Let me say this first: I’m not a music critic and I don’t get free copies of records. I try to listen to as much music as I can, but I never get to everything. If I missed your favorite, tell me. I like nothing more than learning about new music. So, that being said, these are my favorite albums of the past year in no particular order. I’m prone to hyperbole, so if it seems like I’m gushing a little too much about a particular album or artist, that’s just how I roll.

BLAKROC – BLAKROC

Featuring Raekwon, RZA, Jim Jones, Pharoahe Monch, Ludacris, Q-Tip, Mos Def, and Billy Danze, with The Black Keys as resident house band and recorded in 11 days, what started as one of the strangest projects of 2009 quickly became one of the years best hip hop albums. Unlike most attempted rap-rock  mashups (most of which have been absolutely awful) Blakroc manages to allow all of the artists involved, room to create and explore the new space that each is creating for the other. For a project that came together so quickly it’s amazing how well the artists play off of each other. While always an important part of hip hop, being able to improvise and run with what you’re given is not something that has historically characterized rock band recording sessions. This album, though it may be the exception rather than the rule, proves definitively that artists crossing genres together can be a creative experience and not just a cash-in (*cough*Linkin Park*cough*Jay-Z).

Bon Iver – Blood Bank

It’s a timeless story, Boy and girl fall in love, girl leaves boy, boy packs up all of his shit and moves to a remote hunting cabin in northwestern Wisconsin in the middle of winter to “hibernate”. Three months later Justin Vernon (who recorded all of the music on his debut album with “a few microphones and some aged recording equipment”) emerged with the tracks that would make up the album For Emma, Forever Ago. An album that showed up on most critics best of lists last year. This EP is his first follow up and it acts almost as a counterpoint to the debut album. Where For Emma, Forever Ago almost seems to sap the warmth from a room and force you to feel all of the things you’ve been holding in, Blood Bank feels like the morning after a storm. An almost indescribable tone emanating from his guitar, there is a sense of relief in his voice, telling you that everything is going to be ok, and that no matter what life can go on. Even if your girlfriend left you.

Franz Ferdinand – Tonight

The album cover says it all. Tonight. Filled with possibilities and endless ways to get into trouble. Opening with what is dance track backed by gritty guitar, Scottish rockers Franz Ferdinand proceed to take you out for a night on the town complete with strange omens, heavy drinking, and lucid dreams, culminating in waking up the next morning next to a strange girl. Don’t get me wrong, this isn’t a party album, but rather a soundtrack for “those nights” You know the ones I’m talking about.

Julian Plenti – Julian Plenti Is…Skyscraper

Rock solo albums don’t usually do it for me. While there have been a few success stories, most of the time you’re left with an album that sounds a lot like the band you love, but with something missing. On occasion though, an album comes along that takes the sound of a band, and takes it to a place that a full band would have never dared to explore. And that is exactly what Paul Julian Banks (Lead singer and guitarist for the band Interpol) has done. Released under the name Julian Plenti, this album takes Interpol’s very dark and mechanical sound and adds a life and a beauty to the music that makes you wonder how you never noticed it was missing.

Brother Ali – Us

After hearing 2003′s Shadows On The Sun, I was quick to check out Brother Ali’s newest record. Produced by Ant of Atmosphere, the albums beats are lushly layered with smooth horns, echoing piano, and a guitar that you would swear was lifted from a 70′s porn flick (in a good way). With a lyricist as slick as Brother, it just feels right to hear his words paired with funk, R&B, and soul. Solid.

Kid Cudi – Man on the Moon

From the first bars, it’s clear that this is something different. This is a game changer. I don’t even know that you can call this a Hip Hop record. Sure, Cudi raps, but he spends just as much time singing hooks, and speaking in what sounds more like free verse poetry. A lot has been made of Kid Cudi and his two previous high profile mixtapes (A Kid Named Cudi and Dat Kid From Cleveland), but all the buzz in the world didn’t prepare anyone for what was essentially the hip hop equivalent of an obscure german sci-fi film. While it maintains the basic structure of most hip hop albums (guest spots, interludes) this is an album that confused many fans and left a bad taste in others mouths. Much like Radiohead’s Kid A in 2000, this album will only find it’s place as time goes on and the rest of the music world catches up with Cudi.

Mount Eerie – Wind’s Poem

With 14 albums and EP’s released since 2005, Phil Elvrum has put out a staggering amount of music under the Mount Eerie moniker. While varying in style from strange, towering 20 minute long sequences of drums and chanting to beautiful two and a half minute long ballads, the music never fails to captivate. I’ve heard it described as indulgent and I’ve heard it called brilliant. This album is brilliant. Like the sound of a mysterious dream that fills you with uncertainty. A dream that you know you should wake up from, but just can’t wait to see what’s lurking around the corner. Beautiful and terrifying.

Raekwon – Only Built for Cuban Linx… Pt.II

The Godfather Part II, The Empire Strikes Back, The Dark Knight, Aliens. Sequels. Great sequels. Some might say better than the film that preceded it. I wouldn’t go so far as to say that Only Built for Cuban Linx Pt. II is that good, but it is a damn fine album. The original, sounding every bit the mid 90′s masterpiece has given way to a towering crescendo of present day production. Blasting your ears with soundscapes full of everything you would expect from a Wu-Tang record. Featuring guest spots from almost every living member of the clan, and even going so far as to have a track titled “The Next Wu”, you could make a case for this being the next Wu-Tang album. But in reality, this record belongs solely to The Chef. His lyrical style and lends itself perfectly to an album that pays homage to the past without bastardizing everything that made it great.

Yeah Yeah Yeahs – It’s Blitz!

Bands musical career paths usually follow a chartable course. First album: Interesting and different sound that catches everyone’s attention. Follow up: More of the same but better produced, with some added elements (i.e. guest producers, slightly different instrumentation). Third album back to basics after being told they’ve “gone mainstream”. Yeah Yeah Yeahs have done something completely different. Their first album Fever to Tell, is a thrashing, punky, garage band album that really doesn’t give a fuck what you think. Their follow up, Show Your Bones is a stripped down, sumptuous album that really gets to the bluesy core of rock and roll. It’s Blitz does a complete 180. Sounding like a 80′s new wave album with significantly more substance, it’s sound is majestic. It’s soaring melodies and the elegant, almost delicate, singing of Karen O make this album timeless. Electronic beats and distorted guitar, constantly changing time signatures. It’s uncategorizable.

Various Artists – Dark Was the Night

I like causes. What I like more than anything else about causes, are the musical moments that come from them. At Live 8 in 2005, Pink Floyd got back together for the first time in 24 years. Why would they do this? For a good cause. For some reason, whenever there is an opportunity to raise money for a good cause, musicians tend to bring their best (see: Annie Lennox’s version of “Bridge Over Troubled Water” at Idol Gives Back a couple of years ago; any of the Bridge School Benefit concerts). Dark Was The Night is a compilation benefiting the Red Hot Organization, an organization that raises funds to combat and raise awareness of HIV and AIDS. Available on two cds or three LPs, this set features a who’s who of today’s indie rock gods. Arcade Fire, David Byrne, The Decemberists, Grizzly Bear, Cat Power, Yo La Tengo, Sharon Jones, Beirut, My Morning Jacket, and about a dozen more. While the musical styles vary greatly from band to band, there isn’t a song on this double album that isn’t amazing, both on it’s own merits, and in how it fits so precisely within the whole. This is one of the best compilations it’s ever been my pleasure to hear.