1 M.I.A.
Kala (Interscope)
M.I.A.'s second album was an international block party with a sonic imagination nobody else could match all year. The Sri Lankan-born U.K. rapper's inspirations run all over the globe, with a Day-Glo sensibility rooted in the Native Tongues hip-hop of the Jungle Brothers and De La Soul, but with the political rage of Public Enemy. She dips into Sri Lankan temple music, Bollywood disco, the Pixies, New Order, the Clash, Wreckx-N-Effects — sometimes she even sounds like the old U2 record where they let the Edge rap. Kala explores worldwide war zones, talking about third-world democracy and "putting people on the map that never seen a map." Yet M.I.A. remains a criminal-minded art freak with a true rock & roller's love of flash and sensation and irresponsible shit-talking. And are those Pink Floyd's cash registers she samples? Cool. 
2 Bruce Springsteen
Magic (Columbia)
Magic comes on like the album Springsteen's been building up to for the past five years, since he revitalized his sound on 2002's The Rising. These songs are Springsteen at his toughest and most focused, going for the grimly detailed style of Darkness on the Edge of Town and Nebraska. He's sung about some of these characters before; the Vietnam vet of "Born in the U.S.A." gets a bonfire funeral in "Gypsy Biker," and the New Jersey Turnpike loner of "State Trooper" seems to show up in "Radio Nowhere," still asking his car radio the question: "Is there anybody alive out there?" The big themes are marriage and America as well as the constant repair they both demand. 
3 Jay-Z
American Gangster (Roc-A-Fella)
Jay-Z hasn't sounded so fired up since The Blueprint, and like that classic, American Gangster is tripped out on a Seventies-funk fantasia. The Marvin Gaye and Curtis Mayfield samples provide a bittersweet soundtrack to the old-school hustler fatalism of the lyrics. Jigga's dense wordplay may follow the Denzel Washington movie, but that doesn't get in the way of his original concept, which is himself and how bad he is ("Ya boy is off the wall, these other niggas is Tito"). The music makes him larger than life — the nutty organ solo in "Success," the Miami beatbox in "Party Life" and, above all, the unstoppable horn riff in "Roc Boys."
4 Arcade Fire
Neon Bible (Merge)
An ocean of sound, shaped into songs about religion run wild, weather gone haywire, privacy under siege and other coming bad times. The majestic sweep and sense of purpose recall U2 or Springsteen, neither of whom ever achieved the Cure-like intimacy that comes so naturally to these indie community builders, a seven-piece band that makes joyous noise out of fear and foreboding. 
5 Kanye West
Graduation (Roc-A-Fella/Def Jam)
Graduation wasn't as revelatory as Yeezy's first two records, which redefined hip-hop's borders. This one was merely the year's most high-impact work, full of Daft Punk samples, Jay-Z samples, flashy disco, a Lil Wayne cameo, hooks galore and catchy rhymes that mixed self-examination and high-life swagger. By now, complaints about Kanye's arrogance seem totally passé Not only is his braggadocio justified, it seems his ego leads him to work as hard as any pop musician out there, and fruits of that effort are both his and ours to enjoy.
6 Radiohead
In Rainbows (inrainbows.com)
The steal of 2007 — a lot of folks spent more for a gallon of gas than they were willing to pay for downloading this album — was already one of the highlights of 2006, when Radiohead debuted much of In Rainbows in concert, including the gnarled-riff riot "Bodysnatchers," the circular tension of "Nude" and "Videotape," with Thom Yorke's haunted voice and piano tangled in stumbling percussion and emotional rewind. Radiohead haven't sounded this aggressive and infuriated — so rock & roll — since OK Computer, an achievement that will be worth the usual retail price when In Rainbows comes out on CD in January.
7 LCD Soundsystem
Sound of Silver (Capitol/DFA)
This is the kind of album where your favorite song changes week to week. Is it the punk-funk political goof "North American Scum"? Or is it "Someone Great," which mourns a dead relationship with a startlingly sincere electropop tribute to the Human League? How about "All My Friends," where piano, guitars and synths build into a hotblooded epic on the scale of David Bowie's "Heroes"? All over SoS, rhythms turn into hooks and hooks turn into beats, until there is no difference between the two. LCD's James Murphy has always been a studio whiz, but even his biggest fans never dreamed he'd make a masterpiece like this.
8 Rilo Kiley
Under the Blacklight (Warner Bros.)
The big, bright pop-rock record these ex-indie-rockers always had in them, Under the Blacklight found Jenny Lewis cooing seductively and belting out manicured choruses amid meaty, danceable beats and stylistic flourishes like Latin bounce and horn sections. The music was as inviting as you'd expect from a band dubbed the new Fleetwood Mac, but there was darkness in Lewis' lyrics — this is an album with four songs about dangerous sex (the one about prostitution doubles as a selling-out parable). The whole package suggested talented young people out to reach a bigger audience without leaving their brains behind. In that, they succeeded. 
9 Against Me!
New Wave (Sire)
On this major-label debut, these Florida punks truly capitalize on the righteous anger they have long been known for, turning out tight, gloriously propulsive raveups that aren't afraid to be a little catchy. Though Tom Gabel's wordy, throat-shredding bellow suggests emo-punk bloodletting, his songs are simply better than almost anything you'd hear on Warped Tour. And while longtime fans thought the band's major-label deal reeked of corporate compromise, Gabel delivers a load of agitprop that is anything but tepid — including the meta-anthemic protest anthem "White People for Peace" and "Stop!" a barnburner about getting off your ass and making a difference that cribs from Dolly Parton's "Jolene."
10 Spoon
Ga Ga Ga Ga Ga (Merge)
Spoon are an indie-rock band only in the most literal sense. They record for an independent label and know what it's like to be kicked around and thrown away by a major. But the dirty-twang, pop-hook pow of Ga Ga Ga Ga Ga is gloriously commercial. Singer-guitarist Britt Daniel has more than a little '67-Beatles maniac in him, peppering his songs here with koto, flamenco guitar and mariachi brass. In fact, for a Texas band, Spoon sound a lot like the very British, mid-Eighties XTC — with the right amount of gravel in their paisley.
장기호 
파이스트(Feist) 
41번째계단에서입맞춤
10: Burial
09: The Field
08: Battles
07: Spoon
06: Animal Collective
05: Of Montreal
04: Radiohead
03: M.I.A.
02: LCD Soundsystem
01: Panda Bear
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