Britt Daniel of Spoon produced this sophomore set, and it shows - in a good way. From the opening dual-tribal-drum beat of "Percussion Gun" (best song of the year, by the way), they had me hooked.

Maybe not the classic that their previous album, The Crane Wife was, but still a very strong concept album with guest vocalists, and "The Rake's Song", one of the most morbid but rockingest songs of the year.

Sam Beam and company's 2-disc set of rare and previously unreleased tracks isn't merely a fan's-only album; it stands up with any of his best work.

I really seem to have fallen hard this year for electronic pop, and these guys are about as processed as it gets. But man, they write some good tunes. "Sleepyhead" should have annoyed the heck out of me with its Chipmunk-like vocals, but I can forgive them that because it's such a damn good song.

Glen Hansard and Marketa Irglova prove that "Once" was no fluke. A more polished, consistent and mature work than that soundtrack was - very satisfying.

Folky band out of Canada that still has virtually no recognition here - not for lack of talent. Beautifully tight harmonies and arrangements - fans of Sufjan Stevens and Fleet Foxes will enjoy them. Highlight track: "I Live a Lot of Places"

North Carolina's brother band of Skip and Logan Matheny create some sweet and catchy alt-country rock, yet their vocals and emotivenees remind me of the defunct band The Format. Highlights: "Eden Was a Garden", "Why Modern Radio is A-OK".

The electronica pioneer gives us his most satisfying album in years - more of the cinematic than the rocking side of Moby, but still consistently good.

Philly chanteuse's second full-length release sounds even more mature and assured than the first. She's working Norah Jones' side of the block, and doing quite well, thank you. Highlight: "Who Will Comfort Me?"

Jay Farrar and his band have stripped down production this time for a set of starker, quieter, but no less moving songs. Highlight: "Down to the Wire".