For us, 2011 was another year of taking in as much as we could and sharing the best with you. Next year, however, will be a homecoming of sorts, a return to rock-'n'-roll roots. We'll soon be able to share the projects that we have in store — across multiple mediums — but for now, dig into this rock-focused list of must-own albums.

And for more, revisit (or simply visit) our lists from 2010 and 2009:

100 Unheralded Albums from 2010
50 Unheralded Albums from 2009

Steven Drozd: The Heart Is A Drum Machine (The Score) (Twinkle Cash Co., 1/18/11)

Steven Drozd: "Born"

A multi-instrumentalist and the third-most-tenured member of The Flaming Lips, Steven Drozd marked his first official solo release early this year with the nearly instrumental accompaniment to the documentary The Heart is a Drum Machine.

The music shares a lot of characteristics with the Flaming Lips of the past dozen years – synthesized grooves, big rock beats, fuzz bass, airy keyboards, and different instrumental flourishes weaving in and out. But listeners are unlikely to confuse the two, and the score succeeds as a standalone album as well as a film accompaniment.

…And You Will Know Us by the Trail of Dead: Tao of the Dead (Richter Scale Records / Superball Music, 2/8/11)

…And You Will Know Us by the Trail of Dead: "Weight of the Sun"

There has been no shortage of grand themes and allegories in the canon of Austin post-punk quintet …And You Will Know Us by the Trail of Dead. The band’s newest album, however, better matches its ambitious themes with its music, presenting an epic pair of pieces for Tao of the Dead.

The album recalls progressive albums of yore, from the likes of Rush and King Crimson, but channels them into easily digested movements. Stretches of heavy distortion and drum thrashing will appeal to the more metal-minded Trail of Dead fans, but there’s also plenty of hook-laden, radio-ready alternative rock.

Wires Under Tension: Light Science (Western Vinyl, 2/8/11)

Wires Under Tension: "Electricity Turns Them On"

Light Science is the exciting debut from Wires Under Tension, a duo comprised of violinist/multi-instrumentalist Christopher Tignor and drummer Theo Metz. With help from a few friends, including Jared Bell of Lymbyc Systym, the two combine live performance with electronic manipulation, sounding something like a progressive Dirty Three with horns, hip-hop beats, and post-rock guitar swells.

This seven-track release is a dense, fluid collection that retains consistency thanks to Metz’s steady rhythms. Electro-mechanical piano, clavinet, and synthesizers mesh with loops and samples to round out an impressive first release.

Pitom: Blasphemy and Other Serious Crimes (Tzadik, 2/22/11)

Pitom: "Head in the Ground"

Combining heavy, fuzzy rock jams with Jewish melodies, Pitom is one of many projects from guitarist, bassist, and composer Yoshie Fruchter. Blasphemy and Other Serious Crimes, the quartet's second release on Tzadik, follows the same path as its predecessor, but it does so with a bit more cohesion and restraint.

Built from the ground up with distorted bass and violin, the band's music carries similarities to that of Skeletonbreath and Miasma & The Carousel of Headless Horses. Whether driving a song with an infectious melody, commingling with the violin in the high end, or simply taking over a track with raw ability, Fruchter knows when to go full throttle (the punk power of "An Epic Encounter") or pull back (the dark slow jam of "A Resentful Repentance").

The Psychic Paramount: II (No Quarter, 2/22/11)

The Psychic Paramount: "RW"

Though relatively silent for the past six years, New York noise-rock trio The Psychic Paramount returned in February to release its first full-length since 2005. Effected guitar loops, devastating low-end grooves, and bashing rhythms again form the core of the band's sound, but II is a direct yet dynamic rock explosion.

Between the guitar, the cymbals, and the effects, the mid-range gets a constant workout. Those who are turned off by this kind of music may find it to be an exercise in patience, but the lengthier durations are a testament to the trio's skills at climax and denouement.

DeVotchKa: 100 Lovers (Anti-, 3/1/11)

DeVotchKa: "100 Other Lovers"

Following the fame from its Oscar-winning soundtrack for Little Miss Sunshine in 2006, Denver multi-instrumental quartet DeVotchKa has playfully tinkered with its sweeping, emotive sound. Though it already tossed together elements of folk, rock, Mexican, and Gypsy music, it remained united by the sullen croons and songwriting of frontman Nick Urata.

That unifying factor remains, but its newest album, 100 Lovers – its second post-Sunshine full-length – continues to expand the band’s scope. The material adds new and often subtle flavors to DeVotchKa’s repertoire. Uninitiated listeners might hear more of the same, but 100 Lovers is perfect for content fans – moving in new directions without a radical departure.

Stateless: Matilda (Ninja Tune, 3/1/11)

Stateless: "Ariel"

Matilda, Stateless' second full-length, showcases the British electro-rock group's continued maturity. Lead singer Chris James hits an impressive range of notes, from reverb-cloaked backing croons to soulful leads, atop an amalgamated mix of styles, sounds, and beats.

With contributions from The Balanescu Quartet, DJ Shadow, and Shara Worden (of My Brightest Diamond), Matilda is stylistically inventive, with familiar worldly touchstones reworked into new contexts.

Grails: Deep Politics (Temporary Residence, 3/8/11)

Grails: "I Led Three Lives"

With cinematic soundscapes, Westernized Indian melodies, film-noir mystique, 1960s psychedelia, and crushing heaviness, Grails is an instrumental rarity. The Portland band's newest offering, Deep Politics, is an engaging and epic mix of acoustic intonations, indigenous sounds and melodies, spaghetti-western motifs, somber piano balladry, and more doom-filled, Eastern-infused stylistic transcendence.

And thanks in part to arrangements by Timba Harris, the mighty violinist from unparalleled genre annihilators Estradasphere and Secret Chiefs 3, Deep Politics vies to be Grails’ best album yet.

Parts & Labor: Constant Future (Jagjaguwar, 3/8/11)

Parts & Labor: "Constant Future"

After establishing itself early last decade as an interesting new name in noise rock, Parts & Labor delivered a flurry of releases over the span of just a few years. Since then, the band has scaled back to a trio built around the fuzzed guitar, bass, keyboard hooks, and tight rock rhythms.

Featuring some of the band's sturdiest songs yet, Constant Future is direct, potent, and catchy. Behind Dan Friel and BJ Warshaw's echoing, harmonized vocals are dirty, thick grooves that power the overlaid electronic freak-outs.

Adebisi Shank: This is the Second Album from a Band Called Adebisi Shank (Sargent House, 3/15/11)

Adebisi Shank: "Micro Machines"

Released to European acclaim in 2010, the aptly titled second album from Irish electro/math rockers Adebisi Shank achieved North American release this year thanks to the peerless Sargent House.

The management company / record label describes the trio as a blend of Fang Island’s shredding riffs with Battles’ electronic quirkiness and rhythmic playfulness. That description isn’t off the mark, but readers won’t get a sense of the band’s real abilities until they hear its hyper-melodic, polyrhythmic, and — most importantly — jubilant songs in full.

Second Album delivers a maelstrom of zany electronics, unusual distortions, and triumphant, rapidly ascending scales mixed with vintage synths, marimba, horns, and other accoutrements. This is all packaged between and around gloriously catchy and powerful rock riffs, resulting in a manic and buoyant sophomore effort.

Battles: Gloss Drop (Warp)

Battles: "Ice Cream" (f. Matias Aguayo)

Shaken up and stripped down, the three members of experimental post-rock outfit Battles spent the better part of the past year reshaping and restructuring a sound that, up until then, included multi-instrumentalist, vocalist, and loop guru Tyondai Braxton.

The new record, Gloss Drop, is a shimmering, fascinating detour from Battles' previous output, soaring with ebullience and sheen. It bounces about on dance-y, frenetic beats and ripples in restorative whirlpools. The music retains Battles' signatory edge and cerebral tone, but the band’s instinctual process has brought about a surprising, new result.

Lively guitar parts and math-rock riffs fuse with overlapping rhythms. Songs like “Futura” incorporate Caribbean percussion, and “Sweetie and Shag,” featuring Kazu Makino of Blonde Redhead, features dazzling melodies over a playful composition. Other guests on the album include DJ Matias Aguayo, Boredoms vocalist Yamantaka Eye, and the one and only Gary Numan. Swirling in color and emotion, Gloss Drop does not sound like the record of a band that was contemplating its own demise while creating it.

- Text by Charlie Swanson. Read the feature story here.

Hail Mary Mallon: Are You Gonna Eat That? (Rhymesayers)

Hail Mary Mallon: "Garfield"

With a name and album title inspired by Typhoid Mary, Hail Mary Mallon is the union of MCs/producers Aesop Rock and Rob Sonic and DJ Big Wiz.  Both rappers are alumni of independent hip-hop label Definitive Jux, and all three have collaborated for years, but Are You Gonna Eat That? is their first release as a trio.

The group experience is new for Aesop Rock, and the album has the air of a relaxed, fun endeavor — something with no expectations.  There's plenty of modern production, with muffled bass lines, heavy snare hits, distant horn samples, spot-on scratching, and distorted vocal samples on tracks such as "Garfield."  But there's also a throwback party vibe on tracks such as "Breakdance Beach," and Aesop and Sonic trade call-and-response lines on many other songs.  Hail Mary Mallon is at its best when the MCs are involved in the same verses, but the group is careful not to overdo the trade-offs.

The album is an invigorating installment in each member's career, and it's another notable super-group to release something on Rhymesayers, which released the newest album by Felt (featuring production, in fact, by Aesop Rock).

Fucked Up: David Comes to Life (Matador)

Fucked Up: "The Other Shoe"

The latest from punk sextet / "social experiment" Fucked Up is another unexpected turn in an unpredictable career — an 18-song, 80-minute post-punk epic that tells a four-part narrative.

Adding to a litany of seven-inches and pair of LPs, David Comes to Life is far and away the band's hardiest release to date.  It's a punk-rock marathon that plays into punk's short attention span but that also demands patience, particularly when piecing together a narrative that shifts perspectives.

Musically, Fucked Up continues to come into its own, albeit with shades of The Who and other beloved practitioners of the rock opera.  The band's triple-guitar attack remains as aggressive and quasi-psychedelic as ever, but the gruff shouts of frontman Damian Abraham here are commonly backed by "real singers" whose softer intonations provide a pleasant contrast.

The album's 18 tracks have a tendency to blend together, but they benefit from their full-throttle delivery.  And though some listeners may have their patience tested by what essentially is a double LP of four-minute rock jams, preexisting fans should have one of their favorite albums of the year.

Týr: The Lay of Thrym (Napalm)

Týr: "Take Your Tyrant"

Based on the tiny Faroe Islands of the North Atlantic, Týr has made a name for itself with an infectious brand of folk/power metal.  The band's metal anthems, which are never short on overpowering melodies and harmonies, usually are a blend of traditional Scandinavian / Northern European folk tunes, with lyrics that touch on Nordic mythology, pagan pride, and heathen heroism.

The band's newest full-length, The Lay of Thrym, uses more Viking mythology as a thematic foundation, but it also expands the lyrical content, using some of its most fist-pumping sing-alongs to decry the remnants of Nazism and urge oppressed peoples to topple their dictators.

The music takes a similar course to the band's past catalog, but its melodic prowess and rhythmic fury are as potent as ever.  If you're not too cool for euphoric riffs and pop refrains, check this out.

Esmerine: La Lechuza (Constellation)

Esmerine: "A Dog River"

Begun in the early 2000s, Esmerine originally existed as the duo of percussionist Bruce Cawdron and cellist Beckie Foon, a pair of contributors to Godspeed! You Black Emperor, The Silver Mt. Zion Memorial Orchestra, and other members of Montreal's Constellation Records family.

The duo's sullen, minimalist chamber creations were built around cello, marimba, and other percussive elements, and though they expanded their range and emotion with other sounds, the band's first album in six years is a rebirth.  La Lechuza marks the addition of harpist Sarah Page and percussionist Andrew Barr (both of The Barr Brothers) as full-time members.  More importantly, however, it stands as a moving tribute to Montreal singer Lhasa de Sela, a mutual friend of all four members who passed away at the age of 37 on New Year's Day of 2010.

Each track on La Lechuza takes a life of its own, alternating between layered Steve Reich-ian repetitions, somber Danny Elfman-esque string arrangements, melodic polyrhythms, and ghostly vocal performances.  Special guests Colin Stetson and Sarah Neufeld (Arcade Fire) make appearances, and the result is the group's most most diverse, most skilled, and most beautiful release yet.

Honorable Mentions

Amorphis: The Beginning of Times (Nuclear Blast)

The Appleseed Cast: Middle States EP (Graveface)

Arch Enemy: Khaos Legions (Century Media)

BB&C (Tim Berne, Jim Black, Nels Cline): The Veil (Cryptogramophone)

Sarah Bernstein: Unearthish (Phase Frame)

Brent Hinds presents… Friend Without a Face: s/t & West End Motel: Don’t Shiver, You’re a Winner (Rocket Science Inc.)

Cults: s/t (Columbia)

The Engineer: Crooked Voices (Black Market Activities)

Ford & Lopatin (formerly Games): Channel Pressure (Software / Mexican Summer)

Infantree: Would Work (Vapor)

Jóhann Jóhannsson: Miner’s Hymns (Fat Cat)

Morbid Angel: Illud Divinum Insanus (Season of Mist)

Dustin O’Halloran: Vorleben (Fat Cat)

Oneida: Absolute II (Jagjaguwar)

The Rhythmagic Orchestra: s/t (Tru Thoughts)

Alina Simone: Make Your Own Danger (Virtual Label)

Sondre Lerche: s/t (Redeye)

Tea Leaf Green: Radio Tragedy (Thirty Tigers)

Tombs: Path of Totality (Relapse)

Trentemøller: LateNightTales compilation (LateNightTales)

Tom Vek: Leisure Seizure (Downtown / CO-OP USA / Island)

Kurt Vile: "Baby's Arms"

During the few years that he's been putting out proper records, Philadelphia's Kurt Vile has played equally the singer-songwriter and the free-form sonic tinkerer. He seems unwilling to force too much to happen in either capacity. He's sincerely catchy but shy of being blatantly earnest. He's tempted by the inviting fizzle of tape hiss, reverb, drum machines, and Casios, but can put a simple guitar part at the front when it suits him.

His new album, Smoke Ring For My Halo, is a lot more orderly than Constant Hitmaker (2008) or Childish Prodigy (2009). The frequent, fun instrumental twiddling of Hitmaker is just about entirely gone, and Prodigy's push toward rocking clarity continues in a mellow acoustic vein. It no longer sounds like each song was patched together in slightly different circumstances and varying qualities of tape. He achieves a new consistency on Smoke Ring and doesn't strain himself to get there.

Smoke Ring makes it easy to get distracted, to drift in and out. Kurt sounds as if he wouldn't take offense. That's not because he's noncommittal; it is because he slyly steers around the pangs of wisdom that young singer-songwriters often try to jam into their words. What profundity and wit you may find here is the kind that dribbles out of a guy's mouth as he trails off in mid-sentence. Vile lets that stuff fall where it may, and he doesn't try to make it look like there's more of it than there really is. He takes his time letting it come out. As a result, the songs on Smoke Ring don't quite overstay their welcome so much as loaf their way to the polite extent of it.

With that said, Vile has no shame about imposing good pop structure onto that posture — or non-posture, as it were. He constantly brings "Runner Ups" back to the half-lament "my best friend's long-gone, but I've got runner-ups." He doesn't let on whether he knows how funny (and perhaps tragic) that is. And though he's good at seeming to relax and greeting the good and the bad with the same acceptance, he does so in strong colors. His spectrum here goes from the actively relieved "In My Time" to the spooky "cold bloodbath" of "Society Is My Friend."

He drifts through a range of rough-and-weary vocal styles, some with a nasal pinch that nearly makes you cringe in anticipation of another Bob Dylan impersonation (but don't hold it against him, as it never actually gets close). So it helps that he doesn't try to convince you that he's learned everything. In the moments where you'd expect a lot of songwriters to try and yank out some head-spinning observation or weathered cliche, he evades by way of inertia. "In My Time" may be about looking back at youth, but it doesn't try to offer any grand conclusions.

The arrangements find ways to keep up the previous albums' tinkering while maintaining the dynamics from song to song. Along with an unobtrusive drum machine, acoustic and clean electric guitars double up on the album's most pleasant track, "Jesus Fever." Meanwhile, the title track goes for a warmer, also unobtrusive mix of tabla and tambourine. "Ghost Town" seems to keep all the instrumentation just a bit off to the side, which makes room for one of Vile's better vocal performances to gently shine. Even the decisively tougher beat of "Puppet To The Man" doesn't really break the flow the way that, say, "Freak Train" did on Childish Prodigy.

The album can leave you with the same feeling as Vile's previous work: that there's a ton of possibility here. His is a songwriting voice with a home-recorded feel that's more about dimension than it is just white noise and reverb. Thankfully, it hasn't lapsed into humorless cliché, but it has yet to get quite where it yearns to go. It's also his most enjoyable record yet, and Vile certainly doesn't do anything that spoils the promise of the songs. He just lets them grow memorable — or at least hummable — at his own deceptively nonchalant pace.

[Have you pledged yet? Don't forget to visit the Kickstarter page for Chromatic: The Crossroads of Color and Music, our next book that profiles independent musicians and artists who explore color in unorthodox ways.]

Landlocked Music in Bloomington, Indiana has been around since 2006 and has since proved to be a staple in the small college town. The store has hosted a number of notable in-store performances and curates a collection of music to satisfy almost any taste. With its fifth anniversary coming up in March of 2011, we spoke with Landlocked c0-owner Jason Nickey and got the inside scoop on one of the Midwest's top record stores. A message to any straightforward rock-'n'-roll bands from Bloomington: get in touch with Nickey; he doesn't believe that you exist.

What was your motivation for starting a music store? / What is your background in music?

I had no choice, really. It’s the only thing I’m fully qualified to do; I’m otherwise unemployable. All I ever did at any other job I ever had was talk to people about music and records and try to discover new stuff I hadn’t heard yet. So it was probably inevitable. Also, at a certain point, when you’ve acquired a certain quantity of recorded music, it’s the next logical move.

I worked in record stores all through college, and I’ve worked a bit on the distribution side of things, as well as some writing for magazines, websites, etc., and deejaying at college and then community radio. All of those experiences have come into play to some degree. Also, finding a partner was key. It would be near impossible to do this alone. I’m sort of the behind-the-counter guy; my partner is the marketing/social-networking guy, broadly speaking.
 

Jason Nickey holds the Flamin' Groovies' Shake Some Action

What is the musical community like in Bloomington?

I’m feeling a little negative about it at the moment to be honest, although I’m quite thankful that we have a music community at all given that Bloomington is a small Midwestern town.

There are tons of bands here. But generally speaking, it’s all very arty. Even our punk bands have some sort of conceptual angle. Either that or it’s some horrible crust-folk hobo-bike-pirate friendly punk BS, which won’t ever seem to die here. Not my bag at all.

Showing people a good time seems not to be taken into consideration much. The concept of fun takes a backseat to making some sort of “art statement” or something. I’ve been waiting for years to stumble upon some straight-ahead rock-and-roll band that just plays Chuck Berry or Buddy Holly-type songs non-ironically but with passion and soul.

There are larger musical institutions here like Secretly Canadian and her related labels, and the annual Lotus World Music Festival — both of which have an overall positive effect on the Bloomington music scene. And lest this all sound like a rant, there are a handful of good bands here. Among my favorites are Apache Dropout, who has an LP coming out on Family Vineyard early next year. They’re sort of a ragged caveman-bubblegum band, if that makes any sense.

(And in case you’re wondering, yes, John Mellencamp lives here, but he’s a total nonentity on the music scene. I’ve never seen him at a show or even sold him a record in 15 or so years here, which is a shame.)
 

Tyler Damon holds The Dead C's Eusa Kills

What can someone expect when visiting Landlocked for the first time?

I’d like to think that we have a good balance of the esoteric and the basic catalog that any decent record shop should have. You can find Les Rallizes Denudes next to Led Zeppelin here. We do our best to be helpful guides, so you’ll be asked if you have any questions and then left alone to dig and be surprised. More and more people seem to come in knowing exactly what they’re looking for, or they want to be told what they should buy. Both attitudes I try to redirect.

Sure, I want people to find what they’re looking for, but I’ve tried to create an environment where people find what they didn’t even know they were looking for. That’s what I like personally when I go to a record store, that feeling of serendipitous discovery.
 

Mikey Kapinus (keyboardist from Magnolia Electric Co.) holds a Drakkar Sauna 7"

Give me three great albums that you've enjoyed lately.

Not incredibly new, but the latest Ty Segall LP on Goner, Melted, is probably going to be my favorite of 2010.  The Liminanas LP on Chicago-based label Trouble in Mind is probably the best new release I’ve heard in the past month or so. Sort of reminds me of Shocking Blue, which is a good thing in my book. Also, I revisited The Silos' Cuba LP the other day for the first time in years. So good. Excellent songs.

Which albums has your store sold the most over the past month?

The double-disc version of The National’s High Violet has sold the most, largely due to the label doing a big promotional push on it, offering it to stores at a super-cheap price, and even directing people online to indie shops. Matador/4AD/Beggars Group are true friends of indie record stores.
 

James Paasche holds Reverend Charlie Jackson's God's Got It

What is the strangest request you’ve ever received?

Sometimes friends prank call us and I always fall for it because their questions and requests are always far less strange than the real questions we’re asked. We’ve been asked everything from “Do you carry trombones?” to “Can I get a quote for some work?” thinking we’re the tattoo place around the corner (mind you that this is someone INSIDE the store asking this, surrounded by LPs and CDs).

In terms of the strangest music request we’ve had: since we sort of specialize in strange stuff, strange for us is like Barbara Streisand or something — stuff so common I wouldn’t even waste space on it. The most frustrating questions are less strange than just unreasonable. Like some dude from Denmark or wherever on some cross-country record dig drops in and before even looking at anything says something like, “Where are all your regional private-press funk 45s?” Oh yeah, sure, let me go get them, there’s a whole box back by the toilet.
 

Heath Byers holds most of the Spacemen 3 catalog

Have you had any in-store performances that really stand out?

We’ve had a lot of good ones over the past five years: Besnard Lakes, Indian Jewelry, Daniel Higgs. Our "Breakfast with Bonnie 'Prince' Billy" (Will Oldham) and Lou Barlow in-stores were particularly meaningful to me. More recently, Bare Wires totally killed it to a small but enthusiastic audience.

Any big future plans for Landlocked?

Our five-year anniversary is coming up in March. We’re working on having some sort of show/celebration and customer-appreciation-type shindig. Still in the works. Any good bands want to play? Get in touch. We’re also going to be putting out at least a couple records ourselves in the coming year. Stay tuned.

Here's the list in alphabetical order:

1. An Albatross: The An Albatross Family Album (Eyeball)

For a decade, An Albatross has blurred the lines between psychedelic rock, synthesized circus sounds, tech riffs, and grind. Building on the group's adventuresome past, this thirty-minute sonic carnival is the most complete expression of An Albatross ever put to tape.

Progressive, epic, trippy, and heavy tunes commingle with layers of strings, horns, flute, and organs — as well as a lengthy spoken-word narrative. The An Albatross Family Album is the band's magnum opus.

2. Dub Trio: Another Sound is Dying (Ipecac)

From the moment that each of us heard the Brooklyn trio’s third studio album last January, we were in love.

A mix of rock, metal, punk, electronica, and of course, dub, Another Sound… is the group's most audacious album to date, speaking to fans across genre lines while pummeling them with the heavy riffs from opener "Not for Nothing" and the rippling low end of closer "Funishment." Mike Patton provides guest vocals on “No Flag.”

3. Firewater: Golden Hour (Bloodshot)

The Golden Hour is the product of one man’s personal and musical odyssey over land from India to the Mediterranean Sea. Firewater’s Tod A. blends his punk roots with field recordings of musicians in five countries, resulting in a mix of past and present, familiar and exotic.

Tod A.’s pairings of music samples recorded in nations that are in conflict with one another shows that “sonic harmony” can be produced even where personal harmony seems unobtainable. The Golden Hour is an ambitious recording that remains intensely personal while encouraging the listener to think about a greater picture.

4. Fucked Up: The Chemistry of Common Life (Matador)

To us, Fucked Up was one of the most successful bands of 2008, and we were thrilled by The Chemistry of Common Life. With this album, the group has brilliantly drawn from the traditions of hardcore and created something comfortably familiar and powerfully new.

5. Nick Cave & The Bad Seeds: Dig!!! Lazarus, Dig!!! (Anti-)

Influenced by the stripped-down rock of Cave and company's 2007 Grinderman project, and inspired by both the biblical story of Lazurus as well as Harry Houdini, (whom Cave dubs as the world’s first- and second- greatest escape artists, respectively), Dig… finds a modernized “Larry” sprung back to life in the seamy underworld of 1970s New York City.

Each expertly crafted, hook-driven song provides vivid imagery to add to the story. “Today’s Lesson,” “Lie Down Here (And Be My Girl),” and “Midnight Man” are particular highlights.

6. Rodriguez: Cold Fact (Light in the Attic)

On first listen, the psychedelic folk styles of Detroit’s Rodriguez sound so familiar, it’s as though you’ve known his songs your whole life.

Originally released on the Sussex label in 1970, the album was largely overlooked in its home country, but unbeknownst to the inner-city troubadour, it grew an international cult following of millions (Rodriguez even became known as “Jesus” to many South African fans).

Upon its 2008 resurrection, Cold Fact became an instant classic, with tunes like “Sugarman” and “Hate Street Blues” still hitting a personal chord with every listener.

7. Roky Erickson and the Explosives: Halloween Live 1979-1981 (SteadyBoy)

Released on the heels of the decade’s most exciting and miraculous rock 'n' roll comeback, Halloween Live showcases the rock icon’s stunning voice and talent for songwriting, despite his then-fragile mental state.

Comprised primarily of material from the sci-fi-laced, psychedelic hard rock of 1980 album The Evil One (Roky Erickson and The Aliens, 415 Records), Halloween Live is perfect for fanatics and newbies alike with tracks such as the eerie “Creature with the Atom Brain” and “Bloody Hammer” and a ferocious rendition of “Stand For the Fire Demon."

8. Secret Chiefs 3: Xaphan: Book of Angels, Vol. 9 (Tzadik)

Led by multi-instrumentalist/composer Trey Spruance, Secret Chiefs 3 has re-imagined Masada material for Zorn's Book of Angels series. The group's use of Indian instruments and melodies, combined with surf rock, cinematic flourishes, African guitar, bits of electronics, and bursts of death metal, is unparalleled in execution and contemporaries.

Used here with Zorn's material, the outcome is magnificent.

9. Torche: Meanderthal (Hydra Head)

Meanderthal, the second full-length from Miami-based Torche, is in essence, a big “fuck you” to naysayers who would have you believe there is nothing fresh to be heard in rock 'n' roll.

Between the driving rhythms of “Speed of the Nail,” the punk-pop blend of “Healer,” and undercurrents of sludge, the album is accessible without losing any of its punch (these ain’t no “monster ballads”). Meanderthal is a wholly original, powerful album that will resonate with listeners for years and will undoubtedly mark a turning point in the band’s career and musical legacy.

10. Why?: Alopecia (anticon.)

The love- and death-riddled lyrics, shuffling snare drums, devious scenarios, and strangely un-pop hip-hop sound of Alopecia is somehow relatable.

It's evasive, but tempting, and acceptably poetic. With quirky wordplay and creative rhyme schemes from frontman Yoni Wolf, Alopecia slowly unfolds and then devours you into its own neurotic world.

Grails: Doomsdayer's Holiday (Temporary Residence Limited)

Fusing Indian music, 1970s film noir, and psychedelic sounds into heavy acoustic and electric rock, Portland's Grails are a wonderful anomaly. Doomsdayer's Holiday, as its name implies, cranks the group's heaviness beyond recent levels without losing its haunting, compelling melodies.

Grails: \"Reincarnation Blues\"

Earthless: Live At Roadburn (Tee Pee)
At the 2008 edition of the annual Roadburn Festival in Holland (spring break for anyone into heavy underground rock), San Diego psych-rock trio Earthless gave an impromptu headlining performance for 2,000 fans, having originally been scheduled at a venue one-tenth the size. Not only did its hypnotic, four-song, hour-and-a-half set blow away the crowd, but on recording it beautifully captures the energy and magnitude of the stellar live show.

Young Widows: Old Wounds (Temporary Residence Limited)

Old Wounds is the second album from Louisville rockers Young Widows since transforming from Breather Resist. Sporting an extra dose of heaviness, the disc opens with "Took a Turn," slowly building around a gritty, garage-floor bass riff before bursting with post-rock drums, multi-layered guitars, and reverberated shouts.

Throughout, the album changes tone and time at will like a lumbering, newly un-caged beast, while a primordial jungle pulse beats itself into a frenzy just below the crust.

Young Widows: \"Old Skin\"

Jolie Holland: The Living and The Dead (Anti-)
On her third solo album, Texas-born songstress Jolie Holland blends a variety of regional American folk styles. Topped with creamy vocals and bittersweet lyrics, tracks such as dark-toned "Fox In Its Hole" and wistful "Love Henry" make a long-lasting impression.

Jolie Holland: "Old Fashion Morphine"

Fucked Up: The Chemistry of Common Life (Matador)

The newest full-length from punk contrarians Fucked Up moves through more variety of atmosphere than standard punk/hardcore, with peaceful, otherworldly intros and layers and layers of guitar-more than seventy guitar tracks at one point (or so they say…).

There's less stop-start fury than 2006 release Hidden World-more sheets of sound. "Golden Seal" sounds like a darker Sigur Rós, or even Jean Michel Jarre.

Fucked Up: \"No Epiphany\"

Marnie Stern: This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That (Kill Rock Stars)

Backed again by untamed drumming beast Zach Hill, guitarist/singer Marnie Stern issues her sophomore effort with more frantic, high-pitched fret work, quirky vocals, and – through the carefully constructed din – catchy melodies.

Marnie Stern: \"Transformer\"

Hauschka: Ferndorf (FatCat)

German pianist and composer Volker Bertelmann, here known as Hauschka, uses a decade of classical studies as his musical foundation. With that, home-rigged piano effects, and additional acoustic and electric instruments, he combines structural influences of electronica and classical minimalism to create a beautiful minor-key oeuvre.

Hauschka: \"No Wind Today\"

East Coast Avengers: Prison Planet (Brick)

Featuring the outspoken sociopolitical lyrics of rappers Trademarc and Esoteric, East Coast Avengers are more than just skilled rhymers that take aim at rightwing water carriers. The group pastes stirring Romantic violin melodies and portentous soundtrack clips over head-nodding beats, setting an appropriate mood for its imperative lyrical content.

ECA has already taken plenty of heat in the corporate media for releasing the track "Kill Bill O'Reilly," so let's give the group some love.

East Coast Avengers: \"Kill Bill O\'Reilly\"

Desalvo: Mood Poisoner (Rock Action)

Released on Mogwai's Rock Action label, Mood Poisoner may just have influenced the heavy grooves on its label owners' recent record. Based in Glasgow, Desalvo sound as though the Jesus Lizard were a modern hardcore/metal band.

Sun Ra and His Solar Arkestra: Secrets Of The Sun (Atavistic)

A re-mastered and long-lost relic of the Sun Ra vault, Secrets of the Sun is now available from Atavistic 46 years after its release on Saturn Records. And if being available for the first time on CD isn't enough, how does a 17-minute unreleased track sound?

Glasgow instrumentalists Mogwai return with an album full of beautiful minor-key epics-including a few seriously heavy tracks like "Batcat," which nicely contrasts "I'm Jim Morrison, I'm Dead," the album's droning, thudding, tinkling opener. Sporting a still-life portrait of a bald eagle's mug on the cover, The Hawk is Howling is one of Mogwai's most diverse releases this decade, possibly since Rock Action or EP+6 2001.

*Read Drew Fortune's lengthy feature on Mogwai in ALARM 33, available soon.

Mogwai: \"The Sun Smells Too Loud\"

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God of Shamisen: Dragon String Attack (Reptile)

If you're into the fusion of metal with traditional Japanese music (and who isn't?), pick up Dragon String Attack by God of Shamisen. Shamisen master and Estradasphere member Kevin Kmetz leads the group with his acrobatic finger work on the fretless Japanese instrument, infusing said sounds with any other genre that feels appropriate (reggae, Gypsy, jam rock, funk). The shredding riffs of guitarist Karl Schnaitter and the detonating beats of fellow Estradasphere cohort Lee Smith also propel the band, which you know will be good given that two of Kmetz's listed influences are ultra-heavy death metallers Cryptopsy and classical legend J.S. Bach.

God of Shamisen: \"The Science Fiction of Ray Bradbury Attack\"

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Lymbyc Systym: Love Your Abuser, Remixed (Mush)

As Lymbyc Systym, brothers Mike and Jared Bell released a beautiful 2007 debut full-length, Love Your Abuser, on Mush Records. The album's heartening tunes used piano, synthesizers, organs, xylophones, brass instruments, and much more to provide a gorgeous multi-layered mix. Now the album gets a remix treatment with clicky electronic beats and thematic revamps by The One AM Radio, The Album Leaf, This Will Destroy You, Daedelus, and others. Magic Bullet Records will also soon release a This Will Destroy You / Lymbyc Systym split 10"/CD as well as re-release Lymbyc Systym's first studio EP, Carved by Glaciers.

Lymbyc Systym: \"Fall Bicycle\" (The Album Leaf Remix)

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Genghis Tron: Board Up the House, Remixes Vol. 1 LP (Temporary Residence)

Normally on the Relapse roster, electro-metal trio Genghis Tron has its crushing sci-fi sounds reworked as part of a five-label LP project that includes 20 mixologists. This first volume has been available for a few months, but now it has its official release, featuring renderings by Steve Moore, Justin K. Broadrick, Rob Crow, and Eluvium.

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Ten Kens: Ten Kens (FatCat)

The debut album from this Toronto-based quartet is an eclectic combination of power pop, folk, and droning, experimental rock.

Jaguar Love: www.myspace.com/jaguarloveband
Matador: www.matadorrecords.com