As usual, ALARM leaves no genre unexplored in our list of this year's overlooked gems.

Sigh: Scenes from Hell (The End, 1/19/10)

Sigh: "The Summer Funeral"

With a history of fusing other revered genres to a doomy combination of black metal and thrash, Japan's Sigh used its eighth studio album to deliver symphonic, epic metal that calls upon classical instrumentation to top its rock foundation.

Brass, woodwind, and string instruments — as well as organ and piano — accent as well as lead sinister melodies that take surprising turns through fanciful themes. Raspy, menacing vocals coat each track, resulting in a dramatic presentation that isn't much at odds with its complex backdrop.

RJD2: The Colossus (RJ’s Electrical Connections, 1/19/10)

RJD2: "Games You Can Win"

Following a divisive album that saw the introduction of poppy, soulful vocals, producer RJD2 returned with something of a split release — an album that leaves no shortage of accessible, vocal-driven tunes but that emphasizes some inventive instrumentals.  Whether or not you dig the soulful RJ, there's no doubt that the music on The Colossus is some of his best to date.

Chicago Underground Duo: Boca Negra (Thrill Jockey, 1/26/10)

Chicago Underground Duo: "Spy on the Floor"

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.  Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

Algernon: Ghost Surveillance (Cuneiform, 1/26/10)

Algernon: "Broken Lady"

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.  Ghost Surveillance places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

Bei Bei & Shawn Lee: Into the Wind (Ubiquity, 1/26/10)

Bei Bei & Shawn Lee: "East"

In the hands of a marvel, the guzheng — a gorgeous Chinese zither — resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, is undoubtedly one of the year's finest albums.  Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Daníel Bjarnason: Processions (Bedroom Community, 2/1/10)

Daníel Bjarnason: "Bow to String I: Sorrow Conquers Happiness"

Best known as a conductor and arranger for indie groups such as Sigur Rós, composer Daníel Bjarnason also holds a lofty classical résumé. Processions, his proper debut, is, at many points, a challenging classical work.  Powerful cellos scale and race with crackling percussions before settling into gently bowed and pizzicato string accompaniments; easily half a dozen strings battle for dominance in a sorrowful, harmonic piece that resonates long after hearing it.  Undoubtedly, Processions is a daring and original debut.

Shining: Blackjazz (Indie Recordings / Distribution, 2/2/10)

Shining: "Fisheye"

Beginning as an experimental acoustic jazz ensemble, Norway's Shining — the brainchild of saxophonist Jørgen Munkeby — transformed to a progressive jazz-fusion outfit before delving into its darker side for a collaboration with black-metallists Enslaved.

Blackjazz pushes deeper into the band's dark recesses, forging a progressive industrial sound for the young century.  Big, complex rock riffs, twisted through gnarly distortion, form the foundation and support a mass of frantic, whirring synth lines and gut-wrenching black-metal screams.  In all, Blackjazz is a new epic — and perhaps the best metal album of 2010.

Pillars and Tongues: Lay of Pilgrim Park, LP + download (Endless Nest, 2/9/10)

Pillars and Tongues: "The Center of"

With just three members, Pillars and Tongues manages to craft powerful folk abstractions and interwoven, trance-inducing vocal dynamics. Both composed and improvisational, these shifting forms evoke spiritual vibes in their soulful essence, heavenly harmonies, and repeated patterns.

Dessa: A Badly Broken Code (Doomtree, 2/9/10)

Dessa: "Dixon's Girl"

The only female member of Minneapolis hip-hop collective Doomtree, Dessa is a spoken-word vocalist, singer, and MC whose awaited full-length was finally released earlier this year.

On A Badly Broken Code, her true solo debut, Dessa's vocal diversity is matched by its underlying music, ranging from hard-hitting beats and rhymes to lilting harmonic overdubs.

The Bastard Noise / The Endless Blockade: The Red List (20 Buck Spin, 2/16/10)

The Bastard Noise: "Mutant World of Shame / Underworld"

A spinoff of treasured "power-violence" hardcore group Man is the Bastard, The Bastard Noise is approaching its 20th anniversary of creating noisy electro-doom brutality.  For this split release with hardcore/punk experimentalists The Endless Blockade, the group utilizes the trademark drum-and-bass style of Man is the Bastard in combination with its far-out sounds.  The Endless Blockade contributes three tracks to the release — one 14-minute epic and two avant-garde remixes.

Freeway & Jake One: The Stimulus Package (Rhymesayers, 2/16/10)

Freeway & Jake One: "Know What I Mean"

Continuing his life after Roc-A-Fella Records, former freestyle star Freeway now makes his debut on Rhymesayers, a fitting new home — if only temporary before a move to Cash Money.  Fellow Rhymesayers standout Jake One provides a funky, malleable backdrop for Freeway's fiery delivery and lyrics that are alternately personal and light in content. And though Freeway deserves his accolades, Jake One's production is the MVP of this collaboration.

Carolina Chocolate Drops: Genuine Negro Jig (Nonesuch, 2/16/10)

Carolina Chocolate Drops: "Hit 'Em Up Style" (Blu Cantrell)

Beholden to the traditions of Americana and early African-American folk, the string trio Carolina Chocolate Drops continues blurring the lines of old and new. On Genuine Negro Jig, the group's fifth album, a few original numbers and a trove of traditionals take root in banjo, fiddle, and percussion. Three-part harmonies shimmer on the famous folk tune "Trouble in Your Mind," and simplicity shines on gripping renditions of "Why Don't You Do Right?" by Kansas Joe McCoy and "Trampled Rose" by Tom Waits.  Most surprisingly, Genuine Negro Jig includes an enjoyable rendition of "Hit 'Em Up Style," an unintentionally farcical pop hit by Blu Cantrell.

Mako Sica: Dual Horizon LP (La Société Expéditionnaire, 2/16/10)

Mako Sica: "I'Itoi"

A translation of the phrase "land bad," Mako Sica has more than a nominal Native American influence; the trio's distant vocal reverberations and dirge-inspired tunes recall the spirituality of America's original inhabitants.

Between the vocalizations of Brent Fuscaldo, the melodies of guitarist Przemyslaw Krys Drazek, and the rhythms of drummer Michael J. Kendrick, Mako Sica maintains a strong balance of abilities — with a brooding combination of jangly guitars, reverberated vociferation, and instrumental dynamics.

High on Fire: Snakes for the Divine (E1 Music, 2/23/10)

High on Fire: "Snakes for the Divine"

Stoner-metal trio High on Fire has built a devoted following over the past dozen years as fans fell in love with Matt Pike's gruff vocals and thunderous guitar riffs. On Snakes for the Divine, Pike uses his throat to channel Lemmy Kilmister; meanwhile, the band has picked up its pace and crafted an album that isn’t as outstretched. Hard-hitting riffery leads an effort that, though diverse at times, may be the band’s most driving release.

Jaga Jazzist: One-Armed Bandit (Ninja Tune, 2/23/10)

Jaga Jazzist: "One-Armed Bandit"

Five years have passed since we've heard the powerhouse melodies of Norway's Jaga Jazzist, the post-rock/"nü-jazz" conception of brothers Lars and Martin Horntveth.

One-Armed Bandit, immediately the group's best album, resembles symphonic prog rock, arguably a few steps removed from parts of Frank Zappa's expansive catalog and closer to countryman Jono El Grande's diverse and theatrical style.  This album, however, is much more cohesive than either of those comparisons suggest, and at times it is nearly overwhelming with grooves and harmonious refrains.

Rob Swift: The Architect (Ipecac, 2/23/10)

Rob Swift: "The Architect"

Turntablist/DJ Robert Aguilar, formerly of the X-ecutioners, has long utilized his love of jazz, R&B, and other musical movements to create compelling hip-hop instrumentals while displaying his tight beat-juggling skills.

The Architect is Swift’s foray into the classical world. In addition to a multitude of sampled styles and sounds, classical cuts comprise a substantial chunk of this Ipecac debut. Rearranged strings, organ, and horns often make the foundation of a given track, occasionally evoking high-tension Italian Westerns, as Swift’s scratches dance atop banging beats.

Rotting Christ: Aealo (Season of Mist, 2/23/10)

Rotting Christ: "Aealo"

For more than 20 years, Athens' Rotting Christ has traversed different directions on the metal path.  With its previous release, Theogonia, the group released a striking, original album that fused its dark sound to the ethnic sounds of its ancestors.

Like its predecessor, Aealo features female Benedictine chants, lingual pipes, and a medieval feel. Combined with dueling high-pitched harmonies and powerful guitar work, these new elements highlight an album that should be among the most original metal releases of the year.

Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch, 2/23/10)

Ali Farka Touré & Toumani Diabaté: "Ruby"

As two of Africa's most internationally renowned musicians, guitar legend Ali Farka Touré and kora phenom Toumani Diabaté have displayed impeccable abilities while integrating the styles of other cultures into their ethnic sounds.

Each Malian, the two collaborated for the acclaimed In the Heart of the Moon in 2005, shortly before Farka Touré's passing in 2006. Fortunately, the two set aside time to record new material before touring for In the Heart of the Moon, and the result is another beautiful set of duets that sees a posthumous release.

Throughout Ali and Toumani, Farka Touré roots each creation in melodious African-blues pieces. Diabaté's virtuosity accents each track in the form of fanciful scales, which at times evoke classical harpsichord passages, perhaps most notably on "Sabu Yerkoy."

Fang Island: s/t (Sargent House, 2/23/10)

Fang Island: "Sideswiper"

Mostly comprised of ex-Daughters, the good-time rock quintet Fang Island was one of the most quickly ascending bands of 2010, jumping onto tours with The Flaming Lips and Stone Temple Pilots following the release of its first full-length album.

The self-titled release is chock full of palm-muted and speed-infused indie-prog anthems, with über-layered vocal harmonies to go with a triple-thick guitar assault and distorted-bass bludgeoning.  It's one of those rare releases that feels absolutely radiant and thrashing at the same time.

B. Dolan: Fallen House, Sunken City (Strange Famous, 3/2/10)

B. Dolan: "The Reptilian Agenda"

Going way back with Sage Francis, rapper B. Dolan is a like-minded MC and slam poet whose style isn't terribly dissimilar to that of his long-time friend. Fallen House, Sunken City is Dolan's second full-length for Strange Famous, and it's full of the sociopolitical themes (if often in quick blasts or asides) and contentious delivery for which he's known.

In addition to some seemingly personal lyrics, Dolan takes passing shots at big business, taxation, the pharmaceutical industry, the concept of ownership of natural resources, the Israeli razing of Palestinian developments, and, among many other things, the so-called New World Order — dropping clips of Dick Cheney and George H.W. Bush in "The Reptilian Agenda."  On top of Dolan's socially conscious rhymes, A-list production by Alias makes this one of the year's top hip-hop releases.

Archie Bronson Outfit: Coconut (Domino, 3/2/10)

Archie Bronson Outfit: "Shark's Tooth"
Archie Bronson Outfit: "Shark's Tooth"

With its warbled vocals and driving percussion, British psych-rock trio Archie Bronson Outfit is like a more adventurous Wolf Parade — as comfortable burning up the dance floor with clean, bouncy riffs as it is turning up the reverb and rocking in a garage.

Coconut is the band's first LP in nearly four years, and it kicks off with a crunchy, swirling guitar line and a hypnotic bongo-laden beat. Produced by DFA's Tim Goldsworthy, Coconut gets spaced-out and drone-like at times, but it always offers a hint of pop accessibility amidst the static and haze.

Agalloch: Marrow of the Spirit (Profound Lore, 11/23/10)

Agalloch: "The Watcher's Monolith"

Although Agalloch dons its album covers with images of winter and writes songs featuring tremolo-picked minor chords and shrieked vocals, the Portland quartet is best understood as a heavy progressive-rock band rather than a black-metal band.

Since the late 1990s, the group has released purposefully genre-blending music with a somber, melodic bent.  Marrow of the Spirit, just the band's fourth full-length album, must be compared to the work of black-metal-gone-experimental artists like Ulver and Enslaved, but a better reference point is the work of '70s prog-rock bands like Comus. Songs are sprawling layers of riffs that meander between different themes and styles, touching on blast beats, acoustic breaks, and atmospheric post-rock passages.

Occasionally, these parts are quite catchy and melodic, while at other times they can be overblown and pretentious. Agalloch never comes across as "experimenting for experimentation's sake," though, which is refreshing. Although much of Marrow of the Spirit lacks a clear direction, the music always comes off as sincere.

The strong moments on Marrow of the Spirit are the mid-paced, arpeggiated breaks. These passages are instantly memorable and represent islands in a sea of tremolo picking and post-rock swells. Though a clearer focus might improve the listening experience, this type of diversified songwriting is intentional, as the band often wanders in a hazy snowstorm of riffs with gorgeous interludes.  On the 17-minute epic "Black Lake Nidstång," for example, a moving, delay-laden guitar break takes on the pulsing melodies of Neu! before slowing with the introduction of the full band.

With bands such as Agalloch, the question becomes whether the flecks of gold are worth the time spent panning the river.  Though Marrow of the Spirit is not a transcendent, focused album, large portions are significant and representative of great musical minds.

Named after the awkwardly constructed Nintendo device of the late 1980s, Powerglove is a power-metal quartet that combines the shredding, über-harmonized, finger-tapping insanity of a band like DragonForce with the kitschy nostalgia of video-game covers.

On the band's first EP and LP, it tackled late-'80s and mid-'90s classics from Tetris, Mega Man, The Legend of Zelda, Castlevania, F-Zero, and assorted Final Fantasy games.  Now the group turns its video-game MO to the realm of Saturday-morning (and prime-time) cartoons for Saturday Morning Apocalypse, its first release on E1.

With maximum riffage and maniacal beats, lighthearted themes turn epic, sinister, or anywhere between.  Comic nerds whose formative years came in the '90s will smile upon hearing the album opener, the theme to the X-Men cartoon series — which, after three minutes, segues into a classical-guitar breakdown before finishing with full force.

Themes from The Simpsons, The Flintstones, Pokémon, Inspector Gadget, and The Transformers each are remade with squealing pitch harmonics, chugging guitars, and rapid double-kick beats.  There's a dark, powerful rendition of the Batman cartoon theme, with a glockenspiel providing a few complementary passages.  In the Batman theme — and throughout the disc — keyboards play a vital role, as killer programming accounts for the sweeping faux strings, "orchestra hits," synth arpeggios, and general spookiness.

And though these selections primarily are from Saturday-morning cartoons, there are a few other treats as well, including a fantastic metal rendition of "This is Halloween" from The Nightmare Before Christmas.  The absolute highlight is the Winnie the Pooh song ("Heffalumps and Woozles"), taking the grandeur to another level with an interlude of harp, pizzicato strings, bells, and more.

As the teenage antagonist from the 1989 film The Wizard would say, "I love the Powerglove.  It's so bad."

Powerglove: "This is Halloween"

Victoire: Cathedral City (New Amsterdam)

Formed in 2008, Victoire is an all-female electro-chamber quintet that was founded by composer Missy Mazzoli.  In just a few years, the classically trained group has issued an EP and landed a number of notable gigs, slowly building buzz around Brooklyn.

Cathedral City is Victoire's proper debut, and it's a striking album that marries emphatic string motifs to minimal yet clever accents of keyboards, clarinet, melodica, and rapturous vocals.

Other chamber ensembles have pushed boundaries in the 21st Century, but Victoire does so in a way that feels completely natural.  Digitized hi-hat beats, looped/glitched vocals, and touches of electric guitar (courtesy of The National's Bryce Dessner) subtly complement a harmonious blend of violin, double bass, and the aforementioned elements.

Epic classical-rock composer William Brittelle, bassist/composer Florent Ghys, and gifted soprano vocalist Mellissa Hughes also make appearances on Cathedral City, adding more character to an album that doesn't lack it. Cathedral City is an exciting arrival.

Victoire: "Cathedral City"

Aloe Blacc: Good Things (Stones Throw)

Starting his career as an MC in the hip-hop duo Emanon, Egbert Dawkins III — known as Aloe Blacc — transitioned to a solo soul singer early last decade.  The two careers overlapped for a stretch, but Dawkins began focusing on his solo career midway through the decade, following his 2003 debut EP with a 2006 full-length album, Shine Through.

Dawkins sang a lot on Shine Through, but he still offered a few raps to go with hip-hop production values, Latin sounds, and even a few pop vibes (like the Justin Timberlake-esque "Are You Ready?" and "Want Me").  Good Things, his sophomore follow-up, focuses on his soulful and R&B elements — with a few funky twists — in an effort to create "positive social change" through good vibrations.

A lot of it feels as personal as on previous albums, but tracks such as "Life So Hard" tackle political topics like the cruel hand of capitalism.  A similar sentiment is expressed on album opener "I Need a Dollar," a tune that has doubled as the theme for HBO's How to Make It in America.

Thanks to production assistance from the in-house team at Truth & Soul Records, Good Things remains sonically eclectic, tabbing strings, a vibraphone, and more in addition to the usual soul instrumentation.  It doesn't reach as far, stylistically, as Shine Through, but it refines Aloe Blacc's approach while expanding his political influence.

Aloe Blacc: "You Make Me Smile"

Greg Ward’s Fitted Shards: South Side Story (19/8)

Jazz saxophonist Greg Ward has accomplished so much over the past decade that it’s hard to believe he’s still in his late 20s.  His list of musical cohorts is so long that there's only time to mention a few big names — Hamid Drake, Jeff Parker, Von Freeman — and despite his relocation to New York, he's back in Chicago, his previous residence, nearly every other week for one-off gigs.

Fitted Shards is one of Ward's newest ensembles as a leader, and it features three other excellent young Chicagoans: bassist Jeff Greene (Blink.), keyboardist Rob Clearfield (Loom), and drummer Quin Kirchner (Nomo).

From the get-go, the quartet's debut, South Side Story, is unconventional for an album that is thoroughly jazzy.  "Segue," the opener, is built on a short bass repetition, providing latch-able ground for Ward's dexterous runs before an unexpectedly dense wave of keyboards provides some oomph.

The rest of Ward's compositions fall somewhere on the jazz spectrum, but each tune has its own feel and flair, including decidedly un-jazz elements like prog-ish synth accents on "All In" and distorted guitar backing on "Step Forward."  Additionally, Clearfield's talents are indispensable, as he brings Ward's softer melodies to life.

Greg Ward's Fitted Shards: "Step Forward"

Honorable Mentions

Jason Adasiewicz: Sun Rooms (Delmark)

Rahim AlHaj: Little Earth (UR Music)

Bad Religion: The Dissent of Man (Epitaph)

Ben Folds & Nick Hornby: Lonely Avenue (Nonesuch)

Black Anvil: Triumvirate (Relapse)

Enslaved: Axioma Ethica Odini (Indie Recordings)

Floored By Four (Mike Watt, Nels Cline, Yuka Honda, Dougie Bowne): s/t (Chimera Music)

Adam Haworth Stephens: We Live on Cliffs (Saddle Creek)

Alan Moore: Unearthing (Lex)

Rudresh Mahanthappa & Bunky Green: Apex (Pi)

Three Mile Pilot: The Inevitable Past is the Future Forgotten (Temporary Residence)

Unearthly Trance: V (Relapse)

Pete Yorn: s/t (Vagrant)

Enslaved: Axioma Ethica Odini (Nuclear Blast / Indie Recordings, 9/28/10)

Enslaved: "Ethica Odini"

Enslaved abandoned black metal long ago in favor of expansive rock songs coated in darker aesthetics. This release continues in the tradition of post-Syd Barrett Pink Floyd by creating compositions of textures over a few simple rock riffs.

There is plenty here to like. Enslaved is a group of fantastic players, and, in isolation, some of these parts are extremely interesting. Chord-voicing games on "Singular" warrant repeat listens, as does the heavy, stuttering riff that intros "Waruun." Close attention to the cymbal accent patterns will reward the more rhythmically-minded listener.

However, when taken as a whole, these songs are a hodgepodge. This is particularly frustrating, given the band's past great works and the hints of greatness with which it continues to flirt. Parts rarely relate to each other in an intuitive way, and instead mesh together awkwardly in a herky-jerky mess of pseudo-epic singing, clean guitar arpeggios, black-metal tremolo picking, and cringe-worthy talking parts.

If the melodic vocals were all like "Lightening," Enslaved might be onto something. Instead, most of the melodies are immediately forgettable, making the clean vocals an irritation as they distract from the point of the song without offering anything. Many parts — such as the chaotic transition into a clean guitar break into a brief, sung outro in the final minutes of "Ethica Odini" — invite the listener to ask "why?"

Still, this record benefits significantly from a stripped-down approach to songwriting from which Enslaved had strayed on its more recent releases. The album's high points come in moments when a riff is allowed to grow and then transition into a complementary part. The deceptively simple intro to "The Beacon," followed by a half-time part with floating rhythmic emphasis, is a perfect example of this technique. Similarly, the driving riff that carries "Raidho" flourishes with subtle keys added to it after a few repetitions.

This record has strong moments that hint at the expert riff-craft and songwriting that Enslaved has demonstrated in the past. Given the success of more minimalist songs on this release, we may yet see Enslaved release another great album. Axioma Ethica Odini, however, does not have the cohesive vision that elevates music above the pack.

Drone-doom poster duo Sunn O))) will curate the 2011 festival, guaranteeing another exceptional lineup.  The two official members (Greg Anderson and Stephen O'Malley) have participated in various past Roadburns, and they will follow curators David Tibet and Neurosis from past years.  Specifically, the group will choose the events of Friday, April 15, personally selecting bands to play before headlining the event.

Last year’s stellar roster included Shining (Norway), Russian Circles, Earthless, Kylesa, Enslaved, Master Musicians of Bukkake, Jesu, Bohren Und Der Club of Gore, Nachtmystiuim, and Shrinebuilder.  The 2011 festival will take place on April 14-17 in Tilburg, Holland.

If a trip to the Netherlands is out of your budget, or if you simply cannot wait until April to see Greg and Stephen, you can get your Sunn O))) fix in September during their collaboration project with Boris (ALTAR), performing at ATP New York and Brooklyn’s Masonic Temple.

Beginning as an experimental acoustic jazz ensemble, the brainchild of saxophonist Jørgen Munkeby transformed to a progressive jazz-fusion outfit before the release of its 2005 album, In the Kingdom of Kitsch You Will Be a Monster. The band followed in 2007 with what, under normal circumstances, would be considered a magnum opus: the epic, classically infused prog compositions of Grindstone.

Now, as a collaboration with Norwegian black-metallists Enslaved paved the way for another transformation, Shining pushes deeper into music’s dark recesses with Blackjazz, forging a progressive industrial sound for the young century.

Big, complex rock riffs, twisted through gnarly distortion, form the foundation of Blackjazz and support a mass of frantic, whirring synth lines and gut-wrenching black-metal screams. Crucially, Torstein Loftus’ drums are playing “all over, all the time” (in the words of Munkeby), inundating the material with impeccable fills and a gargantuan sound.

The classical interludes and scrupulous arrangements of Grindstone have given way to an unadulterated despondency, albeit one with brilliant technical overtones, and Blackjazz is a new epic — one of powerful grooves, sinister diminished keys, and hefty durations.

Shining: "Fisheye"
Shining: \"Fisheye\"

Daníel Bjarnason: Processions (Bedroom Community)

Debut works seldom deserve instant acclaim, but this full-length by Icelandic composer Daníel Bjarnason does just that.

Best known as a conductor and arranger for indie groups such as Sigur Rós, Bjarnason also holds a lofty classical résumé, one that boasts the London Sinfonietta and the Iceland Symphony Orchestra.

Processions, his proper debut, is, at many points, a challenging classical work. But even listeners who don't gravitate toward classical may find themselves enraptured with the first movement of "Bow to String," the album's first piece.

In the first section, "Sorrow Conquers Happiness," powerful cellos scale and race with crackling percussions before settling into gently bowed and pizzicato string accompaniments; easily half a dozen strings battle for dominance in a sorrowful, harmonic piece that resonates long after hearing it.

The second movement is utterly somber, at times sounding like feedback, and the strings cause dissonance in a delicate fashion. The first movement of the title concerto, "Processions," presents a thunderous piano that trades leads with its orchestral brothers, dancing between irreverent beauty and sudden backlashes of force.

It's a daring and original work. Undoubtedly, Processions will make year-end lists in classical circles.

Daníel Bjarnason: "Bow to String I: Sorrow Conquers Happiness"
Daniel Bjarnason: \"Bow to String I: Sorrow Conquers Happiness\"

Økapi (& Aldo Kapi’s Orchestra): Love Him: Okapi Plays the Music of Aldo Kapi (1914-1952) (KML / Sonic Invaders)

Allegedly, Aldo Kapi was a Kyrgyz composer whose imperfections on piano led him to experiment and buck classical convention.

For as interesting as his story seems, however, it appears all too fake, particularly in this age of digital duplicity. Perhaps tellingly, the only information on Kapi comes from Økapi, an Italian cutup artist named Filippo Paolini, and the information on Kapi's Wikipedia entry is exactly the same. No other photos of Kapi can be found, nor can information on his supposedly famous parents.

Nevertheless, it doesn't particularly matter, and it wouldn't be the first time that an elaborate story was made to publicize an album. The bottom line is that the first of these two themed albums by Paolini is great.

A semi-IDM affair with glitch elements and chopped vocal cuts, Love Him is a cut-and-paste musician's dream, recalling artists such as End and Tipsy. Samples of soothing, sweeping strings and woodwinds paint a pretty backdrop that wavers between classical and lounge, before cutting into short upbeat bursts, frequently calling upon snare rolls and clattering bits.

Økapi: "Love-him"
Okapi: \"Love-him\"