Beginning December 21 through December 25, we’ll be posting Top 10 Albums of 2009 lists as determined by Loud Loop Press editors and contributors. Then beginning December 28 through January 1, we’ll up the ante by posting Top 10 Albums of 2000-2009 lists once again determined by our esteemed writers. Today, contributor Audrey Leon leaves us in shock and awe with her list for the Top 10 albums of 2009.

1. …And You Will Know us by the Trail of Dead – The Century of Self
For many years after the release of Trail of Dead’s brilliant 2002 album Source Tags and Codes it seemed as though the band was on a downward spiral. Long-time bassist Neil Busch left in 2004 and inner-band strife began seeping into live shows. After breaking away from Interscope Records and relocating from Austin, Texas, to Brooklyn, N.Y., the members of …And You Will Know Us by The Trail of Dead put the drama behind them to create its sixth album The Century of Self. The Century of Self is by far Trail of Dead’s most luscious and grandiose album since Source Tags and Codes. From epic rock anthems that quickly flourish from loud to quiet to its softer piano-driven ballads, this Texas sextet romances audiences with its manic energy. How can you not love lyrics such as, “I heard the voice of God coming in the music / And I felt like Satan” from “Bells of Creation.” From the high energy rocker “Isis Unveiled” to the deeply introspective “Pictures of an Only Child,” The Century of Self is a moving piece of orchestral perfection that washes over the listener and leaves him/her gasping for breath.

2. Metric – Fantasies
Any band in Metric’s position would be content to build an empire upon a foundation of decent dance rock tunes, but after four albums Metric strives to grow and discover new-found levels of depth that lay previously undiscovered. Fantasies boasts slicker production values along with Metric’s signature new-wave pop sensibilities. Yet the real growth on Fantasies comes from frontwoman Emily Haines. After releasing her ultra-personal 2006 solo album Knives Don’t Have Your Back, Haines appears more comfortable with penning honest and introspective lyrics this time around. The first track on Fantasies, “Help I’m Alive,” lays it all out on the table for Haines, “They’re gonna eat me alive/If I stumble.” It’s do or die for Haines and the lyrics on Fantasies provide a window into Haines’ soul. She’s cynical (“Sick Muse”), but hopeful (“Gimme Sympathy”) and definitely not suicidal (“Satellite Mind”). From beginning to end, Fantasies’ mix of bass-heavy rockers, keyboard-driven ballads and dance pop numbers grab the listener’s attention and refuse to be ignored.

3. Mirah – (A)spera
Singer-songwriter Mirah Yom Tov Zeitlyn possesses great skill in crafting angelic pop melodies and pairing them with lyrics so universal that anyone can relate. Working with multiple producers including longtime collaborator Phil Everum (Microphones/Mount Eerie), Mirah created each song on (A)spera to stand on its own.. No two songs follow the same simple acoustic guitar plucking of most singer-songwriters. “County of the Future” possesses a bouncy Latin soul while “The Forest” turns on the electricity for its horn-heavy, rock guitar-infused Mediterranean rhythms. Mirah creates a different mood for each track almost as if she was designing a mix tape for those suffering through the varied emotions that come from dealing with loss. In album opener “Generosity” Mirah croons over a flurry of violins that she “won’t give more” despite a backing chorus demanding she do otherwise. “Shells,” while one of the most simplistic numbers on the album, is one of the most beautiful. “Shells” features a guitar that is as light as air with vocal melodies to match.

4. The Prairie Cartel – Where Did All My People Go
The Prairie Cartel’s debut album Where Did All My People Go takes the listener on a 78-minute auditory roller coaster ride of fast-paced dance punk and slower synth-infused rock compositions. Featuring Chicagoans Scott Lucas, Blake Smith and Mike Willison, Where Did All My People Go is packed full of electronic bells and whistles, heavy driving bass lines, and fuzzed-out, distortion rock guitars. The Prairie Cartel take full advantage of having two singers by having tracks that feature either piercing screams (courtesy of Lucas) or “sultry sleaze” (courtesy of Smith). From the sexy, electro-rock stylings of “Suitcase Pimp” to the feedback-heavy “Lost All Track of Time” the Prairie Cartel’s debut is a competent and stellar output that is destined for repeat play.

5. The Flaming Lips – Embryonic
The happy-go-lucky psychedelic Flaming Lips of Yoshimi Battles the Pink Robots is gone. A more dark and brooding experimental sound has taken its place on the Flaming Lips’ twelfth album Embryonic. Choosing an apt moniker for this new collection, this is the Flaming Lips going back to square one in order to break new ground. Embryonic also serves as the theme seeing how most of the songs were approached with an element of childish wonder. The Karen O-assisted “I Can Be A Frog” could double as a Sesame Street segment on acid featuring Elmo. From the excellent, fuzzed-out and distorted sound of ‘Worm Mountain” to the throbbing menace of “See the Leaves,” Embryonic emerges as the perfect record to sit back and let your mind wander as Wayne Coyne and crew serve as tour guides down the murky waters of Embryonic fluid.

6. Sonic Youth – The Eternal
Most bands haven’t released five albums let alone 16 good ones and they certainly don’t stay on a major label for nearly 20 years. But Sonic Youth isn’t most bands. Sonic Youth returned in 2009 with a new label, Matador, new bassist (Mark Ibold, ex-Pavement), and new material. The Eternal is classic Sonic Youth. The album begins with the fast-paced distortion rocker “Sacred Trickster” that could have easily appeared on earlier Sonic Youth releases such as 1992’s Dirty and sets the stage for what is to come, a mix of noise-heavy rockers such as “Calming the Snake” and groovy, lo-fi jams such as the Lee Renaldo-helmed “What We Know” and “Walking Blue.” No Sonic Youth album would be complete without Kim Gordon’s sexy, breathy vocals transforming from whispered screams to moans (“Massage the History”), especially when paired with backing groans from Thurston Moore (“Anti-Orgasm”). After 16 albums, The Eternal proves that Sonic Youth can compete with the kids today and even show them a thing or two.

7. The Lonely Island – Incredibad
Musical comedy is a genre that doesn’t get much respect. The members of the Lonely Island may be better known for their day jobs at Saturday Night Live than for their musical chops. After the overnight success of “Lazy Sunday” and “Dick in a Box” on SNL, the Berkeley, Calif., trio of Andy Samberg, Jorma “The Sensitive One” Taccone and Akiva Schaffer embarked on a mission to create an musical album that was not only funny but surprisingly catchy. If you let the ridiculous lyrics slide, Incredibad could stand on its own as a decent hip-hop album with some tracks – “Jizz in my Pants,” “Space Olympics” and “Shrooms” – serving as electronica-laced interludes. Like any hip-hop album, Incredibad is chock full of famous guest stars including the king of auto-tune, T-Pain, on the Grammy-nominated single “I”m on a Boat,” Julian Casablancas on “Boombox” and Nora Jones on “Dreamgirl.” Incredibad will have you both raising the roof and giggling out of its absurdity.

8. Cursive – Mama, I’m Swollen
“I’m at my best when I’m at my worst,” Cursive frontman Tim Kasher reassures listeners on the song “From the Hips” from Cursive’s sixth album Mama, I’m Swollen. Perpetually skeptical about love and religion and all things in between, Mama, I’m Swollen is classic Cursive in the sense that Kasher will always have a clever comment on these subjects. Somehow after six albums, Kasher’s material doesn’t feel like well-worn territory. The first track on Mama, I’m Swollen, “In the Now,” sets a frantic hard-rock pace for the record with Kasher repeating the lyrics “Don’t want to live in the now / Don’t want to know what I know.” Kasher and co. delves into country-fried rock territory on “Caveman,” proclaiming he’s no father figure nor “no Dapper Dan.” Mama, I’m Swollen is Cursive at Cursive’s non-believing, self-deprecating best.

9. Starlight Mints – Change Remains
The Flaming Lips weren’t the only Oklahomans to take their brand of upbeat psychedelic pop music in a darker direction in 2009 and make it work. The Starlight Mints experimented with their sound by incorporating 1980s synth-pop, disco and funk on their fifth album Change Remains. The album begins with the haunting drum-centric instrumental “Coffins ‘R’ Us,” but eventually the Starlight Mints find their way back to their usual cutesy, bouncy selves by fifth track “Black Champagne.” By “Gazeretti” the Starlight Mints are indulging their every reggae pop fancy by choosing slow bass slaps and twinkling xylophone taps. The tracks “Paralyzed” and “Zoomba” emerge ahead of the pack because of their groovy, dominate bass lines and string sections.

10. Apostle of Hustle – Eats Darkness
Andrew Whiteman, guitarist for Toronto’s revolving door collective Broken Social Scene, uses his side project Apostle of Hustle to indulge his interest in making experimental pop music with a strong Cuban flair. Eats Darkness is a concept album about overcoming struggles in an imperfect world and Whiteman finds inspiration from everything from celebrities to a blackberry smartphone and even the least indie rock place possible, rapper Eazy-E. Album opener “Eazy Speaks” is named for him and yields one of the most interesting lines on the album, “I drink rain and piss out acid.” Eats Darkness was composed using samples, out-of-context voice recordings, voice distortion and twisted, ambient Latin rhythms to create a unique piece of performance art.