All The '80s Britpop Records You Never Listen To

Wild Nothing's debut record, "Gemini," floats in from stage left with a cascading keyboard, ethereally hovers for 45 minutes, and then calmly flies away, stage right. Few records are as easy to wrap your arms around, but it's simplicity is misleading, as few records are so well composed and enjoyable. Listening to it is like chasing a butterfly through a field -- you're always a step behind, smiling and trying to understand it while its beautifully colored wings elusively flutter, willing to run after it all day long. I've chased it (aka listened to the album) over and over through the fall and early winter and never wanted to stop.

Sure, the record is an amalgamation of nearly every Britpop record released circa 1984-1989, but that means it's a history lesson as well as a great time, no? One of my friends says "Gemini" reminds him of Interpol when it emerged in 2002 with a fully formed debut record so mature and perfectly in place that it was clear they'd already hit their peak and wouldn't be able to evolve further or surpass it with future albums. Maybe so, but when the result is this good, there's no need to quibble. "Gemini" is easily my favorite record this year. Above is a video someone made to the wonderful first song, "Live in Dreams."

Anyway, on to a few other records I liked this year:

* The Radio Dept. -- "Clinging to a Scheme": This is the corollary to "Gemini" -- another record greatly influenced by '80s Britpop, but a little more mysterious, political and inaccessible. though excellent. Hopefully the shroud lifts when they come to the U.S. next month for their first true American tour. They play the Middle East on Feb. 4, which is shaping up to be quite the Boston hipster's dilemma. Also that night: Robyn at the House of Blues (more on her below) and Best Coast and Wavves at the Paradise.

* Beach House -- "Zebra": Victoria Legrand and Alex Scally, the band's leaders, can do little wrong. Each record of theirs is better than the previous one and they've accomplished what few band can: Let their sound evolve without betraying who they are. Someone played the entire album at an end-of-year party at the GSD and I thought, This record is most appropriate one possible for this crowd.

* The Walkmen -- "Lisbon": Nine years ago, when everyone, me included, was infatuated with every band coming out of New York, you would've won a lot of money if you bet that the Walkmen would be the band that was the most relevant and still making the best music in 2010. There seemed to be many other more worthy competitors at the time, but they've earned it by making good music over and over again. Even after five albums in, Hamilton Leithauser's disaffection with the record industry and the scene in general is charming. When he sings "You're one of us or one of them," with a little sneer and a little smile at the first song's end, I can't help smiling too. They deserve the money they earn.

* Mountain Man -- "Made the Harbor": Included more because their rise says great things about the state of indie rock, though their record, which sounds much like the soundtrack to "O, Brother Where Art Thou," is very good. If three women from Bennington, Vt., singing folk songs acapella or with minimal guitar accompaniments, can succeed, the indie scene can incorporate anything. The days of a litmus test are gone. I saw a great show featuring Mountain Man last summer, at the Iron Horse Music Hall in Northamption, Mass. They opened for Twin Sister and Bear in Heaven, two hyped Brooklyn bands, who were also very good. The variety in all three bands' music was wonderful.

Finally, the best song of 2010 was easily "Dancing on My Own," by Robyn. So danceable, so strong and so smart. I'd include her first record of the year on this list, but it wasn't exactly a record, more a collection of singles. It was nonetheless great.