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BEST OF 2010 COMPILATION TRACKLIST!

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1. The Black Angels "Bad Vibrations" from Phosphene Dream
2. The Energy "I Won't Let You Waste Me" from First Album
3. Endless Boogie "Empty Eye (edit)" from Full House Head
4. The Budos Band "Unbroken, Unshaven" from III
5. BLO "Root" from V/A: Lagos Disco Inferno
6. Vampire Weekend "Run" from Contra
7. Karen Elson "The Trush is In The Dirt" from The Ghost Who Walks
8. Four Tet "Circling" from There Is Love In You
9. Sun City Girls "Blue West" from Funeral Mariachi
10. Charlotte Gainsbourg "Master's Hand" from IRM
11. Current 93 "Tank of Flies" from Baalstorm, Sing Omega
12. James Blackshaw "Part 4" from All Is Falling
13. U.S. Christmas "Maran" from Run Thick In The Night
14. Dead Meadow "That Old Temple" from Three Kings
15. Gnod/White Hills "Drop Out (edit)" from Gnod Drop Out With White Hills II
16. Electric Wizard "Turn Off Your Mind" from Black Masses
17. Expo 70 "Close Your Eyes... (edit)" from Where Does Your Mind Go?
18. Wolfgang Voigt "Dunkler Weg" from Freiland Klaviermusik
19. Burzum "II. Belus Doed (edit)" from Belus
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VINAL EDGE RECORD's BEST OF 2010 LIST!

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In no particular order...

Black Angels "Phosphene Dream"
Psychedelic music was alive and well in 2010 in no small thanks to this album. Now this isn’t your acid dropping dad’s style of psychedelic music, but there definitely are elements of that sound here. A while back The Black Angels actually backed Roky Erickson on tour as not only a warm up band, but also as his rhythm section. They helped Roky to perform 13th Floor Elevator songs he hadn’t played live in years. This experience seemed to rub off on the Angels as evidenced on this album. Under the heavy wall of psyche sound they produce you can hear some Harmonium played and even the legendary “Electric Jug” sound heard on all those 13th Floor Elevator records. Hey Dad, got any acid stashed somewhere? --Chuck
James Blackshaw “All Is Falling”
While his early albums categorize Blackshaw as a vintage type folk-rock guitarist, the latest release is far from a Jack Rose/Leo Kottke comparison. Sure, his folk-rock guitar work is still here, but the songs are fleshed out with violins, cellos, piano, and a glockenspiel. There are no acoustic guitars here, only electric guitars that are beautifully played and sometimes a little haunting. --Travis
Budos Band “III”
The third full length offering from this New York ensemble is a toe-tapping, foot-stomping, ass-shaking, blend of instrumental Jazz, funk and Afro-soul! The cool factor in the 11 tracks on the album would lead you to believe that each was a hand-picked gem unearthed for a Quentin Tarantino movie soundtrack. Fantastic bona fide funk that, like Chex Mix, will make any party better! --Chris
Burzum “Belus”
With the controversial black-metal pioneer being released from prison after a 16-year stint, the news of another Burzum album was met with considerable hype and suspicion. This is, for my money, the comeback album of the year, and the logical extension of “Filosofem,” Varg’s last album before incarceration. Cold, dark atmospherics still prevail, but Varg has also touched upon something deeply, quintessentially Norwegian with Belus. Along with his trademark screech, a half-spoken style of singing joins his vocal repertoire, calling to mind voices and melodies I’ve only heard in Scandinavian folk music, an innovative synthesis that could’ve only been developed by the man responsible for the proliferation and notoriety of the genre. --Sam
Current 93 “Baalstorm, Sing Omega”
In their early years I felt this band could do little wrong. David Tibet’s apocalyptically dark visions carefully mixed by Steven Stapleton’s able pair of ears made for pretty damn evil stuff. At a certain point things started to head into a more neo-folk-renaissance direction that had it’s ups and sometimes goofy downs. David does not have a great singing voice, and he can really grate when his self-indulgence takes over. I was beginning to lose interest in his CDs. In 2009’s Vinal Edge Best of list, he reappeared as a vocalist on a record by Aethenor(“Faking Gold & Murder”). After digging that record I felt that he still had more great records in him if he took the right direction. This new release is one of those records. It seems on his new release that he is surrounded by talent that truly compliments his sound. Perhaps the biggest plus is the addition of Andrew Liles to the line-up. He not only appears on the record, but also recorded, mastered and co-mixed the album with Tibet. It has a flow that really works. Some other guests include Baby Dee, James Blackshaw, John Contreras, Eliot Bates, and many more. This is a great album to give all previous fans a chance to get back in the Current. --Chuck
Dead Meadow “Three Kings”
Although the album is meant as accompaniment to the video, this 18-track beast is more than capable of standing on its own. The album is comprised of both live recordings and 5 new studio cuts. The live material is fantastic, with only 3 tracks overlapping 2003's live offering "Got Live If You Want It." The studio pieces are strong too with the highlight being the female vocal piece "Push 'em to the Crux." If bluesy, heavy, fuzzed out stoner rock is your thing, and boy-oh-boy is it mine, then this album is an absolute must! --Chris
Electric Wizard “Black Masses”
The seventh studio album by Electric Wizard, "Black Masses" continues where 2007's "Witchcult Today" left off. The band continues on this path of (relatively) faster riffs and clearer vocals. Most longtime fans have embraced this slight change in approach and anyone who didn't dig earlier offerings may want to give them another try. Now fifteen years in and down to one original member (guitarist/singer Jus Oborn), Electric Wizard continue to produce some of the heaviest, sickest, most blasphemous doom on the planet. Believe it or not, this is a good thing. --Chris
Karen Elson “The Ghost Who Walks”
Somewhat dark female vocal songs with a slight Nashville twang of a band. Produced by husband Jack White indeed in Nashville, it could be easy to dismiss if one is not a White Stripes fan. It does not sound like that band however, and Karen stands on her own two feet as a songwriter on this very enjoyable disc. It has a feel of say a dark Lee Hazlewood / Nancy Sinatra LP from the 60’s mixed with unique female singer Sam Phillips and an occasional dose of Patti Page. Several songs would work well on a Quentin Tarantino soundtrack. --Chuck
Endless Boogie “Full House Head"
New York foursome doing twisted, repetitive, blues rock that sounds more Louisiana swamp boogie than Brooklyn anything. To call them a jam band would be somewhat accurate, though I'm afraid the comparisons to other jam bands might do Endless Boogie a harsh disservice. If you can get with singer Top Dollar's crazy brand of raspy Beefheart-meets-ZZ Top-by-way-of-Edgar Broughton vocals, you might find yourself jamming this beast more than your significant other stand! --Chris
Energy “The Energy’s First Album"
Man it's hard to pin down exactly what I love about this album because, really, I love everything about this album. The Houston four-piece manages to somehow sound simultaneously very sharp and very drunk. The guitar fuzz is focused and driven by a tight rhythm section, infusing all eight tracks with an excellent …ahem… energy. All in all, a perfect backdrop for the couldn’t-give-a-fuck vocals. Houston punk lives! --Chris
Expo ’70 “Where Does Your Mind Go?"
I don't know that tripped-out atmospheric drone can get much better than this! Justin Wright's 2010 release offers up four expansive chunks of superior space rock, the shortest of which clocks in at 16:45. A true headphone experience, this album will have your inner stoner pondering the meaning of life and questioning why Gardetto's doesn't offer a sour cream 'n onion blend. --Chris
Four Tet “There Is Love In You"
Back in May of 2001, when I was still a Vinal Edge rookie, Four Tet's "Pause" album was released and single handedly opened up my mind to electronic dance music. I put that on our Best of 2001 list and now, 10 years later, "There Is Love In You" is equally deserving. Kieran Hebden (who is Four Tet) remains an absolute master of catchy, glitchy microhouse; the sounds he creates are always unique and have a surprisingly warm analogue feel to them. If you've never considered yourself a fan of this kind of music, give it a spin. Maybe this album can do for you what "Pause" did for me. --Chris
Charlotte Gainsbourg "IRM"
Yes, the daughter of Serge & Jane Birkin is back with another wonderful album. Charlotte’s last album was produced by the band Air, who also co-wrote it with Jarvis Cocker(Pulp) and Neil Hannon(Divine Comedy). This lent it a wonderful “Air” sound. Here we are a couple years later, with a record primarily written, arranged, produced and played by Beck. The results are a very different sound, which I must admit took me a few listens to get comfortable with. I was really stuck on that “Air” produced album “5:55”. After several spins I was fully convinced, this is another GREAT album. It got so much play at Vinal Edge it was practically a soundtrack to our shop! --Chuck
Sun City Girls "Funeral Mariachi"
Here lies the touted “final album” from this weirdo band with a sorta world music sound. This record doesn’t fit in with most avant garde bands, yet nor does it fit well in the “world music” category. It ain’t alternative and it’s not rock. Makes you wonder how the hell these guys sold records for so many years and have built up such a cult following. This record is perhaps one of their most accessible to new ears, even gorgeous at times. Working in Record shop makes one always try to apply some kind of label to a band, so that we can file them and also describe them to a customer. After all, we are in a retail SALES business. Over the years I have found that the harder a record or band is to label, the odds are it has potential to be very good. There is a definite middle-eastern flavor to parts of this release, but perhaps a list of some of the instruments would be of more help; Guitars, Mandolin, Organ, Mellotron, Percussion (Including Gamelan Gongs), and guest appearances by David Carter on Trumpet and Eyvnd Kang on Viola--Chuck
US Christmas "Run Thick in the Night"
On their fifth full length album, U.S. Christmas bring us their unique outing of spaced out stoner rock with slow building guitars, straightforward drumming, violin drones and vocals somewhere between Monster Magnet and Mudhoney. Musically USX blends influences ranging from Hawkwind, the spaghetti-western style of Earth, and Neurosis. If this sounds like something you would be in to, then pick it up immediately! --Travis
Vampire Weekend "Contra"
I shouldn’t need to say much about this. You have heard this band before. They provided the Music for at least two tv commercials (Honda and Hilfiger) over the “Holiday” season. While you may have heard that song “Holiday” a tad much, the record as a whole is pure major-indie label-pop-fun. Just like their last LP, this one is not pure plain old pop, they incorporate some cool afro-pop grooves into their sound. The result is infectious, and can be described in one three-letter word I have already used. FUN! --Chuck
Wolfgang Voigt “Freiland Klaviermusik”
Ok, my year-end choices sometimes have the reputation of being “difficult listening.” This falls in that category. People have asked me to turn this CD off and have wondered why I don’t get headaches from listening to it. It’s intense stuff, but totally worthy of this list. “Freiland Klaviermusik” is ostensibly techno (Voigt is the man behind the legendary Kompakt label), but I’ve really never heard anything like this before. The music is extremely stripped down, comprised of nothing but a steady bass-drum beat and aggressively played piano chords. It’s almost sort of a demonic techno version of La Monte Young’s “The Well-Tuned Piano”! --Sam
White Hills & Gnod “Gnod Drop Out With White Hills II"
Absolutely killer collaboration between British dronesters Gnod and California space rock trio White Hills. The eight tracks weave between "Spine of God" neo-psych madness, Tangerine Dream inspired electro-prog and Circle's blend of Kraut and progressive post-rock. In layman's terms: it's pretty fucking trippy. –Chris
V/A "Lagos Disco Inferno"
If you are interested in something the complete and utter opposite of Burzum, try this: 12 slabs of steamy-hot 70’s Nigerian disco-funk. This stuff is so catchy, so danceable and fun – I can’t get enough of it! Whether you haven’t been introduced to Nigerian music or disco, or you are a seasoned buyer of the African reissues that we carry, this is totally essential. --Sam

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