As the country linked arms at the end of last year and slurred its way through the bits of Auld Lang Syne it could remember, the chart was just settling down after a Facebook campaign(!) saw Rage Against The Machine take the coveted Christmas Number One slot away from that year’s X Factor winner, who soon stole the crown at sat atop the chart as calendars flipped over to January.

In the more discerning music world the landscape was changing. Guitars and swagger have been on the decline for a while and 2010 was no different. With The XX picking up the Mercury music prize and ridiculously named genres like glo-fi, chillwave and witch-house finding themselves on the album chart, it wasn’t just those who trawl the blogs who were starting to appreciate a delicate synth line or two.

2010 featured more than a couple of releases which had been a long time anticipated. Vampire Weekend had to deliver on their universally lauded debut, Arcade Fire were under pressure to deliver their first new material in three years, The National were primed to cross over to a more widespread audience with High Violet, and the likes of Midlake, Laura Marling, Hot Chip, Mystery Jets, These New Puritans, Beach House, Errors and LCD Soundsystem were all expected to deliver after their previous form. To name just a few.

For those that like to keep their ear to the ground, their finger firmly on the pulse and their sounds white hot, 2010 also created some notable debuts. Warpaint, Darwin Deez, Allo Darlin’, Broken Bells, Avi Buffalo, Wild Nothings, Perfume Genius, Best Coast and The Soft Pack were amongst the many albums that had reviewers frothing at the gills and reaching for the “Best debut of the year” button on their custom Music Critic’s Keyboards.

With all that in mind, the great thinkers of CDX (that’ll be our all-knowing music writers) sat down to discuss the music of the last twelve months, with the plan to crown one long player as the most triumphant release of 2010. Then we hit a snag; one which is evident from the plethora of bands and artists named above. There was too much; a lot of it is very good. What makes one album better than another on any given day? How do you argue that the electronic wizardry of Gold Panda is a better album that country lilting of Caitlin Rose? The British obsession with queuing is matched only by its enjoyment of lists — all of which are subjective, forever argued and largely pointless. Ranking and filing anything and everything so we can be sure we all know, unequivocally, what’s Best.

With this in mind we decided to just discuss what a great year 2010 has been, free from the binds of deciding why one great album is ‘better’ than the next great album. We jotted down some notes, enjoyed a few drinks and compiled the snappily titled…

The Culturedeluxe list of the best albums of 2010 in nothing more than alphabetical order

Aloe Blacc – Good Things
Good Things is an album for our times, chronicling betrayals by the business and political classes, not to mention the perpetually troublesome opposite sex. Over lush Motown-style instrumentation, Aloe’s rich vocals guide us through a world of empty pockets and heartache; the economic downturn never sounded so good.

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Archie Bronson Outfit – Coconut
Dirty dirty, bluesy, ballsy, earbending deliciousness from this far too long absent Somerset band, who reappeared on the scene this year after an absence of four (yes FOUR) years.  Like the Black Keys?  This is better.  Turn it up loud.

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Baths – Cerulean
If there was any justice in this album would have exploded all over place in much the same way that Passion Pit’s Manners did in 2010. Full of playful samples, staccato beats and smiling vocals, Cerulean channels the energy of early Four Tet and takes it on a beach holiday.

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Best Coast – Crazy For You
From opener “Boyfriend” , to “Crazy in Love”, “The End” right through to final track “When I´m With You”, Crazy for You is a collection of lo-fi sixties sounding songs that you should love but so could your parents and even grandparents. Pop perfection. Beth has captured the melody, innocence of that period and most importantly the band haven´t tried to over complicate what they are doing.

Caitlin Rose – Own Side Now
Possibly the most acclaimed of the numerous young country singers to come through this year, the easy, breezy, soft country style of Caitlin Rose’s debut long player has brought in much praise. Gentle guitars, warm tones and a rich production, the mature earnestness that runs through both her lyrics and delivery make this a captivating listen.

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Common Prayer – There Is A Mountain
If a you see a CV that includes the words “former member of Mercury Rev” you’re always going to anticipate a certain calibre or record. Even with those expectations it’s hard not to be blown away by the debut release from Jason Russo’s Common Prayer. Full of heart, warmth, found sounds and ramshackle production it’s an absolute joy from start to finish.

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Crocodiles – Sleep Forever
As with previous success stories of the genre there is absolutely nothing on this album that has not passed through the headphones of at least two generations of disenfranchised young men before them. But, what Crocodiles have done is distill the most potent active ingredients of the past and combine them effortlessly into this loving tribute to their influences. Whether they can get away with the same next time around is another question but, for now, this comes highly recommended.

Darwin Deez – Darwin Deez
It really can be this simple. Guitar. Beats. Bass. Lyrics. Darwin Deez magically appeared in 2010 looking like he’d just esaped a cult, with this perfect album. It’s such a simple formula, and such simple production, but it’s the execution of it that makes this album so fantastic.

Errors – Come Down With Me
Despite its suitably zeitgeist-mocking title, the second full length outing from Glasgow’s Errors was more an absorbing, melodic high than a serotonin-deficient pact.  Nestling among ten teacks of layered, captivating Krautrock was this year’s best track: the stupidly entertaining ‘Supertribe’.

Foals – Total Life Forever
This record marks the point from which the band morphed from NME ‘cool list’ boys with instruments, to men producing some seriously outstanding music. Gone are the frenetic riffs that tore through Antidotes, and in their place are haunting harmonies and poignant lyrics that culminate into something magical. Previously we’d experienced an eager Foals sprint out of the starting blocks, but Total Life Forever has seen them race ahead of their contemporaries.

Gorillaz – Plastic Beach
With music ranging from pop to rock to rap and legendary artists strewn throughout the tracklist, Plastic Beach could have been an incoherent jumble of over-ambition. Instead Damon Albarn has created an album of meandering and understated brilliance, whose beauty is enhanced with each listen.

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Kanye West – My Beautiful Dark Twisted Fantasy
This is a hip-hop album in the broadest sense of the word, yes there are beats and rhymes, but at its very core this is an ambitious pop record. It may be too early to proclaim, but this is comparable to a Purple Rain or a Thriller. Its scope is that audacious and we could very well be looking back at this album in twenty years time with the same frame of mind.

Laura Marling – I Speak Because I Can
Second album, second Mercury nomination and still only 20.  Marling’s Ethan Johns-produced follow up continued to build the lofty reputation of the folkstress.  She stated that she had ‘found her voice’ with this album, perhaps reflected in the title, and it’s now deeper, more confident and occasionally scathing.  More important than making great strides from the sound and quality of her debut, Marling added complexity to the music and a consistent voice to the lyrics.

Laura Veirs – July Flame
While many were pouring praise on Laura Marling, what could be argued as her Stateside counterpart was quietly impressing anyone who was lucky enough to hear her seventh studio album. With My Morning Jacket’s Jim James along for the ride this album of oblique folk, layered with Veirs’ take on indie-rock, is a hidden classic for the year.

Midlake – Courage Of Others
Midlake took a risk with the Courage Of Others. A definite shift from the soft rock brilliance of The Trials Of Van Occupanther, The Courage Of Others saw the band take a step into the more traditional roots of folk. Those that took the time to get to know the album soon discovered that while this may not hit the same highs of Van Occupanther, the records can’t really be compared either. A quietly confident achievement.

Mother Mother – Oh My Heart
If there was a prize for Best Pop Album of the year (albeit an indie pop records which doesn’t necessarily conform to what we all know as ‘indiepop’) then Oh My Heart wins hands down. Just beating fellow Canadians The New Pornographers to the post, Oh My Heart is full to the brim of intelligent, layered catchy-as-you-like tunes.

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Neil Young – Le Noise
To his many devout follows the news of a new Neil Young album leaves you both trembling with excitement but also fearful. Thankfully with Le Noise Neil has both taken a step forward and back. This may be just Neil and his guitar but Neil is angry and his guitar is loud, In To The Black loud.

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No Age – Everything In Between
Much like the heroic and triumphant Odysseus returning to his homeland of Ithica, No Age, the smart and wily urchins of the current trend of lo-fi indie pop bands, return to our hungry and eager ears with a brand new album. They have swabbed subtle and minor changes onto what they do best and they win a lot of praise for not taking the easiest option and just making Nouns part deux.

The Pack AD – We Kill Computers
With a little blues, punk and loads of raw energy, The Pack AD have made a wildly fantastic album with We Kill Computers. The Canadian duo are a more accessible version of The Kills with less electronics and more attitude. Every listen gets the blood pumping and head nodding. This is music with a serious roadhouse feel. Standout tracks are ‘Crazy’,  ‘B.C. is on fire’ and ‘Catch’. This is an album that needs to be turned up to 11.

Paul Simpson – Man In A Burning Anorak Vol 1 & 2
Man In A Burning Anorak is an album comprising of studio recordings, demos and curiosities, some of which have previously appeared on Paul’s Mind Lagoons album recorded under his Skyray moniker. These are albums to become immersed in and listening to them is like an audio bubble bath for the mind. Why not treat yourself, cleanse your soul and luxuriate in a burning anorak?

Perfume Genius – Learning
Mike Hadreas has dealt with his his troubled life by making an album. Under the name ‘Perfume Genius’, he’s taken on his own kind of therapy whilst committing to record some of the year’s most touching and involving songs. The tragedies are many, counterbalanced only by the undeniable beauty.

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Phantom Band – The Wants
There are generous synth bursts all across the album amid a dichotomy of bold chivaree and turbulent lullabies. They say “I wants don’t get” but with ‘The Wants’ what you get is the natural successor and superior to ‘Checkmate Savage’ and the best album to probably be sadly ignored this year.

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Phosphorescent – Here’s To Taking It Easy
Anyone who had the pleasure of seeing Phosphorescent live this year will surely have the show chalked up as one of the best, with Here’s To Taking It Easy playing a large part. Full of sweet harmonies, guitar freak-outs and good old rock n roll, this record is in a class of its own.

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The Radio Dept. – Clinging To A Scheme
After a four year hiatus the Swedish trio came back with an album which lifted the melancholy head of Pet Grief with fizzy synths, chiming brass and soft, heartfelt vocals. From the rug cutter of ‘Heaven’s On Fire’ to sun-kissed ‘You Stopped Making Sense’ Clinging To A Scheme was more than worth the wait.

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Shit Horse – They Shit Horses Don’t They
The record is short and compact, coming in at just over 18 minutes, but a familiar coherent theme runs throughout. The band have put their own bright twist on a well trodden path and, although its lo-fi in nature, it’s not really a sound that lends itself to any of the current lo-fi/no-fi trends, and in 2010, sounds rather refreshingly odd and new.

Standard Fare – The Noyelle Beat
So they can’t really sing but that doesn’t matter when the delivery is this good. Full of post-teen lament, Standard Fare take an intelligent, humorous and sometimes embarrassing slant on the indie pop genre. With more melodies than should be legal for one record, teenage angst has never sounded so good.

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Stephanie Finch & The Company Men – Cry Tomorrow
Falling into the category of “A bit country but not too country” Cry Tomorrow is an absolute gem of an album. Stepping away from her usual duties as musical cohort to husband Chuck Prophet, Finch’s debut is delivered with a quick wit and a knowing smile.

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The Besnard Lakes – The Besnard Lakes are the Roaring Night
It’s an awful word to attach to anything, but if there’s one album of 2010 that deserved the tag ‘epic’ then it’s The Besnard Lakes are the Roaring Night. Drowning in tidal waves of distortion, harmonies and reverb it’s as majestic as it is brutal. ‘Albatross’ is up there as one of the best songs this year.

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Surfer Blood – Astro Coast
After the reverb-soaked ‘Swim’ tickled many an ear in 2009, Astro Coast featured on many ‘One to watch’ lists as we entered 2010. Peppered with instant hits like ‘Take It Easy’, ‘Neighbour Riffs’, ‘Twin Peaks’ this debut is packed with more hooks than a strip of Veclro.

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Thus:Owls – Cardiac Malformations
Erika Alexandersson’s exquisite voice sits at the centre of an album which is as perfectly executed as it is conceived. At one turn hauntingly beautiful and at the next snarling and fork tongued, it’s a beguiling thought that this patchwork quilt of an album can be called debut..

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Treecreeper – Juniper
Perhaps befitting the album’s temperament, Treecreeper’s second longplayer was released to little fanfare this year. That’s no reflection of what lies beneath. This record of carefully considered alt.country is a must for any Neil Young or Sun Kil Moon fans.

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Warpaint – The Fool
If there was an award for 2010′s most talk about band then Warpaint would surely take the prize (although The XX would be mightily pissed off). Fortunately for them the buzz is warranted as their debut The Fool proved them to be much more than just the latest taste of the tips of too many tongues.

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Album write-ups by: Olivia Isaac-Henry, Chantelle Pattemore, Keith Haworth, Mathew Parri Thomas, Ross Park, Richie Brown, Dave Reynolds, Bryony Jones, Phil Russell, Kevin Burgess, Nick Foster