Top 50 albums of 2009, part six (10-6)

10. BIFFY CLYRO: Only Revolutions

It may not manage to reach the lofty heights of 'Puzzle' but then, when you've made one of the very best records of the last twenty or so years, it's always going to be a bit of a challenge to follow it. Still, 'Only Revolutions' is a mighty fine album and one that's more than worthy of your undivided attention. The opening salvo of 'The Captain', absolutely the pop song of the year, and 'That Golden Rule', probably the rock song of the year (check out that orchestral closing minute!) is freaking orgasmic. And then there's the ludicrously anthemic 'Bubbles', the beautifully tender 'God and Satan', last year's greatest rock record 'Mountains', epic ballad 'Many of Horror', the utterly absurd, but unfathomably brilliant, 'Born on a Horse'... the list goes on and on. This is an album packed to the brim with opulence; with delicious feasts for the ears. Forget your reservations, Biffy purists, and let its playful charm sweep right over you. You'll feel better for it. Honest.

9. SUCIOPERRO: Pain Agency

‘Pain Agency’ is an utterly terrifying record, laying bare a veritable horror show of human excess and depravity, delving deep into decidedly disturbing thematic territory and unleashing a tidal wave of criminally intense, magnificently harrowing guitar noise to soundtrack it. This is certainly no easy listen, but this is exactly what gives the record its power. From the lilting acoustic sway of ‘Conception Territory’ to the death metal tones of the thoroughly evil ‘Mum’s Bad Punk Music’, ‘Pain Agency’ refuses to be pigeonholed, taking the listener on a gloriously sporadic sensory journey and, for all the ride may be a harrowing one, it proves all the more rewarding for it. Pain never sounded, or felt, quite this good.

8. IDLEWILD: Post Electric Blues

For album number six, Idlewild tend to stick to what they do best, marrying larger-than-life hooks with glitzy, punchy guitar pop. 'Post Electric' owes more to 'Warnings/Promises' than previous release 'Make Another World'; its palate is less immediate and sonically intense, embracing the folky introspection of Woomble's solo work as much as providing guiltless rock thrills, but this only makes the album that much more interesting. Rod's wonderful guitar stabs are often accompanied by tinkles on the ivories, as in the lovely 'City Hall'. There are experiments with brass and unusual percussion, elements that make lead single 'Readers and Writers' such a joy, and there is female vocal accompaniment, provided by the effortlessly talented Heidi Talbot, which adds a fresh dimension to the band's sound. She accentuates the power of wistful ballad 'Take Me Back to the Islands' but, perhaps more impressively, actually manages to make something glorious out of a series of 'la la la's, which is all she provides on 'Younger than America', the album's superlatively anthemic opener. Somehow, her minuscule contribution seems gargantuan, giving the track a sort of rapturous feel that sends shivers down the spine. It may take a few listens but it'll soon become apparent that yet again, the Scotsmen have created something truly special.

7. SILVERSUN PICKUPS: Swoon

Swooning its way into our hearts (hah... see what I did there? *tumbleweed*), Silversun Pickups' latest offering is a veritable treasure trove of musical delights, taking the listener on a roller coaster ride that's highly demanding on the emotions. The eerie melodrama of 'There's No Secrets This Year' soon gives way to the full throttle agony of 'The Royal We' and 'Panic Switch', before taking in the tragically quiet despair of 'Draining' and 'Catch and Release'. There's crushing agony too: 'It's Nice To Know You Work Alone' has probably one of the greatest hooks of the year, but singer Brian Aubert's creepily high pitched vocal transforms it into something unrelentingly terrifying. A wonderfully rich and expertly demanding record that ultimately provides many, many rewards.

6. FUTURE OF THE LEFT: Travels With Myself and Another

Jack Egglestone is an angry man. Quite what he’s angry about, however, is anyone’s guess. The latest batch of aggressive, scuzzy noise rock to come out of the Future of the Left camp is as deliciously oblique and frustratingly nonsensical as always; traversing a minefield of guttural rants without really explaining just what on Earth’s got the boys so incredibly riled. Listening to ‘Travels with Myself and Another’ is sort of like wandering into a blistering domestic row halfway through, and not knowing anything about any of the parties involved. The lyrics are replete with didactic, accusatory exclamations, often directed at specific individuals (the stingingly pinpointed Rick of ‘Arming Eritrea’, ‘Throwing Bricks at Trains’’ Reginald J. Trucksfield) and contain frankly bizarre concepts: ‘Drink Nike’? You what? ‘He’s one of a kind/He’s got chin music’? Excuse me? Would someone mind explaining to me just what the fudge is going on? Of course, it doesn't matter really. Fact is, 'Travels' rocks like one hell of a bastard, spunking all over your poor unsuspecting stereo for thirty five purely visceral minutes. F-ing fantastic.