Since we're halfway through the year, we thought we'd look back at the best music released so far in 2010. Starting with Laura Marling, ‘I Speak Because I Can’. NME's original review said: “The growing pains of an old soul make for compelling and powerful music."
Gill Scott-Heron, ‘I’m New Here’. NME said: “The sparse beats are in keeping with the apocalyptic blues contained within, and Gil holds his own next to relative youngsters, Gonja Sufi and King Midas Sound.”
Gayngs, ‘Relayted’. NME said: “This album is decadent and sprawling.”
Foals, ‘Total Life Forever’. NME said: “It is nervous, intense and quite brilliant.”
Flying Lotus, ‘Cosmogramma’. NME said: “A be-bopping riposte to UK dubstep.”
Field Music, ‘Field Music (Measure)’. NME said: “The brothers Brewis cram in a wealth of highbrow fun, but no huge surprises.”
Deftones, ‘Diamond Eyes’. NME said: “As gloriously non-era-specific as ever.”
Built To Spill, ‘There is No Enemy’. NME said: “Built to Spill’s seventh is a deft blend of American folk, psych rock and country & western with killer, dope-fuelled pop hooks."
Villagers, ‘Becoming A Jackal’. NME said: “Acoustic melancholy, done properly.”
Band of Horses, ‘Infinite Arms’. NME said: “Soft and tender country-inflected comfort blanket rock from Seattle.”
Avi Buffalo, ‘Avi Buffalo’. NME said: “The second summer of Sub Pop blooms into a bittersweet, magnificent debut album.”
Autechre, ‘Oversteps’. NME said: “‘Oversteps’ has its erratic, car-spinning-out-of-control moments but it is nonetheless an enticing ‘Welcome’ billboard for their sometimes harrowing, often hopeful City Of Sound.”
Ariel Pink's Haunted Graffiti, ‘Before Today’. NME said: “Ariel Rosenberg’s first un-homemade record proves surprisingly light relief from bin and fax noise."
Anaïs Mitchell, ‘Hadestown’. NME said: “Nothing short of incredible.”
Archie Bronson Outfit, ‘Coconut’. NME said: “Their personality is bold throughout, an excess of top-shelf distortion and a cast-the-crutches-aside sense of euphoria.”
Animal Collective, ‘Oddsac’. NME said: “Set to weird out their newest fans, the band’s audio/visual collaboration is a gloriously rich, if very freaky, feast."
Yeasayer 'Odd Blood'. NME said: "An album of astonishing depth and charm."
The Fall ‘Your Future, Our Clutter’. NME said: “An audacious album of lyrical wit and a defiant record of pugnacious bass."
The Dillinger Escape Plan, ‘Option Paralysis’. NME said: “No easy routes, no compromises and nothing short of brilliant."
The Black Keys, ‘Brothers’. NME said: “One word seems to follow two piece bands around: authentic. Authentic? Who cares when it sounds this good."
Lonelady, ‘Nerve Up’. NME said: “Not just one in a line of great Manchester acts, this is a unique, brilliant debut."
Liars, ‘Sisterworld’. NME said: “You are about to enter a universe you’ve never before been to. Be prepared…”
LCD Soundsystem, ‘This is Happening’. NME said: “He’s set the bar high, but if this is to be James Murphy’s swansong, it’s a powerful way to bow out."
Kelis, ‘Flesh Tone’. NME said: “She’s living up to her own legend again."
Joanna Newsom, ‘Have One On Me’. NME said: “Joanna leaves fantasy behind and enters the real world for three discs and two hours.”
Janelle Monae, ‘The Archandroid’. NME said: “The tux-clad crossover hip-hop siren with the sci-fi fetish makes her play for UK shores."
Holly Miranda , 'The Magician's Private Library’. NME said: "Sitek-assisted triumph with songs as odd as her back story."
Marina and the Diamonds, ‘The Family Jewels’. NME said: “Ms Diamandis mixes sparkling pop with beautiful darkness for a debut that dazzles."
The Drums, ‘The Drums’. NME said: “If you came looking for sun and surf, prepare to leave with your heart in their hands as they more than clear the hype bar."
Stornoway, ‘Beachcomber’s Windowsill’. NME said: “Technology takes a battering as dreams of the simple life are given a beautiful, pastoral makeover."
Steve Mason, ‘Boys Outside’. NME said: “An elegant blend of trilling piano, strummed guitar and crisp digital beats."
Sleigh Bells, ‘Treats’. NME said: “MIA’s new protogés have perfected a menacing, obnoxious sound all of their own."
Rolo Tomassi, ‘Cosmology’. NME said: “Violent howls and sweet screams."
Mystery Jets, ‘Serotonin’. NME said: “Eel Pie Islanders plunder their broken hearts to come back scrubbed up and self-assured for a glorious coming-of-age."
Health, ‘Disco 2’. NME said: “It basically sounds like Prince fucking a computer."
Factory Floor, 'Untitled'. NME said: “Not an easy listen, maybe, but this four track noisecore epic is all the more rewarding for it."
School of Seven Bells , ‘Disconnect From Desire’. NME said: “Think New Order-meets-Cocteau Twins rather than ‘Alpinisms’ gone Gaga."
Bombay Bicycle Club, ‘Flaws’. NME said: “The youngsters swap electric guitars for bluegrass and Joanna Newsom on their second album."
Blood Red Shoes, ‘Fire Like This’. NME said: “Rumours of the duo going 'soft' were just that - they're as thrillingly loud as always.”
Big Boi, ‘Sir Lucious Left Foot: Son Of Chico Dusty’. NME said: “Label wrangles have left the OutKast man’s solo album André 3000-free, but it’s still a stunning listen."
Erykah Badu , ‘New Amerykah, Part II: Return of the Ankh’. NME said: “A personal and laidback affair."
Harlem, ‘Hippies’. NME said: “Fed up of over-thinking? These chorus-happy garage-rockers will blow your mind clean."
Richard Warren, ‘Laments’. NME said: “This long player is a sampler woven from many strands but the unifying influence (claimed by many, deserved by few) is that of Big Star."
Toro Y Moi, ‘Causers of This’. NME said: “Stylishly soporific, the glo-fi pioneer's debut is a blissed-out masterpiece."
Ikonika, ‘Contact, Love, Want, Have’. NME said: "One small dubstep for man, one giant leap for experimental UK club music."
Konono No. 1, ‘Assume Crash Position’. NME said: "They twist traditional Bazombo trance music intro a relentless groove."
Mi Ami, ‘Steal Your Face’. NME said: “An erratic EP whose behaviour intoxicates."
Richard James, ‘We Went Riding’. NME said: “James is the master of that sort of gently eerie psych-folk whimsy that is to Wales what kohl-eyed chilly ‘60s pop pastiche is to Sweden."
Walls, ‘Walls’. NME said: “Dealing in woozy digital and analogue electronic psychedelic noise, their joyful wash of tuneful hooks is a wake-up call to lazy Animal Collective copyists."