Kevin Hufnagel: Transparencies (Nightfloat)

Kevin Hufnagel: "Ever Rest"

When he's not lending his blistering fretwork to Dysrhythmia and Gorguts, or working on ambient pieces as half of Byla, guitarist Kevin Hufnagel finds the spare moment to work on his growing solo catalog.

Though his first solo release was self-issued back in '97, he reemerged in 2009 with Songs for the Disappeared, a masterful collection of percussive acoustic-guitar pieces. Transparencies is just as beautiful but entirely different, bridging the gaps between his electric and ambient sides.

Melodies carry nearly every moment of these 11 tracks, but most are bathed in fuzz, feedback, reverb, and glistening effects. Though some pieces edge toward post-rock territory and Hufnagel makes good use the guitar, there are plenty of minimalist repetitions and loops, often building atmosphere for each track's many layers. "Soundscape" might be an overused descriptor for this style, but with Transparencies, it's entirely applicable, representing a world of sonic depth.

Stream Transparencies in its entirety on Hufnagel's Bandcamp page.

- Lauren Zens & Scott Morrow

Kayo Dot: Gamma Knife

Kayo Dot: "Mirror Water, Lightning Night"

Last year, avant-rock outfit Kayo Dot and its multi-instrumentalist leader, Toby Driver, delivered the 20-minute Stained Glass EP, a single track that combined the band's many elements but leaned on atmosphere.

Gamma Knife (streamed here in its entirety) is Driver and company's latest, calling upon sax-infused noise metal for the majority of its 25 minutes. The recording itself is unconventional — a partial live recording with overdubs added in the studio, providing a strange balance and distant feel to much of the music.

More importantly, however, Gamma Knife is the usually unusual balance of Kayo Dot styles. "Lethe" opens with a classically influenced (and Gregorian-tinged?) piece that almost — almost — could resemble Christmas music. The skronky, progressive track that follows, however, conjures no thoughts of sugar plums. It's abrasive and hard to follow, with all sorts of ghoulish vocals bubbling under the layers — resulting in a swirling (and uncomfortable) cauldron of sound.

There's plenty more unholy noise and rhythmic prowess (see "Mirror Water, Lightning Night"), but the title track closes the album with its prettiest moments, in a melancholy piano-and-guitar duet behind Driver's troubled vocals. As always, it cautions to expect the unexpected with Kayo Dot.

- Scott Morrow

TriBeCaStan: New Deli (EverGreene Music)

TriBeCaStan: "One Day His Axe Fell into Honey"

Though its music only has been available since 2009, the quizzical “ethno-galactic” duo TriBeCaStan spans centuries with its incomparable blend of traditional folk styles with rock, jazz, and other modern styles. And though its two founding members, multi-(multi-multi-)instrumentalists Jeff Greene and John Kruth, hail from lower Manhattan, their origins, naturally, seem spread across the globe.

With its third album, New Deli, the duo (along with the eight-piece TriBeCaStani FolklOrkestra) continues its spirited, genre-bending expedition with such unlikely sonic pairings as surf rock alongside avant-garde jazz and Afghani folk. Indeed, TriBeCaStan is a strange place where East meets West and old meets new.

- Meaghann Korbel

Honorable Mentions

Keepaway: Black Flute (Greedhead)

Kronos Quartet: Music of Vladimir Martynov (Nonesuch / Warner)

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.

TriBeCaStan's latest album, 5 Star Cave, sounds like an extremely talented group of musicians who happen to have ADD and are cashing in their frequent-flier miles.

They travel across the musical landscape of the entire world with dizzying speed: one second you're grooving to a banjo-led southern folk-funk jamboree, and the next you're boogieing to a Caribbean jazz breakdown relocated to a Grecian island.

The music can't be traced back to any one geographic point; instead it connects like a massive web over dots on Phileas Fogg's world map.

The album isn't cohesive musically, but it solidifies itself as a unified work through its repeated dives into multiple overlapping genre explorations. Most of the songs sound like jam sessions, but with a sense of purpose that most jam voyages lose along the way.

Vocal passages by Samantha Parton give a billowy soul whisper to the more straight folk numbers, with lyrics that are surprisingly mundane (love, loss, lost love) for a band that is constantly trying to push the listener into a jetlagged whirlwind of sounds.

5 Star Cave succeeds by reinterpreting "world music" as "all the music in the world crammed into a Cuisinart and set to puree." I wouldn't be surprised to see a reissue come with Bingo cards that replace numbers with instruments, regions, and genres. It would be the fastest game of Bingo ever.

- Arthur Pascale

World in Stereo is a biweekly column that examines classic and modern world music while striving for a greater appreciation of other cultures.

Moss

The album title says it all; if one were to awaken, alive but barely breathing, and imprisoned in a cold underground lair, Tombs of the Blind Drugged, the third and latest album by Southhampton, UK’s Moss, would be the most appropriate soundtrack.

Recorded at Wales’ Foel Studios (Blue Cheer, Electric Wizard), the songs on Tombs are sparse, crushingly heavy, and as anxiety provoking as a waterboarding.

Ty Segall: Lemons (Goner)

On his latest album, Ty Segall (former Epsilons) presents infectious, boogie-your-ass-off garage rock. Although Lemons’ lo-fi production may obscure Segall’s sweet croons (or wails, depending on what the song demands), the pop sensibility of this former one man band shines through the fuzz, and illustrates a unique sound in an often carbon-copy saturated genre.

Tribecastan: Strange Cousin (Evergreene Music)

The brainchild of accomplished New York based musicians John Kruth and Jeff Greene, Tribecastan synthesizes urban folk sounds from all over the world into a playful, eclectic mix. On Strange Cousin, the group is as likely to employ instrumentation and melodies from Scandinavia, as they are from Central Asia, or The Balkans.

Yob: The Great Cessation (Profound Lore)

Eugene, Oregon’s Yob has reunited after a brief hiatus, and from the sounds of their latest offering, The Great Cessation, the psychedelic doom trio is better than ever. We recommend rolling, epic second track,  "The Lie That Is Sin."