesting direction for the Bechtolt and girlfriend Claire L. Evens. But the entire album centers around “Paradise Engineering” a glossy no-mistaking-that-this-is-not-a-YACHT-song track that exemplifies the Portland band’s most interesting talents.

17. Smith Westerns - Dye It Blonde

It’s hard to believe the members of Chicago band Smith Westerns are just teenagers. Well, they aren’t just teenagers — they’re a three very talented teenagers. And it’s apparent upon first listen of their second full-length Dye It Blonde. The trio share their love of glam rock with us and the sounds T. Rex and David Bowie briskly shine through. Sharp guitars rattled songs like “Weekend” and “End of the Night,” while the quieter moments are just as powerful. Dye It Blonde is a powerhouse of an album full of catchy melodies, hooks and riffs. It’s well crafted and solid from start to finish.

16. Girls - Father, Son, Holy Ghost

On Father, Son, Holy Ghost, Chris Owens and co. try their hand at several different styles. A band trying something as ambitious as this could easily screw things up and make a train wreck of a record but with each song Girls fully succeed and execute their music with care, detail and talent. But things go even further than just their music triumphs on their third LP. Lyrically, Owens reflects more upon himself and things are extremely personal and they payoff is wonderful. Lyrics range from the typical but always universal pains of love (“Alex,” “Just A Song”) to the unusual inspiration of rebuilding a relationship with your mother (“My Ma,” “Forgiveness”). Girls’ exceed their expectations on FSHG and put together an album that flows and easily connects to some of the most darkest parts of the psyche.

15. Beyonce - 4

When I first heard Beyonce’s lead single from 4 I was extremely worried that Queen B was going to make one of the worst records of the year. But even the Major Lazer sampled “Run the World (Girls)” grew on me. 4 takes some time to getting used to but once things click, it’s easy to say that Beyonce’s 4th LP is her best. Once you accept that this isn’t a pop record and that it’s not something that you’d get down to while wearing your freakum dress to at a club and take it for what it is (a golden R&B album), the better of you’ll be. There are lots of ballads that show off B’s voice-of-a-generation’s strong points. Highlight “1+1,” produced by The-Dream is an instant classic. The cheesy but hypnotic “I Miss You” is pure 90s nostalgia. Then we have the killer upbeat tracks like the sexy “Love On Top” and Beyonce’s best song since “Single Ladies,” “Countdown.” Even the bonus tracks don’t disappoint: The powerful “Schoolin’ Life” and disco-y “Lay Up Under Me” easily stick with you. Yes, 4 is a delightful, warm record that once again proves (over and over again) Beyonce is one of the most talented artists out there today.

14. Bon Iver - Bon Iver

Bon Iver has been one of the most successful indie artists in recent history. His crossover appeal is off the charts (thanks to Kanye) and rightfully so. On his second LP, Justin Vernon puts together a delicate record of intricate, personal and soothing songs. Opener “Perth” sets the mood of this woodsy album. Then there is the magnificent “Holocene” that is so rich and beautiful but still strong. “Calgary” is another standout that once again makes it clear to see why Bon Iver is such a commercial and critical success. Bon Iver is a moody album; the kind of record that can hit you just right at the right time. It won’t make you smile or laugh or cry but it will sit with you in the pit of your stomach. All of the songs are brilliant and carry a cohesive thread that leads up to the last track, “Beth / Rest,” which is an unexpected delight — light FM at its finest and even has a smooth-like-butta saxophone, electric guitar and yes, even some autotune. I mean, it doesn’t really get much better than that for a folk record.

13. Rihanna - Talk That Talk

Who woulda thunk it? Rihanna actually pulled it off with Talk That Talk —  a record that was supposed to be a collection of bonus tracks to accompany a repackaging of last year’s mediocre Loud. But whoever at the Ri Camp decided to turn those songs into her next record, thank you. TTT is the Barbadian princess’ strongest album. It is hypnotic, sensual, dirty and most importantly: catchy. Ri even knocks the usually shitty and standard ballads out of the park. From the club banger “We Found Love” to the xx sampled “Drunk on Love” to the tropical “You Da One,” Rihanna comes through as confident but carefree. It feels like she’s doing what she wants for the first time in her career and if that is the cas she needs to stick with that because there is nothing disappointing on Talk That Talk. 

12. Atlas Sound - Parallax 

There is no denying how talented Bradford Cox is. It seems he is in no shortage of amazing songs both for his band Deerhunter and his solo act as Atlas Sound. Parallax finds Cox at one of his strongest moments while flying solo. The tracks on the LP are tight and much cleaner than 2009’s Logos. “Te Amo” is a dreamy, piano-driven song that floats on air. Then there is the instantly lovable “Mona Lisa” and “Praying Man.” The music on Parallax is some of the most accessible work Cox has done as both Atlas Sound and Deerhunter. These songs aren’t hard to get into at all and I think Cox is heading down that pop path more and more with each release. Cox knows how to write a fantastic song and is becoming stronger and more confident with his new music. Parallax perfectly showcases Cox’s desire to be the pop singer he wants and craves to be.

11. Dum Dum Girls - Only In Dreams

Only In Dreams is hands down the Dum Dum Girls’ best album. On past releases they followed the beach/surfer 60s trend but on their second full-length the band take charge and become a group of bad ass girls. Each track is steady and strong, like opener “Always Looking” with a wavering guitar riff and shinning melodies. “Bedroom Eyes” is Girls’ best song to date and tracks like “Just a Creep,” “Heartbeat” and “Caught In One” become the backbone of the LP. But the entire thing centers around the six and a half minute “Coming Down” — a tornado of a song that builds and releases and builds and releases. Lyrically, although nothing knew, the Girls’ succeed due to lead singer Dee Dee’s sultry vocals. When she sings something like “It’s strange when you’re not there/ Because you’re gone” you really feel it. But the album lifts off on the closing track “Hold Your Hand” and sounds like the Girls’ have been putting the Velvet Underground on repeat. Whether their influences come from 60s experimental bands or surf punk, Only In Dreams is an endearing record that proves the Dum Dum Girls are here to stay.

Top 10

10. The Pains of Being Pure At Heart - Belong

The Pains of Being Pure At Heart move just in the right direction on their second LP, Belong. Instead of being angsty and airy the band is angsty but hard. The Smashing Pumpkins single “Belong” is indie rock perfection. Then there’s the incredible “Heart In Your Heart Break,” which features the band’s best, strongest and most clever hook. The dazed and dusty “Even In Dreams” sounds like a forgotten 90s gem and the subdued Blink-182 “Girl of 1,000 Dreams” is dynamite. Belong finishs off with sweet “Strange” — a touching song that brings you back not nostalgia land (if you grew up in the 90s and faced the hardships of puppy love, middle school dating). Belong is powerful. It is something I want to hear from a band called the Pains of Being Pure At Heart and helps that each song is wonderfully thoughtful and musically golden.

09. Kyary Pamyu Pamyu - Moshi Moshi Harajuku

It only takes seven songs to be incredible I guess. Kyary Pamyu Pamyu, the teenage model J-pop superstar teamed up with Japanse genius producer Yasutaka Nakata to make the glorious and beyond interesting Moshi Moshi Harajuku. ”Cherry Bon Bon” sounds like if New Order decided to make a disco song and the infectious “PONPONPON” is easily one of the most original songs in recent music history. The track “Jelly” glides but has a classic tinge thanks to the simple use of a grand piano. Then there is the extended version of “PONPONPON” — a six minute ear orgasm of sounds, melodies, beats and production. Nothing on this list comes close to touching the originality and the quality of production on Moshi. Oh and it doesn’t hurt that Kyary is an adorable and talented singer. Mixing all these important elements her debut mini-album is a cute force to be reckoned with.

08. James Blake - James Blake

The first time I listened to James Blake was at a hotel at Cap Cod in the summer of 2010. It was one of his first dubstep-heavy EPs. At the time I had no clue that not only could Blake produce and create the intense beats I was listening to but also had a unique and inspiring voice. But he does. And that’s part of the reason why his debut self-titled record is brilliant. It’s also touching and challenging. Playing it for friends and telling them its dubstep instantly confuses my deadmau5 loving pals. But that’s neither here or there because the thing I’m most interested when it comes to the UK musician is his voice. I was in love with his cover of Feist’s “Limit to Your Love” and this time around I was struck with of course “Wilhelm’s Scream,” as well as “I Never Leant to Share,” and “Give Me My Mouth.” The amount of minimalism Blake uses on his album speaks more volumes than a record full of a 1,000 electric guitars blasting all at once. There is something undefinable and special about James Blake and that’s why I find myself returning to it again and again and again.

07. The Weeknd - House of Balloons

The Weeknd’s first mixtape seemed to just materialize onto the Internet. All of a sudden it was a thing that was happening. An R&B artist sampling Beach House and Siouxsie and the Banshees. But Abel Tesfaye went there; blending punk and dream pop with hypnotic, dark, sexy beats while spitting in that luxurious voice. Thematically, House of Balloons is even darker than it sounds — the consequences of too much partying, drug addiction, meaningless sex — those vices that have killed and ruined millions of lives are display here. Tesfaye smoothly sings about devastating elements but HoB is something you can get down to…or while you’re dabbling in some of the topcis that are being sung about. But things hit you hard when you listen to the mixtape for the first time. “What is this? What am I listening to? What’s going on? Is that Beach House?” and that’s honestly one of the best ways to start a record.

06. Lady Gaga - Born This Way

Born This Way is not The Fame Monster. And it is certainly no where close to being The Fame. Born This Way is its own breed. Lady Gaga pulled out all the stops for her second full-length and the production is out-of-control. The beats are hard, the songs are sexy, fun, dark and powerful. It’s something you don’t really hear in mainstream pop music but Gaga has found a way to bridge the gap between accessible and weird. She draws upon her love of metal, country and dance music and arranges them into a brilliant and strong cohesive thread. The Journey inspired “The Edge of Glory” is Gaga’s strongest single since “Bad Romance” and speaking of the mega hit, “Judas” is “Bad Romance” on steroids. Then there is Cyndi Lauper “Hair” featuring dat sax and Gaga’s latest thrashing-disco hit “Marry the Night.” Born This Way is Gaga’s real first attempt of doing what she wants to do from all aspects and as a whole, the album is a raw and exciting listening experience. 

05. St. Vincent - Strange Mercy

I’ve always wanted to love St. Vincent but with her previous to records, I could only get into a handful of her songs. The demure singer-song writer changes that with her third album, Strange Mercy — an album so appealing and well made there isn’t a single song that I wouldn’t listen. Strange Mercy is visceral and free and it feels like Annie Clark is finally going for it; making a record she totally wants to make. Songs like “Surgeon” and “Champagne Year” are intimate and personal and yes, even sexual. And then there are those guitar freak outs. Clark proves she is a master at guitar with face-melting songs like “Northern Lights” and the fabulous single “Cruel.” On Strange Mercy Clark perfectly balances ugly with beautiful as her elegant voice dances over distorted and gritty electric guitars, sharp synths and loud drums. Strange Mercy ends up being lush record of rich songs thanks to its unique aesthetic.

04. Elite Gymnastics - RUIN / Neu! ‘92 EPs

Elite Gymnastic’s inspirations are awesome and very close to a number of things love. The band has listed everything from Final Fantasy to K-Pop to just the Internet in general as things that get them reved up to make their amazing music. Their latest collection of EPs are the tightest and best-sounding music they have made in their short music career. Neu! ‘92 finds EG toned down, creating bright melodies backed with dance beats. The standout song on the 4 track EP is the closer, “(I Always Cry At) Regenerations. “There’s no way going back/ And talk to the old you/ Because things change/ Right before your eyes,” James Brooks thoughtfully sings. Then on RUIN 1 / 2 EG turn the volume up to 11 and man…those drums. EG know dance music and with honest lyrics that can be best described as less intense Xiu Xiu but still gritty and real enough to make an impact. EG take the best of the things they leve and morph them into a collection of songs that make you crave for their debut full-length album. But for now, the glorious EPs are something that should probably be on everyone’s end year list.

03. Real Estate - Days

Days is hands down the “feel good album of the year.” The opening track explains it all: “Easy.” Days is an easy record to digest but speaks volumes with saying so little. The hooks, melodies, lyrics and arrangements don’t seem like anything new on the surface an the New Jersey band makes it all look and sound like a piece of cake. But diving into everything you realize that there is complexity in their music. While their debut album was all about lazy summer life, Days takes place months after the season. It is small town life at its best; hanging out with friends, drinking beers, remembering those summer days, walking along train tracks, running through green fields and not having a care in the world. Guitars graze the album with catchy riffs (“Out of Tune,” “Wonder Years”) and there isn’t a let down an the entire thing. Days ends up more as a friend than an album; it’s something you can take with you and that will bring up your best memories from years past.

02. M83 - Hurry Up, We’re Dreaming

“Epic” is a word that surrounds M83’s music. I’m sure with almost every review or discussion about Anthony Gonzalez’s music you will spot that adjective. And rightfully so because there aren’t too many single words in the English language that can pin down the French band’s sound. Hurry Up, We’re Dreaming is M83’s most epic album to date. It is a stadium pop album and a gargantuan soundscape of feelings and music. Tracks like “Intro,” “Reunion” and “Echoes of Mine” are triumphant masterpieces that are extremely moving. M83 also bring in his love for the 80s — there are cheesy drums, thick bass lines and of course those angsty John Hughes-feel dialogues. Hurry Up, We’re Dreaming makes you feel like a little kid and at times an emotional teen. The double album is some of M83’s best work and it accomplishes the epic and nostalgic goal Gonzalez set out to create this time around.

01. Destroyer - Kaputt

I will admit: this is the first time I ever listened to a Destroyer album and I’m a little upset about that. Because Kaputt is so good, anytime I try to listen to some of Dan Bejar’s older albums I just can’t get through them. Kaputt has spoiled me from Bejar’s other work. I remember the first time I listened to Kaputt I was on the train coming home from work and was half asleep. I was about 30 seconds into “Chinatown” and my eyes opened and I sat up in my uncomfortable public transportation seat and was blown away from what I was hearing. The nine songs on the album are really unlike anything else I’ve heard in contemporary music. Everything is dazed, mellow, sexy and the arrangements are spot on. I can’t even bengin to get into Bejar’s songwriting because I just have too much to say and too much to quote and I wouldn’t do it any justice. It took nine albums for Bejar to get things right but boy, I’m so glad he did. Bejar is laid back but very cool. The saxophones and winding trumpets bring a new element to what could have been just a good album. Then there is the duets he does with Canadian jazz singer Sibel Thrasher and those girl-boy vocals that bounce back and forth are to die for. Kaputt is an instant classic and an album that will stay with me for years. It has become one of my favorite things and almost an obsession. It is an album that takes things that have been considered lame and unhip but flips them into a glowing record of nothing but truths, appeal and staunch coolness.