Member Since: 6/30/2012
Posts: 19,226
|
Top Albums of 2012 (Digital Spy)
As the end of 2012 draws closer, so does our desire to reflect on the year in music.
It's been 12 months with highlights including the continued success of Adele, the dominance of Emeli Sandé and the breakthrough of a certain Korean rapper on UK shores - as well as a generous helping of brilliant and exciting record releases.
As such, we at Digital Spy have counted down our 20 favourite albums of the year, the bottom ten of which appear below.
20. Of Monsters and Men: My Head Is An Animal
Released: August 27
Chart peak: No. 3
We said: "Their folk-pop hoohah is perfectly captured on lead single 'Little Talks' where they sing subtly of human loss over buoyant and brassy foot-tapping beats, placing them somewhere between the free-spirited nature of Edward Sharpe, the Magnetic Zeros and the soulful roars of Mumford & Sons."
19. Nicki Minaj: Pink Friday: Roman Reloaded
Released: April 2
Chart peak: No.1
We said: "Whether it's the brilliantly bizarre gender-bending serenade on 'Come On A Cone' or genuine heartbreak from past struggles in 'Champion', Pink Friday: Roman Reloaded never fails to keep you on your toes throughout its largely hip-hop-dominated first half."
18. Little Mix: DNA
Released: November 19
Chart peak: No. 3
We said: "It's the finale of 'Madhouse' that sees them transform into punchy pop vixens and leaves their debut on an energetic high. Don't use it all up just yet, girls; we predict life's going to get a whole lot crazier still."
17. Dry The River: Shallow Bed
Released: March 5
Chart peak: No. 28
We said: "What's most exciting is Dry The River's ability to open the lid on a song and let it soar; a prime example being the entangled vocal and guitar building throughout 'No Rest', which gloriously explodes by the track's end."
16. Muse: The 2nd Law
Released: October 1
Chart peak: No. 1
We said: "The blistering choruses and operatic bravado still remains, but this time out Muse try their hand at the latest musical buzz genre dubstep; but this is by no means a dubstep record."
15. Labrinth: Electronic Earth
Released: April 2
Chart peak: No. 2
We said: "Labrinth's lyrics are far from groundbreaking, but that doesn't make his music any less compelling. Ironically, the one artist Cowell has on his label who has the X Factor in abundance has stepped nowhere near one of his singing contests.
14. Alt-J: An Awesome Wave
Released: May 25
Chart peak: No. 14
We said: "The result is an eclectic, beautifully-rounded debut that messes around with the alt-pop formula just enough to feel fresh and exciting."
13. Ellie Goulding: Halcyon
Released: October 8
Chart peak: No. 2
We said: "Halcyon is a record that, despite an overarching sense of broodiness, remains intriguing and thoroughly enchanting throughout.
12. Lianne La Havas: Is Your Love Big Enough?
Released: July 9
Chart peak: No. 4
We said: "While her near-flawless voice is the immediate attraction, it's the nagging feeling there's more to this woman than meets the eye that will keep you coming back."
11. Taylor Swift: Red
Released: October 22
Chart peak: No. 1
We said: "The subject matter may have barely moved on from her previous efforts, but when it's flanked by a massive pop production, Taylor sounds anything but a broken record - especially when she's on the cusp of global domination."
10. Plan B: iLL Manors
Released: July 23
Chart peak: No. 1
We said: "While the lyrical content grows hard on the ears, the music itself is varied enough to keep you listening on. It may be a grim subject, but if anyone's going to talk about it, we're glad it's Plan B."
9. Leona Lewis: Glassheart
Released: October 15
Chart peak: No. 3
We said: "We all know by now that Leona's biggest asset is her ability to melt hearts over a string-led ballad, but on her third album Glassheart it's the pacey numbers full of angst and torment that stand out."
8. Mumford & Sons: Babel
Released: September 24
Chart peak: No. 1
We said: "To say they've evolved would be wrong, but when the chants are as gutsy and inspiring as these, evolution is pointless; those Big Leagues would be mad not to agree."
7. Paloma Faith: Fall To Grace
Released: May 28
Chart peak: No. 2
We said: "An astonishingly honest album with sumptuous melodies on the ballads that are packed to the brim with old glamour and are unmistakably 'Paloma'.
6. Elton vs. Pnau: Good Morning To The Night
Released: July 16
Chart peak: No. 1
We said: "The result not only succeeds in hauling some of Elton's best back into relevancy, but also works as a spectacular reimagining of those that deserved more first time out."
5. The Maccabees: Given to the Wild
Released: January 9
Chart peak: No. 4
We said: "The themes of maturity and lessons learned play a significant role throughout the album; befitting for a band who are showcasing their own evolution and building upon their own history."
4. Lana Del Rey: Born To Die
Released: January 30
Chart peak: No. 1
We said: "Born To Die is probably the most stunningly refreshing album you'll hear all year. We don't care how she got here, but we for one are glad she did."
3. Emeli Sandé: Our Version of Events
Released: February 13
Chart peak: No. 1
We said: "Her vocal - while remaining flawless throughout - falls somewhere between the power of Leona Lewis on the piano-led numbers (see 'Hope'), and the sultriness of Beyoncé on R&B-tinged 'Mountains'."
2. Frank Ocean: Channel Orange
Released: July 9
Chart peak: No. 2
We said: "His objects of affection may be as complex as his subtle production values, but it results in an intriguing and invigorating collection from one of the world's brightest new talents."
1. Jessie Ware: Devotion
Released: August 20
Chart peak: No. 5
We said: "The breathy, small-hours funk of 'Sweet Talk' and punchy beats on 'Swan Song' boast a timeless quality that suggests she's been listening to smooth jazzers Sade and Anita Baker as well as plenty of golden age hip-hop, while 'Still Love Me' wouldn't sound out of place on an Annie Lennox record circa 1985. The result is a smart and sophisticated debut that remains utterly compelling throughout, and serves as a message to guest vocalists everywhere that there is plenty of light at the end of the tunnel."
|
|
|
|
