Self-released, 2010

The debut EP from Manchester’s Battleplans goes for a kind of energetic emotional rock sound with a hefty dose of theatrics, especially in the vocal department. It’s a decent enough ambition, but the songs themselves plod by a bit, and, with the possible exception of the Mars Volta-like title track, aren’t catchy or dynamic enough to grab the listener.

Self-released, 2010

Being a big fan of the sadly defunct Counterfit, my ears immediately pricked up at the fact that Helen Earth Band contain former members of that band. Even better, it turns out the San Diegans continue Counterfit’s evolutionary track, and with brilliant results. Their American Football-gone-math melodics and harmonising vocals make songs that are superbly, dreamily, ambitiously, head-noddingly catchy. One of the best releases of the year.

Burning Building, 2010

It’s taken me a while to get around to writing this one, as I’ve been struggling to think of a good way to convey how Post Harbor’s sophomore full-length is different (and better) than the majority of the post rock crowd. It’s still post rock, just very good. And diverse. And adventurous. With some electronic stuff. And plenty of atmospherics and patient climactic progressions… like post rock. Oh just give it a listen already.

ES Music, 2010

Breathing Blue’s upbeat, driving pop-rock sounds a bit ordinary on first listen, but a closer examination suggests there’s something more clever lurking beneath the surface, especially in the frequent nifty guitar lines and the adventurous vocals. The New Jersey quintet don’t pull it together yet, but you get the feeling they might well on their next release.

Topshelf, 2010

Lancaster, PA’s We Were Skeletons keep hardcore alive with their 2010 Topshelf release, the self-titled We Were Skeletons. Recorded with Will Killingsworth of late 90s heavy hitters Orchid, We Were Skeletons rewards fans of the hardcore/screamo genre with an updated take on the sound in tracks like the genius — spoiler alert — “Bruce Willis Is Dead The Whole Time,” and “Exposure To Heavy Metal Causes Whatever.”

Creator-Destructor, 2010

The debut from California’s Seahaven takes influences from both Brand New and Crime In Stereo, but ends up sounding like neither. This is a good thing – their melodic indie-punk mixture has its own infectious and somewhat downbeat character, which avoids drowning in its gloomy waters due to the frequent injections of youthful buoyancy. Very promising.

LAB, 2010

Catchy and bright female-fronted pop-rock in the spirit of Paramore. It’s good at what it does – vocalist Jorja has a decent voice, and you can instantly sing along to the choruses – but the Brighton quartet will have to do a lot more to separate themselves from the thronging pop pack.

Self-released, 2010

Museum Mouth’s debut album hits the sweet spot between noisy lo-fi production and catchy, memorable songwriting. The result is a combination of raw 90’s indie rock (read: Pavement) and modern shoegaze, with some noise thrown in. This is one of the most unique releases I’ve heard this year.

Self-released, 2010

Very much in the vein of Moving Mountains, It’s Just Vanity’s debut is a mix of atmospheric post-rock and some more catchy emo-tinged indie. It’s a touch too close to the afore-mentioned band, and not quite as good, but it’s a decent start.

Kscope, 2010

The Liverpool sextet’s first album in seven years provides some lovely atmospheric prog-rock in which to douse our senses. It sounds as if they’ve had some kind of spiritual revelation in those intervening years, the sixty minutes adopting an inspirational charge to its emotional expanses, and the shared male / female vocals floating around like ethereal gurus. It’s a touch new-agey then, but also stirring and meticulously-crafted.

Count Your Lucky Stars, 2010

Any of the songs on this album, taken individually, are awesome. Joie De Vivre’s brand of downtempo indie rock is very powerful, with inventive bass and drum grooves laying a nice foundation for the downtrodden (but certainly not emo) vocals and occasional trumpet. As an album, though, the songs all start to sound very similar. These guys have potential, but they need to find a way to shake up their own formula.

Deep Elm, 2010

The follow up to their debut full length Bad News From The Bar, The Connection gives us six tracks of warm emotional rock with a strong pop sensibility and plenty of bright-eyed drive. Singer Mike Getches has a likeable Postal Service / Weakerthans aspect to his delivery, and I can only see it and his lyrics growing in stature over future releases. Ideal summer listening.