Every day between now and New Year’s Eve, we’ll be looking back at the best music and pop culture of 2011. Today we look at the best songs.

10. Bon Iver – “Calgary”
“Calgary” starts with a lone synthesizer under Justin Vernon’s voice, and the track shows how great a careful, deliberate approach to songwriting can be. The progressions are hooky and clever, every added instrument has a purpose and Vernon’s imperfect falsetto is as charming as it gets.—Tyler Kane

9. Cults – “Go Outside”
Even though it was originally released in the dead of winter, “Go Outside” became the ultimate summer anthem when Cults dropped their self-titled debut in June. Manhattan-based duo Brian Oblivion and Madeline Follin re-introduced us to the precision of noise pop, which the song perfectly exemplifies. There’s nothing downbeat about the track and it really does make us want to go outside and just experience everything life has to offer.—Adam Vitcavage

8. Wilco – “Art of Almost”
Over the past several years and handful of Wilco albums, some have admittedly questioned the Chicago sextet’s musical direction and fade into a relative sense of complacency. Jeff Tweedy disproves any such doubts, recapturing our attention at a moment’s notice. “Art of Almost,” their intricate seven-plus minute album opener, is standing proof that the generational rock group can seemingly do whatever it wants whenever it wants.—Max Blau

7. Tom Waits – “Bad As Me”
Tom Waits’ gravel-and-sandpaper voice has always evoked images of things that go bump in the night, and on his latest album’s title track, he uses it to perfectly craft an anthem for those all us sinners. “You’re the letter from Jesus on the bathroom wall, you’re mother superior in only a bra. You’re the same kind of bad as me,” he snarls, reminding us all we’re not as high and mighty as we like to think we are.—Bonnie Stiernberg

6. Generationals – “Ten-Twenty-Ten”
Writing catchy pop songs has always been The Generationals’ strong suite, but “Ten-Twenty-Ten” takes their craft to a whole other level. Their lead Actor-Caster single is a more focused cut, stripping back the over-the-top horns from their earlier albums. It makes all the difference as the New Orleans duo Ted Joyner and Grant Widmer have created one of the year’s best pop songs.—Max Blau

5. Phantogram – “Don’t Move”
Self-described street-beat, pysch-pop duo Phantogram’s “Don’t Move” is a beautiful and haunting piece of electronic trip-hop. Sarah Barthel’s airy, ethereal vocals swell over thick, fuzzy beats as she pleads with her subject, “Keep your body still / Keep your body still.” Addictive and hypnotic, to say the least.—Kyle Smith

4. tUnE-yArDs – “Powa”
There are, quite obviously, a number of different factors that influence our picks for song of the year, but if you’re looking for pure technical prowess—the kind of vocal feats of strength that make the hair on your arm stand up—look no further than the last 40 seconds or so of “Powa.” After tearing her way through most of the sultry track over a ukelele that sounds like a mean electric guitar, Merrill Garbus slips into a falsetto that would make Prince proud, capping it off with a high note that probably has Mariah Carey nervously lying awake at night.—Bonnie Stiernberg

3. Typhoon – “The Honest Truth”
Sometimes more really is better. Even with a dozen or so members, Typhoon made a song that isn’t overbearing on any level and the right amount of everything: horns, strings, drums and a chorus of gorgeous vocals. Kyle Morton has orchestrated a song on par with an Arcade Fire classic. It’s epic. It’s honest. It’s the truth.—Adam Vitcavage

2. M83 - “Midnight City”
The lead single off of M83’s monster double album Hurry Up, We’re Dreaming sees Anthony Gonzalez at his spacey, dramatic best. “Midnight City” paints a vivid picture of neon-lit drives through dark cityscapes, capturing both the beauty and isolation of modern urban life.—Kyle Smith

1. Fleet Foxes – “Helplessness Blues”
If there was one track this year made you question your place in the world, it was probably Fleet Foxes’ “Helplessness Blues.” Frontman Robin Pecknold’s near-paranoid lyrics ask the big questions. The singer even touches on the meaning behind creating music itself in the loaded five-minute track backed by the band’s breathtaking arrangement and harmonies.—Tyler Kane

Article originally appeared on Paste Magazine (http://www.pastemagazine.com) and was written by multiple contributors.

Every day between now and New Year’s Day, we’ll be looking back at the best music and pop culture of 2011. We start with the year’s best albums.

10. The Decemberists –The King Is Dead
The Decemberists’ medieval rock opera The Hazards of Love pitted the band’s diehard supporters against those with little tolerance for Elizabethan syntax and folk-metal guitars. Released two years later, The King is Deadis a tuneful concession to the latter group. Most of the frills and festoons have been trimmed from the Decemberists’ sound, leaving behind a lean, rootsy mix of Americana and Celtic-flavored folk songs. Meloy still tosses multiple SAT words into his lyrics, whose portrayals of the American heartland owe more to William Faulkner than, say, Larry McMurty, but he doesn’t sound so overzealous here. Framed by crisp layers of pedal steel, acoustic guitar and harmonica, the album’s tracklist is an exercise in rustic restraint, with only one song topping the five-minute mark. Gillian Welch sings harmony on seven numbers, playing the Nicolette Larson to Meloy’s Neil Young, while former R.E.M. guitarist Peter Buck lends his familiar jangle. The King is Dead is one of the Decemberists’ most personal efforts to date, packing light and still packing a punch.—Andrew Leahey

9. M83 – Hurry Up, We’re Dreaming
Maybe Anthony Gonzalez is just working his way back through the years, one album at a time. On his 2005 breakout as M83, Before the Dawn Heals Us, he took the shoegaze guitars of My Bloody Valentine and combined them with cinematic electronics with sci-fi trappings. For 2008’sSaturdays = Youth, he turned his space-loving disposition toward the John Hughes 1980s and all its synth-heavy jams. For his ambitious double-albumHurry Up, We’re Dreaming, Gonzalez digs even deeper into the ‘80s and even the late ‘70s, channeling Simple Minds here (“Reunion”) and Kraftwerk there (“Raconte-Moi Une Histoire”). As with everything the Frenchman’s done so far, the album is lush and ably produced, crescendo after crescendo. Zola Jesus guests, chiming guitars dominate and even some saxophone makes an appearance. Maybe he could tackle the Nuggets-era ‘60s next?—Austin L. Ray

8. Dawes – Nothing Is Wrong
The men of Dawes have certainly grown up since their debut album was released just two short years ago. The songwriting, musicianship and emotion are even more impressive on Nothing is Wrong than the band’s stellar debut. The influence of the North Hills and Laurel Canyon music scenes are still present as well, right down to Jackson Browne’s supporting vocals on “Fire Away.” And after two years of fine-tuning their live sound, all of the members of Dawes have become master musicians not only individually, but as a collective.—Wyndham Wyeth

7. Wilco – The Whole Love
The Whole Love sounds less self-conscious and more natural than anything Wilco has ever recorded, even though the music itself is full of rich, headphone-worthy details. It sounds a bit like every form of Wilco you’ve come to know and love over the past several years—basically a new millennium “Best of” package. Tweedy has called the album a split between “snot-nosed, obnoxious pop songs” and “atmospheric country,” and there certainly is a lot of that here. It’s the sound of Wilco out to prove nothing, driven only by their desire to craft great songs. In that regard, they’ve succeeded from start to finish.—Ryan Reed

6. Dale Earnhardt Jr. Jr. – It’s A Corporate World
It’s A Corporate World isn’t just two guys on the same page, but the same syllable. “Vocal Chords” is a heady brew of vocals that beam like high-noon sun during their choral peaks, the marching thump of a drum machine and plenty of dancing digital distractions. “Nothing but Our Love” and “Simple Girl” set the diametric ends of the Dale Earnhardt Jr. Jr. experience, the former a mix of slow-machined drums and R2D2 on back-up vocals, the latter a well-crafted piece of indie-pop, with enough finger picking, electric keys, whistling and da-da-da-ing to make a death row inmate crack a smile. Overall, it’s an album full of songs Lloyd Dobler could have played during his window-call, boom-box confession of love. If he had, there’s a good chance that movie might have had an even happier ending.—Jeff Gonick

5. Middle Brother – Middle Brother
Very rarely does a supergroup manage to come up with something as good as the sum of its parts. Just like a movie starring a crowd of A-listers doesn’t necessarily equal anything Oscar-worthy (we’re looking at you, New Year’s Eve), it isn’t a given that a band with three frontmen will be able to effectively pool its talents. But on their self-titled debut, the men of Middle Brother sound as if they’ve been playing together for years. John McCauley (Deer Tick), Matt Vasquez (Delta Spirit) and Taylor Goldsmith (Dawes) take turns singing lead, and from the first harmonies on “Daydreaming” it’s clear that we’ve got a true collaboration on our hands. At times they sound so in tune with one another that the record starts to feel like a concept album, like a time capsule crafted by the trio of rock ‘n’ roll troubadours to document their rise to fame.—Bonnie Stiernberg

4. tUnE-yArDs – w h o k i l l
At times, Merrill Garbus is Annie Lennox, and at others, she’s Prince. One thing’s for sure though—she’s always entertaining, and her powerhouse voice makes W H O K I L L one of the year’s must-listens. Although she can do ethereal and understated better than most, Garbus is truly in her element when she’s belting, her hurricane of a voice ripping through a uniquely layered soundscape of ukulele, bass, saxophone and percussion. On “Killa,” she proudly declares, “I’m a new kind of woman, I’m a new kind of woman, I’m a don’t-take-shit-from-you kind of woman.” It’s nearly impossible to listen to a tUnE-yArDs track and not feel empowered.—Bonnie Stiernberg

3. My Morning Jacket – Circuital 
Five years removed from their best album and three years since their worst, My Morning Jacket stood at a particular crossroads during the making of their latest record. Circuital is a return to form, and several tracks—including “Circuital” with its slow-building dynamic declaration and the ominous “Holdin’ On To Black Metal”—almost instantaneously can be placed among the band’s best songs. It’s an album partially infused with their classic warmth and partially dashed with intriguing progressions into unchartered territory. In doing so, the band has recreated the reverb-drenched twang of their earlier years, while successfully experimenting with some darker endeavors.—Max Blau

2. Fleet Foxes – Helplessness Blues
After their eponymous debut album earned a well-deserved standing ovation from critics, Fleet Foxes set the bar high for their sophomore album. The alt-folk band was up to the challenge. Helplessness Blues is sweet and comforting at its worst and inspiring at its best. The foundations of many tracks are similar—the band frequently returns to the strumming, “ohhs” and “ahhs” that define opener “Montezuma”—but Fleet Foxes know how to layer sounds to add depth and make each song distinctive. The album is often about love — and the emptiness that often accompanies its euphoria.—Ani Vrabel

1. Bon Iver – Bon Iver
Not since a creek drank a cradle in 2002 had anyone so quietly overtaken the indie-music community as Justin Vernon did in 2008 with Bon Iver’s For Emma, Forever Ago. That post-break-up album was drenched in the kind of sadness that feels a lot like joy. Rather than wallowing in loss, the music was a hopeful contrast to lyrics like “Saw death on a sunny snow.” It was less like the end of a relationship and more like the promise of a new beginning. But it was only a beginning. Recorded in famous isolation, For Emma needed a band to reproduce it live. The Blood Bank EP followed, as did an open-ended hiatus which saw the bearded folkie make it harder to describe him that way, collaborating with Kanye West on My Beautiful Dark Twisted Fantasy and Gayngs on “The Gaudy Side of Town.” Interim songs like “Blood Bank” and “Brackett, WI” off theDark Was the Night charity compilation were as good as anything on For Emma, but less sparse. When he finally announced a Bon Iver follow-up in March, few people expected a song set as hauntingly barren as the debut. And it’s certainly not. Bon Iver starts off quietly with a lovely little guitar riff on “Perth,” but a keyboard wash and military drums kick in before we hear Vernon’s falsetto. Three-quarters of the way through, the song has swelled to its peak, something he and his bandmates Michael Noyce, Sean Carey and Matthew McCaughan became masters of while touring behind the debut. By track two, the band is highlighting Colin Stetson’s guest saxophone (magnificent later on “Michicant”) and Greg Leisz’ pedal steel, along with Vernon’s vocal range—he begins with a deep baritone before breaking into falsetto and then using his high natural register. And that’s what makes Bon Iver one of the most satisfying responses to a hyped debut. It retains the beautiful melancholy of For Emma, but in nearly every way, it’s just more. More layered, more diverse, more interesting. He brings in collaborators to do what they do best, but never at the expense of his sound and vision. It treads into new sonic directions without getting lost. “Hinnom, TX” gets most adventurous, with Deep-Voiced Vernon dueting with Falsetto Vernon in front of some slow, echo-y U2 guitars. But there are elements on nearly every song that erase the memory of “that folk guy with a guitar singing introspective, personal songs.” For Emma could be oblique at times, but the lyrics on Bon Iver often border on non-sensical. A majority of song titles reference places, but most meaning for the listener will come through the cathartic choruses.” “Still alive who love you.” “Never gonna break.” “I could see for miles, miles, miles.” And this one from “Calgary”: “So itʼs storming on the lake, little waves our bodies break / There’s a fire going out, but there’s really nothing to the south / Swollen orange and light let through, your one piece swimmer stuck to you.” These all come as the music builds and emotions rise, and they’re the moments on the album which linger throughout the day.—Josh Jackson

Article originally appeared on Paste Magazine (http://www.pastemagazine.com) and was written by multiple contributors.

Adele, Vampire Weekend and Bon Iver are among the acts vying for the inaugural AIM Independent Music Awards.

British guitar bands The xx, Friendly Fires and The Horrors - all of whom are signed to London-based XL Recordings, label home to Adele - have also been nominated ahead of the November 10 prize-giving ceremony, which will be held in central London.

AIM, the U.K.’s Trade Association for the Independent Music Industry, first announced that it was to establish its own awards earlier this summer. According to a statement released by AIM, “The AIM Independent Music Awards is about recognizing the success of all levels of act, genre and label and commending the real heroes of a music sector that continues to challenge the main stream, nurture talent and thrive.”

U.K.’s AIM Announces Inaugural Independent Music Awards for November

As previously announced, Icelandic singer Bjork will receive the outstanding contribution to music award in recognition of her continual “embracing and exploring new technology, supporting and mentoring new talent and a dedication to realizing artistic visions without compromise or concession.”

Laurence Bell, the founder of London-based independent Domino Records - which counts Franz Ferdinand, Arctic Monkeys and Stephen Malkmus and The Jicks among its roster - is to be the inaugural recipient of the Pioneer Award.

Leading the individual nominations, which were announced today (Oct. 13), is Adele, who’s “21” (XL Recordings) is nominated in the Best Difficult Second Album category alongside Bon Iver’s “Bon Iver” (4AD), Fleet Foxes’ “Helplessness Blues” (Bella Union), Friendly Fires’ “Pala” (XL) and Toddla T’s “Watch Me Dance” (Ninja Tune). Adele also received a nod in the PPL Award For Most Played Independent Act. Arctic Monkeys, Vampire Weekend and The xx were the other nominees.

XL Recordings acts SBTRKT and The Horrors compete with Bring Me The Horizon (Visible Noise) and Caro Emerald (Dramatico) for the Independent Breakthrough of the Year award. Frank Turner (Xtra Mile), Enter Shikari (Ambush Reality) and Warpaint (Rough Trade) are among the acts up for the Best Live Act title. According to AIM, nominations were decided by an independent judging panel and public voting, with over 14,000 registering their votes. BBC 6 Music radio DJ Steve Lamacq and BBC Radio 1’s Huw Stephens will co-host the awards.

FULL NOMINEES LIST:

BEST SMALL LABEL
Ambiguous Records
Naim Edge Records
Smalltown America
Stolen Recordings
In association with Sound Performance

BEST ‘DIFFICULT’ SECOND ALBUM
Adele - 21 (XL Recordings)
Bon Iver - Bon Iver (4AD)
Fleet Foxes - Helplessness Blues (Bella Union)
Friendly Fires - Pala (XL Recordings)
Toddla T - Watch Me Dance (Ninja Tune)

HARDEST WORKING BAND OR ARTIST
Beardyman (Sunday Best)
Bring Me The Horizon (Visible Noise)
Frank Turner (Xtra Mile)
Randomhand (Bomber Music)
In association with Live Nation

CATALOGUE RELEASE OF THE YEAR
Coals to Newcastle - Orange Juice (Domino)
The Wonderful And Frightening World of The Fall / This Nation’s Saving Grace
(Omnibus Edition)
The Fall  (Beggars Group)
Matador at 21 - Various Artists (Matador)
Ninja Tune XX - Various Artists (Ninja Tune)
In association with Rovi Europe

GOLDEN WELLY AWARD FOR BEST INDEPENDENT FESTIVAL
Bearded Theory
Belladrum
End of the Road Festival
Y Not
In association with AIF, voted for by readers of Virtual Festivals

INDEPENDENT BREAKTHROUGH OF THE YEAR
Bring Me The Horizon (Visible Noise)
Caro Emerald (Dramatico / Grandmono)
The Horrors (XL Recordings)
SBTRKT (XL Recordings)

INNOVATIVE MARKETING CAMPAIGN OF THE YEAR
Ninja Tune campaign for Amon Tobin ‘Isam’
Ninja Tune for campaign for ‘Ninja Tune XX’
Radar Maker campaign for Frankie & The Heartstrings ‘Hunger’
Warp campaign for Flying Lotus ‘Cosmogramma, Pattern+Grid World, Cosmogramma Alt Takes’

INDIE CHAMPION AWARD
Tom Robinson, BBC 6Music
Nathan Clark, Brudenell Social Club
John Robb, Louder Than War
John Doran & Luke Turner, The Quietus

INDEPENDENT ENTREPRENEUR OF THE YEAR
Julie Weir (Visible Noise / Wiseblood Management)
Martin Goldschidt (Cooking Vinyl)
Rob da Bank (Bestival / Camp Bestival / AIF / Radio 1 / Sunday Best)
Ruth Daniel (Fat Northener / unConvention)
In association with The Orchard

BEST LIVE ACT
Bring Me The Horizon (Visible Noise)
Enter Shikari (Ambush Reality)
Frank Turner (Xtra Mile)
Warpaint (Rough Trade)
In association with Sailor Jerry, voted for by readers of The Fly

PPL AWARD FOR MOST PLAYED INDEPENDENT ACT
Adele (XL Recordings)
Arctic Monkeys (Domino Recording Company)
Vampire Weekend (XL Recordings)
The xx (XL Recordings)
In association with PPL

OUTSTANDING CONTRIBUTION TO MUSIC 2011:
WINNER - BJÖRK

PIONEER AWARD 2011:
WINNER - LAURENCE BELL, THE DOMINO RECORDING COMPANY

Article originally appeared on Billboard (http://www.billboard.biz) and was written by Richard Smirke.