Wow, what a great year for music. Maybe it’s because of the explosion of music blogs but I can’t remember the last time I heard so many new albums that excited me. It was really tough to whittle 2005 down to 10 essential releases, but I guess we came up with as good a list as any. Surprisingly, our top 10 had a lot in common with Pitchfork this year… I’m not sure if that’s good or bad.

10. Of Montreal – The Sunlandic Twins (Polyvinyl)
You might assume Of Montreal are from Montreal, especially with all the great music coming out of that city lately, but they’re actually from Athens, Georgia. The Sunlandic Twins is their 13th release (2nd for Polyvinyl Records) and it’s really made a lot of people stop and take notice of them (myself included). Their psychadelic pop sound resembles at times The Shins or The Apples in Stereo, but other times they are like nothing else you’ve ever heard. Incorporating bits of electronics, disco, and dub, it all comes together into a swirling pop masterpiece. — Sean

9. Clap Your Hands Say Yeah – s/t (Independent)
» Read Space Junk review
Brooklyn’s CYHSY’s became a name overnight thanks to a tidal wave of word of mouth started by the influential website pitchforkmedia.com, spread by every music blog in the country, right into the pages of Rolling Stone. While their status may have waned a bit by years end thanks to the very same hype, as well as overwhelmingly negative reactions to their live performances, there’s no doubt that this humble, underproduced, self-released album truly earned its praise. The broad appeal can be explained by how it reminded of the best aspects of so many of the indie rock greats – from Yo La Tengo, Neutral Milk Hotel and Talking Heads to recent sensations like the Arcade Fire, Interpol and Wolf Parade. — Goon

8. Beck – Guero (Interscope)
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There were a share of critics who were turned off by Beck’s supposed ‘regression’ to the “Odelay” sound that turned him from a one-hit wonder into one of the most respected innovators in music today, however it was finding out that Beck is a Scientologist that was truly disappointing. Regardless of the fact that Mr. Hansen seems to believe there’s a tiny alien inside of him, at least his music seems to reflect this in a positive way. The frequently nonsensical lyrics, the awesome Dust Brothers provided hip-hop samples, the pop hooks, the white boy rapping, the bizarre breakdowns, the overall variety…. oh how it’s good to have the fun, inimitable Beck back. — Goon

7. M.I.A. – Arular (XL/Beggar’s Banquet)
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Even though this was my personal fave for the year, I’ve always found this album hard to talk about. I can’t say I understand much about jungle, world music, even hip-hop. Even electronic music, which I’ve really gotten into more and more this past year, is still hard for me to describe. All I can say is I’m one of the legions out there who has fallen for Maya Arulpragasam, the Sri Lankin ex-pat whose mildly political debut “Arular” (named after her Tamil Tiger father) was for me, the catchiest collection of songs out there, period. With a great vocal style, pounding urban beats and a knack for the background bleeps and boops that bring these tracks that extra punch, it’s no wonder Jay-Z, Missy Elliott and so many others went knocking on her door, praying M.I.A. would be generous enough to spread some of the magic around. — Goon

6. Bloc Party – Silent Alarm (Vice)
Bloc Party were definitely one of the year’s buzz bands, building up all kinds of hype before their
debut album was even released. The excitement was based at least partially on the strength of the addictive single, “Banquet”. They inevitably got slapped with the ill-conceived “dance-punk” label, but their music set itself apart with a razor sharp rhythm section, haunting vocals and irresistable hooks. By the year’s end, the release of an excellent remix album proved the longevity of these songs and ensured that Bloc Party would continue to remain relevant for some time to come. — Sean

5. Animal Collective – Feels (Fat Cat)
Continuing down the path paved by 2004’s Sung Tongs, the new album by the Animal Collective reveal their predilection for creating pop masterpieces; never have they been more poppier or more complex. Even at their simplest, they have layers of beats and melodies working together. Whether it be on the chorus chanting on “Grass,” or the percussion-heavy rhythms on “The Purple Bottle,” the Animal Collective twist pop music on its head with an album of bizarre, delightfully childish songs. The album contains so many moods and styles that it seems bi-polar, ebbing and weaving as fast as the rhythms. They are able to sow these songs together so effortlessly yet continually drawing attention to themselves, never allowing the music to become background music. — Zak

4. Caribou – The Milk of Human Kindness (Domino)
Having to change his name from Manitoba to Caribou pending a lawsuit, couldn’t have worked out better for Dan Snaith. 2005 was the year that Snaith received the adequate recognition that his music deserves, not to mention his proficiency with a full length album, two EPs of outtakes and a DVD of videos. While he was always overlooked in the electronica or folktronica genre by musicians like Four Tet, with The Milk of Human Kindness, Snaith made an album that outperformed Four Tet’s album and almost any other album of the year. If Up In Flames was his shoegazer homage, TMOHK was his tribute to kraut rock, with Snaith’s infamously chaotic drumming and programmed synths creating a psychedelic masterpiece. — Zak

3. Deerhoof – The Runners Four (Kill Rock Stars)
The Runners Four is probably the closest Deerhoof have ever come to accessibility, which isn’t really saying much. Even though Deerhoof primarily makes 2 ½ minute pop songs, they revel in hectic drumming and odd time signatures. Even in their most accessible, they are still shattering the definition of pop music. There are so many monumental moments on this album that it is difficult to pinpoint a standout track. As well as containing a variety of new styles on this album, they also begin to experiment with different melodies and abstract noise elements that have been leaning towards on the Green Cosmos EP they released earlier this year. After the redundant Milk Man released last year, this album finds Deerhoof alive again making the best album of their already stellar career. While Deerhoof have always been a quirky, creative band, The Runners Four proves that they are one of the most talented bands working today. — Zak

2. Sufjan Stevens – Illinois (Asthmatic Kitty)
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It’s amazing to think that this quiet and humble singer/songwriter has become such a huge indie
rock superstar, but when you hear Illinois you begin to understand the brilliance of his work. This is the 2nd installment in his ambitious “50 States” project (his objective: write an album for each of the 50 States), and its packed with stories of both personal and historical significance. Alternating between lush orchestral sing-alongs and intimate folk songs, the album is simply a joy to behold. — Sean

1. Wolf Parade – Apologies to the Queen Mary (Sub Pop)
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While their association with the Arcade Fire and Modest Mouse certainly helped get Wolf Parade some attention early on, by the time their Sub Pop debut Apologies to the Queen Mary hit stores, the strength of the music is what carried them through. This is an album that bristles with energy and passion, songs that have a drunken swagger, eerie atmosphere, and a style that seems both old and new at the same time. Maybe not enough people have heard it yet, but this record will grab a hold of you and never let go. — Sean

Honourable mentions: Broken Social Scene – s/t, Sigur Ros – Takk, Stephen Malkmus – Face The Truth, Spoon – Gimme Fiction, The Constantines – Tournament of Hearts, LCD Soundsystem – s/t, Junior Senior – Hey Hey My My Yo Yo