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.

Chicago Odense Ensemble "Soup"

Chicago Odense Ensemble is the latest foray of Rob Mazurek (Exploding Star Orchestra, Chicago Underground, Isotope 217) into large-group jazz fusion. The Ensemble — Jeff Parker and Dan Bitney of Tortoise and Isotope 217, Matt Lux (also of Isotope 217), Jonas Munk and Jakob Skøtt of European psych band Causa Sui, and percussionist Brian Keigher — recently released its self-titled album on Adluna Records.

Starting today, Chicago Odense Ensemble is offering a special discount on its record to ALARM readers, good through Friday, December 3. Both CD and vinyl versions will be printed in limited numbers (250 vinyl, 500 CD), so be sure to act quickly to secure your own copy. Pricing is as follows:

- Vinyl is 30€ instead of 45€

- CD is 12€ instead of 15€

- Vinyl + CD pack is only 40€ instead of 55€.

- Each offer includes free shipping worldwide.

To take advantage of this special ALARM discount, go here: http://www.chicagoodenseensemble.com/alarm/

Chicago Odense Ensemble: s/t (Adluna)

Chicago Odense Ensemble: "Soup"

Hajduch: Chicago Odense Ensemble is the latest foray of Rob Mazurek (Exploding Star Orchestra, Chicago Underground, Isotope 217) into large-group jazz fusion.  He's brought along some of his previous collaborators (Jeff Parker and Dan Bitney of Tortoise and Isotope 217; Matt Lux, also of Isotope 217) as well as some fresh faces (Jonas Munk and Jakob Skøtt of European psych band Causa Sui and percussionist Brian Keigher).

Fans of the previously mentioned bands have a pretty good idea of what to expect here: Mazurek's compositions tend to mine pretty similar territory, electric-era Miles Davis that sprawls out gradually.  Mazurek has an ear for catchy melody that shines through even when the playing is wide open.  Over the course of the (mostly lengthy) tracks, one melody line will give way to an echoed-out drone, from which a new idea will usually emerge and take over.

The guitar interplay — Parker's filtered, muted scales in one channel, Jonas Munk's wocka-chicka psych octaves in the other — turns Mazurek's usual In a Silent Way meandering into something more like On the Corner.  The drums are saturated with dub echo, and at times it is left to Mazurek's insistent cornet lines and the steady bass of Matt Lux to hold a groove down.

Morrow: We've both heard the Chicago guys play in a number of permutations, and though they're by no means allergic to grooves, it's nice to hear them on another improv album that centers on riff patterns.  Each player is very capable of wild, "free" performances, but each is just as adept at captivating melodies and adapted accompaniments.

Despite the overlapping complexities on this album, it never loses its focus as an accessible collection.  The contributions from Munk and Skøtt (each from Odense, Denmark) cannot be understated; it seems that they often draw in the right accents, whether it's a soft cornet part from Mazurek, a restrained bass line from Lux, or a warm guitar harmony from Parker.

Hajduch: I don't know if it's the psych influence of the new players, or the nature of the compositions, but this album feels more locked-in in terms of riffs than previous Mazurek projects.  Exploding Star Orchestra, in particular, prefers huge, multi-section pieces, with lots of space for solos.  Chicago Odense Ensemble pieces tend to have a lot of playing in the margins, but there usually is a bass line and one other member holding down the groove.  Without a lot of far-flung experimentation, it feels a bit the same at times, but none of that takes away from Mazurek's ear for melody.  You might get lost for a few minutes as you zone out to a groove, but you won't catch yourself thinking that it's monotonous or un-listenable.

One thing that is slightly disappointing is the lack of a second horn.  Mazurek frequently works as the lone horn player in his bands, but his gift for writing ensemble lines is inspired (pretty much every track on his album with Chicago Underground Orchestra has a great example of this; also see "Looking After Life on Mars" from Isotope 217's Utonian Automatic, where he plays a duo lead against Jeff Parker's guitar).  In light of this, it's unfortunate that he doesn't take the time to harmonize any truly memorable lead lines here.  With the range of talent on display, it feels like a missed opportunity.

Morrow: I don't know.  I love a lot of stuff with big brass front lines, but I'm glad that we're not horned to death here.  Also, I assume that this is a true collaboration between the parties, not just another of Mazurek's projects, and his penchant for great leads and solos already puts him in the spotlight.

Ultimately, Chicago Odense Ensemble feels like some of its players' other projects, but I think that we agree that it's a really well-done disc with great grooves.  Also, we should point out that Adluna Records planned a special subscription offer for this release, which is limited to 500 CDs and 250 vinyl records, so pre-order it here if you want to secure a copy.

Mikrokolektyw: Revisit (Delmark, 6/15/10)

Mikrokolektyw: "Running Without Effort"

Hajduch: Mikrokolektyw (pronounced micro-collective) is the Polish duo of Kuba Suchar and Artur Majewski. Together, they make a very primal sort of experimental jazz, rooted in Suchar's one-man rhythm section of drums and Moog. Atop this framework, Majewski adds restrained, thoughtful trumpet lines. The result is head-nodding and hypnotic, and at times would not sound out of place in an Italian horror film scored by Goblin.

It also sounds like classic Chicago jazz fusion, like what Rob Mazurek's Isotope 217 and various Chicago Underground ensembles have accomplished.  The sparse, melodic trumpet playing owes a lot to Miles Davis' In a Silent Way, and there's a punchy moment of ensemble playing (here, "ensemble" means Majewski doubled) in "Watermelon from the 80s" that sounds like a riff from a Fela Kuti song.  This guy would definitely call the cops on this album.

Morrow: The comparisons to Mazurek and Isotope 217 are right on, but I feel that Mikrokolektyw emphasizes the loops and electronics much more.  There are also elements here, with the loops and jazzy, circular beats, that remind me of DMS, a one-man operation (later a duo) by American Football drummer Steve Lamos.  The later DMS material, which really never was released, was criminally unheard.  And the earlier stuff, in fact, included a great cover of "In a Silent Way."

Really, enough can't be said for the importance of Mikrokolektyw's loops.  Whether it's the trumpet, drums, the marimba melody on "Running without Effort," or a Moog that acts as a bass line, they're a vital component to each song.  They keep the whole thing grounded for Majewski's improvisations, yet they leave enough room for Suchar's beats, which quickly repeat but are impeccable — particularly his rapid drum rolls on the toms.

Hajduch: Yeah, the looped nature of the music is what keeps the whole thing together.  The music has hooks everywhere, which keep it from being some sort of impenetrable riff fest.  Not only is it hooky, but it's also sparse, so the tracks have a lot of room to breathe.

Restraint is important.  I love Ken Vandermark, for example, but a lot of his compositions with The Vandermark 5 or his gigantic Territory Band come off as so crazy that you get overwhelmed by listening.  Mikrokolektyw understands restraint.  The music is uncluttered not because they're a duo — plenty of jazz duos overplay — but because they are patient, accomplished musicians who know when it is best to be quiet.

Morrow: For sure, and restraint is something that wasn't as evident in their last band, Robotobibok — a four-piece contemporary-jazz ensemble that was much busier.  The music was great, and it crossed into electronica and groove, but it got a little too loaded at times.  Mikrokolektyw's Revisit strikes a great balance, and it's one of those gateway albums that can get your friends into some jazz crossovers.

Hajduch: This album is excellent.  Delmark, if you read this, please consider vinyl pressings of more of your releases, starting with this one.

From 1982 to 1997, New York's Swans built a cult legacy for a solitary blend of industrial, folk, noise, and avant-garde music.  It was less music than an experience, helmed by songwriter, multi-instrumentalist, and vocal oddity Michael Gira.

Along the way, the group's sound evolved from raw to delicate and anywhere between, channeling ambient sounds, acoustic tenderness, post-rock, field recordings, cinematic drama, and much more. But Gira wanted to turn his attention elsewhere, and Jarboe, Gira's partner and one of the group's only other constants, went her own way.

Gira focused on acoustic works in a solo career and with a group called The Angels of Light, and he released other people's material on his label, Young God Records.  Though a new Swans album never seemed likely or possible, Gira now has delivered one that far exceeds expectations thanks to an all-star cast.

In a new, balanced mix of noise rock, strange ballads, and stratified power, My Father Will Guide Me Up a Rope to the Sky calls on Thor Harris, Bill Rieflin, Devendra Banhart, and a number of other multi-talented collaborators.  Whether droning, marching, building to a crescendo, setting a creepy tone, or simply delivering melodies, this marks a new and important chapter in the Swans story.

Swans: "Eden Prison"

Torche: Songs for Singles EP (Hydra Head)

Over the course of two albums and a few EPs, Florida’s Torche has developed an appeal across genre lines, attracting stoner-metal fans as well as the sing-along crowd.

The band (now a trio) earned some serious buzz from its 2008 full-length album, Meanderthal, which coupled a strong melodic emphasis with thick distortion, catchy riffs, and wailing vocals.   Songs for Singles, essentially, is more of the same two-minute tracks, each powerful yet approachable enough to be played on the radio.

The EP, however, also holds a pair of the band’s longest jams, including penultimate track “Face the Wall,” which slows the tempo to establish an epic, My Bloody Valentine-esque vibe over five-and-a-half minutes.  The closer, “Out Again,” is a six-minute mid-tempo rocker that rides a trance-like outro for four minutes.

These slow jams close Songs for Singles in a similar fashion to Meanderthal, which back-loaded the longer tracks.  They create a nice contrast to the first six tracks, even though they do little to change Torche’s direction.

Listeners who loved all of Meanderthal, however, should have no problem with more of the same.  Regardless, if you’re not familiar with the band’s signature combination of punk melodies and beats, guitar harmonics, and overdubbed vocals, you should get acquainted.

Torche: "Arrowhead"

Exploding Star Orchestra: Stars Have Shapes (Delmark)

Composer/cornetist and multimedia artist Rob Mazurek has been at the leading edge of experimental jazz for more than 15 years, searching out new expressions of a classic genre in outfits such as Chicago Underground Duo (Trio, Quartet, etc.), Isotope 217, Mandarin Movie, Sao Paulo Underground, and more.

In 2007, Thrill Jockey released the full-length debut of Exploding Star Orchestra, one of Mazurek’s newest creations that fused hard bop with untamed improvisation, electronics, and far-out samples (including an electric eel).  The large, member-shifting ensemble followed in 2008 to present a collaboration with the since-departed Bill Dixon — a three-suite album that directed the players to musically interpret one of Mazurek’s video works.

Stars Have Shapes finds Mazurek further exploring the interplay between aural and visual stimuli, most notably on “Three Blocks of Light,” an interpretation of his similarly titled three-part photo piece, “Three Projections of Light.”  Each track (with the exception of the five-minute “ChromoRocker”) is a slowly building sphere of sound, a layered cacophony that swirls with fervor.

There isn’t the same type of powerful, circular jazz grooves as on the debut, We Are All From Somewhere Else, but there are moments of refinement between the chaos.  As a whole, it’s a much less accessible album than the debut, but it operates on a much more subconscious level.

Exploding Star Orchestra: "ChromoRocker"

Flying Lotus: Pattern+Grid World EP (Warp)

In May, laptop guru Flying Lotus released Cosmogramma, the electronic producer’s grand opus and third full-length album.  Showcasing an expanded palette and a stronger compositional skill set, the album received glowing reviews and catapulted Flying Lotus (named Steven Ellison) to the forefront of an evolving sound.

Pattern+Grid World, the latest in Ellison’s line of EPs, goes back to basics.  The seven songs focus on pure electronics and synthesizers, as opposed to the diverse timbres and elaborate samples heard on Cosmogramma.  It’s still a complex, beat-driven tangle, but the material isn’t nearly as layered or expansive, and the melodies aren’t as wild.

The EP excels as a synth-driven IDM release, and its style makes it more likely than its full-length predecessor to be heard in a club.  If you like Flying Lotus but Cosmogramma was too intense for you, check this out.

Flying Lotus: "Camera Day"

Maximum Balloon: s/t (Interscope)

Producer/multi-instrumentalist Dave Sitek is best known as a co-founder and driving force behind TV on the Radio.  His dense style has led to production credits for Liars, Foals, Scarlett Johansson, Thee Oh Sees, and others.

Maximum Balloon is Sitek's solo debut — 10 synth-pop tracks featuring 10 different guest vocalists.  Sitek has always worked in the realm of pop, but Maximum Balloon is substantially sunnier and more upbeat than TV on the Radio or his other efforts.

Over the duration of the debut, the music's feel seldom wavers.  Digital beats, light-rock instruments, synthesizers, and even some funk guitar and fake horns create a layered, danceable album.  The biggest difference from track to track, as might be expected, is the guest spots by vocalists such as David Byrne, Tunde Adebimpe and Kyp Malone of TV on the Radio, Karen O of the Yeah Yeah Yeahs, and Holly Miranda.

"The Lesson" finally shifts gears to a down-tempo, minor-key ballad — one of the album's better tracks — and the closer takes a similar route.  At that point, however, Maximum Balloon has already established its foundation, and pop fans will appreciate it.

Maximum Balloon: "Absence of Light" (feat. Tunde Adebimpe)

Honorable Mentions

Chloe Charles: Little Green Bud

The Hundred in the Hands: s/t (Warp)

John Legend & The Roots: Wake Up! (Columbia)

Margot & The Nuclear So-and-Sos: Buzzard (+1)

La Otracina: Reality Has Got to Die (Holy Mountain)

Qemists: Spirit in the System (Ninja Tune)

Rez Abbasi Acoustic Quartet: Natural Selection (Sunnyside)

Thievery Corporation: It Takes a Thief (ESL)

US Christmas: Run Thick in the Night (Neurot)

Brought together by Brian Keigher, the group of all-stars combined their unique blend of styles in total improvisation, the result of which recalls Miles Davis' ventures in electronic music in the early '70s. Loose ideas and grooves come together into well-developed electro-jazz soundscapes frequently punctuated by brilliant virtuosic solos.

After the initial recording session, Munk took the material back to his studio in Odense, Denmark to begin the process of cutting, rearranging and manipulating. Using the production process as an instrument instead of merely a tool led to some interesting results. Elements of dub, Eastern and African sounds, and even psychedelic rock run throughout the new record.

The Chicago Odense Ensemble is releasing its record in a (fittingly) unconventional way: subscriptions. By accepting pre-orders before pressing the record, the group's label, Adluna Records, ensures that it has enough interest and funding to make the project work.

On the same day that the record is sent to the manufacturing plant, a free download is sent to all who pre-ordered the album. Both vinyl and CD versions of the record will be available and limited to 500 copies each.

Pre-order Chicago Odense Ensemble here.

The guzheng is a gorgeous Chinese zither whose existence dates back two thousand years. In the hands of a marvel, it 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, undoubtedly will be one of the year's finest albums.

Lee is no slouch, but his work really shines when he's coupled with a virtuoso. Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Bei Bei & Shawn Lee: "East" (excerpt)
Bei Bei & Shawn Lee: \"East\" (excerpt)

Algernon: Ghost Surveillance (Cuneiform)

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.

The quintet, based in Chicago, has drawn comparisons to hometown compatriots Tortoise — thanks to a vibraphone and a few jazz-inflected melodies — but it very much has established its own voice, particularly on Ghost Surveillance, its third album.

This album 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.

As always, the vibraphone work of percussionist Katie Wiegman offers a warm, harmonic accompaniment, but the group's best-supporting player may be drummer Cory Healey, whose wild fills and drum-and-bass moments imbue Ghost Surveillance with explosive bursts of energy.

Algernon: "Broken Lady"
Algernon: \"Broken Lady\"

Chicago Underground Duo: Boca Negra (Thrill Jockey)

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.

Its size and scope has shifted, but Mazurek and Taylor have been the staples of the Chicago Underground name, melding improvisation with composition through a shifting balance of impulse and atmosphere.

Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

"Hermeto," for example, is built around a delicate keyboard melody, harmonizing surroundings, and a windy backdrop. "Spy on the Floor" follows with one of CUD's most straightforward grooves, coupling with Taylor's snare-rolling beat to craft a danceable tune.

Taylor handles the programming this time around, which helps to explain some of the duo's new sound. Long-time fans will recognize Boca Negra as being in the CUD ouvre, but they might be surprised at its scope.

Chicago Underground Duo: "Spy on the Floor"
Chicago Underground Duo: \"Spy on the Floor\"

Noah Creshevsky: The Twilight of the Gods (Tzadik)

Electronic composer Noah Creshevsky is a master of contrast, crafting musical patchworks from samples of orchestras, vocalists, pop music, and much more.

The Twilight of the Gods, his second album for Tzadik, is another wild series of rearrangements. Otherworldly performances rub against spliced sonic quilts. Scurrying bits of avant-classical weave in and out, bobbing between vocal undulations and interpretations of freeform rock and jazz.

This very much is for daring audiences, but regardless of preference, most listeners should agree that there is nothing quite like it.

Honorable mentions

Greg Burk: Many Worlds (482 Music)
Four Tet: There is Love in You (Domino)
Fredrik: Trilogi (The Kora)
Harvey Milk: s/t reissue (Hydra Head)
Yuka Honda: Heart Chamber Phantoms (Tzadik)
Joan of Arc presents: Don’t Mind Control compilation (Polyvinyl)
Sam Sadigursky: Words Project III: Miniatures (New Amsterdam)
Slow Six: Tomorrow Becomes You (Western Vinyl)
Univers Zero: Clivages (Cuneiform)

Incorporating elements of traditional Mexican and Spanish music into his expansive repertoire, tireless composer John Zorn bangs out another soundtrack, this time for a documentary about Mexican dictator Plutarco Elias. Another accessible, beautiful release, El General is scored for guitar, marimba, bass, piano, and accordion, with drums and vibraphone showing up in spurts.

Mountains: Choral (Thrill Jockey)

Making its Thrill Jockey debut, this electro-acoustic duo creates acoustic melodies that breathe with the field recordings and electronics that surround them. Tranquil, crackling bits pile on layers of atmosphere; drones circle around extended passages and repetitive themes. The result is a serene album that is as apt for detached meditation as it is for intense musical focus.

Mountains: "Choral"
Mountains: \"Choral\"

Rob Mazurek Quintet: Sound Is (Delmark)

Following a solo release and albums from Sao Paulo Underground and Exploding Star Orchestra, jazz composer/cornetist Rob Mazurek returns with a new quintet. The group features a loaded lineup of Chicago standouts, including drummer John Herndon (Tortoise), vibraphonist Jason Adasiewicz (Rolldown), acoustic bassist Josh Abrams (Black Earth Ensemble), and electric bassist Matthew Lux (Isotope 217).

With 14 new compositions, Sound Is sees Mazurek continuing to push the boundaries of modern jazz while using semi-traditional instruments.

Steven Wilson: Insurgentes (Kscope)

The founder of English rock band Porcupine Tree, guitarist/singer Steven Wilson has taken a wandering path throughout his musical career, traveling through metal, pop rock, progressive psychedelia, and atmospheric ballads.

Wilson's solo debut, Insurgentes, shows a similar penchant for diversity. Rock structures overlap with electronic ambiance, moody acoustic guitars, dark synths, and soft vocal harmonies, making a malleable foundation as Wilson channels Thom Yorke in much of his signing.

A bit of the balladry gets too close to Coldplay and other melodramatic radio artists, but most of the album is an interesting exhibition in songwriting.

Steven Wilson: "Harmony Korine"
Steven Wilson: \"Harmony Korine\"

Toby Summerfield, Matt Lux, Nick Broste, Jaimie Branch, Katie Wiegman, and John Herndon @ Hungry Brain

This week at the Hungry Brain, an assortment of regular Chicago avant-jazz and rock performers unite in a unique arrangement. Guitarists Toby Summerfield (Algernon) and Matt Lux (bass in Isotope 217) join brass performers Nick Broste (Herculaneum) and Jaimie Branch (Branch/Riordan Duo) as well as vibraphonist Katie Wiegman (Algernon) and drummer John Herndon (Tortoise).

The performers' groups span straight-ahead jazz, psychedelia, post-rock, free jazz, experimental and electronic music. It will be mighty interesting to see what this group, performing for two sets, has in store for the bar's patrons. If you're around and can stay up late on a Sunday, check this out.