Dean & Lisa Peteet

TOP 10 RECORDS of the YEAR



It’s time for Atlas’s first annual top ten record of the year list, for the year 2010. Overall it has been a good year for music, not a great year, but nonetheless a good one. So without further a do here we go.

#10 Brooke Waggoner: Go Easy Little Doves
For her sophomore release that includes a more orchestral and instrumental approach, Waggoner successfully creates another solid “Perfect Pop” record.

# 9 Jonsi: Go
Iceland’s lead vocalist of the critically acclaimed band Sigur Ros gives us a great collection of new Sigur Ros tunes, but with beats.

#8 The Morning Benders: Big Echo
This California Chamber/Psych pop quartet does a great job at balancing lush magisterial pieces with catchy pop hooks dynamically aided by Chris Chu’s sonorous vocal presence.

#7 Sally Selltmann: Heart That’s Pounding

This Melbourne based artist does her best to dispel the myth of the acoustic guitar folk based female singer song writer, by taking us down the unpredictable rabbit hole of endless hooks, harmonies, and instrumental surprises.

#6 Peter Gabriel: Scratch My Back
A mostly strong collection of orchestral covers including both new and older artists. Stand out tracks include The Talking Head’s Listening Wind, Elbow’s Mirror Ball and The Magnetic Field’s The Book Of Love.

#5 Surfer Blood: Astro Coast
The debut from this fun Florida garage band that boasts what I think is the best album cover of the year.

 #4 The New Pornographers: Together
What can you say? It’s another solid power pop album from a solid power pop band.

#3 Broken Social Scene: Forgiveness Rock Record
Canadian power ensemble really pulls out all the stops and gives us (in my humble opinion) their best record to date.

 #2 Local Natives: Gorilla Manor
Great debut from this quirky and eclectic L.A. group that combines afro-pop influenced guitars with hyperactive drumming and hooky three-part harmonies.

 #1 Arcade Fire: The Suburbs
Returning to the spirit and energy of their debut “Funeral” this record givesme a little hope that maybe the “Long Play Album” is no longer a dead medium.