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This Week\'s Best Albums: January 25, 2011

John Vanderslice with The Magik*Magik Orchestra: White Wilderness (Dead Oceans)

John Vanderslice with The Magik*Magik Orchestra: "Sea Salt"

White Wilderness, the newest full-length from John Vanderslice, is a first for the indie singer/songwriter, recorded in collaboration with Minna Choi and The Magik*Magik Orchestra.  A malleable ensemble that bills itself as a “modular orchestra” of 18-35 people, the MMO performed live with Vanderslice a few years ago, and it has a résumé that includes collaborations with lots of other great rock and neoclassical musicians, including Jonny Greenwood, Tin Hat Trio, Hauschka, and Ben Johnston.

The group's addition here has really elevated Vanderslice’s material, which now breathes with a cinematic quality while backed by string, horn, and percussion sections. The material is replete with spare, delicate moments of respite — the result of Choi’s adaptable arrangements.   From its stirring and delicate opener, "Sea Salt," White Wilderness is an incredibly layered album that shows the depth of Vanderslice’s writing.

Phil Manley: Life Coach (Thrill Jockey)

Phil Manley: "Make Good Choices"

As a founding member of post-rock/dance-punk trio Trans Am – and as a recording engineer and member of The Fucking Champs and Oneida – guitarist Phil Manley has become endeared to fans and fellow musicians alike.  Now, after two decades of work, he has released his first solo album, Life Coach, and it’s unlike anything that he’s done prior.

The music, by and large, is a group of long-form instrumentals that build and swell with loops, effects, and overdubs.  Both electric and steel-string acoustic guitars are at the fore, with a handful of synthesizers and a touch of drum machine in the background.  Life Coach showcases both technical talent and melodic musicianship, and in the process, it reveals a side of Manley not frequently seen in his other projects.

Andre Afram Asmar: Harmonic Emergency (Mush)

Andre Afram Asmar: “Onward Farword”

Back in 2003 and 2004, Palestinian-American dub musician Andre Afram Asmar made waves for his unorthodox blend of hip hop, reggae, and Middle Eastern music. His debut for Mush Records and his subsequent full-length collaboration with MC Circus garnered critical acclaim, and Asmar made other notable associations, including work with rappers Busdriver and AWOL One and reggae singer Majek Fashek.

But as he was preparing for a big tour in late 2004, Asmar suffered a serious brain aneurysm, and his recovery since that time has been a slow and arduous process.  As a result of the aneurysm, Asmar lost ability in the left side of his body and lost vision in his left eye.  But he remained undeterred in his musical journey, and he has since had some help to complete Harmonic Emergency, the follow-up to Racetothebottom.

Originally begun being tracked in 2001, Harmonic Emergency is a strange and trippy dub creation, with sung, half-sung, and spoken-word vocals bouncing off rubbery thuds and beats.  Electronics and breakbeats get things moving, and plenty of Middle Eastern melodies and timbres maintain that “world fusion” vibe.

Bruce Lamont: Feral Songs for the Epic Decline (At A Loss)

Bruce Lamont: "2 Then the 3"

From the psych- and jazz-tinged metal band Yakuza, to the industrial homage Circle of Animals, to local improv jams, and even to fronting a touring Led Zeppelin cover band — saxophonist/singer Bruce Lamont has lent his assorted skills to a boatload of notable projects.  Now the multitalented frontman has unveiled his long-stewing solo debut, Feral Songs for the Epic Decline, on At a Loss Recordings.

Composed of seven free-flowing tracks, the album features more acoustic guitar, synthesizer, and unearthly vocals than some might expect.  The album’s foreboding atmospherics are its most consistent attribute, as it unfolds almost as a long-form singer/songwriter experiment.  Dark folk refrains give way to distorted tribal percussion, wailing sax lines, and noise-filled passages, but they’re all united by Lamont’s elongated – and surprisingly potent – chants and croons.

Monotonix: Not Yet (Drag City)

Monotonix: "Give Me More"

Hailing from Tel Aviv, Israel, the garage-rock trio Monotonix has attained surprising amounts of exposure in the Western hemisphere.  Much of that is due to the group’s wild live shows, which have caused consternation at venues in Israel.  As a result, the band hit the road and played hundreds of shows in Europe and America before it even had an EP out in the States.  But clearly, the band has connected with audiences thanks to its loud, raw, and unpolished sound, and now it has released Not Yet, its second full-length album for Drag City Records.

Previously, Monotonix has recorded with American musicians/engineers such as The Fucking Champs’ Tim Green and Shellac’s Steve Albini, and the latter was again tapped for work on Not Yet.  With extra fuzz and low end, it’s another disc of aggressive, straightforward, three-minute rock tunes with wailing, off-pitch vocals and errant solos.  To say that the base riffs are minimalist might be assigning too much complexity to it; some of them are built around just two chords.  But regardless, Not Yet is another musical fireball, achieving its appeal with rock energy rather than expertise.

Talib Kweli: Gutter Rainbows (Javotti Media / Duck Down)

Talib Kweli: "Cold Rain"

Following a handful of underground releases in the mid-‘90s, Talib Kweli burst on the national stage a few years later as part of Black Star, his highly successful hip-hop duo with Mos Def.  The two parted ways after one album, but Kweli went on to countless other collaborations and a series of acclaimed solo efforts. Gutter Rainbows is his fifth and newest solo release – his first since 2007 and first in a long time to be released without the aid of a major label.  It’s out now but only digitally in North America; it’s available elsewhere on CD thanks to Duck Down Records.

Compared to his last album, Eardrum, the music has a much fuller sound while striking a nice balance between soulful, funky, and bassy styles and a harder edge. It doesn’t have the big-name producers of Eardrum – which included Kanye West, Will.I.Am, Pete Rock, and Madlib – but it sounds like a more realized album.  Whether it’s with a diversity of instruments and samples, great backing performances, or just Kweli’s relentless flow, Gutter Rainbows is an exciting addition to his catalog.

Honorable Mentions

Banquet of the Spirits / Cyro Baptista / John Zorn: Caym: The Book of Angels, Vol. 17 (Tzadik)

Bill Frisell and Vinicius Cantuária: Lagrimas Mexicanas (E1)

Charles Bradley: No Time For Dreaming (Daptone)

Caroline: Verdugo Hills (Temporary Residence)

Deerhoof: Deerhoof vs. Evil (Polyvinyl)

Destroyer: Kaputt (Merge)

Ensemble: Excerpts (Fat Cat)

Lia Ices: Grown Unknown (Jagjaguwar)

Iron and Wine: Kiss Each Other Clean (Warner Bros.)

Kodo: Akatsuki (Otodaiku)

Georgia Anne Muldrow: Vweto

Thank You: Golden Worry (Thrill Jockey)

Sidi Touré: Sahel Folk (Thrill Jockey)

Zs: New Slaves Part II: Essence Implosion! (The Social Registry)

Georgia Anne Muldrow

Listen to ALARM's premiere of "Zulu Bounce" from soulful hip-hop artist Georgia Anne Muldrow, whose 2010 album Ocotea made our list of 100 Unheralded Albums from 2010.

The song is from Muldrow's new all-instrumental album, Vweto ("gravity" in Swahili), which is available now on iTunes, with a worldwide release set for January 25, 2011 via Mello Music Group. The album touches on funk, soul, and more experimental, space-rock elements, as evidenced by the above track, which pairs a drum-machine beat with retro synth stabs.

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.

Rita J: "The Address"

Rita J: Artist Workshop

It’s hard to argue against the fact that hip hop always has been a man’s world. Despite the fact that pioneering artists such as MC Lyte, Queen Latifah, Roxanne Shante, and Monie Love set a bold precedent, many female emcees found themselves faced with two rather limiting options: either to match the bravado of their male peers with over-the-top aggressiveness, or complement it with a hyper-sexual image. Within that polarization, unique voices have often gone unheard.

Trailblazers of the 1990s like Ladybug Mecca, Lauryn Hill, and Erykah Badu, and contemporaries including Jean Grae, Psalm One, and Georgia Anne Muldrow, have shown a more realistic perspective that highlights the artist’s individuality. This progression has provided fertile ground for a new crop of lyricists, and one of the most exciting talents to emerge from that scene is Atlanta emcee Rita Jackson, a.k.a. Rita J.

“I think there has been a lack of female emcees because the men in power would rather see eye candy and not hear what a woman has to say, so they don’t give females an opportunity to expose their music,” Jackson says.

“Women keep getting overlooked and shelved because they don’t fit into the desired mold. Women [in hip hop] either have to be portrayed extremely sexy or tomboyish, and there is no middle ground, when most females that I know are somewhere in the middle. There needs to be more balance in hip hop. I just want to showcase a different face, a different character — one that is not being represented right now. I am the change that I wish to see.”

Jackson first discovered her knack for writing while she was a student at Southern Illinois University. She spent hours at a time in her dorm room ritualistically hammering out lyrics. As she developed her craft, she discovered a sense of empowerment. “Education is knowledge, and knowledge is power,” Jackson says. “If you educate yourself, you can go far in life and accomplish great things.”

Her confidence and style quickly caught the attention of Chicago emcee Iomos Marad, who had been working with Chicago independent label All Natural, Inc. Marad then introduced Jackson to label head Anthony Fields, a.k.a. Tone B. Nimble.

There needs to be more balance in hip hop. I just want to showcase a different face, a different character — one that is not being represented right now. I am the change that I wish to see.

“Our first impression of Rita was that she rapped extremely clear, had smooth flow, and had a sweet voice,” Fields says. “We also discovered she had a vibe that would fit with All Natural Inc., which is basically to be creative and say a little something.”

Jackson soon found herself laying down heady verses for the Family Tree on the Tree House Rock project (2003). The album gave Jackson the final push that she needed to move forward and pursue a solo project. Her debut album Artist Workshop was supposed to be released sometime in late 2007 (that year saw a Japan-only edition), but technological and circumstantial mishaps continuously delayed the process.

Fields says that Jackson’s move to Miami and then Atlanta slowed the recording process. After recording in several different studios, the music files that she had on an external hard drive were accidentally destroyed. When everything was recovered, Jackson and Tone tweaked the album, updating, replacing, and remixing select beats. The final hurdle came when All Natural’s distributor, Touch & Go, shut down its distribution branch, forcing them to seek a different distribution route.

“It was so frustrating,” Jackson says. “Whenever you put time and effort and energy into something, you want to see it live. If it’s an album, you want to see it do well and hear people’s feedback. You want to perform it. And [the delays] held me back from doing that for a couple years."

“I’m working on a project now entitled She The Hard Way,” she continues. “It’s myself and four other young ladies (Boog Brown, Sa-Roc, Stahhr, and Khalilah Ali) who are from all different parts of the United States, and they come here to Atlanta. It’s produced by DJ Sol Messiah, and it’s a project about four female emcees who come together and gel and it’s all love.” In other words, it’s art imitating life.

Through Jackson’s music, she strives to connect the dots of real life and lay to rest all the unrealistic ideals that have compartmentalized female emcees for far too long. It’s a mission that any hip-hop head can appreciate, regardless of gender. Her solo album can be seen as her first attempt to balance the scales, and as she settles into different projects, it’s almost certain that it won’t be her last.

“It seems like for a minute, [women] weren’t being taken seriously,” Jackson says. “But that’s over now.”

Georgia Anne Muldrow: Ocotea (ePistrophik Peach Sound)

The daughter of progressive-jazz parents, Georgia Anne Muldrow has attained acclaim — from critics, musicians, and listeners alike — for her loose, soulful vocals atop her own funky, jazzy creations.

In just four short years since her debut EP, she has made great strides as a musician, and her latest effort is another step forward. Ocotea, the first release under her Jyoti alter-ego, marks her first foray into instrumental jazz.

Drawing as much on spacey synths and hip-hop beats as jazz melodies, Ocotea keeps a steady pulse and groove as Muldrow utilizes a diverse sonic palette. It's a far-out journey that has shown the young songstress in a new and compelling light.

Georgia Anne Muldrow: "The Black Mother"
Georgia Anne Muldrow: \"The Black Mother\"

People Like Us & Wobbly: Music for the Fire (Illegal Art)

A pair of serial collaborators, Vicki Bennett (People Like Us) and Jon Leidecker (Wobbly) have joined forces over the past decade to offer bizarre and improvised audio collages.

Their latest pairing, Music for the Fire, is pulled from live recordings that have been tweaked and re-tweaked to capture oddball mishmashes of famous songs, obscure instrumental cuts, and vocal samples from decades-old pop culture.

To those with less exposure to the genre, Music for the Fire may feel like an album by Kid Koala or End (of Ipecac, Tigerbeat6, and Hymen) — often sleepy, clashing with itself, and dedicated to music that spans the 20th Century. There is, however, a greater focus on the weird and absurd vocal samples, which often are rearranged or pieced together to humorous effect.

The album also is built around a concept, one that tells the story of a relationship, from birth ("Naked Little Girl") to trial ("Female Convict") to resolution ("Pain"). It's a quirky, fun mess that isn't recommended for disapprovers of dissonance.

People Like Us & Wobbly: "Giant Love Ball"
People Like Us & Wobbly: \"Giant Love Ball\"

Jack Rose with D. Charles Speer & The Helix: Ragged and Right EP (Thrill Jockey)

Just months after passing away last December, Americana guitarist Jack Rose was remembered with a posthumous full-length album, the third of his acoustic homages to early blues, ragtime, country/folk, Appalachian music, and modern Hindustani classical.

Recorded in the summer of 2008, Ragged and Right sprung from a tour between Rose and D. Charles Speer & The Helix earlier in the year. While traveling, the musicians found themselves inspired by the sessions of Link Wray for his famous Mordicai Jones album, and Rose picked up the lap steel and Telecaster that appeared on earlier albums.

Together, the band laid down a forgotten number by Vernon Wray (Link's eldest brother), a Merle Haggard crooner, a take on the traditional tune "In the Pines," and an original. In all, the EP is unique, reverent, and beautiful — a fitting reflection of Rose's career.

Jack Rose with D. Charles Speer & The Helix: "Linden Avenue Stomp"
Jack Rose with D. Charles Speer & The Helix: \"Linden Avenue Stomp\"

Honorable Mentions

Ketil Bjørnstad: Remembrance (ECM)

The Delta Mirror: Machines that Listen (Lefse)

Foals: Total Life Forever (Sub Pop)

Grupo Fantasma: El Existential (Nat Geo)

Matthew Herbert: Mahler Sympony X Recomposed by Matthew Herbert (Deutsche Grammophon)

Oval: Oh (Thrill Jockey)

Rasputina: Sister Kinderhook (Filthy Bonnet)

Gabor Szabo: Jazz Raga (Light in the Attic / Impulse!)

An iconic poet/musician whose soulful spoken-word style helped give rise to rapping, Gil Scott-Heron has been proclaimed a major influence in hip hop, neo-soul, and acid jazz. His political activism has been at the forefront of his noted career, which includes the acclaimed poem/song "The Revolution Will Not Be Televised."

Now, marking another landmark moment in his career, Scott-Heron has released I'm New Here, his first full-length since the 1994 album Spirits, which too was something of a "comeback" — his first studio album since 1982.

Produced by XL label owner Richard Russell, who convinced Scott-Heron to go back into the studio, I'm New Here is an atmospheric, down-tempo disc of diversity.

Acoustic pseudo-ballads are accented by electronics, dramatic strings, and piano in a combination of new poems, covers, and interludes. It's a release that feels extremely personal, whether from the lyrical content or Scott-Heron's familiar voice.

Gil Scott-Heron: "Where Did the Night Go"
Gil Scott-Heron: \"Where Did the Night Go\"

Pillars and Tongues: Lay of Pilgrim Park LP + download (Endless Nest)

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.

Violin, upright bass, and drums and other percussive elements slowly build and fall. Each member contributes to the layered vocal harmonics, often trading rounds of the same melody or balancing pitches as a low or intermediate voice begins a wordless refrain. Fans of Huun Huur Tu, Charming Hostess / Jewlia Eisenberg, and other vocally driven experimentalists will love this.

Pillars and Tongues: "The Center of"
Pillars and Tongues: \"The Center Of\"

Arsis: Starve for the Devil (Nuclear Blast)

A major force in metal just six years after its debut, Arsis is a Virginia quartet that boasts tireless harmonized shredding. Thrash and black metal, gently crossing into death metal, form the basis of a sound that leans on flawless technical proficiency in accessible time signatures.

Starve for the Devil trends towards the melodic end of the band's material, but there's no shortage of full-speed aggression. Riff lovers will get their money's worth with this one.

Hot Chip: One Life Stand (Astralwerks)

Hot Chip's brand of synthesized dance pop has allowed the keyboarded quintet to climb the UK charts and garner heaps of attention in the United States.

One Life Stand is another disc chock full of dance-floor albums, albeit a bit more restrained than on albums past. The gentle vocals of Alexis Taylor and Joe Goddard will continue receiving much of the attention from casual listeners, but One Life Stand really shines with its diversity of synth sounds and instrumental complements (such as the touches from Trinidadian steel-pan player Fimber Bravo).

Massive Attack: Heligoland (Virgin)

Seven years after its last studio offering, commercially thriving electronic producers Massive Attack — closely tied to the trip-hop explosion of the early 1990s — have finally released their long-awaited fifth album, Heligoland.

With Grantley Evan Marshall, a.k.a. Daddy G, back on board in the studio, the group attains a multitude of electronic styles on Heligoland, thanks to its divergence of tastes as well as the usual assortment of guests.

This time, Massive Attack collaborates with Tunde Adebimpe (TV on the Radio), Damon Albarn (Blur), Hope Sandoval (Mazzy Star), Martina Topley-Bird, Adrian Utley (Portishead), and Billy Fuller (Beak). The result is a minimalist electro dreamscape, one that should appeal to a sizable cross-section of music fans.

Honorable Mentions

Bluebrain: Soft Power (Lujo)
Galactic: Ya-Ka-May (Anti-)
Georgia Anne Muldrow: Kings Ballad (Ubiquity)
Shining (Sweden): VI / Klagopsalmer (Indie Recordings)
This Moment in Black History: Public Square (Smog Veil)

Rodrigo y Gabriela: 11:11 (ATO)

Inspired as much by metal as salsa and classical guitar, acoustic duo Rodrigo Sanchez y Gabriela Quinetro fuse a worldly reverence with blistering riff work and scintillating solos.  This, the couple's new studio album of 11 originals, is a forceful, kinetic crossroads of rock, flamenco, and Latin style with dashes of psychedelia — and even a moment of turntablism.

The duo's metal background is readily apparent on album opener "Hanuman" — as well as in frequent power-chord backdrops and palm-muted thrash leads — but traditional rhythms and melodies define the album.  Guitar guru Alex Skolnick of Testament, no stranger to musical convergence, makes a guest appearance, emphasizing the appeal of 11:11 to guitar lovers of all stripes.

Celan: Halo (Exile on Mainstream)

Even when unexpected collaborations don't produce groundbreaking new sounds, the curiosity factor alone is enough to pique interest in a project.

Celan may not smash any boundaries, but its debut, Halo, is a fine down-tuned alt-metal collaboration built around an interesting partnership — guitarist/vocalist Chris Spencer from Unsane and keyboardist Ari Benjamin Meyers from Einsturzende Neubauten and Redux Orchestra.

With Spencer's punishing vocals and crunchy mid-tempo riffs, Celan doesn't stray too far from Unsane's style.  But Meyers serves as a strong counterpart for Spencer, and his influence is best felt in the piano-centered conclusion to "Sinking" and the ambiance of "Washing Machine."

Bei Bei & Shawn Lee: Beauty and the Beats 10" EP (Ubiquity)

Hailing from Chengdu, China and residing in Orange County, instrumentalist Bei Bei is a master of the gu zheng — a traditional stringed Chinese instrument that belongs in the zither family.  Her virtuosic skills have led to beautiful melodies, but Bei Bei isn't content to repeat the styles of her ancestors; during her short career, she has made a point to collaborate with specialists in hip hop, jazz, classical music, and more.

A short two-song, two-remix EP, Beauty and the Beats is another such crossover for Bei Bei, who here meets electro-funk multi-instrumentalist Shawn Lee.  The resultant jams are a rare breed — gorgeous, head nodding, and awfully unique.  "East" is the single's A-grade B-side (and a re-imagined rendition of Billy Paul's classic) , but "Make Me Stronger" isn't far behind with guest vocals from soul singer Georgia Anne Muldrow.

Expect greatness when the two release their full album in January.